Peru

2024-05-07

يستمر عالم الزلازل الهولندي، فرانك هوجربيتس، في إطلاق تحذيراته المخيفة والمثيرة للجدل، فعندما يُغرد عبر موقعه الرسمي على وسائل التواصل الاجتماعي «إكس»، المعروف سابقًا باسم تويتر، يُصيب العالم الرعب والذعر، وذلك بعد أن تحققت العديد من توقعاته بالفعل. وحدد عالم الزلازل الهولندي في فيديو عبر شركة «ssgeos»، أن الزلزال من المتوقع أن يضرب تشيلي الموجودة على ساحل أمريكا الجنوبية. ونشر عالم الزلازل الهولندي، عبر صفحته الرسمية على موقع «إكس»، التغريدة التالية: «منذ عام 2017 لم تحدث أي هزة أرضية بقوة 7.0 أو أعلى على مقياس ريختر في تشيلي، بينما ضربت هزات أرضية بقوة 7.0 أو أعلى سبع مرات منطقة الحدود بين بيرو والإكوادور، تُعد سواحل أمريكا الجنوبية منطقة اندساس جيولوجي، وكان أكبر زلزال ضرب أي مكان في العالم منذ عام 2014 بقوة 8.3 على مقياس ريختر قبالة سواحل مدينة كوكيمبو في تشيلي في سبتمبر 2015». Noteworthy observation: since 2017 no magnitude ≥ 7.0 occurred in Chile, while seven of them occurred in Peru and Peru-Ecuador border region. South-American coast is a subduction zone. Largest earthquake since 2014 worldwide was M 8.3 offshore Coquimbo, Chile in Sep 2015. حذر عالم الزلازل الهولندي، عبر صفحته الرسمية على موقع «إكس»، من أن الاقتران القمري الذي حدث في 3 و 4 مايو أدى إلى هزة أرضية قوية، ومن المحتمل أن تصل قوتها إلى 6 درجات على مقياس ريختر، مضيفًا أن الهزة الأرضية قد تحدث في وقت لاحق من يوم 6 مايو أو في أوائل 7 مايو. وأوضح أن كوكبي عطارد والزهرة سيكونان في اقتران مع كوكب أورانوس في 7 مايو، مباشرة قبل القمر الجديد، وأن هذا الاقتران الكوكبي قد يؤدي إلى حدوث مجموعة من الهزات الأرضية القوية تقترب قوتها من 6 درجات على مقياس ريختر، وربما أكبر، وذلك في الفترة من 8 إلى 10 مايو. Forecast updateLunar conjunctions on 3-4 May can result in a strong shake, potentially reaching higher 6 magnitude, most likely later on 6 or early 7 May.Mercury and Venus will be in a conjunction with Uranus on 7 May, right before New Moon. This can result in a cluster of… وأشعل العالم الهولندي الجدل عند ظهوره لأول مرة بسبب تأكيد علماء الجيولوجيا أنه لا يمكن التنبؤ بمواعيد ، وأن تصريحاته تعتبر تخمينات غير مستندة على أدلة علمية، وأنه لا يوجد صلة بين الكواكب والزلازل.  ...قراءة المزيد

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2024-04-09

In the aftermath of Hamas’ barbaric terrorist attacks against Israel on and Israel’s subsequent invasion of Gaza, attacks against Jews have skyrocketed across the Western world. Antisemitic incidents have surged by 361% in the United States, 132% in Canada, and are at record highs in the United Kingdom and near-record highs in the European Union. From violent threats and physical intimidation on public transit to widespread vandalism of Jewish-owned business, Jews are no longer safe in spaces or even countries where they were previously welcomed. The media’s fixation on antisemitism in the West makes sense given that the is concentrated in Western Europe and Anglo-America. But Jews do not only live in “rich” countries, and since the Hamas attacks on Israel, the media has failed to expose the day-to-day dangers faced by Jews living in less prominent regions such as Latin America. For a Jew living in Argentina, Chile, or Mexico, a story condemning an antisemitic attack in Vancouver will only do so much. Stamping out antisemitism across the globe means stamping out antisemitism across the globe, and Latin America should be included in those efforts. Latin America has long nurtured an antisemitic underbelly that has drawn scant international media attention, even after the October 7 attacks. Latin America is home to approximately 500,000 Jews, including nearly 200,000 in Argentina alone. In Brazil, antisemitic attacks have risen by nearly 1,000% since October 7. A Venezuelan student walks over a cloth with red paint and the Star of David during an anti-Israel demonstration in Caracas (credit: REUTERS/JORGE SILVA) In Peru, right-wing extremists targeted a prominent Peruvian Jewish journalist by screaming antisemitic chants outside his home, including showing posters of rats holding bags of money. In Nicaragua, Jewish cemeteries have been vandalized and desecrated. Vicente Fox, Mexico’s former president, accused presidential candidate Claudia Sheinbaum – who has Jewish parents – of being “a Jew and foreigner at the same time.” Argentina’s new president, , who claims to be an ally of Jewish people and Israel, appointed Rodolfo Barra to be the country’s lead prosecutor. Barra belonged to a right-wing group responsible for hundreds of antisemitic attacks, including attacks against synagogues, a violent riot in a Jewish neighborhood, and the murder of a Jewish lawyer. He will now be responsible for prosecuting antisemitism in Argentina. Political leaders in nearly every Latin American country espouse popular tales about Jewish control of the media, politics, and the economy. Supporters of these antisemitic leaders include José Antonio Kast, the son of a Nazi SS lieutenant and frontrunner for the next Chilean presidential election, and Daniel Jadue, the mayor of Recoleta linked to the Palestinian Liberation Organization (PLO). A number of politicians and associations linked to former Brazilian president Jair Bolsonaro have also promoted antisemitic conspiracies and espoused neo-Nazi imagery. In the past, such antisemitism has moved from words to murder. In 1992, Hezbollah and Palestinian Islamic Jihad (PIJ) bombed the Israeli embassy in Buenos Aires, and later the AMIA (Asociación Mutual Israelita Argentina) Jewish community center in 1994, killing 114 people. In 2009, armed vandals attacked the oldest synagogue in Venezuela as a protest against Israel – and rather than help its Jewish citizens, the Chávez government was quick to issue support to the terrorists. IRAN FUNDS operations against Jews and Israel and in the last five years has signed multiple security deals with Latin American governments. The regime also supports terrorist organizations, including Hezbollah, in conducting attacks against Israel and Jews in Latin America. Israel’s diplomats and intelligence operatives in the region are subject to frequent attacks, some deadly. Governments are not helping. Shortly after Israel began its defense, Colombia, Honduras, Mexico, and Chile recalled their ambassadors from the region. Bolivia cut off diplomatic relations with Israel, accusing the nation of crimes against humanity. Colombian President Gustavo Petro compared Israel to the Nazis, saying that they treated Gaza like the Warsaw Ghetto. Lula, Brazil’s President, also compared Israeli policy regarding Palestine as a “new Holocaust,” saying Israelis are the new Nazis. Manuel Zelaya, former president of Honduras, claimed anyone who supports Israel is not human. Nicolás Maduro, the dictator of Venezuela, frequently goes on dehumanizing tirades against Jews and Zionists on national television. Despite its problems, Argentina offers a path forward. Back in 2019, the country’s Jewish community lobbied its leaders to create a task force to honor the victims of the AMIA attack and another to combat antisemitism. In addition, after the October 7 attacks, Argentina’s Jews created coalitions with other religious leaders within the country to denounce antisemitism and call for greater interfaith dialogue. Western media should support these efforts to combat antisemitism in the region. A Jew in Chile or Mexico is not responsible for whatever “sins” Israel “commits or does not commit” in Gaza, and Jewish communities deserve to be treated with respect and dignity. Antisemitism in Latin America will not go away overnight, but in order to fight it, one has to recognize it. The West and Latin America alike have failed in that department. Joseph Bouchard is a freelance journalist and analyst covering geopolitics in the Americas, with reporting experience in Bolivia, Colombia, and Brazil. His articles have appeared in The Diplomat, Mongabay, Le Devoir, La Razón, Responsible Statecraft, and Brazilian Report. He is a contributor with Young Voices, a nonprofit organization dedicated to supporting young journalists and columnists promoting heterodox thinking. Garion Frankel is a Ph.D student in PK-12 educational leadership at Texas A&M University. He is a State Beat fellow for Young Voices, and his work has appeared in various outlets including USA Today, Newsweek, and the Dallas Morning News.  ...قراءة المزيد

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2024-03-21

Scientists on Wednesday unveiled a 16 million-year-old fossil skull unearthed in Peru of that once swam in waters that are now the Amazon, and whose closest living relative is the South Asian in India's Ganges River. Paleontologist Rodolfo Salas said the skull belonged to the largest known to have inhabited the waters of South America, measuring 3 to 3.5 meters long (9.8 to 11.4 feet). It was named Pebanista yacuruna after the Yacuruna, a Peruvian mythological being that lived in deep water. "This dolphin is related to the dolphin of the Ganges river in India," Salas said, adding the one found in Peru is much bigger than its living relatives in Asia. The ancestors of both dolphins formerly lived in the ocean, Salas said.A fossil of the skull of the largest dolphin in history that inhabited the Peruvian Amazon 16 million years ago and was discovered in an expedition sponsored by the National Geographic Society is exhibited at the Museum of Natural History in Lima, Peru, March 20, 2024. (credit: SEBASTIAN CASTANEDA/REUTERS) "This allowed them to occupy large ocean spaces near the coasts of India and South America. These animals lived in the freshwater environments both in the Amazon and India. Sadly, they became extinct in the Amazon, but in India they survived," Salas added. The study was published in the journal Science Advances. Scientists found the fossil during a 2018 expedition sponsored by the National Geographic Society at the Napo River. The Amazon and Orinoco river basins still are home to a species known as the Amazon river dolphin, also called the pink river dolphin or boto. ...قراءة المزيد

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2024-03-16

The six small stand-up boxes contain three-dimensional dolls in Inca costumes, complete with their traditional designs and surrounded by ceramic pots, also in the traditional style. Highly colorful, these miniature dolls are amazingly made out of potato flour! Peruvian artist Zuly Jimenez had been asked by to illustrate the Purim story as told in the Scroll of Esther as if it were set in the artist’s own surroundings. Jimenez decided to root her interpretation in Peru’s ancient culture, which meant going back to a time when the Incas ruled the land. One innovation among many was the depiction of Haman leading Mordechai sitting on a llama, since, as she explained, the horse had not been introduced into this part of the world until the Spaniards came and conquered Peru. The experience of making these models was for Jimenez “unforgettable” in that it combined art and history, legend and story-telling. It was precisely the reaction that Moss was looking for and had already received from his many guest artists from around the world over the previous thirty years when he started this unique project. “In 1990, I was in Bali, Indonesia,” he recalled, “searching for craftspeople for another project of mine, when I viewed the beautiful miniatures being produced by the local artists. Bali, a traditional Hindu society, is full of palaces, royalty, princes and princesses, ceremonies and rituals. All these things strongly reminded me of and Purim. So when I went back the second time, I asked artists from two different villages to do their take on the story. I gave them parchment and the story of Esther translated into Indonesian. I drew six small blank rectangles and I told them to imagine that this story was happening right in their village. The six scenes I asked them to envisage included Achashverus’s party at the beginning of the story; the beauty contest in which Esther participates and wins; the reaching out of the scepter by the king to Esther; Haman leading Mordechai on the king’s horse; the hanging of Haman’s ten sons; and the writing out of the megilla to go out to all the lands of the king’s massive kingdom. I didn’t want them to imagine Persia or anything to do with the original story. It had to be local in their own culture and style. I waited for the responses. When I viewed the stunningly original crafted images they had produced, it gave me another thought: Perhaps I could expand this idea by seeking out folk artists from around the world willing to depict these same six scenes in their own vernacular culture and style. Thus began a fascinating, bizarre thirty-year quest I’ve come to call Esther without Borders,” said Moss. Esther without BordersAlthough it was initially happenstance that energized the beginnings of the project, Moss’s enthusiasm only grew as he encountered folk artists from around the world who responded positively to his strange request. In the course of his ongoing project, he encountered artists from Ukraine, Russia, Bali, India, Italy, Ecuador, Colombia, Panama, California, New Mexico, and so on, thus echoing the megilla’s Achashveros, whose kingdom spread from “Hodu to Kush” (India to Ethiopia). The original Purim has a profoundly universal flavor.“I initially sought out folk artists,” said Moss, “ although I’ve asked a few professional artists, too. Another change came about when I approached an artist in Italy whose charming work I had spotted in a small exhibition in the Piedmont region. He said he’d love to do the project but that he could not work in the miniature format I had been requesting. I told him to use whatever format he liked. He was very imaginative, created a delightful accordion book, and also drew the main characters from the story on the back of the work. He had a great sense of humor, depicting the eunuch of the king, for example, with a pair of scissors on his turban!  ‘Reaching Out Golden Scepter’ (credit: © Made Susila, Bali)“Once the mold was broken, I let the rest of the artists do the images in whatever format they were most comfortable with. This came to mean the project has been done on tiles, fabrics, icons, and envelopes, as well as on paper and parchment.”Although Moss is a much traveled artist, the language of communication with the artists does sometimes present problems. “With the Italian artist, I found a nearby gallery owner who helped locate and communicate with the artist. I use Google Translate to communicate with many of the artists. Fortunately, the is also in the Christian Bible, which has been translated into hundreds of languages. I send the artists the entire book in their own language and highlight the six verses,” he explained. “A friend was headed off to Australia, and I asked her to propose the project to an Aboriginal artist if she came across one. She found Emma Burchill, a wonderful artist who did the project in their highly abstract, symbolic style. She explained to me how the Aborigines paint their works using dots as if they were looking down at the scene from a bird’s eye view. Therefore, she showed the feast viewed from above as their campfire, with the guests dancing the traditional corrobbree ceremony around the fire.” He did not have to travel for every artist. Some came to him in his studio in Huzot Hayotzer beneath the walls of the Old City of Jerusalem. Moss met Boris Gozzo, a talented Ukrainian artist living in Israel whose illustrations portrayed some of the men in the scene as drunken peasants.Most years, the art studios in Huzot Hayotzer play host to an international arts and crafts fair, so it was that Moss met Rajendra Kumar Moktan from Nepal whose expertise is in the creation of mandelas – prayer wheels used in Buddhist and Hindu sacred rites and as an instrument of meditation. The detailed scenes he painted on canvas truly convey the ceremonies of Nepalese culture. When I met Moss in his somewhat overcrowded studio, he had just got off the phone with a woman from Portugal. “Her name is Teresa,” he said. “She works on Azulejo tiles in the blue and white ceramic tradition from the 17th and 18th century. They were influenced by Delft tiles. She had just sent me a sketch of what she is doing and wrote to me that she was finishing the last tile. She had painted the stations of the cross in ceramics for her local cathedral and the tiles for the Esther story were done in this strong Portuguese, Christian tradition.”Not that every encounter is successful. “I tried a Chinese artist but didn’t like what he did. I’ll have to go back there and try someone else. Also, although I pay the artists whatever fee they request, if they ask more than I can afford, I let it go,” he said.It is perhaps not surprising that some of these artists became firm friends.“In Morro Bay, California, I met Philip Carey, who specialized in drawing delightful miniature scenes on envelopes and mailing them to their destination via the post office. They are whimsical and full of humor. I marveled how he translated the Esther story into his envelope art. He portrayed each of the figures as being from the animal world. So his king is a Monarch butterfly, Esther is a Morro Bay sea otter, Mordechai a bald eagle riding on a sea horse, Haman is depicted as a coyote, and so forth. Esther sends out the Purim story by ‘seamail’ on seahorses, and ‘landmail’ with roadrunners. Philip executed all these envelope images in ink and colored pencil and then sent them to me through the post office. We were in close contact over the years, but tragically he has passed away. I treasure these miniature masterpieces that so embody who he was.” Although Moss was happy to give many of these artists some visibility, he came upon one group of unknown artists who had simply disappeared. These were the Mimbres, an extinct civilization from southern New Mexico who flourished between 1,000 and 1,150 CE and then vanished, leaving behind no writing. All that remains of them are the ruins of their buildings and their black-and-white pottery with unique stylized designs. “I was always captivated by the powerful designs they left behind, and felt that it was somehow unfair that I was limiting my project to living cultures. I decided to imagine myself as an ancient Mimbres artist and designed the six Esther scenes as round, bowl-like images based on what was recovered from their tradition,” he said. Moss, an internationally recognized book artist, calligrapher, designer of ketubot and architectural designs, appreciates how he has succeeded sufficiently well to have the ability and willingness to help fellow artists who were not so fortunate. At the same time, he has not rushed this project nor does he have future plans for it.“I love that there is no end, goal, or deadline to this,” he confessed. “People have suggested that I turn it into a book, others that it should be exhibited. My daughter Elyssa runs a center opposite my studio called Kol HaOt, which brings together art and Judaism. We did do a small show of these works there. But the beauty of this project for me is in the remarkable people it has connected me with, the thrill and surprise of opening each new contribution, and the sheer joy of watching a simple idea unfold and blossom in so many surprising ways.”Whichever way Moss decides, it would indeed be a pity if this impressive project were not viewed by a much larger audience. But maybe, as he jokes, he’s going to wait until he reaches 127 nations – from India to Ethiopia and beyond!■ Although it was initially happenstance that energized the beginnings of the project, Moss’s enthusiasm only grew as he encountered folk artists from around the world who responded positively to his strange request. In the course of his ongoing project, he encountered artists from Ukraine, Russia, Bali, India, Italy, Ecuador, Colombia, Panama, California, New Mexico, and so on, thus echoing the megilla’s Achashveros, whose kingdom spread from “Hodu to Kush” (India to Ethiopia). The original Purim has a profoundly universal flavor. “I initially sought out folk artists,” said Moss, “ although I’ve asked a few professional artists, too. Another change came about when I approached an artist in Italy whose charming work I had spotted in a small exhibition in the Piedmont region. He said he’d love to do the project but that he could not work in the miniature format I had been requesting. I told him to use whatever format he liked. He was very imaginative, created a delightful accordion book, and also drew the main characters from the story on the back of the work. He had a great sense of humor, depicting the eunuch of the king, for example, with a pair of scissors on his turban!  ‘Reaching Out Golden Scepter’ (credit: © Made Susila, Bali) “Once the mold was broken, I let the rest of the artists do the images in whatever format they were most comfortable with. This came to mean the project has been done on tiles, fabrics, icons, and envelopes, as well as on paper and parchment.” Although Moss is a much traveled artist, the language of communication with the artists does sometimes present problems. “With the Italian artist, I found a nearby gallery owner who helped locate and communicate with the artist. I use Google Translate to communicate with many of the artists. Fortunately, the is also in the Christian Bible, which has been translated into hundreds of languages. I send the artists the entire book in their own language and highlight the six verses,” he explained.  “A friend was headed off to Australia, and I asked her to propose the project to an Aboriginal artist if she came across one. She found Emma Burchill, a wonderful artist who did the project in their highly abstract, symbolic style. She explained to me how the Aborigines paint their works using dots as if they were looking down at the scene from a bird’s eye view. Therefore, she showed the feast viewed from above as their campfire, with the guests dancing the traditional corrobbree ceremony around the fire.”  He did not have to travel for every artist. Some came to him in his studio in Huzot Hayotzer beneath the walls of the Old City of Jerusalem. Moss met Boris Gozzo, a talented Ukrainian artist living in Israel whose illustrations portrayed some of the men in the scene as drunken peasants. Most years, the art studios in Huzot Hayotzer play host to an international arts and crafts fair, so it was that Moss met Rajendra Kumar Moktan from Nepal whose expertise is in the creation of mandelas – prayer wheels used in Buddhist and Hindu sacred rites and as an instrument of meditation. The detailed scenes he painted on canvas truly convey the ceremonies of Nepalese culture.  When I met Moss in his somewhat overcrowded studio, he had just got off the phone with a woman from Portugal. “Her name is Teresa,” he said. “She works on Azulejo tiles in the blue and white ceramic tradition from the 17th and 18th century. They were influenced by Delft tiles. She had just sent me a sketch of what she is doing and wrote to me that she was finishing the last tile. She had painted the stations of the cross in ceramics for her local cathedral and the tiles for the Esther story were done in this strong Portuguese, Christian tradition.” Not that every encounter is successful. “I tried a Chinese artist but didn’t like what he did. I’ll have to go back there and try someone else. Also, although I pay the artists whatever fee they request, if they ask more than I can afford, I let it go,” he said. It is perhaps not surprising that some of these artists became firm friends. “In Morro Bay, California, I met Philip Carey, who specialized in drawing delightful miniature scenes on envelopes and mailing them to their destination via the post office. They are whimsical and full of humor. I marveled how he translated the Esther story into his envelope art. He portrayed each of the figures as being from the animal world. So his king is a Monarch butterfly, Esther is a Morro Bay sea otter, Mordechai a bald eagle riding on a sea horse, Haman is depicted as a coyote, and so forth. Esther sends out the Purim story by ‘seamail’ on seahorses, and ‘landmail’ with roadrunners. Philip executed all these envelope images in ink and colored pencil and then sent them to me through the post office. We were in close contact over the years, but tragically he has passed away. I treasure these miniature masterpieces that so embody who he was.”  Although Moss was happy to give many of these artists some visibility, he came upon one group of unknown artists who had simply disappeared. These were the Mimbres, an extinct civilization from southern New Mexico who flourished between 1,000 and 1,150 CE and then vanished, leaving behind no writing. All that remains of them are the ruins of their buildings and their black-and-white pottery with unique stylized designs.  “I was always captivated by the powerful designs they left behind, and felt that it was somehow unfair that I was limiting my project to living cultures. I decided to imagine myself as an ancient Mimbres artist and designed the six Esther scenes as round, bowl-like images based on what was recovered from their tradition,” he said.  Moss, an internationally recognized book artist, calligrapher, designer of ketubot and architectural designs, appreciates how he has succeeded sufficiently well to have the ability and willingness to help fellow artists who were not so fortunate. At the same time, he has not rushed this project nor does he have future plans for it. “I love that there is no end, goal, or deadline to this,” he confessed. “People have suggested that I turn it into a book, others that it should be exhibited. My daughter Elyssa runs a center opposite my studio called Kol HaOt, which brings together art and Judaism. We did do a small show of these works there. But the beauty of this project for me is in the remarkable people it has connected me with, the thrill and surprise of opening each new contribution, and the sheer joy of watching a simple idea unfold and blossom in so many surprising ways.” Whichever way Moss decides, it would indeed be a pity if this impressive project were not viewed by a much larger audience. But maybe, as he jokes, he’s going to wait until he reaches 127 nations – from India to Ethiopia and beyond!■ ...قراءة المزيد

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2024-03-09

Peruvian police on Friday reported arresting two individuals - an Iranian and a Peruvian national - over alleged plans to attack an Israeli businessperson at the Asia-Pacific Economic Cooperation (APEC), scheduled later this year. The Iranian national,  Majid Azizi, 56, is reportedly a member of the Islamic Revolutionary Guard Corps (IRGC). He is said to have obtained a Peruvian citizenship through marriage. This post can't be displayed because social networks cookies have been deactivated. You can activate them by clicking manage preferences. Chief of the General Staff of Peru's national police, Oscar Arriola, told the press that the arrests followed an investigation in coordination with international intelligence agencies that provided "sensitive" information about an Iranian citizen who had arrived in Peru in early March. "We had to act quickly because today [the Iranian national] was set to return to Iran after forming a terrorist cell to wipe out an Israeli national" who was going to participate in the APEC event, said Arriola.  This post can't be displayed because social networks cookies have been deactivated. You can activate them by clicking manage preferences. The Peruvian police said the authorities have the information about who the suspects intended to target, but chose not to disclose the businessperson's name for security reasons. Read more stories like this >> •  >> •  >> •  >> ...قراءة المزيد

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2024-03-08

Peruvian police announced on Friday that they have arrested a suspect who they claim belongs to the Quds Force, the foreign arm of the Iranian Revolutionary Guard, and was planning on killing an Israeli businessman in Peru. According to reports, the suspect in question is 56 year old Majid Azizi, who has lived in Peru since 1997. Reports also claimed that the police have arrested a Peruvian citizen who collaborated with Azizi, and a fugitive whose citizenship wasn't specified. This is a developing story. ...قراءة المزيد

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