document_title: Olmec colossal heads

question_text: olmec colossal heads were created using this method of sculpting

text: Olmec colossal heads

text: Olmec civilization[edit]

text: The Olmec civilization developed in the lowlands of southeastern Mexico between 1500 and 400 BC.[2] The Olmec heartland lies on the Gulf Coast of Mexico within the states of Veracruz and Tabasco, an area measuring approximately 275 kilometres (171 mi) east to west and extending about 100 kilometres (62 mi) inland from the coast.[3] The Olmecs are regarded as the first civilization to develop in Mesoamerica and the Olmec heartland is one of six cradles of civilization worldwide, the others being the Norte Chico culture of South America, the Erlitou culture of China's Yellow River, the Indus Valley Civilization of the Indian subcontinent, the civilization of ancient Egypt in Africa, and the Sumerian civilization of ancient Iraq. Of these, only the Olmec civilization developed in a lowland tropical forest setting.[2]

text: The Olmecs were the first inhabitants of the Americas to construct monumental architecture and to settle in towns and cities. They were also the first people in the Americas to develop a sophisticated style of stone sculpture.[2] In the first decade of the 21st century evidence emerged of Olmec writing, with the earliest examples of Olmec hieroglyphs dating to around 650 BC. Examples of script have been found on roller stamps and stone artefacts; the texts are short and have been partially deciphered based on their similarity to other Mesoamerican scripts.[4] The evidence of complex society developing in the Olmec heartland has led to the Olmecs being regarded as the "Mother Culture" of Mesoamerica,[2] although this concept remains controversial.[5]

text: Some of the Olmecs' rulers seem to have served religious functions. The city of San Lorenzo was succeeded as the main centre of the civilization by La Venta in about 900 BC, with Tres Zapotes and Laguna de los Cerros possibly sharing the role; other urban centres were much less significant. The nature and degree of the control exercised by the centres over a widespread rural population remains unclear.[6] Very fine Olmec art, much clearly made for an elite,[7] survives in several forms, notably Olmec figurines, and larger sculptures such as The Wrestler. The figurines have been recovered in large numbers and are mostly in pottery; these were presumably widely available to the population. Together with these, of particular relevance to the colossal heads are the "Olmec-style masks" in stone,[8] so called because none have yet been excavated in circumstances that allow the proper archaeological identification of an Olmec context. These evocative stone face masks present both similarities and differences to the colossal heads. Two thirds of Olmec monumental sculpture represents the human form, and the colossal heads fall within this major theme of Olmec art.[9]

text: Dating[edit]

text: The colossal heads cannot be precisely dated. However, the San Lorenzo heads were buried by 900 BC, indicating that their period of manufacture and use was earlier still. The heads from Tres Zapotes had been moved from their original context before they were investigated by archaeologists and the heads from La Venta were found partially exposed on the modern ground surface. The period of production of the colossal heads is therefore unknown, as is whether it spanned a century or a millennium.[10] Estimates of the time span during which colossal heads were produced vary from 50 to 200 years.[11] The San Lorenzo heads are believed to be the oldest, and are the most skillfully executed.[12] All of the stone heads have been assigned to the Preclassic period of Mesoamerican chronology, generally to the Early Preclassic (1500–1000 BC), although the two Tres Zapotes heads and the La Cobata Head are attributed to the Middle Preclassic (1000–400 BC).[13]

text: Characteristics[edit]

text: Olmec colossal heads vary in height from 1.47 to 3.4 metres (4.8 to 11.2 ft) and weigh between 6 and 50 tons.[14] All of the Olmec colossal heads depict mature men with flat noses and fleshy cheeks; the eyes tend to be slightly crossed. The general physical characteristics of the heads are of a type that is still common among people in the Olmec region in modern times. The backs of the heads are often flat, as if the monuments were originally placed against a wall.[1] All examples of Olmec colossal heads wear distinctive headdresses that probably represent cloth or animal hide originals.[15] Some examples have a tied knot at the back of the head, and some are decorated with feathers. A head from La Venta is decorated with the head of a bird. There are similarities between the headdresses on some of the heads that has led to speculation that specific headdresses may represent different dynasties, or perhaps identify specific rulers. Most of the heads wear large earspools inserted into the ear lobes.[10]

text: All of the heads are realistic, unidealised and frank descriptions of the men. It is likely that they were portraits of living (or recently deceased) rulers well known to the sculptors.[10] Each head is distinct and naturalistic, displaying individualised features.[12] They were once thought to represent ballplayers although this theory is no longer widely held; it is possible, however, that they represent rulers equipped for the Mesoamerican ballgame.[10] Facial expressions depicted on the heads vary from stern through placid to smiling.[14] The most naturalistic Olmec art is the earliest, appearing suddenly without surviving antecedents, with a tendency towards more stylised sculpture as time progressed.[16] Some surviving examples of wooden sculpture recovered from El Manatí demonstrate that the Olmecs are likely to have created many more perishable sculptures than works sculpted from stone.[17]

text: In the late nineteenth century, José Melgar y Serrano described a colossal head as having "Ethiopian" features and speculations that the Olmec had African origins resurfaced in 1960 in the work of Alfonso Medellín Zenil and in the 1970s in the writings of Ivan van Sertima.[18] Such speculation is not taken seriously by Mesoamerican scholars such as Richard Diehl and Ann Cyphers.[19]

text: Although all the colossal heads are broadly similar, there are distinct stylistic differences in their execution.[12] One of the heads from San Lorenzo bears traces of plaster and red paint, suggesting that the heads were originally brightly decorated.[10] Heads did not just represent individual Olmec rulers; they also incorporated the very concept of rulership itself.[20]

text: Manufacture[edit]

text: The production of each colossal head must have been carefully planned, given the effort required to ensure the necessary resources were available; it seems likely that only the more powerful Olmec rulers were able to mobilise such resources. The workforce would have included sculptors, labourers, overseers, boatmen, woodworkers and other artesans producing the tools to make and move the monument, in addition to the support needed to feed and otherwise attend to these workers. The seasonal and agricultural cycles and river levels needed to have been taken into account to plan the production of the monument and the whole project may well have taken years from beginning to end.[21]

text: Archaeological investigation of Olmec basalt workshops suggest that the colossal heads were first roughly shaped using direct percussion to chip away both large and small flakes of stone. The sculpture was then refined by retouching the surface using hammerstones, which were generally rounded cobbles that could be of the same basalt as the monument itself, although this was not always the case. Abrasives were found in association with workshops at San Lorenzo, indicating their use in the finishing of fine detail. Olmec colossal heads were fashioned as in-the-round monuments with varying levels of relief on the same work; they tended to feature higher relief on the face and lower relief on the earspools and headdresses.[22] Monument 20 at San Lorenzo is an extensively damaged throne with a figure emerging from a niche. Its sides were broken away and it was dragged to another location before being abandoned. It is possible that this damage was caused by the initial stages of re-carving the monument into a colossal head but that the work was never completed.[23]

text: All seventeen of the confirmed heads in the Olmec heartland were sculpted from basalt mined in the Sierra de los Tuxtlas mountains of Veracruz.[24] Most were formed from coarse grained dark grey basalt known as Cerro Cintepec basalt after a volcano in the range. Investigators have proposed that large Cerro Cintepec basalt boulders found on the southeastern slopes of the mountains are the source of the stone for the monuments.[25] These boulders are found in an area affected by large lahars (volcanic mudslides) that carried substantial blocks of stone down the mountain slopes, which suggests that the Olmecs did not need to quarry the raw material for sculpting the heads.[26] Roughly spherical boulders were carefully selected to mimic the shape of a human head.[27] The stone for the San Lorenzo and La Venta heads was transported a considerable distance from the source. The La Cobata head was found on El Vigia hill in the Sierra de los Tuxtlas and the stone from Tres Zapotes Colossal Head 1 and Nestepe Colossal Head 1 (also known as Tres Zapotes Monuments A and Q) came from the same hill.[24]

text: The boulders were transported over 150 kilometres (93 mi) from the source of the stone.[28] The exact method of transportation of such large masses of rock are unknown, especially since the Olmecs lacked beasts of burden and functional wheels,[29] and they were likely to have used water transport whenever possible.[24] Coastal currents of the Gulf of Mexico and in river estuaries might have made the waterborne transport of monuments weighing 20 tons or more impractical.[30] Two badly damaged Olmec sculptures depict rectangular stone blocks bound with ropes. A largely destroyed human figure rides upon each block, with their legs hanging over the side. These sculptures may well depict Olmec rulers overseeing the transport of the stone that would be fashioned into their monuments.[29] When transport over land was necessary, the Olmecs are likely to have used causeways, ramps and roads to facilitate moving the heads.[31] The regional terrain offers significant obstacles such as swamps and floodplains; avoiding these would have necessitated crossing undulating hill country. The construction of temporary causeways using the suitable and plentiful floodplain soils would have allowed a direct route across the floodplains to the San Lorenzo Plateau. Earth structures such as mounds, platforms and causeways upon the plateau demonstrate that the Olmec possessed the necessary knowledge and could commit the resources to build large-scale earthworks.[32]

text: The flat backs of many of the colossal heads represented the flat bases of the monumental thrones from which they were reworked. Only four of the seventeen heartland heads do not have flattened backs, indicating the possibility that the majority were reworked monuments. Alternatively, the backs of many of these massive monuments may have been flattened to ease their transport,[33] providing a stable form for hauling the monuments with ropes.[34] Two heads from San Lorenzo have traces of niches that are characteristic of monumental Olmec thrones and so were definitely reworked from earlier monuments.[33]

text:
Summary of Olmec colossal heads[35]

Site name
Location
Monument
Alternative name
Height
Width
Depth
Weight (tons)

San Lorenzo

Veracruz

Colossal Head 1

Monument 1

2.84 metres (9.3 ft)

2.11 metres (6.9 ft)

25.3

San Lorenzo

Veracruz

Colossal Head 2

Monument 2

2.69 metres (8.8 ft)

1.83 metres (6.0 ft)

1.05 metres (3.4 ft)

20

San Lorenzo

Veracruz

Colossal Head 3

Monument 3

1.78 metres (5.8 ft)

1.63 metres (5.3 ft)

0.95 metres (3.1 ft)

9.4

San Lorenzo

Veracruz

Colossal Head 4

Monument 4

1.78 metres (5.8 ft)

1.17 metres (3.8 ft)

0.95 metres (3.1 ft)

6

San Lorenzo

Veracruz

Colossal Head 5

Monument 5

1.86 metres (6.1 ft)

1.47 metres (4.8 ft)

1.15 metres (3.8 ft)

11.6

San Lorenzo

Veracruz

Colossal Head 6

Monument 17

1.67 metres (5.5 ft)

1.41 metres (4.6 ft)

1.26 metres (4.1 ft)

8–10

San Lorenzo

Veracruz

Colossal Head 7

Monument 53

2.7 metres (8.9 ft)

1.85 metres (6.1 ft)

1.35 metres (4.4 ft)

18

San Lorenzo

Veracruz

Colossal Head 8

Monument 61

2.2 metres (7.2 ft)

1.65 metres (5.4 ft)

1.6 metres (5.2 ft)

13

San Lorenzo

Veracruz

Colossal Head 9

Monument 66

1.65 metres (5.4 ft)

1.36 metres (4.5 ft)

1.17 metres (3.8 ft)

San Lorenzo

Veracruz

Colossal Head 10

Monument 89

1.8 metres (5.9 ft)

1.43 metres (4.7 ft)

0.92 metres (3.0 ft)

8

La Venta

Tabasco

Monument 1

2.41 metres (7.9 ft)

2.08 metres (6.8 ft)

1.95 metres (6.4 ft)

24

La Venta

Tabasco

Monument 2

1.63 metres (5.3 ft)

1.35 metres (4.4 ft)

0.98 metres (3.2 ft)

11.8

La Venta

Tabasco

Monument 3

1.98 metres (6.5 ft)

1.6 metres (5.2 ft)

1 metre (3.3 ft)

12.8

La Venta

Tabasco

Monument 4

2.26 metres (7.4 ft)

1.98 metres (6.5 ft)

1.86 metres (6.1 ft)

19.8

Tres Zapotes

Veracruz

Monument A

Colossal Head 1

1.47 metres (4.8 ft)

1.5 metres (4.9 ft)

1.45 metres (4.8 ft)

7.8

Tres Zapotes

Veracruz

Monument Q

Colossal Head 2, Nestape Head

1.45 metres (4.8 ft)

1.34 metres (4.4 ft)

1.26 metres (4.1 ft)

8.5

La Cobata

Veracruz

La Cobata Head

3.4 metres (11 ft)

3 metres (9.8 ft)

3 metres (9.8 ft)

40

Takalik Abaj

Retalhuleu

Monument 23

1.84 metres (6.0 ft)

1.2 metres (3.9 ft)

1.56 metres (5.1 ft)

text: Known monuments[edit]

text: Seventeen confirmed examples are known.[1] An additional monument, at Takalik Abaj in Guatemala, is a throne that may have been carved from a colossal head.[36] This is the only known example outside of the Olmec heartland on the Gulf Coast of Mexico.[37] Possible fragments of additional colossal heads have been recovered at San Lorenzo and at San Fernando in Tabasco.[31]  Crude colossal stone heads are also known in the Southern Maya area where they are associated with the potbelly style of sculpture.[38] Although some arguments have been made that they are pre-Olmec, these latter monuments are generally believed to be influenced by the Olmec style of sculpture.[39]

text:
Site
No. of monuments[1]

San Lorenzo Tenochtitlán

10

La Venta

4

Tres Zapotes

2

La Cobata

1

Takalik Abaj

1 (possible)[40]

text: San Lorenzo[edit]

text: The ten colossal heads from San Lorenzo originally formed two roughly parallel lines running north-south across the site.[41] Although some were recovered from ravines,[42] they were found close to their original placements and had been buried by local erosion. These heads, together with a number of monumental stone thrones, probably formed a processional route across the site, powerfully displaying its dynastic history.[43] Two of the San Lorenzo heads had been re-carved from older thrones.[44]

text: San Lorenzo Colossal Head 1 (also known as San Lorenzo Monument 1)[45] was lying facing upwards when excavated. The erosion of a path passing on top of the monument uncovered its eye and led to the discovery of the Olmec site.[46] Colossal Head 1 is 2.84 metres (9.3 ft) high;[47] it measures 2.11 metres (6.9 ft) wide and it weighs 25.3 tons. The monument was discovered partially buried at the edge of a gully by Matthew Stirling in 1945. When discovered, it was lying on its back, looking upwards. It was associated with a large number of broken ceramic vessels and figurines.[48] The majority of these ceramic remains have been dated to between 800 and 400 BC;[49] some pieces have been dated to the Villa Alta phase (Late Classic period, 800–1000 AD).[50] The headdress possesses a plain band that is tied at the back of the head. The upper portion of the headdress is decorated with a U-shaped motif.[51] This element descends across the front of the headdress, terminating on the forehead. On the front portion it is decorated with five semicircular motifs.[52] The scalp piece does not meet the horizontal band, leaving a space between the two pieces. On each side of the face a strap descends from the headdress and passes in front of the ear.[51] The forehead is wrinkled in a frown. The lips are slightly parted without revealing the teeth. The cheeks are pronounced and the ears are particularly well executed.[53] The face is slightly asymmetric, which may be due to error on the part of the sculptors or may accurately reflect the physical features of the portrait's subject.[54] The head has been moved to the Museo de Antropología de Xalapa ("Anthropological Museum of Xalapa").[48]

text: San Lorenzo Colossal Head 2 (also known as San Lorenzo Monument 2)[45] was reworked from a monumental throne.[33] The head stands 2.69 metres (8.8 ft) high and measures 1.83 metres (6.0 ft) wide by 1.05 metres (3.4 ft) deep; it weighs 20 tons. Colossal Head 2 was discovered in 1945 when Matthew Stirling's guide cleared away some of the vegetation and mud that covered it.[55] The monument was found lying on its back, facing the sky, and was excavated in 1946 by Stirling and Philip Drucker. In 1962 the monument was removed from the San Lorenzo plateau in order to put it on display as part of "The Olmec tradition" exhibition at the Museum of Fine Arts in Houston in 1963.[56] San Lorenzo Colossal Head 2 is currently in the Museo Nacional de Antropología in Mexico City.[57] The head was associated with a number of ceramic finds; they have been dated to the Early Preclassic and Late Classic periods.[58] Colossal Head 2 wears a complex headdress that sports a horizontal band tied at the back of the head; this is decorated with three bird's heads that are located above the forehead and temples.[59] The scalp piece is formed from six strips running towards the back of the head. The front of the headdress above the horizontal band is plain. Two short straps hang down from the headdress in front of the ears. The ear jewellery is formed by large squared hoops or framed discs. The left and right ornaments are different, with radial lines on the left earflare, a feature absent on the right earflare.[60] The head is badly damaged due to an unfinished reworking process.[61] This process has pitmarked the entire face with at least 60 smaller hollows and 2 larger holes.[62] The surviving features appear to depict an ageing man with the forehead creased into a frown. The lips are thick and slightly parted to reveal the teeth; the head has a pronounced chin.[61]

text: San Lorenzo Colossal Head 3 is also known as San Lorenzo Monument 3.[45] The head measures 1.78 metres (5.8 ft) high by 1.63 metres (5.3 ft) wide by 0.95 metres (3.1 ft) deep and weighs 9.4 tons. The head was discovered in a deep gully by Matthew Stirling in 1946; it was found lying face down and its excavation was difficult due to the wet conditions in the gully.[63] The monument was found 0.8 kilometres (0.50 mi) southwest of the main mound at San Lorenzo, however, its original location is unknown; erosion of the gully may have resulted in significant movement of the sculpture.[64] Head 3 has been moved to the Museo de Antropología de Xalapa.[63] The headdress is complex, with the horizontal basal band being formed by four horizontal cords, with diagonal folds above each eye. A small skullcap tops the headdress. A large flap formed of four cords drops down both sides of the head, completely covering the ears.[65] The face has a typically frowning brow and, unusually, has clearly defined eyelids. The lips are thick and slightly parted; the front of the lower lip has broken away completely,[66] and the lower front of the headdress is pitted with 27 irregularly spaced artificial depressions.[67]

text: San Lorenzo Colossal Head 4 (also known as San Lorenzo Monument 4)[45] weighs 6 tons[68] and has been moved to the Museo de Antropología de Xalapa.[69] Colossal Head 4 is 1.78 metres (5.8 ft) high,[70] 1.17 metres (3.8 ft) wide and 0.95 metres (3.1 ft) deep.[67] The head was discovered by Matthew Stirling in 1946, 550 metres (600 yd) northwest of the principal mound, at the edge of a gully. When excavated, it was found to be lying on its right-hand side and in a very good state of preservation.[67] Ceramic materials excavated with the head became mixed with ceramics associated with Head 5, making ceramic dating of the monument difficult. The headdress is decorated with a horizontal band formed of four sculpted cords, similar to those of Head 3. On the right-hand side, three tassels descend from the upper portion of the headdress; they terminate in a total of eight strips that hang down across the horizontal band. These tassels are judged to represent hair rather than cords.[71] Also on the right hand side, two cords descend across the ear and continue to the base of the monument.[72] On the left-hand side, three vertical cords descend across the ear. The earflare is only visible on the right hand side; it is formed of a plain disc and peg. The face is that of an ageing man with a creased forehead, low cheekbones and a prominent chin. The lips are thick and slightly parted.[73]

text: San Lorenzo Colossal Head 5 is also known as San Lorenzo Monument 5.[45] The monument stands 1.86 metres (6.1 ft) high and measures 1.47 metres (4.8 ft) wide by 1.15 metres (3.8 ft) deep. It weighs 11.6 tons. The head was discovered by Matthew Stirling in 1946, face down in a gully to the south of the principal mound.[75] The head is particularly well executed and is likely to have been found close to its original location. Ceramics recovered during its excavation became mixed with those from the excavation of Head 4.[76] The mixed ceramics have been dated to the San Lorenzo and Villa Alta phases (approximately 1400–1000 BC and 800–1000 AD respectively).[77] Colossal Head 5 is particularly well preserved,[78] although the back of the headdress band was damaged when the head was moved from the archaeological site.[79] The band of the headdress is set at an angle and has a notch above the bridge of the nose.[76] The headdress is decorated with jaguar paws;[80] this general identification of the decoration is contested by Beatriz de la Fuente since the "paws" have three claws each; she identifies them as the claws of a bird of prey. At the back of the head, ten interlaced strips form a net decorated with disc motifs. Two short straps descend from the headdress in front of the ears. The ears are adorned with disc-shaped earspools with pegs. The face is that of an ageing man with wrinkles under the eyes and across the bridge of the nose, and a forehead that is creased in a frown.[81] The lips are slightly parted.[82] Colossal Head 5 has been moved to the Museo de Antropología de Xalapa.[75]

text: San Lorenzo Colossal Head 6 (also known as San Lorenzo Monument 17)[45] is one of the smaller examples of colossal heads, standing 1.67 metres (5.5 ft).[70] It measures 1.41 metres (4.6 ft) wide by 1.26 metres (4.1 ft) deep and is estimated to weigh between 8 and 10 tons. The head was discovered by a local farmworker and was excavated in 1965 by Luis Aveleyra and Román Piña Chan. The head had collapsed into a ravine under its own weight and was found face down on its left hand side. In 1970 it was transported to the Metropolitan Museum of Art in New York for the museum's centenary exhibition. After its return to Mexico, it was placed in the Museo Nacional de Antropología in Mexico City.[79] It is sculpted with a net-like head covering joined together with sculpted beads.[83] A covering descends from under the headdress to cover the back half of the neck.[84] The headband is divided into four strips and begins above the right ear, extending around the entire head. A short strap descends from either side of the head to the ear. The ear ornaments are complex and are larger at the front of the ear than at the back. The face is that of an ageing male with the forehead creased in a frown, wrinkles under the eyes, sagging cheeks and deep creases on either side of the nose. The face is somewhat asymmetric, possibly due to errors in the execution of the monument.[85]

text: San Lorenzo Colossal Head 7 (also known as San Lorenzo Monument 53)[45] measures 2.7 metres (8.9 ft) high by 1.85 metres (6.1 ft) wide by 1.35 metres (4.4 ft) deep and weighs 18 tons.[86] San Lorenzo Colossal Head 7 was reworked from a monumental throne;[33] it was discovered by a joint archaeological project by the Instituto Nacional de Antropología e Historia and Yale University, as a result of a magnetometer survey. It was buried at a depth of less than 1 metre (3.3 ft) and was lying facing upwards,[87] leaning slightly northwards on its right hand side.[88] The head is poorly preserved and has suffered both from erosion and deliberate damage.[88] The headdress is decorated with a pair of human hands;[87] a feathered ornament is carved at the back of the headband and two discs adorn the front.[89] A short strap descends from the headband and hangs in front of the right ear. The head sports large earflares that completely cover the earlobes, although severe erosion makes their exact form difficult to distinguish. The face has wrinkles between the nose and cheeks, sagging cheeks and deep-set eyes; the lips are badly damaged and the mouth is open, displaying the teeth.[90] In 1986 the head was transported to the Museo de Antropología de Xalapa.[91]

text: San Lorenzo Colossal Head 8 (also known as San Lorenzo Monument 61) stands 2.2 metres (7.2 ft) high;[92] it measures 1.65 metres (5.4 ft) wide by 1.6 metres (5.2 ft) deep and weighs 13 tons.[93] It is one of the finest examples of an Olmec colossal head. It was found lying on its side to the south of a monumental throne.[94] The monument was discovered at a depth of 5 metres (16 ft) during a magnetometer survey of the site in 1968;[95] it has been dated to the Early Preclassic.[92] After discovery it was initially reburied;[96] it was moved to the Museo de Antropología de Xalapa in 1986.[97] The headdress is decorated with the talons or claws of either a jaguar or an eagle.[94] It has a headband and a cover that descends from under the headdress proper behind the ears.[98] Two short straps descend in front of the ears.[99] The head sports large ear ornaments in the form of pegs. The face is that of a mature male with sagging cheeks and wrinkles between these and the nose. The forehead is gathered in a frown. The mouth is slightly parted to reveal the teeth.[100] Most of the head is carved in a realistic manner, the exception being the ears. These are stylised and represented by one question mark shape contained within another. The head is very well preserved and displays a fine finish.[101]

text: San Lorenzo Colossal Head 9 is also known as San Lorenzo Monument 66.[45] It measures 1.65 metres (5.4 ft) high by 1.36 metres (4.5 ft) wide by 1.17 metres (3.8 ft) deep. The head was exposed in 1982 by erosion of the gullies at San Lorenzo;[101] it was found leaning slightly on its right hand side and facing upwards, half covered by the collapsed side of a gully and washed by a stream. Although it was documented by archaeologists, it remained for some time in its place of discovery before being moved to the Museo de Antropología de Xalapa. The headdress is of a single piece without a distinct headband. The sides display features that are possibly intended to represent long hair trailing to the bottom of the monument.[102] The earflares are rectangular plates with an additional trapezoid element at the front. The head is also depicted wearing a nose-ring. The face is smiling and has wrinkles under the eyes and at the edge of the mouth. It has sagging cheeks and wide eyes.[103] The mouth is closed and the upper lip is badly damaged.[104] The sculpture suffered some mutilation in antiquity, with nine pits hollowed into the face and headdress.[105]

text: San Lorenzo Colossal Head 10 (also known as San Lorenzo Monument 89)[45] has been moved to the Museo Comunitario de San Lorenzo Tenochtitlán near Texistepec.[106] It stands 1.8 metres (5.9 ft) tall and measures 1.43 metres (4.7 ft) wide by 0.92 metres (3.0 ft) deep; it weighs 8 tons. The head was discovered by a magnetometer survey in 1994;[105] it was found buried, lying face upwards in the bottom of a ravine and was excavated by Ann Cyphers.[107] The headdress is formed of 92 circular beads that completely cover the upper part of the head and descend across the sides and back. Above the forehead is a large element forming a three-toed foot with long nails, possibly the foot of a bird. The head wears large earspools that protrude beyond the beads of the headdress. The spools have the form of a rounded square with a circular sunken central portion.[108] The face is that of a mature man with the mouth closed, sagging cheeks and lines under the eyes. The mouth is sensitively carved and the head possesses a pronounced chin.[109]

text: La Venta[edit]

text: Three of the La Venta heads were found in a line running east-west in the northern Complex I; all three faced northwards, away from the city centre.[110] The other head was found in Complex B to the south of the Great Pyramid, in a plaza that included a number of other sculptures.[111] The latter, the first of the La Venta heads to be discovered, was found during archaeological exploration of La Venta in 1925; the other three remained unknown to archaeologists until a local boy guided Matthew Stirling to them while he was excavating the first head in 1940. They were located approximately 0.9 kilometres (0.56 mi) to the north of Monument 1.[112]

text: La Venta Monument 1 is speculated to have been the portrait of La Venta's final ruler.[113] Monument 1 measures 2.41 metres (7.9 ft) high by 2.08 metres (6.8 ft) wide by 1.95 metres (6.4 ft) deep; it weighs 24 tons.[114] The front of the headdress is decorated with three motifs that apparently represent the claws or fangs of an animal. Above these symbols is an angular U-shaped decoration descending from the scalp. On each side of the monument a strap descends from the headdress, passing in front of the ear. Each ear has a prominent ear ornament that descends from the earlobe to the base of the monument. The features are those of a mature man, with wrinkles around the mouth, eyes and nose.[115] Monument 1 is the best preserved head at La Venta but has suffered from erosion, particularly at the back.[116] The head was first described by Franz Blom and Oliver La Farge who investigated the La Venta remains on behalf of Tulane University in 1925. When discovered, it was half-buried; its massive size meant that the discoverers were unable to excavate it completely. Matthew Stirling fully excavated the monument in 1940, after clearing the thick vegetation that had covered it in the intervening years. Monument 1 has been moved to the Parque-Museo La Venta in Villahermosa.[114] The head was found in its original context; associated finds have been radiocarbon dated to between 1000 and 600 BC.[115]

text: La Venta Monument 2 measures 1.63 metres (5.3 ft) high by 1.35 metres (4.4 ft) wide by 0.98 metres (3.2 ft) deep; the head weighs 11.8 tons.[115] The face has a broadly smiling expression that reveals four of the upper teeth. The cheeks are given prominence by the action of smiling; the brow that is normally visible in other heads is covered by the rim of the headdress.[117] The face is badly eroded, distorting the features.[118] In addition to the severe erosion damage, the upper lip and a part of the nose have been deliberately mutilated.[119] The head was found in its original context a few metres north of the northwest corner of pyramid-platform A-2. Radiocarbon dating of the monument's context dates it to between 1000 and 600 BC. Monument 2 has suffered erosion damage from its exposure to the elements prior to discovery. The head has a prominent headdress but this is badly eroded and any individual detail has been erased. A strap descends in front of the ear on each side of the head, descending as far as the earlobe. The head is adorned with ear ornaments in the form of a disc that covers the earlobe, with an associated clip or peg.[120] The surviving details of the headdress and earflares are stylistically similar to those of Tres Zapotes Monument A.[121] The head has been moved to the Museo del Estado de Tabasco in Villahermosa.[120]

text: La Venta Monument 3 stands 1.98 metres (6.5 ft) high and measures 1.6 metres (5.2 ft) wide by 1 metre (3.3 ft) deep; it weighs 12.8 tons. Monument 3 was located a few metres to the east of Monument 2, but was moved to the Parque-Museo La Venta in Villahermosa. Like the other La Venta heads, its context has been radiocarbon dated to between 1000 and 600 BC.[122] It appears unfinished and has suffered severe damage through weathering, making analysis difficult. It had a large headdress that reaches to the eyebrows but any details have been lost through erosion. Straps descend in front of each ear and continue to the base of the monument. The ears are wearing large flattened rings that overlap the straps; they probably represent jade ornaments of a type that have been recovered in the Olmec region. Although most of the facial detail is lost, the crinkling of the bridge of the nose is still evident, a feature that is common to the frowning expressions of the other Olmec colossal heads.[123]

text: La Venta Monument 4 measures 2.26 metres (7.4 ft) high by 1.98 metres (6.5 ft) wide and 1.86 metres (6.1 ft) deep. It weighs 19.8 tons. It was found a few metres to the west of Monument 2 and has been moved to the Parque-Museo La Venta.[124] As with the other heads in the group, its archaeological context has been radiocarbon dated to between 1000 and 600 BC. The headdress is elaborate and, although damaged, various details are still discernible. The base of the headdress is formed by three horizontal strips running over the forehead. One side is decorated with a double-disc motif that may have been repeated on the other; if so, damage to the right side has obliterated any trace of it.[125] The top of the headdress is decorated with the clawed foot of a bird of prey.[126] Either straps or plaits of hair descend on either side of the face, from the headdress to the base of the monument. Only one earspool survives; it is flat, in the form of a rounded square, and is decorated with a cross motif.[125] The ears have been completely eroded away and the lips are damaged.[127] The surviving features display a frown and creasing around the nose and cheeks.[128] The head displays prominent teeth.[129]

text: Tres Zapotes[edit]

text: The two heads at Tres Zapotes, with the La Cobata head,[131] are stylistically distinct from the other known examples. Beatriz de la Fuente views them as a late regional survival of an older tradition while other scholars argue that they are merely the kind of regional variant to be expected in a frontier settlement.[132] These heads are sculpted with relatively simple headdresses; they have squat, wide proportions and distinctive facial features.[133] The two Tres Zapotes heads are the earliest known stone monuments from the site.[134] The discovery of one of the Tres Zapotes heads in the nineteenth century led to the first archaeological investigations of Olmec culture, carried out by Matthew Stirling in 1938.[135]

text: Tres Zapotes Monument A (also known as Tres Zapotes Colossal Head 1) was the first colossal head to be found,[136] discovered by accident in the middle of the nineteenth century,[135] 1 kilometre (0.62 mi) to the north of the modern village of Tres Zapotes.[137] After its discovery it remained half-buried until it was excavated by Matthew Stirling in 1939.[138] At some point it was moved to the plaza of the modern village, probably in the early 1960s. It has since been moved to the Museo Comunitario de Tres Zapotes.[137] Monument A stands 1.47 metres (4.8 ft) tall;[139] it measures 1.5 metres (4.9 ft) wide by 1.45 metres (4.8 ft) deep,[136] and is estimated to weigh 7.8 tons.[139] The head is sculpted with a simple headdress with a wide band that is otherwise unadorned, and wears rectangular ear ornaments that project forwards onto the cheeks. The face is carved with deep creases between the cheeks and the nose and around the mouth; the forehead is creased into a frown.[137] The upper lip has suffered recent damage, with the left portion flaking away.[130]

text: Tres Zapotes Monument Q (also known as the Nestape Head and Tres Zapotes Colossal Head 2) measures 1.45 metres (4.8 ft) high by 1.34 metres (4.4 ft) wide by 1.26 metres (4.1 ft) deep and weighs 8.5 tons. Its exact date of discovery is unknown but is estimated to have been some time in the 1940s, when it was struck by machinery being used to clear vegetation from Nestape hill.[130] Monument Q was the eleventh colossal head to be discovered. It was moved to the plaza of Santiago Tuxtla in 1951 and remains there to this day.[140] Monument Q was first described by Williams and Heizer in an article published in 1965.[141] The headdress is decorated with a frontal tongue-shaped ornament, and the back of the head is sculpted with seven plaits of hair bound with tassels. A strap descends from each side of the headdress, passing over the ears and to the base of the monument. The face has pronounced creases around the nose, mouth and eyes.[142]

text: La Cobata[edit]

text: The La Cobata region was the source of the basalt used for carving all of the colossal heads in the Olmec heartland.[24] The La Cobata colossal head was discovered in 1970 and was the fifteenth to be recorded.[24] It was discovered in a mountain pass in the Sierra de los Tuxtlas, on the north side of El Vigia volcano near to Santiago Tuxtla.[143] The head was largely buried when found; excavations uncovered a Late Classic (600–900 AD) offering associated with the head consisting of a ceramic vessel and a 12-centimetre (4.7 in) long obsidian knife placed pointing northwards towards the head. The offering is believed to have been deposited long after the head was sculpted.[144] The La Cobata head has been moved from its original location to the main plaza at Santiago.[24]

text: The La Cobata head is more or less rounded and measures 3 by 3 metres (9.8 by 9.8 ft) by 3.4 metres (11 ft) high, making it the largest known head.[24] This massive sculpture is estimated to weigh 40 tons.[145] It is stylistically distinct from the other examples, and Beatriz de la Fuente placed it late in the Olmec time frame. The characteristics of the sculpture have led to some investigators suggesting that it represents a deceased person. Norman Hammond argues that the apparent stylistic differences of the monument stem from its unfinished state rather than its late production. The eyes of the monument are closed, the nose is flattened and lacks nostrils and the mouth was not sculpted in a realistic manner. The headdress is in the form of a plain horizontal band.[24]

text: The original location of the La Cobata head was not a major archaeological site and it is likely that the head was either abandoned at its source or during transport to its intended destination. Various features of the head suggest that it was unfinished, such as a lack of symmetry below the mouth and an area of rough stone above the base. Rock was not removed from around the earspools as on other heads, and does not narrow towards the base. Large parts of the monument seem to be roughed out without finished detail. The right hand earspool also appears incomplete; the forward portion is marked with a sculpted line while the rear portion has been sculpted in relief, probably indicating that the right cheek and eye area were also unfinished. The La Cobata head was almost certainly carved from a raw boulder rather than being sculpted from a throne.[24]

text: Takalik Abaj[edit]

text: Takalik Abaj Monument 23 dates to the Middle Preclassic period,[146] and is found in Takalik Abaj, an important city in the foothills of the Guatemalan Pacific coast,[36] in the modern department of Retalhuleu.[147] It appears to be an Olmec-style colossal head re-carved into a niche figure sculpture.[36] If originally a colossal head then it would be the only known example from outside the Olmec heartland.[37]

text: Monument 23 is sculpted from andesite and falls in the middle of the size range for confirmed colossal heads. It stands 1.84 metres (6.0 ft) high and measures 1.2 metres (3.9 ft) wide by 1.56 metres (5.1 ft) deep. Like the examples from the Olmec heartland, the monument features a flat back.[148] Lee Parsons contests John Graham's identification of Monument 23 as a re-carved colossal head;[149] he views the side ornaments, identified by Graham as ears, as rather the scrolled eyes of an open-jawed monster gazing upwards.[150] Countering this, James Porter has claimed that the re-carving of the face of a colossal head into a niche figure is clearly evident.[151]

text: Monument 23 was damaged in the mid-twentieth century by a local mason who attempted to break its exposed upper portion using a steel chisel. As a result, the top is fragmented, although the broken pieces were recovered by archaeologists and have been put back into place.[148]

text: Collections[edit]

text: All of the 17 confirmed colossal heads remain in Mexico. Two heads from San Lorenzo are on permanent display at the Museo Nacional de Antropología in Mexico City.[152] Seven of the San Lorenzo heads are on display in the Museo de Antropología de Xalapa. Five of them are in Sala 1, one is in Sala 2, and one is in Patio 1.[153] The remaining San Lorenzo head is in the Museo Comunitario de San Lorenzo Tenochtitlán near Texistepec.[106] All four heads from La Venta are now in Villahermosa, the state capital of Tabasco. Three are in the Parque-Museo La Venta and one is in the Museo del Estado de Tabasco.[154] Two heads are on display in the plaza of Santiago Tuxtla; one from Tres Zapotes and the La Cobata Head.[155] The other Tres Zapotes head is in the Museo Comunitario de Tres Zapotes.[137]

text: Several colossal heads have been loaned to temporary exhibitions abroad; San Lorenzo Colossal Head 6 was loaned to the Metropolitan Museum of Art in New York in 1970.[79] San Lorenzo colossal heads 4 and 8 were lent to the Olmec Art of Ancient Mexico exhibition in the National Gallery of Art, Washington, D.C., which ran from 30 June to 20 October 1996.[156] San Lorenzo Head 4 was again loaned in 2005, this time to the de Young Museum in San Francisco.[74] The de Young Museum was loaned San Lorenzo colossal heads 5 and 9 for its Olmec: Colossal Masterworks of Ancient Mexico exhibition, which ran from 19 February to 8 May 2011.[157][158]

text: Vandalism[edit]

text: On 12 January 2009,[159] at least three people, including two Mexicans and one American, entered the Parque-Museo La Venta in Villahermosa and damaged just under 30 archaeological pieces, including the four La Venta colossal heads.[160][161] The vandals were all members of an evangelical church and appeared to have been carrying out a supposed pre-Columbian ritual, during which salts, grape juice, and oil were thrown on the heads.[162] It was estimated that 300,000 pesos (US$21,900) would be needed to repair the damage,[160] and the restoration process would last four months.[159] The three vandals were released soon after their arrest after paying 330,000 pesos each.[163]

text: Replicas[edit]

text: Although not all of the replicas were placed by him, the majority of replicas around the world were placed under the leadership of Miguel Alemán Velasco, former governor of the state of Veracruz.[164] The following is a list of replicas and their locations within the United States:

text:
Austin, Texas. A replica of San Lorenzo Head 1 was placed in the Teresa Lozano Long Institute of Latin American Studies at the University of Texas in November 2008.[165]
Chicago, Illinois. A replica of San Lorenzo Head 8 made by Ignacio Perez Solano was placed in the Field Museum of Natural History in 2000.[166]
Covina, California. A replica of San Lorenzo Head 5 was donated to Covina in 1989, originally intended to be placed in Jalapa Park. Due to concerns over potential vandalism it was instead installed outside the police station.[167] It was removed in 2011 and relocated to Jobe's Glen, Jalapa Park in June 2012.[168]
McAllen, Texas. A replica of San Lorenzo Head 8 is located in the International Museum of Art & Science. The placement was dedicated by Fidel Herrera Beltrán, then governor of Veracruz.[169]  This was done in 2010.  The head is one of 12 sculpted by Ignacio Perez Solano and sent to various cities around the world.[170]
New York. A replica of San Lorenzo Head 1 was placed next to the main plaza in the grounds of Lehman College in the Bronx, New York. It was installed in 2013 to celebrate the first anniversary of the CUNY Institute of Mexican Studies, housed at the college.[171] The replica was a gift by the government of Veracruz state, Cumbre Tajín and Mexico Trade;[172] it was first plazed in Dag Hammerskjold Park, outside the United Nations, in 2012.[173]
San Francisco, California. A replica of San Lorenzo Head 1 created by Ignacio Perez Solano was placed in San Francisco City College, Ocean Campus in October 2004.[164][174]
Washington, D.C. A replica of San Lorenzo Head 4 sculpted by Ignacio Perez Solano was placed near the Constitution Avenue entrance of the Smithsonian National Museum of Natural History in October 2001.[175]
West Valley City, Utah. A replica of San Lorenzo Head 8 was placed in the Utah Cultural Celebration Center in May 2004.[176]

text: Mexico donated a resin replica of an Olmec colossal head to Belgium; it is on display in the Musée du Cinquantenaire in Brussels.[177]

text: In February 2010, the Mexican Secretaría de Relaciones Exteriores (Secretariat of Foreign Affairs) announced that the Instituto Nacional de Antropología e Historia would be donating a replica Olmec colossal head to Ethiopia, to be placed in Plaza Mexico in Addis Ababa.[178]

text: In November 2017, Mexican President Enrique Peña Nieto donated a full-size replica of San Lorenzo Head 8 to the people of Belize.[179] It was installed in Belmopan at the roundabout facing the Embassy of Mexico.


document_title: Saving Face (2004 film)

question_text: where did the film saving face take place

root

text: Saving Face (2004 film)

text: Plot[edit]

text: Wilhelmina ("Wil"), a successful young Chinese American surgeon, lives in New York City. Forced by her mother Gao to come to the typical gathering at Planet China amongst family friends, Wil is closeted to her mother and the rest of the older adults. Her mother has plans to set her up with a son of a friend. Wil is drawn to Vivian, the daughter of one of the Chinese mothers who recently got a divorce. They run into each other at the hospital where Wil works, only to discover that Vivian's father is Wil's boss. Vivian and her father have a tense relationship since Vivian is currently pursuing her love of modern dance instead of the more respectable ballet.

tag: p

text: Wil comes home to discover her mother has been kicked out by her grandfather for being pregnant out of wedlock, bringing shame to the family. Wil asks for the identity of the father, but Gao refuses to answer. From then on, Gao lives with Wil. Vivian invites Wil to one of her dance shows and after the show, the two hang out. Vivian reveals the fact that they had met once before when they were children; Vivian kissed Wil on the nose after Wil rescued her from bullies; Wil ran away afterwards. Vivian and Wil go to Vivian's apartment and the two kiss.

text: The couple goes on several dates, but Wil is afraid of kissing Vivian in public. Set up by Wil, Gao goes on several dates to find a man to father her child but remains uninterested. She debates on whether to accept the affections of Cho, a man who has loved her for 15 years and is willing to father the child. On Vivian's request, Wil presents Vivian to her mother as a friend so that they can meet and the three share an awkward dinner. It is revealed later that her mother knows of her homosexuality, but is in denial of it.

text: Vivian reveals to Wil that she was accepted into a prestigious ballet program in Paris and is considering the offer. Wil congratulates Vivian and gives her encouragement to accept the offer. While Vivian still debates on the offer, Vivian's father speaks to Wil and talks her into convincing Vivian to accept the offer. Wil then breaks up with her, knowing the offer is best for Vivian's career.

text: Gao accepts Cho's marriage proposal. At the wedding, Wil interrupts with a love note from the father of the child saying how much he loves her and wants to marry her despite their large age gap. Wil points out the elderly pharmacist Yu as the father, who protests. The son of the pharmacist stands up and admits he is the father of the child. Wil and her mother run out of the wedding and onto a bus, laughing. After realizing that love dominates over societal expectations, Wil rushes to the airport to catch Vivian. Wil apologizes, but Vivian challenges Wil to kiss her to prove her sincerity. Unable to publicly display her love out of fear, Wil is left at the terminal as Vivian leaves for Paris.

text: Three months later, Wil goes to another party at Planet China, and Gao is now a couple with the father of her child. Wil sees Vivian, who has come to see her mother. Wil approaches her and asks her to dance, even though there's no music, and kisses her in front of everyone. Gao and Vivian's mother smile at each other while giving a thumbs up, revealing they planned the reunion, while some people leave in disgust at their behavior. The girls ignore them, while everyone else joins in to dance.

text: Cast[edit]

text:
Lynn Chen as Vivian Shing
Michelle Krusiec as Wilhelmina Pang
Joan Chen as Hwei-lang Gao (Mother)
Jin Wang as Wai Gung (Grandfather)
Guang Lan Koh as Wai Po (Grandmother)
Jessica Hecht as Randi
Ato Essandoh as Jay
Wang Luoyong as Dr. Shing
David Shih as Norman
Brian Yang as Yu
Nathaniel Geng as Stimson Cho
Mao Zhao as Old Yu

tag: ul

text: Background[edit]

text: Alice Wu, who directed the movie, wrote the script several years earlier, drawing on her own experiences "coming out."[1] In 2001, the script won the CAPE screenwriting award, which led to the production of the film. Filming began in fall 2003 on the $2.5 million project.[2]

text: Featuring the New York City Chinese-American community, the film is in a mixture of Mandarin Chinese and English.

text: Release[edit]

text: Saving Face premiered at the Toronto International Film Festival on 12 September 2004, and made its way around the independent film circuit, screening at Sundance Film Festival, Seattle International Film Festival et al.; before going into a very limited release in the US on 27 May 2005.[3]

text: Box office[edit]

text: Saving Face initially opened at only 6 theaters, making $75,104 (averaging $12,517/theater) in its opening weekend, and went on to gross $1,187,266 from 56 theaters in its theatrical run.[4] It grossed an additional $49,252 in the UK, for a worldwide gross of $1,236,518.[4]

text: Critical reception[edit]

text: The critical reaction to the movie was mostly positive, with most critics praising the tender romance and the light-hearted comedy, although some critics lambasted it for a lack of depth and a "soap opera-like" ending.

text: Stephen Holden of The New York Times,[5] Wesley Morris of the Boston Globe,[6] Ed Park of Village Voice,[7] among others, gave positive reviews, with Holden in particular calling it an 'amiable' romance spanning three generations of Chinese-Americans.[5] Holden's overall positive review noted that the film had failings at the end: "Sadly, as "Saving Face" ties up the strands of its story, it forfeits its credibility at a wedding finale with a series of instant feel-good solutions and reconciliations."[5]

text: Jonathan Rosenbaum of the Chicago Reader was notably critical of the film,[8] especially the latter half, describing it as collapsing into "nonsense".[8]

text: Autostraddle ranked the film #3 of the best 102 Lesbian Movies of All Time.[9]

text: It currently holds a rating of 87% at Rotten Tomatoes giving making it certified "Fresh",[10] and 65% at Metacritic.[11]

text: Awards[edit]

text: Saving Face was nominated for the Breakthrough Director Award at the 2005 Gotham Awards,[12] the Viewer's Choice Award and the Best Actress Award for Michelle Krusiec at the 2005 Golden Horse Film Festival,[12] and the GLAAD Media Award for Outstanding Film in Limited Release at the 2006 GLAAD Media Awards.[12] Out of these, it won the Viewer's Choice Award at the 2005 Golden Horse Film Festival.[12]


document_title: Baby shower

question_text: where does the phrase baby shower come from

text: Baby shower

text: Etymology[edit]

text: The term shower is often assumed to mean that the expectant mother is "showered" with gifts. A related custom, called a bridal shower, may have derived its name from the custom in the 19th century for the presents to be put inside a parasol, which when opened would "shower" the bride-to-be with gifts.[1] Alternatively the term possibly denotes a "first showing" of the new baby to the wider family and circle of friends.

text: Description[edit]

text: Traditionally, baby showers are given only for the family's first child, and only women are invited.[2]

text: According to etiquette authority Miss Manners, because the party centers on gift-giving,[3] the baby shower is typically arranged and hosted by a close friend rather than a member of the family, since it is considered rude for families to beg for gifts on behalf of their members.[4] However, this custom varies by culture or region and in some it is expected and customary for a close female family member to host the baby shower, often the baby's grandmother.[5]

text: When a baby shower is held after the birth of a baby, an invitation to attend the shower may be combined with a baby announcement.

text: Gifts[edit]

text: Guests bring small gifts for the expectant mother. Mothers are usually given pampering treats. Typical gifts related to babies include diapers, blankets, baby bottles, clothes, and toys. It is common to open the gifts during the party; sometimes the host will make a game of opening gifts.

text: Family Bonding[edit]

text: As the old African proverb states "It takes a village to raise a child." and the baby shower is a family's first opportunity to shape and summon their village of people in the vicinity who can assist the new parents and educate the young child over time. The giving of gifts is desire by the people who love the new family to be of help and to show their love. Without a Baby Shower, they often send the gifts unsolicited or visit instead. To celebrate that bond, Baby Showers allow the new family to thank their proverbial "village", before the stress of a new baby and lack of sleep begins. [6] In the US, if a Baby Shower doesn't happen before the arrival of the baby, a Sip-and-See or another similar event is organized after the birth. Baby shower games ranging from bingos, to "Guess the Mother's Measurements", to "Guess the Baby" games bring fun and bonding to the close friends attending the shower and enable the new family to say thanks ahead of time and know who is willing and able to help before the challenges ahead.

text: History[edit]

text: Baby shower as a term is relatively new, but the celebrations and rituals associated with pregnancy and childbirth are both ancient and enduring.[7]

text: Ancient India: Baby shower in India has been followed since the vedic ages, in an event called seemantha held in the 6th or 8th month, the mother to be is showered with dry fruits, sweets grams and other gifts that help the baby's growth. A musical event to please the baby's ears is the highlight of the ritual, it was common knowledge that the baby's ears would start functioning within the womb - a scientifically proven belief[citation needed].

text: Seemantha is a ritual to pray for a healthy baby and a mother, a happy delivery and motherhood.

text: Ancient Egypt: Ancient Egyptians did not hold baby showers as we know them today, they did observe rituals associated with birth and pregnancy.

text: Ancient Greece: Ancient Greeks celebrated pregnancy after the birth of the child.

text: Middle Ages: Childbirth was associated with not only great physical danger but spiritual danger as well.

text: Renaissance: Childbirth was an almost mystical event, and mothers-to-be would often be surrounded with references to the Annunciation to encourage and celebrate her.

text: Victorian Era: Is the predecessor to modern-day baby shower. A Victorian woman would keep her pregnancy a secret as long as possible and would not appear in public due to cultural definitions of proper behavior.

text: Modern Era: The modern baby shower started after WWII during the baby boom era and evolved with the consumer ideology of 1950s and 1960s. In other words, and served an economic function by providing the mother-to-be with material goods that lessened the financial burden of infant care.

text: Twenty-First Century: Several important changes associated with technology. Invitations, traditionally mailed, now are often emailed in elaborate graphically designed invitations. In addition, baby shower participants may attempt to identify baby parts on an ultrasound as a game, or even hold virtual baby showers.

text: In different countries[edit]

text: Baby showers and other social events to celebrate the impending or recent birth are popular around the world. They are women-only social gatherings.

text:
In Australia, Canada, New Zealand and the United States, baby shower is a common tradition.
In the United Kingdom, baby showers are not historically customary, but are becoming more common.
In Bangladesh, in many places a party named "sadh" (সাধ) or "sadhbhokkhon" (সাধভক্ষণ) is observed on the 7th month of pregnancy. After this the woman resides in the house of her father instead of the house of her husband till baby birth.
In Brazil, a party called "chá de bebê" (baby tea) is offered before birth and is often a women-only event.
In Bulgaria, as a superstition, no baby gifts are given to the family prior to the birth of the baby. The newborn baby, however would be given or sent unsolicited gifts by family and friends, even if some babies are kept away from public for the first 40 days after birth to prevent early infections.
In Chinese tradition, a baby shower, called manyue (满月) is held one month after the baby is born.
In Hmong culture, a baby shower is called "Puv Hli," and is held one month after the baby is born. A ceremony would be hosted by the paternal grandparents or the father to welcome the baby to the family by tying the baby's wrist with white yarn and/or strings.
In Armenia, a baby shower is called "qarasunq" (քառասունք) and is celebrated 40 days after baby's birth. It is a mixed party for all relatives and friends. Guests usually bring gifts for the baby or parents.
In Iran, a baby shower (Persian:حمام زایمان) is also called a "sismooni party" (Persian:جشن سیسمونی). It is celebrated 1–3 months before the baby's birth. Family and close friends give gifts intended for the baby such as a cot, toys and baby clothes.
In Costa Rica, a baby shower party is called té de canastilla ("basket tea").
In Nepal, a baby shower party is called "dahi-chiura" (दही चिउरा) and is celebrated on the 6-7th month of pregnancy.
In Mongolia, a baby shower is called "хүүхдийн угаалга" (huuhdyn ugaalga).
In Hindu tradition, they are called by different names depending on the community the family belongs to.

In northern India it is known as godbharaai, in western India, especially Maharashtra, the celebration is known as dohaaljewan, and in West Bengal and Odisha it is called saadhroshi.
In Southern India, in Tamil Nadu/Andhra Pradesh it is called Seemantham or Valaikaapu or Poochoottal (The expecting mother wears bangles and adorned with flowers) and in Karnataka it is called Seemanta(ಸೀಮಂತ) and is held when the woman is in her 5th or 7th or 9th month of pregnancy. Although Seemantham, Valaikappu and Poochoottal might be celebrated together, they are very different. Seemantham is a religious ceremony while Valaikappu and Poochoottal is a purely social event much like Western baby showers. In a Valaikappu and Poochoottal, there is music played, and the expecting mother is decked in traditional attire with lots of flowers and garlands made of jasmine or mogra. A swing is decorated with flowers of her choice, which she uses to sit and swing. At times there are symbolic cut-outs of moons and stars that are put up. There are blessings showered on her by the elderly ladies from the household and community. Gifts are given to the expecting mother.
In Gujarat, it is known as " Seemant" or "Kholo Bharyo ". It's religious rituals in most of Gujarati Hindus during 5th or 7th Month of pregnancy. A pregnant woman can only go to her father's home for delivery after her " Seemant". Usually it's only for the first child. They offer special prayer and food to the goddess "Randal, the wife of the Sun".
In Kerala, it is known as 'Pulikudi' or 'Vayattu Pongala', and is practiced predominantly in the Nair community, though its popularity has spread to other Hindu sects as well over the years. On an auspicious day, after being massaged with homemade ayurvedic oil, the woman has a customary bath with the help of the elderly women in the family. After this, the family deity is worshipped, invoking all the paradevatas (family deities) and a concoction of herbal medicines prepared in the traditional way, is given to the woman. The woman is dressed in new clothes and jewellery used for such occasions. A big difference in the western concept of baby shower and Hindu tradition is that the Hindu ceremony is a religious ceremony to pray for the well-being of the baby. In most conservative families gifts are bought for the mother-to-be but not the baby. The baby is showered with gifts only after birth.

In the Islamic tradition of Aqiqah, sheep are slaughtered upon the birth of a child. The practice is considered sunnah and is not done universally.[8][9]
In South Africa, a baby shower is called a stork party (named after the folk myth that a white stork delivers babies), and takes place typically when the mother is about 6 months pregnant. Stork parties are usually not attended by men. The stork party is accompanied by silliness such as dressing up, and gifts of baby supplies are given to the mother. A stork party is often organised as a surprise without the mother's knowledge.
In Nepal a baby shower is known as "dahi chiura khuwaune". The mother-to-be is given gifts from her elders and a meal is cooked for her according to her preferences. The pregnant mother is often invited by her relatives to eat meals with them. Pasni is a traditional celebration after the birth of the child, often marking the age of 6th months for a boy child and 5 months for a girl, often marking the transition to a diet higher in carbohydrates, and allowing the people attending to give their blessings, money and other gifts.
In Guatemala, only women attend this event. Middle class women usually celebrate more than one baby shower (one with close friends, co-workers, family, etc.).
In Russia, and Commonwealth of Independent States, there are no baby showers, though some of the younger generation are starting to adapt it.

text: Baby showers for fathers[edit]

text: Some baby showers are directed at the future father. These may be more oriented towards drinking beer, watching sports, fishing, or playing video games.[10][11] The primary nature of these gifts is diapers and/or diaper-related items.[12][13] The organization of the diaper party is typically done by the friends of the father-to-be as a way of helping to prepare for the coming child. These parties may be held at local pubs/bars, a friend's house, or the soon-to-be grandfather's house.[12][14] In the United Kingdom, this is called wetting the baby's head, and is seen more commonly than baby showers.[15] Wetting the baby's head is traditionally when the father celebrates the birth by having a few drinks with a group of friends.

text: There has been some controversy over these, with Judith Martin calling them a "monstrous imposition",[13] although she was referring to the attitude of demanding gifts and not necessarily the male version of a baby shower.

text: Names for events[edit]

text:
Diaper shower refers to a small-scale baby shower, generally for subsequent children, when the parents don't need as many baby supplies.[16]
Grandma's shower refers to a shower at which people bring items for the grandparents to keep at their house, such as a collapsible crib and a changing pad.[17]
Sprinkles are small showers for a subsequent child, especially a child who is of a different gender than the previous offspring.[18]

text: Look up baby shower in Wiktionary, the free dictionary.

tag: table


document_title: List of Billboard Hot 100 number-one singles of 1972

question_text: what was the number one song on august 23 1972

text: This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2013) (Learn how and when to remove this template message)

text: These are the Billboard Hot 100 number-one singles of 1972.

text:
Key

Indicates number-one single of 1972

text:
Issue date

Song

Artist(s)

Reference

January 1

"Brand New Key"

Melanie

January 8

January 15

"American Pie"

Don McLean

January 22

January 29

February 5

February 12

"Let's Stay Together"

Al Green

February 19

"Without You"

Nilsson

February 26

March 4

March 11

March 18

"Heart of Gold"

Neil Young

March 25

"A Horse with No Name"

America

April 1

April 8

April 15

"The First Time Ever I Saw Your Face"

Roberta Flack

April 22

April 29

May 6

May 13

May 20

May 27

"Oh Girl"

The Chi-Lites

June 3

"I'll Take You There"

The Staple Singers

June 10

"The Candy Man"

Sammy Davis Jr.

June 17

June 24

July 1

"Song Sung Blue"

Neil Diamond

July 8

"Lean on Me"

Bill Withers

July 15

July 22

July 29

"Alone Again (Naturally)"

Gilbert O'Sullivan

August 5

August 12

August 19

August 26

"Brandy (You're a Fine Girl)"

Looking Glass

September 2

"Alone Again (Naturally)"

Gilbert O'Sullivan

September 9

September 16

"Black and White"

Three Dog Night

September 23

"Baby, Don't Get Hooked on Me"

Mac Davis

September 30

October 7

October 14

"Ben"

Michael Jackson

October 21

"My Ding-a-Ling"

Chuck Berry

October 28

November 4

"I Can See Clearly Now"

Johnny Nash

November 11

November 18

November 25

December 2

"Papa Was a Rollin' Stone"

The Temptations

December 9

"I Am Woman"

Helen Reddy

December 16

"Me and Mrs. Jones"

Billy Paul

December 23

December 30