Eccellenza Italiana è una community di persone che vuole promuovere l’Italia nel digitale, attraverso una comunicazione semplice e innovativa. Ti portiamo con noi alla (ri)scoperta delle eccellenze del Bel Paese. L’Italia è un Paese meraviglioso, ricco di diversità e piccoli mondi nascosti. La nostra community nasce proprio con lo scopo di andare alla ricerca di quei mondi, per coinvolgere gli utenti nella scoperta di curiosità, tradizioni e primati legati all’Italia. Le persone sono la nostra forza e di questo andiamo orgogliosi. I creators sono la voce che ci accompagna in questo viaggio attraverso l’Italia. Raccontiamo storie d’Italia: il nostro passato, il nostro presente e il nostro futuro. Italian Excellence is a community of people who want to promote Italy in the digital world, through simple and innovative communication. We take you with us to the (re) discovery of the excellence of the Bel Paese. Italy is a wonderful country, rich in diversity and small hidden worlds. Our community was born precisely with the aim of going in search of those worlds, to involve users in the discovery of curiosities, traditions and primates related to Italy. People are our strength and we are proud of this. The creators are the voice that accompanies us on this journey through Italy. We tell stories of Italy: our past, our present and our future.

La Ciudad de las Artes y de las Ciencias (Ciutat de les Arts i les Ciències) de Valencia es un conjunto único dedicado a la divulgación científica y cultural, que está integrado por seis grandes elementos: el Hemisfèric, cine IMAX, 3D y proyecciones digitales; el Umbracle, mirador ajardinado y aparcamiento; el Museu de les Ciències, innovador centro de ciencia interactiva; el Oceanogràfic, el mayor acuario de Europa; el Palau de les Arts Reina Sofía, dedicado la programación operística, y el Ágora, que dota al complejo de un espacio multifuncional. A lo largo de un eje de casi dos kilómetros, en el antiguo cauce del río Turia, este complejo impulsado por la Generalitat Valenciana sorprende por su arquitectura y por su inmensa capacidad para divertir y estimular las mentes de sus visitantes que, recorriendo sus edificios, conocen diferentes aspectos relacionados con la ciencia, la tecnología, la naturaleza o el arte. El papel relevante de la arquitectura en la Ciudad de las Artes y de las Ciencias de Valencia ha sido posible gracias al trabajo de dos arquitectos españoles de prestigio internacional, que han aportado aquí lo mejor de su obra: Santiago Calatrava, con el Palau de les Arts Reina Sofía, el Hemisfèric, el Museu de les Ciències, el Umbracle y el Àgora, y Félix Candela, con las singulares cubiertas de los edificios principales del Oceanogràfic. Un conjunto arquitectónico de excepcional belleza, que armoniza el continente con el contenido. Una ciudad donde conviven el mar y la luz del Mediterráneo de manera sorprendente. Se ha constituido como uno de los mayores focos de difusión cultural. En conjunto, las proyecciones digitales y las películas en gran formato en el Hemisfèric, las exposiciones interactivas en el Museu de les Ciencies Príncip Felipe y las exhibiciones bioeducativas del Oceanogràfic, conforman una gran oferta interrelacionada, que se complementa, con el único objetivo de satisfacer la curiosidad y las ganas de divertirse del visitante. La Ciudad de las Artes y de las Ciencias une además la admirada tradición mediterránea del mar y la luz, de los colores azules y blancos, con una arquitectura vanguardista diseñada por Santiago Calatrava y Félix Candela. Sus audaces líneas identifican a la capital del Turia del siglo XXI; es la estampa futurista que simboliza a la nueva Valencia: una ciudad moderna dentro de la ciudad milenaria, donde millones de visitantes acuden cada año para disfrutar con la cultura, la naturaleza, el arte y la ciencia.

El Museo Nacional de Bellas Artes fue inaugurado en diciembre de 1896 en el edificio de las tiendas Bon Marché de la calle Florida, hoy Galerías Pacífico. Desde su origen, se planteó como un espacio destinado a albergar arte internacional de todos los períodos históricos, y a promover y consolidar un arte argentino por entonces incipiente. Hacia 1910, en épocas del Centenario de la Revolución de Mayo, el Museo ya contaba en su colección con piezas de los maestros Francisco de Goya, Joaquín Sorolla y Bastida, Edgar Degas y Pierre-Auguste Renoir. En 1911, se inauguró la segunda sede del Bellas Artes: el Pabellón Argentino, una estructura monumental que el país había utilizado en la Exposición Universal de París de 1889 y que fue instalada en la Plaza San Martín. Allí, se exhibieron nuevas adquisiciones que ampliaron la colección, como La ninfa sorprendida, de Édouard Manet, y Orillas del Sena, de Claude Monet. La institución fue trasladada en 1933 a su sede actual: la antigua Casa de Bombas de Recoleta, remodelada por el arquitecto Alejandro Bustillo. Durante esos años, se incorporaron destacadas piezas, entre ellas, Mujer del mar, de Paul Gauguin, Le Moulin de la Galette, de Vincent van Gogh, y Jesús en el huerto de los Olivos, del Greco. Las últimas décadas del siglo XX acogieron a grandes referentes del arte moderno internacional. Así, se sumaron obras de Pablo Picasso, Amedeo Modigliani, Marc Chagall, Vassily Kandinsky, Paul Klee, Lucio Fontana, Jackson Pollock, Mark Rothko y Henry Moore. The National Museum of Fine Arts was inaugurated in December 1896 in the Bon Marché store building on Florida Street, today Galerías Pacífico. From its origin, it was conceived as a space destined to house international art from all historical periods, and to promote and consolidate an Argentine art that was then incipient. Around 1910, at the time of the Centennial of the May Revolution, the Museum already had in its collection pieces by the masters Francisco de Goya, Joaquín Sorolla y Bastida, Edgar Degas and Pierre-Auguste Renoir. In 1911, the second headquarters of the Fine Arts was inaugurated: the Argentine Pavilion, a monumental structure that the country had used in the Universal Exposition of Paris in 1889 and that was installed in the Plaza San Martín. There, new acquisitions were exhibited that expanded the collection, such as The Surprised Nymph, by Édouard Manet, and Banks of the Seine, by Claude Monet. The institution was moved in 1933 to its current headquarters: the old Recoleta Pump House, remodeled by the architect Alejandro Bustillo. During those years, outstanding pieces were incorporated, including Woman of the Sea, by Paul Gauguin, Le Moulin de la Galette, by Vincent van Gogh, and Jesus in the Garden of Olives, by El Greco. The last decades of the 20th century welcomed great references of international modern art. Thus, works by Pablo Picasso, Amedeo Modigliani, Marc Chagall, Vassily Kandinsky, Paul Klee, Lucio Fontana, Jackson Pollock, Mark Rothko and Henry Moore were added.

El Biomuseo — una conjunción poderosa entre ciencia y arte — diseñado por el afamado arquitecto Frank Gehry, es un centro interpretativo dedicado a Panamá que explora la relación entre su biodiversidad y su cultura. El Biomuseo cuenta la historia de la formación del Istmo de Panamá y como este cambió el rumbo de la biodiversidad del planeta Tierra. The Biomuseo - a powerful conjunction between science and art - designed by the famous architect Frank Gehry, is an interpretive center dedicated to Panama that explores the relationship between its biodiversity and its culture. The Biomuseo tells the story of the formation of the Isthmus of Panama and how it changed the course of biodiversity on planet Earth.

La antigua ciudad maya de Tikal fue reportada en 1848 por Modesto Méndez y Ambrosio Tut, Corregidos y Gobernador de Petén, respectivamente. Eusebio Lara, acompaño esta primera expedición para elaborar las primeras ilustraciones de los monumentos de Tikal. Sin embargo, se tiene conocimiento de que Tikal fue conocido por algunos nativos de la zona y posiblemente por misioneros españoles a fines del siglo XVII (Soza, 1970; Vidal y Muñoz, 1997; Harrison, 1999). En 1853, posterior a la publicación del diario de Méndez en la Gaceta de Guatemala, se da a conocer a la comunidad científica su descubrimiento, a través de una publicación de la Academia de Ciencias de Berlin. El Parque Nacional Tikal fue creado el 26 de Mayo de 1955 bajo la responsabilidad del Instituto de Antropología e Historia, y se constituye como la primera área protegida de Guatemala, reconocida por UNESCO como Sitio de Patrimonio Mundial en 1979. Rodeado de una selva exuberante, alberga invaluables riquezas que forman parte del patrimonio cultural y natural del país, con una extensión de 575.83 km². En 1972, con el apoyo del Servicio de Parques Nacionales de los Estados Unidos, se elabora el primer Plan Maestro para la Protección y Uso del Parque Nacional Tikal, iniciativa coordinada por la Secretaría del Consejo Nacional de Planificación Económica, en apoyo al Instituto de Antropología e Historia y al Instituto Guatemalteco de Turismo. Este Plan Maestro es el único que ha tenido el Parque Tikal hasta el presente documento, y como consecuencia de él, se logra la construcción del aeropuerto de Santa Elena, el actual Centro de Visitantes, el traslado de la aldea Tikal hacia Ixlú y la pavimentación de la carretera Flores-Tikal (National Park Service, 1972). En 1970, la Secretaría de Planificación Económica crea el Proyecto Administración del Parque Nacional Tikal, bajo la dirección de Rudy Larios, con el propósito de darle seguimiento a la conservación de las obras realizadas por Pennsylvania y FYDEP, así como para habilitar otras áreas para el turismo (Crisarq-Consult, 1997:8). La misma Secretaría, en 1974 diseña el Proyecto de Desarrollo Turístico, con el fin de apoyar el desenvolvimiento del potencial turístico de Tikal, así como para proteger las ruinas y prevenir daños ecológicos en el área de influencia del Parque (SEGEPLAN, 1974). Evidencia de su importancia es el hecho que ser el ser el sitio más visitado de Guatemala, con el ingreso de más de 200,000 visitantes al año. En 1979, la UNESCO declara al Parque, como el primer Sitio de Patrimonio Mundial Cultural y Natural de la Humanidad. La combinación de lo cultural y natural de Tikal, hace que se convierta en el primero de los 23 sitios en el mundo que han sido declarados como Sitios de Patrimonio Mundial Mixto de la Humanidad5, es decir tanto Cultural como Natural6 (UNEP 1997a, 1997b). Más recientemente, el Congreso de la República, en 1989, crea el Sistema Guatemalteco de Áreas Protegidas y en 1990 la Reserva de Biosfera Maya, definiendo al Parque Nacional Tikal como una de las zonas núcleos de la Reserva. Esta misma ley ratifica en la administración del área al Instituto de Antropología e Historia. En 1993, el IDAEH transfiere la administración del sitio arqueológico de Uaxactún al Parque (Parque Nacional Tikal, 1995), extendiéndose sus responsabilidades administrativas. Durante el año 2002 se realizó una remedición de los límites y mojones del Parque, con el fin de inscribirlo en Registro de la Propiedad Inmueble, y aclarar su situación jurídica. Esta medición fue respaldada legalmente con el Acuerdo Gubernativo No. 239-2003 del 7 de abril del presente año, por medio del cual “se desmembrar a favor del estado una fracción de terreno ubicada en el municipio de Flores…”. Según el mencionado acuerdo, el Parque queda adscrito “al Ministerio de Cultura y Deportes, quien a través del Instituto de Antropología e Historia deberá darle al inmueble el correspondiente mantenimiento…” (Artículo 2). Este trascendental paso le da certeza jurídica al Parque y la base legal para emitir las políticas y ordenar la situación de los diferentes negocios que operan dentro del Parque.

El edificio que hoy sirve de sede al Museo Nacional del Prado fue diseñado por el arquitecto Juan de Villanueva en 1785, como Gabinete de Ciencias Naturales, por orden de Carlos III. No obstante, el destino final de esta construcción no estaría claro hasta que su nieto Fernando VII, impulsado por su esposa la reina María Isabel de Braganza, tomó la decisión de destinar este edificio a la creación de un Real Museo de Pinturas y Esculturas. El Real Museo, que pasaría pronto a denominarse Museo Nacional de Pintura y Escultura y posteriormente Museo Nacional del Prado, abrió por primera vez al público en 1819. El primer catálogo constaba de 311 pinturas, aunque para entonces en el Museo se guardaban ya 1510 obras procedentes de los Reales Sitios. Las valiosísimas Colecciones Reales, germen de la colección del actual Museo del Prado, comenzaron a tomar forma en el siglo XVI bajo los auspicios del emperador Carlos V y fueron sucesivamente enriquecidas por todos los monarcas que le sucedieron, tanto Austrias como Borbones. A ellos se deben los tesoros más emblemáticos que se pueden contemplar hoy en el Prado, tales como El jardín de las Delicias de El Bosco, El caballero de la mano en el pecho de El Greco, El tránsito de la Virgen de Mantegna, La Sagrada Familia conocida como La Perla de Rafael, Carlos V en Mühlberg de Tiziano, El Lavatorio de Tintoretto, el Autorretrato de Durero, Las Meninas de Velázquez, Las tres Gracias de Rubens o La familia de Carlos IV de Goya. Del Museo de la Trinidad llegaron importantes pinturas como La Fuente de la Gracia de la Escuela de Jan Van Eyck, Auto de fe presidido por santo Domingo de Guzmán de Pedro Berruguete y los cinco lienzos procedentes del Colegio de doña María de Aragón de El Greco. Del Museo de Arte Moderno proceden gran parte de los fondos del siglo XIX, obras de los Madrazo, Vicente López, Carlos de Haes, Rosales y Sorolla. Desde la fundación del Museo han ingresado más de dos mil trescientas pinturas y gran cantidad de esculturas, estampas, dibujos y piezas de artes decorativas por Nuevas Adquisiciones, en su mayoría donaciones, legados y compras. Las Pinturas Negras de Goya llegaron al Museo gracias a la donación del Barón Emile d’Erlanger en el siglo XIX. Compras muy interesantes en los últimos años han sido Fábula y Huída a Egipto de El Greco, en 1993 y 2001, La condesa de Chinchón de Goya en el 2000, El barbero del Papa de Velázquez en el 2003 o, más recientemente, El vino en la fiesta de San Martín de Pieter Bruegel el Viejo en 2010, entre otras. Numerosos legados han enriquecido los fondos del Museo, tales como el Legado de don Pablo Bosch con su magnífica colección de medallas, el Legado de don Pedro Fernández Durán, con su amplísima colección de dibujos y artes decorativas, y el Legado de don Ramón de Errazu con pintura del siglo XIX. Tanto la colección como el número de visitantes del Prado se han incrementado enormemente a lo largo de los siglos XIX y XX, por lo que el Museo ha tenido que ir acometiendo sucesivas ampliaciones en su sede histórica hasta agotar totalmente las posibilidades de intervención sobre este edificio. Por este motivo, el Prado se ha visto obligado a buscar el camino de su reciente ampliación mediante una solución arquitectónica de nueva fábrica situada junto a la fachada posterior de su sede tradicional y conectada con ésta desde el interior.

La Plaza de España es un espectáculo de luz y majestuosidad. Encuadrada en el Parque de María Luisa, esta plaza fue diseñada por el gran arquitecto sevillano Aníbal González como espacio emblemático de la Exposición Iberoamericana de 1929. El resultado fue una plaza-palacio única en el mundo. Sus proporciones son fastuosas; cuenta con una superficie total de 50.000 metros cuadrados, convirtiéndose sin duda en la plaza más imponente de España. A lo largo de todo el perímetro de la plaza se extiende un canal de 515 metros de longitud, que puedes recorrer a bordo de una barca. Los cuatro preciosos puentes que cruzan el canal representan los antiguos reinos de España. Dos altas torres se erigen en los extremos de la plaza, confiriendo un equilibrio perfecto al conjunto. Estas torres se divisan desde toda Sevilla. La galería porticada que separa el espacio abierto de la plaza con respecto al edificio invita a ser recorrido. En un principio, tras finalizar la exposición, su destino era formar parte de la Universidad de Sevilla, esa es la razón de las hornacinas existentes en cada una de las provincias. Sin embargo tras haber sido utilizada durante la exposición, pasó a ser sede del gobierno militar, sirviendo sus estancias como ubicación de la Capitanía General, albergando años después además la delegación del Gobierno central en Andalucía y al mismo tiempo el Museo Militar de Sevilla. Hoy en día alberga a la subdelegación de gobierno de España. La plaza de España ha sido utilizada como escenarios en múltiples y variadas películas. En este sentido, la Academia de Cine Europeo la ha elegido como Tesoro de la Cultura Cinematográfica Europea, distinción que otorga a espacios y localizaciones cinematográficas de naturaleza simbólica de gran valor histórico para el cine.

La Alhambra, denominada así por sus muros de color rojizo («qa'lat al-Hamra'», Castillo Rojo), está situada en lo alto de la colina de al-Sabika, en la margen izquierda del río Darro, al este de la ciudad, frente a los barrios del Albaicín y de la Alcazaba. Su posición estratégica, desde la que se domina toda la ciudad y la vega granadina, hace pensar que existían construcciones anteriores a la llegada de los musulmanes. Su conjunto, completamente amurallado, posee una forma irregular limitada al norte por el valle del Darro, al sur por el de la al-Sabika, y al este por la Cuesta del Rey Chico, que a su vez la separan del Albaicín y del Generalife, situado en el cerro del Sol. Se tiene constancia por primera vez de ella en el siglo IX, cuando en 889 Sawwar ben Hamdun tuvo que refugiarse en la Alcazaba y repararla debido a las luchas civiles que azotaban por entonces al Califato cordobés, al que pertenecía Granada. Posteriormente, este recinto empezó a ensancharse y a poblarse, aunque no hasta lo que sería con posterioridad, ya que los primeros monarcas ziríes fijaron su residencia en lo que posteriormente sería el Albaicín. A pesar de la incorporación del castillo de la Alhambra al recinto amurallado de la ciudad en el siglo XI, lo que la convirtió en una fortaleza militar desde la que se dominaba toda la ciudad, no sería hasta el siglo XIII con la llegada del primer monarca nazarí, Mohamed ben Al-Hamar (Mohamed I, 1238-1273) cuando se fijaría la residencia real en la Alhambra. Este hecho marcó el inicio de su época de mayor esplendor. Primero se reforzó la parte antigua de la Alcazaba, y se construyó la Torre de la Vela y del Homenaje, se subío agua del río Darro, se edificaron almacenes, depósitos y comenzó la construcción del palacio y del recinto amurallado que continuaron Mohamed II (1273-1302) y Mohamed III (1302-1309), al que también se le atribuyen un baño público y la Mezquita sobre la que se construyó la actual iglesia de Santa María. A Yusuf I (1333-1353) y Mohamed V (1353-1391) les debemos la inmensa mayoría de las construcciones de la Alhambra que han llegado a nuestra época. Desde la reforma de la Alcazaba y los palacios, pasando por la ampliación del recinto amurallado, la Puerta de la Justicia, la ampliación y decoración de las torres, construcción de los Baños y el Cuarto de Comares, la Sala de la Barca, hasta el Patio de los Leones y sus dependencias anexas. De los reyes nazaríes posteriores no se conserva prácticamente nada. De la época de los Reyes Católicos hasta nuestros días podemos destacar la demolición de parte del conjunto arquitectónico por parte de Carlos V para construir el palacio que lleva su nombre, la construcción de las habitaciones del emperador y el Peinador de la Reina y el abandono de la conservación de la Alhambra a partir del siglo XVIII. Durante la dominación francesa fue volada parte de la fortaleza y hasta el siglo XIX no comenzó su reparación, restauración y conservación que se mantiene hasta la actualidad.

La Sagrada Familia es un templo excepcional, tanto por lo que respecta a su origen y a su fundación como por lo relativo a sus propósitos. Fruto de la obra del genial arquitecto Antoni Gaudí, fue un proyecto impulsado por y para el pueblo, y ya son cinco generaciones las que han ido viendo la evolución del templo en Barcelona. Actualmente, con más de 135 años desde la colocación de la primera piedra, la Basílica sigue en construcción. La construcción del Templo Expiatorio de la Sagrada Familia (en catalán, Temple Expiatori de la Sagrada Família), conocido simplemente como la Sagrada Familia, se inició en 1882. Se trata de la obra maestra de Gaudí y es el máximo exponente de la arquitectura modernista catalana. Es uno de los monumentos más visitados de España, junto al Museo del Prado y la Alhambra de Granada. Además,​ es la iglesia más visitada de Europa tras la basílica de San Pedro del Vaticano. La Sagrada Familia es un reflejo de la plenitud artística de Gaudí. Trabajó en ella durante la mayor parte de su carrera profesional, especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.​ La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior.

The Great Wall of China is one of the most notorious structures in the entire world. The Jinshanling section in Hebei Province, China, pictured here, is only a small part of the wall that stretches over 4,000 kilometers (2,500 miles). The one thing most people “know” about the Great Wall of China—that it is one of the only man-made structures visible from space—is not actually true. Since the wall looks a lot like the stone and soil that surround it, it is difficult to discern with the human eye even from low Earth orbit, and is difficult to make out in most orbital photos. However, this does not detract from the wonder of this astounding ancient structure. For millennia, Chinese leaders instituted wall-building projects to protect the land from northern, nomadic invaders. One surviving section of such an ancient wall, in the Shandong province, is made of hard-packed soil called “rammed earth” and is estimated to be 2,500 years old. For centuries during the Warring States Period, before China was unified into one nation, such walls defended the borders. Around 220 B.C.E., Qin Shi Huang, also called the First Emperor, united China. He masterminded the process of uniting the existing walls into one. At that time, rammed earth and wood made up most of the wall. Emperor after emperor strengthened and extended the wall, often with the aim of keeping out the northern invaders. In some places, the wall was constructed of brick. Elsewhere, quarried granite or even marble blocks were used. The wall was continuously brought up to date as building techniques advanced. Zhu Yuanzhang, who became the Hongwu Emperor, took power in 1368 C.E. He founded the Ming Dynasty, famous for its achievements in the arts of ceramics and painting. The Ming emperors improved the wall with watchtowers and platforms. Most of the familiar images of the wall show Ming-era construction in the stone. Depending on how the wall is measured, it stretches somewhere between 4,000 and 5,500 kilometers (2,500 and 3,400 miles). In the 17th century, the Manchu emperors extended Chinese rule into Inner Mongolia, making the wall less important as a defense. However, it has retained its importance as a symbol of Chinese identity and culture. Countless visitors view the wall every year. It may not be clearly visible from space, but it is considered “an absolute masterpiece” here on Earth.

A World Heritage Site, Stonehenge and its surrounding prehistoric monuments remain powerful witnesses to the people of the Neolithic and Bronze Ages who created them. Stonehenge has inspired people to study and interpret it for centuries, yet many questions remain to be answered – about who built it, when, and why. Find out about its archaeology and history here. Stonehenge is perhaps the world’s most famous prehistoric monument. It was built in several stages: the first monument was an early henge monument, built about 5,000 years ago, and the unique stone circle was erected in the late Neolithic period about 2500 BC. In the early Bronze Age many burial mounds were built nearby. Today, together with Avebury, Stonehenge forms the heart of a World Heritage Site, with a unique concentration of prehistoric monuments. The earliest structures known in the immediate area are four or five pits, three of which appear to have held large pine ‘totem-pole like’ posts erected in the Mesolithic period, between 8500 and 7000 BC. It is not known how these posts relate to the later monument of Stonehenge. At this time, when much of the rest of southern England was largely covered by woodland, the chalk downland in the area of Stonehenge may have been an unusually open landscape. It is possible that this is why it became the site of an early Neolithic monument complex. This complex included the causewayed enclosure at Robin Hood’s Ball, two cursus monuments or rectangular earthworks (the Greater, or Stonehenge, and Lesser Cursus), and several long barrows, all dating from the centuries around 3500 BC. The presence of these monuments probably influenced the later location of Stonehenge. It is possible that features such as the Heel Stone and the low mound known as the North Barrow were early components of Stonehenge, but the earliest known major event was the construction of a circular ditch with an inner and outer bank, built about 3000 BC. This enclosed an area about 100 metres in diameter, and had two entrances. It was an early form of henge monument. Within the bank and ditch were possibly some timber structures and set just inside the bank were 56 pits, known as the Aubrey Holes. There has been much debate about what stood in these holes: the consensus for many years has been that they held upright timber posts, but recently the idea has re-emerged that some of them may have held stones. Within and around the Aubrey Holes, and also in the ditch, people buried cremations. About 64 cremations have been found, and perhaps as many as 150 individuals were originally buried at Stonehenge, making it the largest late Neolithic cemetery in the British Isles. In about 2500 BC the stones were set up in the centre of the monument. Two types of stone are used at Stonehenge – the larger sarsens and the smaller ‘bluestones’. The sarsens were erected in two concentric arrangements – an inner horseshoe and an outer circle – and the bluestones were set up between them in a double arc. Probably at the same time that the stones were being set up in the centre of the monument, the sarsens close to the entrance were raised, together with the four Station Stones on the periphery. About 200 or 300 years later the central bluestones were rearranged to form a circle and inner oval (which was again later altered to form a horseshoe). The earthwork Avenue was also built at this time, connecting Stonehenge with the river Avon. One of the last prehistoric activities at Stonehenge was the digging around the stone settings of two rings of concentric pits, the so-called Y and Z holes, radiocarbon dated by antlers within them to between 1800 and 1500 BC. They may have been intended for a rearrangement of the stones that was never completed. The stone settings at Stonehenge were built at a time of great change in prehistory, just as new styles of ‘Beaker’ pottery and the knowledge of metalworking, together with a transition to the burial of individuals with grave goods, were arriving from the Continent. From about 2400 BC, well-furnished Beaker graves such as that of the Amesbury Archer are found nearby. In the early Bronze Age, one of the greatest concentrations of round barrows in Britain was built in the area around Stonehenge. Many barrow groups appear to have been deliberately located on hilltops visible from Stonehenge itself, such as those on King Barrow Ridge and the particularly rich burials at the Normanton Down cemetery. Four of the sarsens at Stonehenge were adorned with hundreds of carvings depicting axe-heads and a few daggers. They appear to be bronze axes of the Arreton Down type, dating from about 1750–1500 BC. Perhaps these axes were a symbol of power or status within early Bronze Age society, or were related in some way to nearby round barrow burials. From the middle Bronze Age, less communal effort went into the construction of ceremonial monuments such as Stonehenge and more on activities such as the creation of fields. In the Iron Age, probably about 700 BC, a major hillfort later known as Vespasian’s Camp was constructed 1¼ miles east of Stonehenge overlooking the river Avon. Stonehenge appears to have been frequently visited in the Roman period (from AD 43), since many Roman objects have been found there. Recent excavations raised the possibility that it was a place of ritual importance to Romano-British people. The small town of Amesbury is likely to have been established around the 6th century AD at a crossing point over the Avon. A decapitated man, possibly a criminal, was buried at Stonehenge in the Saxon period. From this time on, sheep husbandry dominated the open downland around Stonehenge. The earliest surviving written references to Stonehenge date from the medieval period, and from the 14th century onwards there are increasing references to Stonehenge and drawings and paintings of it. Since 1897, when the Ministry of Defence bought a vast tract of land on Salisbury Plain for army training exercises, the activities of the military have had an impact on the area. Barracks, firing ranges, field hospitals, airfields and light railways were established. Some of these, such as the First World War Stonehenge airfield, have long since been demolished, but others, such as the Larkhill airfield sheds, still stand and are important in the history of early military aviation. Meanwhile, the introduction of turnpike roads and the railway to Salisbury brought many more visitors to Stonehenge. From the 1880s, various stones had been propped up with timber poles, but concern for the safety of visitors grew when an outer sarsen upright and its lintel fell in 1900. The then owner, Sir Edmund Antrobus, with the help of the Society of Antiquaries, organised the re-erection of the leaning tallest trilithon in 1901. This was the start of a sequence of campaigns to conserve and restore Stonehenge – the last stones were consolidated in 1964. The monument remained in private ownership until 1918 when Cecil Chubb, a local man who had purchased Stonehenge from the Atrobus family at an auction three years previously, gave it to the nation. Thereafter, the duty to conserve the monument fell to the state, today a role performed on its behalf by English Heritage. From 1927, the National Trust began to acquire the land around Stonehenge to preserve it and restore it to grassland. Large areas of the Stonehenge landscape are now in their ownership. More recent improvements to the landscape – including the removal of the old visitor facilities and the closure of the section of the old A344 that ran close to the stones – have begun the process of returning Stonehenge to an open grassland setting, but there is more that can be done. English Heritage welcomes government plans to invest in a tunnel, which would remove much of the busy A303 and help reconnect the monument to its ancient landscape.

Sir John Soane’s Museum is the extraordinary house and museum of the British architect Sir John Soane (1753-1837). On this page, discover the history of the Museum, its founder and its world class collections. Sir John Soane was one of the foremost architects of the Regency era, a Professor of Architecture at the Royal Academy, and a dedicated collector of paintings, sculpture, architectural fragments and models, books, drawings and furniture. Born in 1753, the fourth son of a bricklayer, his father’s professional links with architects and his own natural talent for drawing won him the opportunity to train as an architect. A talented and hard-working student, Soane was awarded the Royal Academy’s prestigious Gold Medal for Architecture, as a result receiving a bursary (funded by King George III) to undertake a Grand Tour of Europe. His travels to the ruins of Ancient Rome, Paestum and Pompeii would inspire his lifelong interest in Classical art and architecture. Soane’s inventive use of light, space and his experimentation with the forms of Classical architecture earned him great success as an architect. During his career he won numerous high-profile projects, including the Bank of England (where he was architect for 45 years) and Dulwich Picture Gallery, and created his own extraordinary home and Museum on Lincoln’s Inn Fields. His successes as an architect and his fascination with the history of architecture let to his appointment as Professor of Architecture at the Royal Academy in 1806. Already an enthusiastic collector, he began to repurpose his home at Lincoln’s Inn Fields as a Museum for students of architecture.

Yorkshire Sculpture Park (YSP) is the leading international centre for modern and contemporary sculpture which celebrates its 45th anniversary in 2022. It is an independent charitable trust (number 1067908) and registered museum situated in the 500-acre, 18th-century Bretton Hall estate in West Yorkshire. Founded in 1977 by Sir Peter Murray CBE, YSP was the first sculpture park in the UK, and is the largest of its kind in Europe, providing the only place in Europe to see Barbara Hepworth’s The Family of Man in its entirety alongside a significant collection of sculpture, including bronzes by Henry Moore, and site-specific works by Andy Goldsworthy, David Nash and James Turrell. YSP mounts a world-class, year-round temporary exhibitions programme including some of the world’s leading artists across six indoor galleries and outdoors. Recent highlights include exhibitions by Robert Indiana, Joana Vasconcelos, Akeela Bertram, Not Vital, KAWS, Bill Viola, Anthony Caro, Fiona Banner, Ai Weiwei, Kimsooja, Amar Kanwar, Yinka Shonibare MBE, Joan Miró and Jaume Plensa. More than 80 works on display across the estate include major sculptures by Phyllida Barlow, Ai Weiwei, Roger Hiorns, Sol LeWitt, Joan Miró, Dennis Oppenheim and Thomas J Price. 500 acres of fields, hills, woodland, lakes and formal gardens combine to create the stunning setting for Yorkshire Sculpture Park. These historic grounds were once part of the Bretton Estate, with a country manor at the centre. As well as housing hundreds of artworks, today the landscape is rich with the stories of Bretton’s former lives. The Domesday Book listed this land as 'waste' in 1086. In the centuries since, it became an aristocratic home. And each of those who inherited and worked on the estate left their mark. As beautiful as it may be, this landscape is not entirely natural. In fact, its previous owners had it carefully designed and managed to look 'natural'. Their architects, landscape designers and gardeners dug lakes, planted trees, built lodges. They also introduced extravagant, purely ornamental buildings – or follies. Among the wealthy landowners of 18th-century Britain, a folly was a fashionable status symbol, a display of excess. Many of these fascinating features and romantic relics remain today. Seek them out in the grounds, dotted among the artworks, wildlife and trees. YSP’s driving purpose for 45 years has been to ignite, nurture and sustain interest in and debate around contemporary art and sculpture, especially with those for whom art participation is not habitual or familiar. It enables open access to art, situations and ideas, and continues to re-evaluate and expand the approach to considering art’s role and relevance in society. Supporting 45,000 people each year through YSP’s learning programme, this innovative work develops ability, confidence and life aspiration in participants. YSP's core work is made possible by investment from Arts Council England, Wakefield Council, Liz and Terry Bramall Foundation and Sakurako and William Fisher through the Sakana Foundation.

The Bob Marley Museum is the former home of reggae legend, Bob Marley. Learn about the life and accomplishments of one of Jamaica's greatest musicians. The museum is situated on the site of the legendary musician's home, which he purchased in 1975. The museum is situated on the site of the legendary musician’s home, which he purchased in 1975. This house, featuring 19th-century architecture, was Marley’s home until his transition in 1981. It was converted into a museum six years later by his wife, Mrs Rita Marley. The main museum displays Marley’s personal treasures. The property also features a well-equipped 80-seat theatre, a photographic gallery, a record shop and a gift shop filled with a wide array of Bob Marley memorabilia. Relax and enjoy a sumptuous meal from the One Love Café after you’ve completed your tour, which offers a peek into every aspect of Bob Marley’s life. The museum continues to honour Bob Marley’s life and legacy through the Bob Marley Foundation, which implements social intervention projects. These projects aim to preserve the spiritual, cultural, social and musical ideals that guided and inspired Bob Marley throughout his life. Since its inception, the Foundation has successfully implemented several projects, all geared towards transforming lives.

Davide Rivalta, artista bolognese che popola le città di tutto il mondo con massicci animali, collocandoli nei posti più impensati. La straordinaria forza di questi bronzi sta proprio nella sorpresa che coglie l’avventore quando li scopre nel cortile del Palazzo, senza aspettarselo. Il realismo delle figure, la loro stazza e l’evidenza della loro presenza contrasta con il contesto, creando un effetto straniante, a tratti ironico. I Gorilla (Occulti latices), installati nel 2002, colpiscono perché evocano l’idea della primordialità e della condizione naturale del regno animale in un luogo istituzionale, formale, piuttosto austero anche. È la loro totale estraneità rispetto al contesto che ci porta ad interrogarci sul messaggio di cui si fanno portatori. Un gruppo di gorilla che, secondo qualcuno, farebbero paura a grandi e piccini. Occasione buonaper riflettere sulla ricerca artistica di Rivalta, esponente di una figurazione di qualità, capace di relazionarsi in modo intenso con lo spazio. La presenza dei lavori di Davide Rivalta in parecchie città è uno di quei motivi che rendono grande l'arte tradizionale, che sa accogliere e valorizzare ogni forma d’arte, dal videomapping alla street art, dal mosaico alla scultura e che, soprattutto, sa far dialogare l‘antico patrimonio artistico con l’arte contemporanea. Davide Rivalta, Bolognese artist who populates cities all over the world with massive animals, placing them in the most unexpected places. The extraordinary strength of these bronzes lies precisely in the surprise that catches the customer when he discovers them in the courtyard of the Palace, without expecting it. The realism of the figures, their size and the evidence of their presence contrast with the context, creating an alienating, at times ironic effect. The Gorillas (Occulti latices), installed in 2002, are striking because they evoke the idea of ​​the primordiality and natural condition of the animal kingdom in an institutional, formal, rather austere place. It is their total extraneousness with respect to the context that leads us to question ourselves about the message they carry. A group of gorillas who, according to some, would scare young and old. A good opportunity to reflect on the artistic research of Rivalta, an exponent of a quality figuration, capable of relating in an intense way with space. The presence of Davide Rivalta's works in several cities is one of those reasons that make traditional art great, which knows how to welcome and enhance every form of art, from videomapping to street art, from mosaic to sculpture and who, above all, knows to make the ancient artistic heritage dialogue with contemporary art.

I’m Toni-Leigh, born and bred in the Mother City of Cape Town. My fiancé and I, are parents to a lively 2-year old girl who arrived 5 years after losing our 3-year old son to a rare genetic disease. I love learning new things. Growing up, I was a voracious reader, reading anything and everything (even the classifieds and property ads) and with the advancement of technology over the years, I can have information at the tip of my fingers, so I’m always eager to learn new things and I’m a fast learner. I’ve always had an interest in Information Technology and was the go-to person in my office before my colleagues would go to the IT office, and now I’m looking into further studies so that I can develop my knowledge and skills. In 2005 I graduated from Varsity College with a Diploma in Travel and Tourism with aspirations of travelling worldwide in my profession. Things didn’t quite work out that way, having worked in retail and a company assisting young people to live and work in the UK. In the last decade or so, I’ve been in the tourism industry behind the scenes, working for an online holiday accommodation booking agency and more recently a company that does tours and safaris in Southern Africa. I also do freelance work remotely, such as, captioning for a speech-to-text service and social media evaluation. I am an introvert but enjoy working with and being in the company of others, while also enjoying being on my own. In the past I used to view being an introvert as a weakness because those higher up in the ranks of the companies I worked for were extroverted but in recent times I realised how much of a strength it is being an introvert as I also have a strong sense of empathy, which I believe is key in Customer Service and building interpersonal relationships with colleagues and clients. I’m passionate about customer service and going the extra mile and l love that feeling of knowing that I’ve made a difference in someone’s day whether big or small. People tend to describe me as hardworking, punctual, efficient, dependable and trustworthy. Covid-19 affected the tourism industry drastically, however, I still want to travel anywhere I can, just soaking up the different cultures and experiences. The last year has been both challenging and rewarding and it has made me see things in a different light and so it has been somewhat of a new beginning for me. I am motivated now more than ever to seek out new passions and adventures and to get out of my comfort zone.

The Rastafari village was created 10 years ago as a cultural sharing center, healing ground, and sanctuary. We promote, protect, and preserve traditional Rastafari practices. Villagers coexist in a living, working, preservation village. Drumming and chanting ceremonies are an important ritual in the elevation to the spiritual world of Rastafari. Irits is our monthly acoustic gathering curated with the aim of creating balance by harmonizing music, food, healing, and art, with culture, preserving living aspects of Jamaican heritage, blending live music, an ital vegan cuisine and local artists. Rastafari view on horizontal society, equality with an identity where each is an owner onto themselves based on ability, with tourism as a tool to promote, protect and preserve our culture, an authentic Jamaican conscience for humanity.

The Scottish National Gallery displays some of the greatest art in the world, including masterpieces by Botticelli, Raphael, Titian, El Greco, Velázquez, Rembrandt, Vermeer, van Dyck, Tiepolo, Landseer, Gainsborough, Constable, Turner, and Angelica Kauffmann amongst many others. The most comprehensive part of the collection covers the history of Scottish painting – including Ramsay, Raeburn and Wilkie. The Scottish National Gallery comprises both the National Gallery Building and the Royal Scottish Academy Building. Both of these buildings, designed by William Henry Playfair, stand in the heart of Edinburgh.

Stirling Castle is a great symbol of Scottish independence & a source of national pride. Visitors can now step back into the sumptuous world of Stirling Castle’s royal court. Our £12 million project has returned the six apartments in the castle’s Renaissance palace to how they may have looked in the mid-16th century. A place of power, beauty and history, discover the favoured residence of Scotland's Kings and Queens! A great day out for all the family and simply unmissable! Stirling Castle was the key to the kingdom of Scotland, dominating a vast volcanic rock above the river Forth at the meeting point between Lowlands and Highlands. Its origins are ancient and over the centuries it grew into a great royal residence and a powerful stronghold. During the Wars of Independence, which were civil wars among the Scots as well as a struggle between Scotland and England, the castle changed hands eight times in 50 years. And it is no accident that famous battles such as Stirling Bridge and Bannockburn took place within sight of its walls. In times of peace Scottish royalty came to Stirling to enjoy its comforts, the superb hunting and to hold court – the castle was often the centre of government.

Located beside the Titanic Slipways, the Harland & Wolff Drawing Offices and Hamilton Graving Dock – the very place where Titanic was designed, built and launched, Titanic Belfast tells the story of Titanic from her conception, through her construction and launch, to her maiden voyage and subsequent place in history. Stimulating enquiry, encouraging independent and collaborative learning and awakening a genuine thirst for knowledge - Titanic Belfast is a unique learning resource for students of all ages. Titanic Belfast welcomes education visitors all year round for self-guided tours of the Titanic Experience. On arrival, you will be supported by a welcome host, who will set the scene and give you advice before you enter. Supported by our downloadable resources which cover the activities and themes you’ll find in the exhibition and how these link with curriculum targets in Northern Ireland and the Republic of Ireland, a self-guided tour allows you and your pupils to explore the sights, sounds and stories of Titanic Belfast at your own leisure.

The Pearse Museum in St Enda’s Park is where the leader of the 1916 Rising, Patrick Pearse, lived and operated his pioneering Irish-speaking school from 1910 to 1916. Set in nearly 20 hectares of attractive parkland in Rathfarnham, Dublin, the museum tells the story of Patrick Pearse and his brother Willie, both of whom were executed for their part in the 1916 Rising. Here you can peruse a fascinating exhibition on Pearse’s life and wander through the historic rooms where he, his family and his students once lived and worked. The romantic landscape surrounding the museum contains a wild river valley, forested areas and some enchanting eighteenth- and nineteenth-century follies. If you are interested in the park’s varied wildlife, you will find information about it in a dedicated room in the courtyard – where you’ll also find the Schoolroom Café.

Chiara Cataldi and Ludovica Saviane at Robin Art Studio design and decorate environments using a team of architects, interior decorators and suppliers, offering a 360 degree consultation to furnish your home and work environments. Specialized in painted tapestries, wall decorations and pictorial interventions on furniture, screens, panels and more, mainly on commission. They organize drawing and painting courses in the studio.

Greetings to one and all. My name is Edith, I am a child of the universe and I want to share that every day is a beautiful day. True, our emotions fluctuate but at some point during each day we will recognise that the day is a gift we have received and if we be true to ourselves this will bring a smile and with it feel good energy. We should take this feel good energy and build on it so that each day it comes easier and earlier and like a muscle it will grow, become more evident and gather momentum and we will feel better for it. I believe in kindness and forgiveness towards others and myself. In a couple of months I will begin the first year of my sixth decade on planet Earth. Twenty years ago I was facing a life threatening illness and not doing too well, I am a miracle. I believe we are all miracles. Some would differ it can be a topic for discussion. I am a widow and live with and take care of my 87 year old mother and 7 year old granddaughter to whom I am foster mother. Thankfully both are well. We live in a truly beautiful spot, the Deep South, Cape Peninsula, CT, South Africa, blessed in many ways I have much wonder and appreciation for this. I was born in Cape Town, grew up and completed my education in the best place in the world to have grown up at that time, yes! Zambia in the sun. I have very fond memories of my formative years in Zambia and still consider myself Zambian. It is the national anthem I sang as a child and I loved the then president, KK, Kenneth Kaunda. I returned to South Africa in 1980 to attend college and begin my independent years and in 1982 I moved to the newly independent Zimbabwe where I spent the next 21 years before returning to my roots in 2003. I have extensive administrative experience - getting things organised, getting things done. With a stable track record, I am able to diversify within different industries. As part of a team I have a strong focus to resolve challenges and enjoy leaving any tasks I am busy with in a user friendly state (do unto others). I pride myself on my attention to detail & due diligence, going the extra mile in terms of improved efficiency and cost effectiveness. I did a one year secretarial course in 1980 and my working life began from there. Living and learning life then became what I did, marriage, babies, etc. I guess I was lazy to further my qualifications, in hindsight I think I would have made a damn good surgeon LOL. Seriously, I have good eye, hand coordination, a good touch, and, consciously, I have become better at threading the needle. I believe strongly in being true to and honest with myself and I think I was then because family means more to me than a career. And now, I am ready to start that next chapter in my career. I am blessed. I have over the years done various short courses including a deep tissue massage course so I am a certified masseuse however I only massage family and friends as I am no longer physically (strength and stamina) up to doing a job I am comfortable to charge for. Thought that was worth mentioning as it brings me pleasure to help others breathe and take time out. I have always worked in administrative support positions from Girl Friday to Executive PA and everything in between and in many different industries. My last couple of jobs have been from home (virtual) and in a new field namely customer service. This shift was challenging and I am proud to say I managed it pretty well. Working from home is what is necessary at this time given my current living circumstances. This change and the challenge that came with it reminded me that I have strong determination which is a very good thing. I am concerned for my granddaughter’s generation and what life will be like for them as adults, especially the environment they will find themselves in physically, mentally, emotionally. I would love to become more knowledgeable and active in the conservation of water, a precious natural resource that as long as it comes out of the tap when we open the tap many do not really appreciate just how precious it is and therefore the need to respect and conserve it. And, I would love to see the curricula in our educational systems adapting to educating our children to be more self-aware, mindful and able to guide their minds when it comes to EQ. Easy does it.

Wamkelekile (‘Welcome’ in isiXhosa) to one and all! My name is Iman Martin – ‘Iman’ having both Arabic and African meanings for ‘faith’. Just like my name, I come from a multicultural background: my mom has Indian and Malaysian origins, while my dad is from the Griqua people/clan in South Africa. In the same vein, I am a Muslim and have Christian relatives with who I am very close. It is because of my diverse background that I feel I was raised to be both tolerant and respectful towards those that are of a different culture, religion, or ethnicity. Cape Town has been the only home I know, and I’ve never ventured far out of it. I do however envision myself travelling to different parts of the world a few years from now. I am passionate about women’s empowerment and women having the choice to choose for themselves! I have recently graduated from the University of Cape Town, with a Bachelor of Social Work (Psychology Major) and placed on the Dean’s Merit List, awarded for consistent academic achievement. Through hard work and perseverance, I was fortunate to have received a scholarship from the Department of Social Development for three of my four years of study. My mini-thesis explored the experiences and challenges of 1st-year students at UCT adjusting to university. Studying social work has not only allowed me to better understand those around me and their thought processes but also, to better understand myself and the possible reasons why I am the way I am. As part of my course requirements, I had to complete field practicals – by putting the theory that I was learning in class to practice in a real-world environment. My field practice experience ranged along a spectrum: from providing social work services to underprivileged youth in a primary school in Bonteheuwel, to interning in the more affluent area of Upper Wynberg, at an international school. This experience further fostered my innate empathy and non-judgemental outlook for those around me. I am someone who is not afraid to get my hands dirty, work hard and help out where I can: currently job hunting, I have occasionally been helping my father with renovations to his property that include painting, plastering, applying putty, etc. This has taught me many practical things that I hope to apply when I own my own house one day. A few months before now, I worked as a Personal Assistant to a therapist and social worker. This was a remote job that taught me valuable organisation and time-management skills. In my early years of study, I found myself working a sales assistant job at the Robben Island Museum Gateway store, and found that my favourite part of the job was interacting with the different tourists that happened upon our humble store and hearing their stories – where they were from and why they decided to visit SA, etc. I love reading, and since a young age, I’ve been considered a bookworm. I mainly enjoy supernatural and sci-fi novels and webcomics, as well as other forms of content such as newspaper and magazine articles (need to know what’s happening in the world around me). English was also my favourite subject at school, and I think this was also encouraged by my English-teacher mother who was quick to correct any incorrect grammar and pronunciation when my siblings and I spoke incorrectly. I often assisted her in marking her learners’ English examination scripts and as a result, am quick to pick up on spelling or grammatical errors. In my free time, I enjoy spending time with my family, long walks with my dog Ninja, and photography. This has led me to submit a piece that is currently being exhibited at the Zeits Mocca Art Museum, in their long-running ‘Home is Where The Art Is’ exhibition. Furthermore, my faith has given me strength through the darkest times and taught me to be tolerant and understanding of those around me. I am still very much figuring life and myself out as I go along and am always open to learning from those around me.

"All things are possible" I love the outdoors, travelling, animals and people. I was an ardent hiker, and this allowed me to visit some of the most amazing hiking trails in South Africa. What inspires me most is the ability to positively impact the lives of others through the plethora of skills I have acquired over the many years of experience. I have the ability to add value wherever I am placed. I am energized by strategy, new challenges, and the search for the most efficient and impactful solutions. My career began in education. As an educator I enjoyed the children. I know this will always be part of who I am as I will always be passionate about teaching and will continue sharing knowledge, mentoring, and coaching, etc. I ventured into the corporate environment as I excelled with my financial skills and thought that my career would entail the chartered accountant route. I did the required academics, got the job and my focus was numbers and more numbers. Again, I was challenged because my love for people was not satisfied. I once again did a complete change in my career by studying, job shadowing and taking on projects in the learning and development and human resource departments. One of my memorable periods was asking the CFO of the organization to give me the opportunity to split my job in two areas to show my capabilities and therefore be considered for a position that was eventually created for me. This was exciting and I thrived in this environment. I felt like I was adding value as the position focused on the growth and development of the youth, once again. I knew that I could accomplish more and add more value through venturing out on my own. I started my own business which offers the services of learning and development, strategy, human resources and finance. This has been an exciting journey with many challenges.