Mes: febrero 2022

If in some cases these players have an emotional connection to the country for which they became naturalized, in other cases that no longer happens.

At a time when it is quite normal for football clubs to field foreign football players, clubs like Athletic Bilbao from Spain and Hrvatski Dragovoljac in Croatia, go against the grain in their insistence on fielding only local players.

However, when it comes to most national teams, the acceptance of foreign players is viewed differently, when they include players that can only be described as nationals in a very loose sense.

Yet this is not a recent trend and in fact the practice had been going on prior to World War II as is the case of the German team that absorbed the best Austrian players and even forced Ernst Wilimowski of Poland into its squad during the occupation of Poland.

Before the 1934 World Cup, Italy naturalized a number of fantastic South Americans of Italian descent, like Demaria, Orsi, Monti, and Guaita who helped the «azzurri» win the World Cup against Czechoslovakia.

Ferenc Puskas became a Spanish citizen after the bloody Soviet invasion of Hungary in 1956. Spain also gave passports to another Hungarian Ladislav Kubala, as well as the Argentinian national Alfredo Di Stefano who was of Italian descent. More recently, Donato Silva of Brazil represented the Spaniards.

Picking naturalized players for national teams knows no borders.

The World Cup 2010 in South Africa will have many players that were born in one country but chose to represent another. In many cases they came from former colonies, a situation quite common in the French team that won their only world title with the precious help of players born in former French territories.

Would «Les Bleus» have been so successful without great African players like Zinedine Zidane (Algeria), Patrick Vieira (Senegal) or Marcel Desailly (Ghana), Caribbean Islands reinforcements like Lilian Thuram and Thierry Henry (Guadalupe) or Christian Karembeu (New Caledonia in the Pacific Ocean) as well as Robert Pires (Portugal) David Trezeguet (Argentina), Youri Djorkaeff and Alain Boghossian, both from Armenia? It looked more like a World XI team that brought the World Cup and European Championships trophy home, to France. Michele Platini one of the best French players of all time was Italian.

Germany soon filled the absence of Klinsmann, Bierhoff and Kirsten when they retired. Players like Rink and Cacao (Brazil), Bobic (Slovenia), Dundee (South Africa), Neuville (Switzerland), Asamoah (Ghana), Mehmet Scholl (Turkey) Kurany (Brazil) as well as Littbarski, Klose and Podolski (from Poland). Poland’s national team has also adopted Emanuel Olisadebe of Nigeria.

Holland started using many fantastic players like Clarence Seedorf, Edgar Davids, Ruud Gullit, Patrick Kluivert, Frank Rijkaard, Pierre van Hooijdonk and Aaron Winter just to name some of the best, all from Surinam, a former Dutch colony in South America. Philip Cocu was French but played for the Orange team.

Despite being a recurrent process, FIFA has been battling to reverse the growing trend of naturalized players. Some measures however, have been taken to change things in the right direction.

FIFA has increased from two to five years the time required in which the player must live in a country, before beginning the process of naturalization. There is also the requirement that the player had never represented his nation of origin, including at youth level.

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Argentina have some of football’s biggest names doing duty at this year’s World Cup. Enough to cause sleepless nights to players and coaches of every team likely to play against them, in South Africa.

But the last year has been anything but smooth. For many Argentinians, Maradona is God. They even have a Church of Maradona, with over 100,000 registered followers. Once you accept the premise that God can do no wrong, the results can be mixed, to understate things a bit.

One result was 88 players turning out in the space of a year. The fall out was absence of rhythm and an abject showing in the qualifiers, where a match against Peru went into injury time, and Argentina was only just bailed out by Palermo. The scene was repeated against Uruguay, the rescuer on the occasion Bolatti, and not a moment too soon, with just six minutes of regulation time to go.

Another was a public falling out of Maradona and Rikelme, with the coach airing his grievance against the star player, on national television. Argentina will surely miss Riquelme.

Maradona’s love-hate relationship with journalists shows no sign of abating, especially after his team selection, which is perceived as being top heavy, with its accent on attack, at the expense of midfield comfort.

Take a look at the in-form forward line. Between them, Lionel Messi, Carlos Tevez, Diego Milito, Sergio Aguero, Gonzalo Higuain, and Martin Palermo have scored 163 times in 250 club appearances, this year.

Even the Spanish Armada of David Villa, Fernando Llorente, Pedro Rodriguez and Fernando Torres pales before this sextet.

But this philosophy of attack at any cost has an expensive prize tag – a ragged midfield. Only 7 midfielders, Juan Sebastian Veron, Javier Mascherano, Jonas Gutierrez, Angel Di Maria, Maximiliano Rodriguez, Javier Pastore, and Mario Bolatti, could find a place. The lopsided selection could make the team vulnerable in the event of injuries, owing to the absence of midfielder back-ups.

The team will surely keep the scoreboard busy in their group B matches against Nigeria, South Korea and Greece.

This is especially so as there is no other team in the group that is likely to test the Argentine defence, but the story could alter greatly, in the round of 16 and beyond.

Argentinian fans must pray (preferably, in the Church of Maradona) that Plan A succeeds. Because there’s no Plan B.

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Sacred Dance has nothing to do with a specific dance style or with particular body techniques. The dancer moves in a way that unities his or her Mind, Body and Spirit with a Higher Spiritual Energy. It is not of importance whether we call this energy «God», «The Creator», «The Great Spirit», «Nature», «The Cosmos» or anything else. What is important is that this results in the dancer feeling spiritually uplifted and filled with joy.

Dance is clearly one of the earliest forms of worship. Cave art from early prehistoric times onwards bears witness to the power of the dance. Such paintings and engravings occur worldwide. In the western part of Arnhem Land in Australia a cave painting shows two men playing instruments to accompany the dance. A rock shelter at Cogul near Lenda in Catolonia, Spain portrays a group of nine women. They are wearing knee length skirts and are dancing round a small naked male figure. The State of Madhya Pradash in India has abundant rock art depicting dancers and musicians. The caves in Tassili Algeria have paintings of female dancers and the Etruscans in 500 BC depicted dancing in wall frescoes.

Certain dances mimic animals or are aimed to ensure that something happens. For example hunters in ancient times are shown in cave paintings dancing wearing animal skins and masks. We can safely assume that this was to ensure good hunting. Dances miming the gathering of the harvest must also be of ancient origin. As time has passed such dances have become folk dance rather than sacred dance.

Sacred Dance is often preceded by elaborate secret preparations such as bathing, avoidance of certain foods and drinks and from sexual intercourse. There may be periods of intense prayer and the taking of trance inducing substances.

One of the best documented European sacred dances is that connected to the cult of the Greek god Dionysus. The rituals in his honor included orgies, the sacrifice of animals, excessive wine-drinking and trance dancing which continued until the dancers collapsed with exhaustion.

Judaism had no problem with dance being connected to worship. Psalm 150 for example:- «Praise ye the Lord… Praise him with the timbrel and dance». King David is said to have whirled before the Ark of the Covenant. In the Talmud dancing is described as being the principal function of angels.

Dance was part of the service in the early Christian church. It took place in the choir and was led by the bishop. Today there are Christian churches who are reintroducing dance sometimes in a very self-conscious style.

Sacred Dance can in itself be therapeutic.

The Shakers, who were an offshoot of the Quakers were brought to America from England in 1774 by Ann Lee. A vision had told her that sexual intercourse was the source of mankinds’s troubles. She established a closed community which practised self-sufficiency and communal ownership of all possessions. The Shakers had a deep understanding of the aesthetic of simplicity which showed itself in all aspects of their lives.

Shaker dances were held in the evening. Men and women entered the hall separately. They marched in on tip-toe and formed two rows facing each other about five feet apart.Men were on the right with the women on the left. The Chief Elder stood in the middle and gave a five minute address. He concluded by saying «Go forth, old men, young men and maidens and worship God with all your might in the dance». Men and women did not intermingle. There were pauses to see if anyone had received «a gift». Then two of the sisters would start whirling like tops with their eyes shut. They continued whirling for about 15 minutes when they stopped suddenly and sat down again.

There are no longer any viable Shaker communities and the dances have therefore died out. A certain number of their hymns, however, continue to be sung in various other churches.

An ancient Sacred Dance tradition continues to this day in Turkey, the Middle East and North Africa. The Sufis (who represent the mystical side of Islam) have whirling dances. In Turkey the tradition traces back to Celaleddin Mevlana Rumi who died in 1273. His son organized his followers into the brotherhood of whirling dervishes now known as the Mevlevi.

When Ataturk gained political power in the early years of the twentieth century he abolished the dervish orders and turned the monasteries into museums. They were revived in 1957.

The significance of the dervish dance is connected to the sun, the moon and the revolving stars. The worshippers wear clothing which has symbolic meaning. The tall conical felt hats signify the tombstones and therefore the death of the dancers egos. The white robes represent the shrouds around their egos. The flowing black cloaks symbolize the dancers being trapped in worldly tombs.At the beginning of the ceremony the cloaks are removed to symbolize the worshippers deliverance from the cares and attachments of this world.

The dance is accompanied by a reed flute. After a series of rituals the worshippers reach a point where they are all simultaneously whirling with their right hands held palm up to receive the blessings of heaven. They hold their left hands palm down to transfer the blessings to earth.

Although non-participants are allowed to view the ceremony the dances remain true Sacred Dances for those taking part and for many of those watching. Dervish music should never be used for secular purposes, especially not to accompany oriental dance. The chants are prayers and should be respected as such.

Today Africa remains rich in the area of traditional Sacred Dance. The Yoruba of Western Nigeria have many traditions of deities dancing. Some are said to be able to dance on one leg. Sango (who is associated with thunder) consulted Orunmila (who is associated with divination and wisdom) as to how he could acquire permanent wealth. Orunmila’s advice was for Sango to acquire a splendid outfit onto which he should sew as many cuaris as he possibly could. Cauris were once used as currency and are thus a sign of wealth. People seeing Sango so splendidly dressed would assume that he was wealthy. Orunmila told Sango that he should dance around wearing this outfit. The outcome was that through dancing and asking for alms Sango became very rich. Sango priests carry axes when in company or on parade. Sango priests wear feminine hairstyles, beads around the neck and earrings on festive occasions. The dances for Sango are very fast and athletic. All the deities have their associated dances. To be unable to dance is to be unable to worship properly.

In Ghana I have seen young men dancing in trance and slashing at themselves with razor sharp cutlasses. The ferocious slashing never broke the skin or even left a mark. I have also witnessed Sacred Dances to the deities of the Thunder Pantheon. Here older female cult members wandered among the crowds making suggestive gestures with a wooden phallus. The performance was supposed to be amusing and it was. There were also conjurers on hand changing sand to powdered white chalk. Anyone could come and watch the dances if they showed the proper respect to the deity. This meant that both men and women had to be bareheaded. The men had to tie their cloths around the waist so that they were bare-chested and women had to tie their cloths under the armpits.

West African Sacred Dances tend to be danced outdoors often at night. The dancers come onto the circular dance area and leave it as they see fit. They may all be dancing the same steps but each dancer expresses them in his or her own way. Everyone dances as a group but has their own «space» within it. The dancer and the choreographer are one and the same person.

Africa stands in grave danger of losing its Sacred Dances due to the dwindling number of people adhering to the traditional religions. Only cult members may dance the Sacred Dances. Members of Christian churches and Followers of Islam have always not unsurprisingly been expressly forbidden to take part in any Sacred Dances and the number of converts is increasing. Some Christian churches allow a certain amount of drumming and dancing during services. Both the drumming and dancing have little «life force» or visual and aural interest. Musicians are beginning to create new genuinely african Sacred Songs for the church. If anyone knows of choreographers working to create authentic african contemporary Sacred Dance I would love to hear about it.

The cults need younger members. If they fail to materialize then the Sacred Dances will not evolve within their true context. The dances will either die out or become shadows of themselves as social dances danced by all and sundry simply for pleasure.

I have written very little indeed about the music which is of equal importance to the dance. The music is a subject in itself. If you are interested in African Rhythms I suggest that you try and get hold of «An Approach to African Rhythm» by Dr Seth Cudjoe published by the Institute of African Studies, University of Ghana, Legon.

The Sacred Dances of Bali, Indonesia are a beautiful prayer made manifest. Wali are Sacred Dances indispensably connected with rituals of the same name. They take place on the first day of a ritual, in the inner courtyard of the temple.

Sanghyang Dedari and Sanghyang Jaran are both Sacred Dances. I witnessed Sanghyang Dedari in which two little girls danced in a trance mirroring each others movements. Their eyes were wide open but they were said to see nothing. At the conclusion of the dance they were brought out of trance by a white-clad priest who sprinkled holy water on them.

Sanghyang Jaran is a very spectacular dance in which A young man wears a belt attached to which is a horse’s head woven from coconut fronds. This young man was put into trance by a priest. He then ran prancing like a horse into a fire of coconut husks.After which he stood still for a while before jumping around Next he moved out of the fire and the burning husks were raked together before once again the young man danced into the fire. The third time he did this he actually sat in the embers and rolled around. At some crucial point, not identifiable to those watching, the young dancer was pulled clear and helped out of his trance.

The Balinese are devout Hindus and the Sacred Dance tradition is treasured, appreciated and is still very much a part of every ones lives.

Let us hope, that in the parts of the world where there is still genuine Sacred Dance it will not degenerate into a spectacle where we are aiming to influence an audience rather than the Spiritual World.

If you have any comments or questions I shall be delighted to hear from you. You can contact me via my website.

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Learning how to touch a girl will allow you to gauge her level of comfort with you every step of the way of how you relate with her from a date, to holding her hands, to kissing, to foreplay, and to lovemaking.

When you understand how to touch a woman she will be melting into your touch, smiling, or rolling her eyes back, and then you can lead her further in exploring her sensual and sexual opening.

If she is tensing up, crossing her arms, or moving away, then you know that she is not yet ready for that level of touch intimacy.

If you are not with a girl right now, get a piece of fabric and practice touching it in the ways that I will go over.

If you are dating or in a relationship, put these distinctions into practice this week!

Think of it as practicing your kicks in martial arts, foul shots in basketball, serves in tennis, and driving in golf. In beginning to learn how to touch a girl, you will have to dedicate yourself to the art of touch.

If you are uncomfortable with touch in general, start to get comfortable and touch everyone and everything around you. When I say touch, I don’t mean grope, I don’t mean just walking up and directly and grabbing someone. While learning how to touch a woman, everything needs to be smooth and progressive rather than rough and abrupt. This means your initial touch might be a light brush that lasts half a second.

I will start you off with some mindsets you need to have as you begin to get comfortable with touching girls.

How to touch a girl tip #1: Stroke her as you would a cat

When you touch or stroke your woman, approach slowly, gently, softly, and with no sudden movements. Be intentional and sensitive in your touch. Feel into what parts of her is relaxing into you and whether to use broad or short strokes.

Notice the speed of your touch, the rhythm of your touch, and how to use your body as part of the touch. If you are not sensitive in your touch, a cat will run away or even scratch you. Same thing with a woman, so practice your ability to touch women with delicate artistry

How to touch a girl tip #2: Touch her as if you have all the time in the world

Most guys mess up with girls and make them feel creeped out because they’re in a hurry. The girl can tell that the guy is after something – sex. Even if the touch is brief, the sense of timelessness can linger with her if you touch her with presence.

If you can use your touch to lead her out of her mind, the busy day, and the stress and tension of life into a realm of timeless pleasure, then you will become a haven for her. The way you touch her will convey to her what kind of a lover you are in bed so make it feel like an eternity.

Girls will be wishing they could be with you and stay with you long after you’re gone if you can create these kinds of feelings and moments.

How to touch a girl tip #3: Touch her as much as you can

Girls love being touched. They crave it actually. Of course, they don’t want to be touched by just any man, or in any way. A woman has to be feeling some kind of existing connection to you before she’s ready to be touched sensually and often by you. Create that readiness in her through your words and attitude first.

Playfulness and humor are always a great place to come from to get a woman to open up to you on a more sensual level. When a girl says something funny, touch her as a way to connect. You’ll notice that when you say something funny, women will often touch you as they laugh. When she does something incredible, or shows a part of her personality that you really enjoy, touch her as a sign of your approval.

When she is tense, but her body language is open, give her a massage. When she feels a bit stressed, pull her toward you and hold her.

If you are having dinner, sit next to her and stroke her hair to add to the pleasure and sensations from the food. You get the idea.

How to touch a girl tip #4: Romance her with your touch

Almost half of all books sold in the US are romance novels. This shows you how much women want romance.

Give her what she wants! Touch her as if you are an amazing lover waiting to sweep her off her feet. Hold her and create a protective bubble where the rest of the world does not exist for a moment. Enchant her with the way you draw her out with your touch. Express your passion for her through your touch.

How to touch a girl tip #5: Touch her as if she means the world to you

This mindset might feel like a stretch in the beginning, but with time, it will become more and more natural to who you are, and you will naturally give more of yourself when relating with women.

How would you touch her if you chose her 100%?

If this is the woman you cherished beyond almost anything in your life, your car, your house, your money, anything you possess, how would you touch her?

How would you touch a girl who you would risk your life to protect?

Feel into all of these questions and transfer the feeling into your touch.

If you are already practicing a bulk of these distinctions in touch, then congratulations, you are way ahead of the game. If you haven’t been, or if you didn’t even know that you can have these mindsets and practices, then today is the day to start!

There is no time like the present. Practice petting a dog, a cat, or a piece of fabric if your girl isn’t around. If you are dating or are in a relationship, put these principles into practice immediately. You will accelerate your knowledge in how to touch a woman through practice, so just do it! You are just getting a peek into what’s available to you in your possibilities as a man. Get into action and put these principles into practice and make some women happy!

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