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  • Bedouin children are looking outside from a window of a classrooom in the unrecognised village of Abu Tlul, in the Negev Region of Israel. Numbering around 200.000 in Israel, the Bedouins constitute the native ethnic group of these areas, they farm, grow wheat, olives and live in complete self sufficiency. Many of them were in these lands long before the Israeli State was created and their traditional lifestyle is now threatened by subtle Governmental policies. The seven Bedouin towns already built are all between the 10 more impoverished towns in Israel..
    Bedouin_Negev_Israel_44.JPG
  • Hip Hop legend, Kurtis Blow, 47, mixing music during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry, one that speaks the plain language
    HipHopChurch21.jpg
  • Jeffrey Jr., 7, member of the Hip Hop Church Choir, is dancing in front of the altar at the beat of the music during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece
    HipHopChurch15.jpg
  • Hip Hop legend, Kurtis Blow, 47, playing on the mixer during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry, one that speaks the plain l
    HipHopChurch03.jpg
  • Rev. Stephen W. Pogue, the Pastor, embracing an exited  devotee after the blessing, while a young woman (left) has fainted on the floor in ecstasy, after having being filled by the Holy Spirit, at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. Other devotees are waiting in line. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibil
    HipHopChurch31.JPG
  • Family of devotees praying while awaiting to be blessed by the Holy Spirit during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of Rev. Fergusonís ministry, one th
    HipHopChurch30.JPG
  • Child being blessed by Rev. Stephen W. Pogue, the Pastor, while a young woman (right) has fell on the floor crying and invoking the Lord, after having being filled by the Holy Spirit, at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This
    HipHopChurch29.jpg
  • Members of the public invoking the Lord and praying for the Holy Spirit to descend on them during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 6, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s m
    HipHopChurch28.jpg
  • Donovan, 17, a member of the Hells Most Wanted, a Christian Hip Hop group, is dancing, Rev. Ferguson, of the Music Ministry, and co-founder of the Hip Hop Church NY, is playing music from the background,  during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibiliti
    HipHopChurch23.jpg
  • The Hells Most Wanted, a Christian Hip Hop group, and other members of the Hip Hop Church Choir, are singing and dancing in front of the altar during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? eva
    HipHopChurch19.jpg
  • A young girl worshipper is dancing at the hip hop beat during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of Rev. Fergusonís ministry, one that speaks the plain
    HipHopChurch11.JPG
  • Tykym, 18, (centre) and Michael, 17, (right) members of the Hells Most Wanted, a Christian Hip Hop group, are singing while a young member of the Hip Hop Church Choir, Ivan Bryan, 12, (left) is dancing in front of the altar, during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlig
    HipHopChurch04.jpg
  • Woman being blessed by Rev. Stephen W. Pogue, the Pastor, while other devotees are praying in silence in front of the altar, during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is t
    HipHopChurch27.JPG
  • Rev. Stephen W. Pogue, the Pastor, preaching from the altar during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry, one that speaks the p
    HipHopChurch22.JPG
  • Hip Hop legend, Kurtis Blow, 47, is singing while Christian devotees are dancing at his beat, during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson
    HipHopChurch16.jpg
  • As one of the invited guests of the week, a woman is singing a praise song to God during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry,
    HipHopChurch14.JPG
  • Christian devotees dancing Hip Hop music during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry, one that speaks the plain language of th
    HipHopChurch09.JPG
  • Tykym, 18, member of the Hells Most Wanted, a Christian Hip Hop group, is singing during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry,
    HipHopChurch08.JPG
  • Donovan, 17, a member of the Hells Most Wanted, a Christian Hip Hop group, is singing lyrics during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of Rev. Fergusoní
    HipHopChurch06.JPG
  • Darious Bryan, 10, member of the Hip Hop Church Choir, is dancing during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of Rev. Fergusonís ministry, one that speaks
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  • Rev. Ferguson, of the Music Ministry, and co-founder of the Hip Hop Church NY, is singing passionately along the Hip Hop Church Choir during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism s
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  • Cross sign outside the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. The Church is overlooked by enormous house estates. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of Rev. Fergusonís ministry, one that speaks the plain language
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  • Rev. Ferguson, of the Music Ministry, and co-founder of the Hip Hop Church NY, is preaching to those attending the Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of R
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  • A young woman devotee is praying during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 6, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry, one that speaks the plain language of the people,
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  • Christian woman dancing Hip Hop music while the Hells Most Wanted, a Christian Hip Hop group, are singing in the background, during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 6, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is th
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  • Tykym, 18, member of the Hells Most Wanted, a Christian Hip Hop group, is singing in front of the devotees during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of
    HipHopChurch18.jpg
  • Christian devotees dancing Hip Hop music during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 6, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry, one that speaks the plain language of the
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  • Ivan Bryan, 12, member of the Hip Hop Church Choir, is sitting at the mixer during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of Rev. Fergusonís ministry, one t
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  • Christian devotees dancing Hip Hop music during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry, one that speaks the plain language of th
    HipHopChurch10.jpg
  • Hip Hop legend, Kurtis Blow, 47, is singing while Christian devotees are dancing at his beat, during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of Rev. Ferguson
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  • Michael, 17, (left) and Tykym, 18, (centre), members of the Hells Most Wanted, a Hip Hop Christian group, singing lyrics for the dancing devotees during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006.  A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí
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  • Tykym, 18, (back left), Donovan, 17 (back centre) and Michael, 17, (back right), members of the Hells Most Wanted, a Christian Hip Hop group, are singing behind two young member of the Hip Hop Church Choir, Darious Bryan, 9, (left front) and Ivan Bryan, 12, during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the child
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  • Professor Zemaryali Tarzi, (right) a notable An Afghan-born archaeologist from France and teacher in Strasbourg University, is portrayed discussing with one of his assistants on the excavation field where he is searching for a legendary 300m Sleeping Buddha. The statue should be located between the original two standing Buddhas, Afghanistan, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi014.JPG
  • A Japanese woman belonging to the maintenance and restoration team in Bamiyan is working on emergency fixtures on the walls of an ancient Buddhist cave on the premises of the archaeological site. The Japanese team of experts has been visiting the town for various years to find a long-term solution to its slow but unceasing disappearance. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi030.JPG
  • Old, unusable tanks left in Bamiyan after the Russian invasion of Afghanistan are being enveloped by growing weeds while sitting as relics in what has become a field for cultivating potatoes. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi026.JPG
  • An Afghan child is carrying flowers through a field in Bamiyan, a small Afghan town mostly populated by Hazaras. The cliff where once stood the Western Buddha (55m - 'Male') is photographed after sunset in Bamiyan, Afghanistan, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi039.JPG
  • A young boy is riding his donkey home after having collected water water from a small river in Bamyan, Afghanistan. In the town there is no electricity or running water. Power is only being provided by generators or solar panels. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi009.JPG
  • Afghans are building a small local Mosque in a rocky village located near Bamyian's archaeological site. The cliff where once stood the Western Buddha (55m - 'Male') is photographed after sunset in Bamiyan, Afghanistan, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi046.jpg
  • Members of the Japanese team with the task to maintain and restore Bamiyan's archaeological site are working on emergency fixtures where the Western Buddha (55m - 'Male') once stood. The Japanese team of experts has been visiting the town for various years to find a long-term solution to its slow but unceasing disappearance. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. nce a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi031.JPG
  • A villager is harvesting wheat in one of the fields located next to the Buddhas of Bamiyan's archaeological site. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi027.JPG
  • An Afghan elder is sleeping on the streets of Bamiyan's new bazaar. The cliff where once stood the Western Buddha (55m - 'Male') is photographed after sunset in Bamiyan, Afghanistan, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi037.JPG
  • ANP officers (Afghan National Police) are posing for a portrait in their booth along Bamiyanís new bazaar. The cliff where once stood the Western Buddha (55m - 'Male') is photographed after sunset in Bamiyan, Afghanistan, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi035.JPG
  • Afghans are walking near their homes in a rocky village located near Bamyian's archaeological site. The cliff where once stood the Western Buddha (55m - 'Male') is photographed after sunset in Bamiyan, Afghanistan, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi034.JPG
  • A river running through the Hindu Kush, the mountain range crossing Afghanistan and separating Kabul from Bamiyan, is photographed from a UNAMA helicopter on its way to the capital. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi033.JPG
  • Afghan labourers are employed by Professor Zemaryali Tarzi, a notable An Afghan-born archaeologist from France and teacher in Strasbourg University, while on his hunt for a legendary 300m Sleeping Buddha statue between the original standing Buddhas of Bamiyan, Afghanistan, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi032.JPG
  • Members of the Japanese maintenance and restoration team in Bamiyan are collecting and cataloguing remains of ancient Buddhist and Islamic artefacts found on the premises of the archaeological site. The Japanese team of experts has been visiting the town for various years to find a long-term solution to its slow but unceasing disappearance. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century...Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi015.JPG
  • A Japanese woman belonging to the maintenance and restoration team in Bamiyan is working on emergency fixtures on the walls of an ancient Buddhist cave on the premises of the archaeological site. The Japanese team of experts has been visiting the town for various years to find a long-term solution to its slow but unceasing disappearance. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi013.JPG
  • An Afghan archaeologist is working on the maintenance and restoration of the Buddhas of Bamiyanís archaeological site in collaboration with a Japanese team of experts who has been visiting the town for various years to find a long-term solution to its slow but unceasing disappearance. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi006.JPG
  • Professor Zemaryali Tarzi, (left) a notable An Afghan-born archaeologist from France and teacher in Strasbourg University, is portrayed on his excavation field while searching for a legendary 300m Sleeping Buddha statue between the original standing Buddhas of Bamiyan, Afghanistan, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi003.JPG
  • An Afghan woman is walking through a field of blossoming flowers in Bamiyan, a small Afghan town mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modeled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi002.JPG
  • The cliff where once stood the two Giant Buddhas of Bamiyan is photographed after sunset in the small Afghan town, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi001.JPG
  • Maryam, 39, is holding her newborn granddaughter in front of the cave where her family dwell located inside the archaeological site of Bamiyan, central Afghanistan, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi025.JPG
  • Forests and natural beauty are very characteristic features of Bamyian, a small Afghan town in the heart of the Hindu Kush mountain range mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi023.JPG
  • The remains of ancient Buddhist art are photographed on the walls of the caves inside the Buddhas of Bamyanís archaeological site. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi020.JPG
  • Young boys are going back home after a visit to the bazaar passing by some of the caves in Bamyian that are still inhabited by a mixture of IDP (Internally-Displaced Persons) returnees and others with no chances for a better home. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi019.JPG
  • A village located along the Hindu Kush, the mountain range crossing Afghanistan and separating Kabul from Bamiyan, is photographed from a UNAMA helicopter on its way to the capital. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi040.JPG
  • Afghans are busy at a bus stop near Bamiyan's new bazaar. The cliff where once stood the Western Buddha (55m - 'Male') is photographed after sunset in Bamiyan, Afghanistan, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi038.JPG
  • The cliff where once stood the Western Buddha (55m - 'Male') is photographed after sunset in Bamiyan, Afghanistan, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi017.JPG
  • Afghan labourers are employed by Professor Zemaryali Tarzi, a notable An Afghan-born archaeologist from France and teacher in Strasbourg University, while on his hunt for a legendary 300m Sleeping Buddha statue between the original standing Buddhas of Bamiyan, Afghanistan, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi011.JPG
  • Villagers are collecting water and washing clothes next to a small river in Bamyan, Afghanistan. In the town there is no electricity or running water. Power is only being provided by generators or solar panels. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi007.JPG
  • The remains of ancient Buddhist art are photographed on the walls of the caves inside the Buddhas of Bamyanís archaeological site. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi004.JPG
  • A youngster is smoking Mandrax (methaqualone) mixed with Marijuana in Heideveld, Cape Town, RSA.  Initially marketed as a sedative or sleeping tablet by the French pharmaceutical giant Roussell Laboratories, it turned out to be highly addictive and banned in 1977. Sold illegally in South Africa, it is smoked in conjunction with Marijuana and it is the most widely used drug in the Western Cape, sold at about 30 Rands (about 3 UK pounds) per tablet. It is crushed and smoked in pipes or bottlenecks. It makes the user feel relaxed, clam and peaceful and everything looks perfect, while turning aggressive when the effect is wearing off. It requires increased usage in order to achieve the same effects and depression feelings are not uncommon with use. According to the Cape Town Drug Counselling Centre (CTDCC) it is a really difficult habit to break in impoverished communities where young unemployed are left on their own with no government help or other activities apart from crime and gansgterism. Social injustice, weakened family links and a feeling of 'not-belonging' are also causes of problems upon the ?coloured? communities in South Africa.
    Marvin_Gangster_Redemption_03.JPG
  • Women are walking home after washing clothes next to a small river in Bamyan, Afghanistan. In the town there is no electricity or running water. Power is only being provided by generators or solar panels. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi024.JPG
  • A small river running through the Hindu Kush, the mountain range crossing Afghanistan and separating Kabul from Bamiyan, is photographed from a UNAMA helicopter on its way to the capital. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols.  Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi028.JPG
  • An Afghan man is walking out of a mobile phone shop in Bamiyan's new bazaar. The cliff where once stood the Western Buddha (55m - 'Male') is photographed after sunset in Bamiyan, Afghanistan, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi036.JPG
  • Professor Zemaryali Tarzi, (left) a notable An Afghan-born archaeologist from France and teacher in Strasbourg University, is portrayed discussing with one of his assistants on the excavation field where he is searching for a legendary 300m Sleeping Buddha. The statue should be located between the original two standing Buddhas, Afghanistan, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi022.JPG
  • A section of the Hindu Kush, the mountain range crossing Afghanistan and separating Kabul from Bamiyan, is photographed from a UNAMA helicopter on its way to the capital. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi021.JPG
  • An Afghan man who witnessed the destruction of the Buddhas of Bamiyan by the hands of the Taliban is portrayed near his home in a rocky village by the archaeological site. The cliff where once stood the Western Buddha (55m - 'Male') is photographed after sunset in Bamiyan, Afghanistan, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi018.JPG
  • The remains of the feet belonging to the Western Buddha (55m - 'Male') are photographed in Bamiyan. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi016.JPG
  • Afghan workers are busy with the maintenance and renovation of the Buddhas of Bamyanís archaeological site. The Buddhas of Bamyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi005.JPG
  • Two tourists are looking at rocks collected from the remains of the original Western Buddha (55m - ëMaleí) in Bamiyan. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi012.JPG
  • The remains of the Western Buddha (55m - 'Male') are photographed in Bamiyan. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi010.JPG
  • The remains of ancient Buddhist art are photographed on the walls of the caves inside the Buddhas of Bamyanís archaeological site. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi008.JPG
  • An old building in ruins is photographed in Bamiyan, in the heart of the Hindu Kush mountain range, central Afghanistan. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi029.JPG
  • A boy and his father are transporting gas cylinders with the use of donkeys in a small town on the road from Kabul, the capital of Afghanistan, to the mountain village of Bamiyan, located on the Hindu Kush range. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi048.jpg
  • Ritu Gaur, 13, is sitting in her family home in Chittawaliya village, rural Sehore. Ritu lives in the Jamoniya Tank Girls Hostel by her school, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Pupils are having breakfast in the early hours of the morning inside the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu lives in the Jamoniya Tank Girls Hostel by her school, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (centre) is praying in the early hours of the morning with other pupils in front of the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • An Afghan man is carrying a papaya on the streets of Bamiyan's new bazaar. The cliff where once stood the Western Buddha (55m - 'Male') is photographed after sunset in Bamiyan, Afghanistan, an area mostly populated by Hazaras. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi049.jpg
  • Ritu Gaur, 13, (front right) is praying in the early hours of the morning with other pupils and Sushila Chourasiya, 53, the assistant warden of the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (centre right) is participating to a Skills Development class led by Mr Anil Gulati, (right) Unicef Communication Specialist for Madhya Pradesh, inside the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, is talking to other pupils during a Skills Development class in the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu lives in the Jamoniya Tank Girls Hostel by her school, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (second from left) is talking to her roommates inside their dorm in the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, is kicking a soccer ball in front of the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, is smiling to her teacher during a class on the roof of the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (centre) is playing Ball Relay with other pupils in front of the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (centre) is throwing a ball towards her classmates while playing Circle Dodgeball in front of the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Villagers are collecting water from a small river in Bamyan, Afghanistan. In the town there is no electricity or running water. Power is only being provided by generators or solar panels. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi047.jpg
  • An Italian archaeologist is working on the maintenance and restoration of the Buddhas of Bamiyan's site in collaboration with a Japanese team of experts who has been visiting the town for various years to find a long-term solution to its slow but unceasing disappearance. The Buddhas of Bamiyan were two 6th century monumental statues of standing Buddhas carved into the side of a cliff in the Bamiyan valley in the Hazarajat region of central Afghanistan, situated 230 km northwest of Kabul at an altitude of 2500 meters. The statues represented the classic blended style of Gandhara art. The main bodies were hewn directly from the sandstone cliffs, but details were modelled in mud mixed with straw, coated with stucco. Amid widespread international condemnation, the smaller statues (55 and 39 meters respectively) were intentionally dynamited and destroyed in 2001 by the Taliban because they believed them to be un-Islamic idols. Once a stopping point along the Silk Road between China and the Middle East, researchers think Bamiyan was the site of monasteries housing as many as 5,000 monks during its peak as a Buddhist centre in the 6th and 7th centuries. It is now a UNESCO Heritage Site since 2003. Archaeologists from various countries across the world have been engaged in preservation, general maintenance around the site and renovation. Professor Tarzi, a notable An Afghan-born archaeologist from France, and a teacher in Strasbourg University, has been searching for a legendary 300m Sleeping Buddha statue in various sites between the original standing ones, as documented in the old account of a renowned Chinese scholar, Xuanzang, visiting the area in the 7th century. Professor Tarzi worked on projects to restore the other Bamiyan Buddhas in the late 1970s and has spent most of his career researching the existence of the missing giant Buddha in the valley.
    Bamiyan_UNESCO_Alex_Masi045.jpg
  • Ritu Gaur, 13, (centre/right) is sitting with her father, Sanjay, 45, (left) her younger brother, Pawan, 11, and her older sister, Malti, 17, (right) insider their home in Chittawaliya village, rural Sehore,  Ritu lives in the Jamoniya Tank Girls Hostel by her school, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (left) is walking with her older sister, Malti, 17, (centre) and her younger sister, Shalu, 12, (right) on a road of her village, Chittawaliya, in rural Sehore, Madhya Pradesh, India. Ritu lives in the Jamoniya Tank Girls Hostel where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (left) is taking a pot of drinking water inside the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (centre) is smiling while consuming a meal inside the MS Jamoniya Tank Schhol, near Sehore, Madhya Pradesh, India. Ritu lives in the adjacent Jamoniya Tank Girls Hostel, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (fourth in the left line) is celebrating her team's victory in the game of Hurdle Race in front of the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (centre right) is participating to a Skills Development class focusing on sawing, led by Sushila Chourasiya, 53, the assistant warden of the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (bottom left) is studying on her bed inside a dorm of the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (top left near ball) is playing in a circle with other pupils in front of the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
  • Ritu Gaur, 13, (centre) is stretching in the early hours of the morning with other pupils in front of the Jamoniya Tank Girls Hostel, near Sehore, Madhya Pradesh, India, where the Unicef India Sport For Development Project has started in 2012. Covering 313 state-run girls’ hostels and 207 mixed hostels in Madhya Pradesh, the project ensures that children from Scheduled Tribes (ST) and others amongst the poorest people in India, can easily access education and be introduced to sports. Field workers from Unicef also oversee their nutrition and monitor the overall conditions of each pupil.
    Unicef_Sport_For_Development_MP_Indi...JPG
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