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"Ammawarune (Elegy for a Mother) () is a 2006 Sri Lankan Sinhala drama film directed by Dr. Lester James Peries and produced by Jagath Wijenayake for Silumina Films. It stars Malini Fonseka, and Pradeep Dharmadasa in lead roles along with Roshan Pilapitiya and Sanath Gunathilake. Music composed by veteran musician Premasiri Khemadasa. It is the last film directed by Lester James Pieris as well. It is the 1081st Sri Lankan film in the Sinhala cinema. The film screened in many countries such as Australia and New Zealand on a special request. Plot Sumanawathie's elder son is a Buddhist monk. Her daughter has run from home and married a man who ignores and quarrels with the daughter. Sumanawathie's younger son Saliya gets a job as a soldier. Sumanawathi gets upset as she is left alone in her house. As the film progresses she gets to know that her son has disappeared during a war operation. Her health declines rapidly. After a long time, Saliya comes again to her home alive. Meanwhile her elder son is killed by terrorists when he travels with a team to distribute goods to the poor people. Cast * Malini Fonseka as Sumanawathie * Pradeep Dharmadasa as Kashyapa Hamuduruvo * Roshan Pilapitiya as Saliya * Gayani Gisanthika as Premalatha * Asoka de Zoysa as Ranbanda * Tissa Abeysekara as Ven. Rathanapala Thero * Sanath Gunathilake as Doctor * Douglas Ranasinghe as Divisional Secretary * Manjula Kumari as Sunanda * Daya Thennakoon as Appuhamy * Sarath Kothalawala as Rogus * Thesara Jayawardane as Doctor's wife * Palitha Silva as AGA officer References Sri Lankan films 2006 films Sinhala-language films 2006 drama films Sri Lankan drama films "
"Intersex rights in China including the People's Republic of China, the Hong Kong Special Administrative Region, etc., are protections and rights afforded to intersex people through legislation and regulation. Obligations also arise in United Nations member states that sign international human rights treaties, such as the People's Republic of China. Intersex people in China suffer discrimination. Issues include both lack of access to health care and coercive genital surgeries. History In February 2018, Asian intersex activists published the Statement of Intersex Asia and the Asian Intersex Forum, setting out local demands. Physical integrity and bodily autonomy thumbright260px Small Luk (Hong Kong) describes traditional Chinese society as patriarchal, promoting the sex assignment of intersex children as boys wherever possible. She states that the "one child policy" in mainland China led to the abandonment, neglect and deaths of many intersex infants. Both Luk and Taiwan activist Hiker Chiu have disclosed personal histories involving unwanted medical interventions. Chiu says that surgical "normalisation" practices began in Taiwan in 1953. Intersex medical interventions are encouraged as early as possible in both Hong Kong and the People's Republic. A 2014 clinical review of 22 infants with congenital adrenal hyperplasia in Hong Kong, for example, shows that all infants in the study received clitorectomies. It also showed a preference for early surgeries when infants are aged 1–2 years, and an assessment of surgical success focusing on genital appearance and necessity for further cosmetic surgeries. The cost of medical interventions in the People's Republic of China makes medical treatment inaccessible, resulting in fewer coercive interventions but exacerbating health issues for some individuals, and issues of abandonment and violence. In a submission to the United Nations Committee Against Torture in 2015, Beyond the Boundary - Knowing and Concerns Intersex raised concerns about lack of self-determination in Hong Kong and China, forced medical interventions in Hong Kong, lack of government assistance and marriage rights, and problems with violence and discrimination. In a response to submissions for Hong Kong, the United Nations Committee published recommendations calling for the postponement of "non-urgent, irreversible medical interventions" until children are old enough to provide full, free and informed consent. The committee called for an investigation into forced, involuntary and coercive practices in the People's Republic, along with measures to protect the autonomy and "physical and personal integrity of LGBTI persons". Protection from discrimination thumbright260px Press reports in 2015 and 2016 have provided examples of abandonment, neglect and even attempted murder. The South China Morning Post reported the abandonment of an intersex baby in a part in Shandong province in mid-2015, followed by allegations of attempts to murder an intersex infant as a "monster", in Henan province, in mid-2016. In 2017, the Hong Kong Equal Opportunities Commission together with the Gender Research Centre of the Hong Kong Institute of Asia-Pacific Studies at the Chinese University of Hong Kong asked the Hong Kong government to introduce legislation offering protection against discrimination on the grounds of sexual orientation, gender identity and intersex status. Claims for compensation The United Nations Committee Against Torture has called for compensation for involuntary and medically unnecessary medical interventions in both the People's Republic of China and Hong Kong. Identification documents Small Luk has campaigned for self-determination of gender identity, and also for third gender recognition in Hong Kong. Rights advocacy in Greater China region The first people to publicly disclose being intersex were Hiker Chiu of Oii-Chinese, based in Taiwan and founded in 2008, and Small Luk of Beyond the Boundary - Knowing and Concerns Intersex, Hong Kong, founded in 2011. Chiu started a "free hugs with intersex" campaign at Taipei's LGBT Pride Parade in 2010. Oii-Chinese also gives lectures and lobbies government. The aims of Beyond the Boundary - Knowing and Concerns Intersex are to raise public awareness about intersex people and promote the rights of intersex people, including ending forced genital normalising surgery and conversion therapies. Luk urges the Hong Kong government to educate the public about intersex conditions, extend anti-discrimination laws to cover intersex people and stop foisting surgery on intersex children without consulting them. See also *Oii-Chinese *Intersex rights in Taiwan *Intersex human rights *LGBT rights in China *Transgender in China References Bibliography LGBT rights in China Human rights in Asia "
"Ivan Efimov ( 11 February 1878 – 7 January 1959) was a Russian sculptor. Along with his wife, Nina Simonovich-Efimova, the couple founded the tradition of Soviet puppet theater. In addition to puppet design, Efimov was noted for his book illustration and sculpture. He created pieces for the Central Museum of Ethnology, the North River Terminal, several metro and railway stations and the Grand Kremlin Palace. Internationally his sculptures were awarded gold medals in 1937 at the Paris World Exhibition and in Russia he was honored as both an Artist of the Russian Soviet Federative Socialist Republic (RSFSR) and the People’s Artist of the RSFSR. Early life Ivan Semyonovich Efimov was born on 11 February 1878 in Moscow. His father, Semyon Grigorievich Efimov, was a government official and the illegitimate son of a Ukrainian peasant woman. His mother descended from the Demidov family of whom the forebear, Nikita Demidov, a blacksmith from Tula, pioneered the production of iron ore in the Ural Mountains. Efimov grew up in an aristocratic milieu in the Tambov province on an estate known as "Otradnoe", to which later he would take his young bride. At a young age, he was sent to a military school, which had a profound effect on him. He felt imprisoned and cut off from nature, which led to his creating handcrafted toy animals. In 1896, Efimov completed his studies at the , which had been founded by , and then took private art lessons with for two years. Between 1898 and 1901, he studied natural science at Moscow University, simultaneously taking painting courses under Valentin Serov and sculpture classes with Anna Golubkina at the art school founded by Elizaveta Nikolaevna Zvantseva. Between 1905 and 1908 he worked in Abramtsevo Colony in the ceramic workshop of Savva Mamontov creating toys, while continuing his studies at the Moscow School of Painting, Sculpture and Architecture () with Serov, and studying sculpture with Sergei Volnukhin. In April 1906, he married fellow student and Serov's cousin, Nina Yakovlevna Simonovicha and in 1909 the couple took a break from their studies at the Moscow School and went to Paris. Between 1909 and 1911, Efimov worked in the studio of Antoine Bourdelle and beginning in 1910 studied sculpture with and mastered the art of etching under the direction of Elizaveta Kruglikova. He joined the circle of Russian artists working in Montparnasse and took inspiration from nature at the Paris Menagerie. In 1911, the couple briefly returned to Moscow, where Simonovich- Efimova completed her studies at the Moscow School before they moved to Lipetsk in 1912, spending several months on the Efimov family estate. By the end of the year, they were back in Moscow and Efimov had returned to his studies at the Moscow School. He graduated with the title of sculptor in 1913 with his presentation pieces, Bison and Passion and almost immediately went into service in World War I. Career After the October Revolution, Efimov was hired to teach at the Second State Free Art Studio in 1918, continuing his affiliation with the school when it was replaced by the Higher Art and Technical Studios until 1930. In 1918, he joined his wife in organizing a puppet theater in Moscow and together with her created puppets, costumes and scenery for their mobile theater, which operated until 1943. Some of his most known works were for their productions of Hans Christian Andersen's The Princess and the Pea (1918) and Shakespeare's Macbeth (1921). They created the first professional puppet theater in Russia and utilized innovative techniques with rods. The pair also worked in shadow theaters using the art of silhouettes. For his own sculptures, Efimov preferred to depict the essence of animals. He was not interested in their portraiture, but rather in capturing the typical characteristics of his subject. He also rejected traditional media like marble and stone, preferring to work with cement, clay, glass, metal or wood, which placed his works in the folk art tradition. He tried to capture the natural movement as well as characteristics. His sculptures "Ostrich" (1935) forged from copper with spiraling copper plumes and "Ram" (1938) made with loose curls of copper wire crowned by tightly spiraled wire horns, exemplify his works. Placing them in habitat was also important for Efimov, employing various techniques, as in his copper sculpture "Fish". The fish is attached via a wire to a copper sheet in the shape of a water lily, which in turn is perched on a three-dimensional piece of glass, representing water. Efimov also worked on book illustrations, in such works as The Cat, the Goat and the Ram (, 1924), Aesop's Fables (, 1925), How the Animal Cart Awoke (, 1927), Mena (, 1929) and Mordovian epic (, 1930). In the early 1930s, he participated in anthropological studies of Bashkiria and Udmurtia for the Central Museum of Ethnology (), which in the early 1930s was located at the adjacent to the . Thereafter, Efimov worked from 1932 to 1933 to create an installation, "History of Russia in Mannequins" for the same museum. Between 1935 and 1937, he sculpted a fountain, "Dolphins" for the North River Terminal and between 1936 and 1937 created the sculpture "Old and New Moscow" for Gorky Central Park of Culture and Leisure. In 1937 two of his sculptures, "Fisherman with Fish" and "Bull" received the gold medal at the World Exhibition in Paris. Efimov designed reliefs for two of the Moscow metro stations, Paveletskaya and Avtozavodskaya (1942-1943); two of the Moscow railway stations, Yaroslavl (1946-1947) and Leningrad (1948); and for the winter garden at the Grand Kremlin Palace (1952). In 1955 he was designated as an Honored Artist of the Russian Soviet Federative Socialist Republic and three years later, in 1958, Efimov was honored as the People’s Artist of the RSFSR. Death and legacy Efimov died on 7 January 1959 in Moscow. He has works in the permanent collections of the Pushkin Museum, the State Museum of Ceramics at the "XVIII Century Manor of Kuskovo", the State Russian Museum, and the State Tretyakov Gallery. Posthumous exhibitions of his work were held in Moscow and Leningrad between 1959 and 1960, in Moscow in 1970, and in Kaluga, Obninsk, and Moscow in 1975. References =Citations= =Bibliography= * 1878 births 1959 deaths People from Moscow 19th-century Russian sculptors 19th-century male artists 20th-century Russian sculptors 20th-century male artists Russian puppeteers Animal artists "