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The magician announced, "Tricksters are calling themselves magicians. Soon magicians will be called tricksters! I cannot allow that to happen. So tonight, I bring you real magic." Ismail and Hassan, and everyone in the audience are amazed by Jadugar's act. Bur is it really magic? Ismail thinks not. Until he and Hassan are swept into The Magician's Turban! About the Short Chapter Book Series The Short Chapter Book Series is an attempt to inculcate the love of reading in all children, transitioning beginning readers to more advanced readers, and reluctant readers into beginning readers. The books are also read-alouds for younger readers who are able to follow a story but have not learnt to read fluently. Early readers will delight in being able to read the whole book by themselves, and will move on to bigger books. For reluctant readers, the length of the book will make it easier to get them to read, and introduce them to the magic of the written word. Younger readers may be encouraged to read a chapter or two, with the rest of the book being read aloud to them. The books in this series have short chapters, and the average word count of a book is 5000 words. The series also introduces children to different genres. Dearie is an animal story, The Magician's Turban is a fantasy, Krishta - Daughter of Martev is a science fiction book, and The Forbidden Forest is an adventure tale, and so on.
The magician announced, “Tricksters are calling themselves magicians. Soon magicians will be called tricksters! I cannot allow that to happen. So tonight, I bring you real magic.” Ismail and Hassan, and everyone in the audience are amazed by Jadugar’s act. Bur is it really magic? Ismail thinks not. Until he and Hassan are swept into The Magician’s Turban!
In this retelling of a Persian tale, two brothers lose their father and are left to split his estate between them. While the older brother uses the money soundly and secures his future, the younger brother spends his money and becomes a beggar, asking the older brother for help. Eventually, the older brother abandons the younger, hoping the younger will learn to live on his own. Luckily for the younger, he comes across a magic sword, carpet, and turban and, through adventures with a princess and the King of Demons, finds himself in a comfortable life, after all.
ÿISSN: 2397-9607 Issue 438 In this 438th issue of the Baba Indaba?s Children's Stories series, Baba Indaba narrates two Tibetan Fairy Tales ? ?The Magic Turban, The Magic Whip And The Magic Carpet? Turkish fairy tales have a gravity of their own and are more often than not full of wisdom. In Turkish Fairy Tales, you will find various kinds of magic, such as talking animals, flying horses, birds that magically change into beautiful maidens, quests to win the hand of a princess, magical objects, simple, yet brave, peasants, wizards, witches, dragons and dungeons, epic journeys, and loveable fools. Our story goes thus??a long time ago there two brothers, who no longer had parents and were dwelling in poverty. The elder brother took his inheritance and set up a shop which was quite profitable, while the younger brother squandered his. Very soon the younger brother was borrowing from the elder until the elder realised that in order to save the remnant of his fortune, he must sell his business after which he decided to emigrate to Egypt. The younger, however, got wind of his brother's intention, and before the ship sailed, he stowed away without being observed... Well what happened next you ask? What did the elder brother do when he found out? Did something else happen? Just how did everything turn out in the end? Well, you?ll have to download and read the story to find out for yourself. ------- Baba Indaba is a fictitious Zulu storyteller who narrates children's stories from around the world. Baba Indaba translates as "Father of Stories". Each issue also has a "WHERE IN THE WORLD - LOOK IT UP" section, where young readers are challenged to look up a place on a map somewhere in the world. The place, town or city is relevant to the story. HINT - use Google maps. It is our hope that in looking up these place names, using Google Maps, that young people will be able to see images and read about other peoples and cultures from around the world. Through this activity, it is also our hope that young people will not only increase their world geography but also increase their understanding and tolerance of other people and cultures. VIEW ANY of the 460+ BABA INDABA CHILDREN?S STORIES here on Google Play or at https://goo.gl/65LXNM 10% of the profit from the sale of this book will be donated to charities. INCLUDES LINKS TO DOWNLOAD 8 FREE STORIES ======= KEYWORDS/TAGS: Baba Indaba, Children?s stories, Childrens, Folklore, Fairy, Folk, Tales, bedtime story, legends, storyteller, fables, moral tales, myths, happiness, laughter, brother, prodigal, Princess, daughter, turban, Sultan, Arab, carpet, whip, maiden, Dew, Padishah, mortal, magic, invisible, palace, slave, ship, Dew-King, sherbet, kingdom, king, queen, prince, father, garden, heaven, golden, money, Egypt, spell
This story is a saga of an Indian Prince, Tanmay and an Arabian Princess, Hannah Jordan. Tanmay, is destined to travel across the Arabian Sea with a villainous Wizard. Eleven-year-old Harshad becomes his travel companion who is a prodigy of dynamism and practical wisdom. The Prince meets two angelic girls who would change his life for ever – the smart and beautiful Princess Hannah Jordan of the Oasis of Al Mansura and Zara, a cherubic Greek child of eight years. There on, he begins to fight for the suppressed people and confronts the formidable Wizard Al Kiwaja. He chooses humanity over misplaced gratitude. Reality and magic mix in good measures to make this web of human ambitions, passions and turbulent emotional connects to etch lasting memories in the minds of readers. The story is absolutely passionate and magically fantastic with adventures galore…
The image of the meditating yogi has become a near-universal symbol for transcendent perfection used to market everything from perfume and jewelry to luxury resorts and sports cars, and popular culture has readily absorbed it along similar lines. Yet the religious traditions grounding such images are often readily abandoned or caricatured beyond recognition, or so it would seem. The essays contained in The Assimilation of Yogic Religions through Pop Culture explore the references to yogis and their native cultures of India, Tibet, and China as they are found in the stories of many famous icons of popular culture, from Batman, Spider-Man, and Doctor Strange to Star Trek, Doctor Who, Twin Peaks, and others. In doing so, the authors challenge the reader to look deeper into the seemingly superficial appropriation of the image of the yogi and Asian religious themes found in all manner of comic books, novels, television, movies, and theater and to carefully examine how they are being represented and what exactly is being said.
The market square where various streets and alleys meet: around it, shops and stalls with every variety of merchandise - silks, earthenware, spices; open-fronted workshops of tailors and shoemakers. To the right, a row of fruit stalls; flat-roofed houses of two and three stories with many balconies, some hung with carpets and others strewn with washing. To the left, on a roof a tea shop further on, children are playing; two monkeys are climbing on the cornices. Behind the houses are seen winding streets leading to the mountain houses, mosques, minarets, gardens, palaces, Christian churches, Hindu temples, and pagodas. In the distance, on the mountain is seen the tower of an old fortress. Amongst the crowd moving about the alleys and the market square, types of almost every Asiatic people are to be met with, clad in their national costumes: a Persian with dyed beard; an Afghan all in white, with proud and bold expression; a Baluchistani in a white turban with a sharp peak to it and short white sleeveless coat with a broad belt, out of which stick several knives: a half-naked Hindu Tamil, the front of his head shaved and a white and red fork, the sign of Vishnu, painted on his forehead;. a native of Khiva wearing a huge black fur cap and a thickly wadded coat: a yellow-robed Buddhist monk, his head shaved and a prayer-wheel in his hand; an Armenian in a black ‘chooka’ with a silver belt and a black Russian forage cap; a Tibetan in a costume resembling the Chinese, bordered with valuable furs; also Bokharis, Arabs, Caucasians and Turkomans. The merchants cry their wares, inviting customers; beggars with whining voices beg for alms; a sherbet-vendor amuses the crowd with a witty song. A street barber, shaving the head of a venerable old ‘hadji’ recounts the news and the gossip of the town to a tailor who dines in the adjoining eating house. A funeral procession passes through one of the alleys; in front is a ‘mullah’ and behind him the corpse is borne on a bier covered with a pall, followed by the women mourners. In another alley a fight is in progress and all the boys run there to watch. On the right, a fakir with outstretched arms, his eyes fixed on one point sits on an antelope skin. A rich and important merchant passes along ignoring the crowd, his servants follow him, carrying baskets laden with purchases. Then appear some exhausted beggars, half-naked and covered with dust, evidently just arrived from some famine area. At one shop Kashmir and other shawls and materials are brought out and shown to customers. Opposite the tea shop, a snake-charmer seats himself and is at once surrounded by a curious crowd. Donkeys pass by, laden with baskets. Women walk along, some wearing the ‘chuddar’ and others with unveiled faces. A humpbacked old woman stops near the fakir and with a devout air, puts money into the coconut almsbowl standing near him. She touches the skin on which he is seated and goes away: pressing her hands to her forehead and eyes. A wedding procession moves by: in front are gaily dressed children, behind them buffoons, musicians and drumbeaters. The towncrier passes, shouting at the top of his voice. From an alley is heard the din of the copper-smith’s hammers. Everywhere there is noise, sound, movement, laughter, scolding, prayers, bargaining - life bubbling over.
"My ballet is not a mystery. The purpose of it is to present an interesting and beautiful spectacle. Of course, under the visible forms a certain sense is hidden, but I did not aim at demonstrating or emphasizing it. The chief position in this ballet is occupied by certain dances. I will explain this to you briefly. Imagine that in studying the laws of movement of the celestial bodies, let us say the planets of the solar system, you have constructed a special mechanism for the representation and recording of these laws. In this mechanism every planet is represented by a sphere of appropriate size and is placed at a strictly determined distance from the central sphere, which stands for the sun. You set the mechanism in motion, and all the spheres begin to turn and move in definite paths, reproducing in a lifelike way the laws which govern their movements. This mechanism reminds you of your knowledge. In the same way, in the rhythm of certain dances, in the precise movements and combinations of the dancers, certain laws are vividly recalled. Such dances are called sacred. During my journeys in the East, I often saw dances of this kind executed during the performance of sacred rites in some of the ancient temples. These ceremonies are inaccessible, and unknown to Europeans. Some of these dances are reproduced in The Struggle of the Magicians. Further, I may tell you that at the basis of The Struggle of the Magicians lie three thoughts; but, as I have no hope that they will be understood by the public if I present the ballet alone, I call it simply a spectacle."