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<v Speaker 1>Welcome. This is Marsha for Radio I, and today I

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<v Speaker 1>will be reading National Geographic magazine dated July twenty twenty five,

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<v Speaker 1>which is donated by the publisher as a reminder. RADIOI

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<v Speaker 1>is a reading service intended for people who are blind

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<v Speaker 1>or have other disabilities that make it difficult to read

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<v Speaker 1>printed material. Please join me now for the article I

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<v Speaker 1>began last time, entitled Where ice Cream Is King by

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<v Speaker 1>Brian Kavin babaut Reischand, who's made a vocation out of

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<v Speaker 1>recording YouTube's marketing videos for Gangapour's tempo shops, says the

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<v Speaker 1>city has more than two hundred of them, double what

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<v Speaker 1>it had three years ago, servicing clients from as far

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<v Speaker 1>away as Pakistan, Bangladesh, and Nepal. Shah meanwhile estimates that

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<v Speaker 1>Gangapour has turned out four hundred thousand to five hundred

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<v Speaker 1>thousand ice cream tempos in the past ten years, of

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<v Speaker 1>which he has made about eighty having opened his own

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<v Speaker 1>fabrication shop four years ago to capitalize on the boom

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<v Speaker 1>when he's not bending into summer. If there's a ceiling

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<v Speaker 1>on the sub continent's appetite for ice cream, Ashish Suwalka

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<v Speaker 1>doesn't see it. Another Gangapur native from a farming family,

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<v Speaker 1>he now lives in Ua Dapur, a city of about

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<v Speaker 1>half a million in southern Rajasthan. At twenty four, he

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<v Speaker 1>owns three ice cream tempos and employs a small crew

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<v Speaker 1>to staff them. The population is growing, Zuwalka says, and

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<v Speaker 1>everyone wants dessert. Next the last swordsmiths of Japan. There

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<v Speaker 1>were once thousands of artisans crafting traditional katana blades. Today

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<v Speaker 1>only a small number remain. By Ellen Himmelfarbe, in a

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<v Speaker 1>converted barn on a residential lane on Japan's Tango Peninsula,

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<v Speaker 1>some seventy five miles north of Kyoto, three men are

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<v Speaker 1>playing with fire while robust flames lick the edges of

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<v Speaker 1>a twenty three hundred degree furnace. Kosuke Yamazoe uses a

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<v Speaker 1>fifteen pound hammer on a mass of white hot steel,

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<v Speaker 1>flattening it beat by beat in a hypnotic rhythm. Behind

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<v Speaker 1>the shower of embers raining down on the earthen floor.

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<v Speaker 1>Tomoyuki Miyagi grips the steel with a pair of iron

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<v Speaker 1>tongs and bangs a smaller mallet in a melodic counterpoint. Nearby,

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<v Speaker 1>a small stove next to a soot covered wall. Tomoki

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<v Speaker 1>Kloramoto is making tea. This is the headquarters of Nippan

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<v Speaker 1>gan Shosa, one of the few remaining katana foundries in

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<v Speaker 1>the world. For hundreds of years, experts swordsmith's forge blades

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<v Speaker 1>for Japan's warriors, including the famed Samurai. Early records show

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<v Speaker 1>craftsmen's names in the thousands, but a decline of the

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<v Speaker 1>art began in eighteen seventy six with the outlaw of

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<v Speaker 1>open kiri. After World War II, the occupying forces in

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<v Speaker 1>Japan then banned the production of katanas, resulting in additional

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<v Speaker 1>lost works and livelihoods. Today, it is believed there may

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<v Speaker 1>be some two hundred licensed makers left, not all active. Yamazoi,

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<v Speaker 1>Miyagji and Kuumoto are the only katana artisans in a

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<v Speaker 1>region that's home to one of the oldest blacksmithing workshops

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<v Speaker 1>in all Japan. There is a sadness that it's dying

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<v Speaker 1>out as a craft, Kurumoto tells me through an interpreter.

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<v Speaker 1>But together they are honoring and elevating the vanishing art.

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<v Speaker 1>The men, now in their thirties, met during a hard

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<v Speaker 1>sought ten year apprenticeship in Tokyo with Yoshi Kazu Yoshi

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<v Speaker 1>Hara and his father, Yoshindo Yoshihara, two of Japan's most

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<v Speaker 1>illustrious sortsmiths. The elder Yoshihara's work is in the New

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<v Speaker 1>York Metropolitan Museum of Arts collection. He himself was the

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<v Speaker 1>grandson of a celebrity sortsmith of the Showa period. In

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<v Speaker 1>the early nineteen hundreds. After a brief stint working on

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<v Speaker 1>their own, Kamazoi, Miyagi and Kromoto joined forces in twenty

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<v Speaker 1>nineteen and launched Nipon Gangshosha from an abandoned barn owned

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<v Speaker 1>by Kamzoi's grandparents. Sword making has long been an art

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<v Speaker 1>form in Japan, and experts can date a blade much

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<v Speaker 1>as a porcelain appraiser can date a oz or an

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<v Speaker 1>arborist a tree. Nipon Ganshosha's swords are entirely hand built,

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<v Speaker 1>average around fifteen thousand dollars and are sought after by collectors.

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<v Speaker 1>As with most katanyas, they they are made from tamahangane,

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<v Speaker 1>a type of steel that comes from iron sand mined

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<v Speaker 1>in the Shamane Prefecture north of Hiroshima. The five figure

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<v Speaker 1>price tag is a result of the laborious fabrication process,

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<v Speaker 1>which can take a year or more. It begins with

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<v Speaker 1>three days of round the clock smelting in the clay furnace.

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<v Speaker 1>The technique of heating and methodical hammering helps draw out

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<v Speaker 1>the slag, the waste product that results from smelting, and

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<v Speaker 1>purify the steel, which is fused and folded into hundreds

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<v Speaker 1>of fine layers. The hard steel is then worked into

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<v Speaker 1>shape and the razor edge of the blade is refined

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<v Speaker 1>much of a swords. A lure lies in the way

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<v Speaker 1>the surface of the blade catches and throws the light.

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<v Speaker 1>Instead of reflecting a clear beam of light, one solid beam,

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<v Speaker 1>it will be speckled or broken up, says Koromoto, twisting

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<v Speaker 1>a newly buffed blade in the sunlight as it pours

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<v Speaker 1>through a window. But while they work to keep an

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<v Speaker 1>h old art form alive, the partners are fighting in

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<v Speaker 1>uphill battle. Demand for high dollar a katanas is waning,

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<v Speaker 1>and the success of Nippon Genshosha depends on finding and

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<v Speaker 1>developing a new generation of collectors, not just appealing to

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<v Speaker 1>existing ones. To that end, the men have begun taking

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<v Speaker 1>liberties with the hamon the pattern etched along the blade

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<v Speaker 1>edge Traditionally, a smith designs a unique hman, often featuring

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<v Speaker 1>landscape patterns tied to the area where the sword is manufactured.

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<v Speaker 1>But says Kumoto, if someone from the United States once

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<v Speaker 1>a scene from their front window, they can send a

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<v Speaker 1>panoramic photo and we can reproduce it. They've also pioneered

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<v Speaker 1>a method of encasing blades in a sealed, transparent resin

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<v Speaker 1>block rather than a traditional wooden sheath. The idea, says Kumoto,

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<v Speaker 1>was that this would allow people to appreciate Japanese swords

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<v Speaker 1>safely and thus focus more on their beauty. What is

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<v Speaker 1>the point of art if you can't see it in

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<v Speaker 1>a country reverential of long held traditions, The swordsmiths are

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<v Speaker 1>striking a delicate balance. It seems that ordinary people have

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<v Speaker 1>fewer opportunities to come into contact with Japanese art, says Kuamoto,

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<v Speaker 1>But today, as an art piece, swords have a place

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<v Speaker 1>in modern culture. Next finding Tranquility in Transylvania in a

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<v Speaker 1>corner of rural Romania a Byukalagwey of life is safeguardar

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<v Speaker 1>by a community preserving its ancient ways and offering a

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<v Speaker 1>template for a richer way of Living by Brett Martin.

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<v Speaker 1>On a chilly twilight evening, three men sit around a

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<v Speaker 1>wood table in the parsonage of a thirteenth century church

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<v Speaker 1>in Transylvania. Outside our ducks be hives, and a shaggy

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<v Speaker 1>white dog that we can hear barking at something in

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<v Speaker 1>the growing dark. Warmed by a wood burning stove, the

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<v Speaker 1>men sip tea and nibbles savory pretzel shaped cookies and

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<v Speaker 1>talk about their home, Karashkobalva, Transylvania. Is there a better

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<v Speaker 1>known place name and lesser known place, perhaps Timbuctoo. Even

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<v Speaker 1>when all of Europe was wilder, Transylvania stood for its

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<v Speaker 1>wildest edge. This is why Bramstokers ofw fit to use

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<v Speaker 1>it as a setting for Dracula, despite never setting foot there.

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<v Speaker 1>It's a place where Saxons, huns, Turks, Tartars, and a

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<v Speaker 1>dozen less famous tribes are still talked about as if

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<v Speaker 1>they may have passed through just last week. A place

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<v Speaker 1>where the forests are still filled with bears. Now that Europe,

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<v Speaker 1>for all its charms, can sometimes seem like a continent

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<v Speaker 1>of mobile phone executives, it feels even more thrilling and

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<v Speaker 1>unlikely to find oneself in a pocket as remote and

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<v Speaker 1>in many ways untouched as this village in the valley

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<v Speaker 1>of the Hamarod River, like about eighty five percent of

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<v Speaker 1>the people who live in this region of rural central Romania.

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<v Speaker 1>The men in the parsonage table speak in Hungarian. They

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<v Speaker 1>are Zichhilles, ethnic Hungarians who have lived here for at

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<v Speaker 1>least a thousand years. At the head of the table,

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<v Speaker 1>with a short gray beard and bright, mischievous eyes, is

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<v Speaker 1>a seventy year old Orbon Saba, the man whose vision

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<v Speaker 1>is helping preserve this distant place even as the modern

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<v Speaker 1>world presses at its borders. Orban and Hungarian family names

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<v Speaker 1>come before given names, does so as the leader of

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<v Speaker 1>the Kurbitusac, the village's governing body. It's the centuries old

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<v Speaker 1>form of communal landownership and management that has helped make

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<v Speaker 1>this place so singular. The Kuzbir tokos shagh It helps

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<v Speaker 1>if you take a running start, manages the water, woods

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<v Speaker 1>and pastures, splitting their use, resources and income among three

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<v Speaker 1>hundred forty seven shareholders. Though time warn the system of

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<v Speaker 1>governance is remarkably sturdy, Orbon points out, and capable of

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<v Speaker 1>meeting the needs of the people here. When winter comes,

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<v Speaker 1>he says, everybody has enough wood that it exists at

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<v Speaker 1>all is a testament to Orban's vision. For the decades

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<v Speaker 1>that Romania was under communist rule, the Kosburiserhagh was lost. Indeed,

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<v Speaker 1>the infamous dictator Nikolai Chochescu aimed to wipe out places

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<v Speaker 1>like Kokashafalva and their way of life. He failed. Communism fell,

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<v Speaker 1>and the village regained communal control of some twenty seven

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<v Speaker 1>hundred acres of land in two thousand. Key to the

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<v Speaker 1>Korbusu Trazog restoration were written records of the intricate system

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<v Speaker 1>through which land rights had been passed down for generations.

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<v Speaker 1>Orban opens a leather valise and carefully lifts out a

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<v Speaker 1>thick folder of papers. Each page contains two columns of

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<v Speaker 1>neatly written names with numbers next to them. A nineteen

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<v Speaker 1>thirty six record of the shareholders of Karatschefalvas Horzobas Salkog.

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<v Speaker 1>It was pages like these, hidden away in houses and

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<v Speaker 1>buried in archives that aided the long legal fight of

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<v Speaker 1>Orbon and other Kubritish Sokog leaders to reclaim their villages

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<v Speaker 1>after Churchescu's overthrow in nineteen eighty nine. Orbon remembers sifting

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<v Speaker 1>through a mountain of documents in a government office and

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<v Speaker 1>coming upon the list. It was like thunder, he says,

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<v Speaker 1>Not even in our deepest dreams have could we have

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<v Speaker 1>hoped to restore what we had. Joining Orban at the

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<v Speaker 1>table is Ampali Geza seventy five. He is a lay

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<v Speaker 1>leader of the Unitarian Church. The younger man sitting next

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<v Speaker 1>to him, Benedict Mihali, is its minister. Or Bond finds

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<v Speaker 1>a page from a second list of names, this one

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<v Speaker 1>from nineteen forty six, and points to line one hundred

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<v Speaker 1>sixty five inscribed there is the name of Zempali's grandfather.

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<v Speaker 1>When I look around the table, all three men are

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<v Speaker 1>blinking back tears. Karsavalva Kushino in Romanian is tucked within

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<v Speaker 1>rolling Tuscany like hills and swaths of deep forests, part

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<v Speaker 1>of a string of villages, each marked by the needle

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<v Speaker 1>like spire of a Unitarian church. His houses are topped

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<v Speaker 1>with roofs of rust colored tile. Many feature so called

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<v Speaker 1>Sekelli gates, elaborately carved wooden entrances that depicts Zekelli iconography

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<v Speaker 1>and ruins, and are capped with structures reminiscent of a

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<v Speaker 1>Japanese pagoda. From the courtyards within you can hear bleats

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<v Speaker 1>of sheep and squawking of chickens. Most families do at

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<v Speaker 1>least some subsistence farming. Electrical poles are topped by the

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<v Speaker 1>doughnut shaped hats of storknests. One afternoon, I step aside

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<v Speaker 1>as a raucous herd of cows is paraded down the

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<v Speaker 1>middle of the street, spurred on by young men with

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<v Speaker 1>sticks and shouts. It should also be noted that the

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<v Speaker 1>village has faster internet and generally better roads than I

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<v Speaker 1>do at home in New Orleans. Orban Saba commands obvious

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<v Speaker 1>respect throughout the village, but is also considered something of

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<v Speaker 1>an eccentric. The heads of other corbetous Saugjas can often

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<v Speaker 1>be identified by their expensive cars and big shot attitudes,

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<v Speaker 1>orbon drives, a beat up hatchback and dreams up projects.

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<v Speaker 1>There is the traditional open air bath that he renovated

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<v Speaker 1>in twenty nineteen as a gathering place, complete with a

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<v Speaker 1>medicinal herb garden and fire pit for making tea. Across

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<v Speaker 1>the village, in the shadow of the forest is the

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<v Speaker 1>sweet chestnut orchard, where he organizes an angul annual chestnut festival.

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<v Speaker 1>And there's the Corbetushar Community Center, where on a Saturday afternoon,

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<v Speaker 1>while I am there, the village gathers in traditional dress

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<v Speaker 1>to enact a children's wedding in which a local girl

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<v Speaker 1>and boy play bride and groom before a great feast.

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<v Speaker 1>Orbon's car is in a constant state of reminding him

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<v Speaker 1>to buckle his seat belt as he careenes down dirt

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<v Speaker 1>roads from one place to the next. All of the projects,

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<v Speaker 1>he says, are attempts to maintain the traditions of this

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<v Speaker 1>place while also cautiously opening it to the possibilities of

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<v Speaker 1>eco tourism. Orban often explains this careful balancing act through

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<v Speaker 1>an emblem depicting the Zachelli sun and moon standing independent

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<v Speaker 1>within the European Union's Circle of Stars. Above all, the

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<v Speaker 1>Kurtzbetursag acts as a steward of the village's most important resource,

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<v Speaker 1>the forest, which is both a source of crucial fuel

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<v Speaker 1>as a few nervous nights feeding a guest house woodstove

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<v Speaker 1>drives home, and fragile biodiversity. On a rainy day, I

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<v Speaker 1>am taken into the woods by a hunter and ingenious

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<v Speaker 1>tinker named Oksi Machas. He's invited me to tag along

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<v Speaker 1>on his daily visit to check the three motion activated

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<v Speaker 1>cameras he uses to monitor wildlife. We bounce up a

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<v Speaker 1>down deeply rutted trails in an all terrain vehicle he

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<v Speaker 1>has fashioned from an old land rover, and then hike

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<v Speaker 1>in silence, trailed by a stout fox that Okshee has

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<v Speaker 1>grown to know and has named Vuki. Aside from songbirds,

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<v Speaker 1>Vuki is the only living thing we encounter. But back

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<v Speaker 1>at Okshee's home, while my boots dry over the woodstove,

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<v Speaker 1>we review the photos he has retrieved. They show deer,

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<v Speaker 1>wild boars, all manner of small mammals, and many many bears.

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<v Speaker 1>A shiver thinking of them all having been hidden around

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<v Speaker 1>us as we moved through their woodland home. What especial

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<v Speaker 1>here is that the community owns the land, says Za

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<v Speaker 1>Kelly kinga RecA, a Unitarian minister several villages away. Nobody

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<v Speaker 1>can get too wealthy that they make other people suffer.

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<v Speaker 1>The irony, of course, is that such principles resemble nothing

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<v Speaker 1>so much as those of communism. With a small sea

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<v Speaker 1>we hate that word, but it's true. Ze Kelly admits,

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<v Speaker 1>we already had that system for a thousand years. We

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<v Speaker 1>didn't need them to come tell us. I met sze

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<v Speaker 1>Kelly's home for the annual ritual of slaughtering a pig

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<v Speaker 1>to be eaten over the course of the rest of

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<v Speaker 1>the year. By the time I arrived, the animal's still

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<v Speaker 1>steaming body has been splayed across a table outside. A

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<v Speaker 1>round faced butcher deftly works at disassembling it. Prime cuts

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<v Speaker 1>go into the brine, later to be smoked, while organs

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<v Speaker 1>another oval head to a temporary sausage factory set up

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<v Speaker 1>in the dining room. Excess sausages will be distributed among neighbors,

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<v Speaker 1>who in turn will share their own surplus when the

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<v Speaker 1>time comes. Skelly's husband, Zoltsava, a computer coder, distributes mourning

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<v Speaker 1>shots of Pelinka, a homemade brandy they've prepared from plums.

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<v Speaker 1>My generation is the last one that understands the meaning

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<v Speaker 1>of butchering. The pegy laments, what is the meaning? I

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<v Speaker 1>ask that you eat what you grow. He says that

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<v Speaker 1>you know where it comes from, that you are connected

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<v Speaker 1>on this Kelly's walls in many homes in the region

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<v Speaker 1>hangs a map showing Transylvania as part of the Greater

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<v Speaker 1>Austria Hungarian Empire. It's a good reminder that, as this

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<v Speaker 1>place knows all too well, there is no hiding from

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<v Speaker 1>the tides of history. Winters are getting warmer. The past

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<v Speaker 1>two summers have been brought drought. A new Romanian nationalism

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<v Speaker 1>is on the rise, potentially threatening the country's ethnic minorities.

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<v Speaker 1>In the villages of the Homarud Valley you see children

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<v Speaker 1>and older people, but few in between. Many adults have

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<v Speaker 1>left in search of jobs, or pH ds, or just

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<v Speaker 1>an easier life than farming. Zickell's Zoltz Kazaba has been

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<v Speaker 1>forced to bring in Napoleese workers to help staff one

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<v Speaker 1>of the small groceries he owns. In the face of

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<v Speaker 1>all that, what Orbon Ksaba and the Corbitzer Cossac do

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<v Speaker 1>is a model of tending one's own garden, an attempt

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<v Speaker 1>to protect and sustain family, community and the gifts of

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<v Speaker 1>this small corner of the planet that they know better

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<v Speaker 1>than anybody else. At the parsonage table, Orbon packs up

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<v Speaker 1>his stack of documents and places them carefully back in

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<v Speaker 1>their valise. He pats it lovingly and puts it under

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<v Speaker 1>his arm. It would be nice to know who is

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<v Speaker 1>going to hold this next, he says. Next, how a

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<v Speaker 1>super tiny crustacean makes life work in the Southern Ocean.

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<v Speaker 1>Marine ecologist Kim Bernard is charting the huge impact of

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<v Speaker 1>an Antarctic krill by Tristram Corton one night last December,

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<v Speaker 1>National Geographic explorer Kim Bernard was stirring her earl gray

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<v Speaker 1>tea in the galley of a research ship off the

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<v Speaker 1>coast of Antarctica, preparing for a long night of observing

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<v Speaker 1>a remotely operated vehicle as it surveyed the sea floor.

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<v Speaker 1>When the Marina cologist looked up to a monitor showing

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<v Speaker 1>a live video feed sent by the ro V from

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<v Speaker 1>a depth of more than three thousand feet in the

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<v Speaker 1>Southern Ocean's murky waters, something caught her attention. I see

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<v Speaker 1>this tiny little thing come in on the right hand

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<v Speaker 1>side of the screen and dart out, she said to

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<v Speaker 1>the other scientists abroad. Probably aboard it probably looked like

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<v Speaker 1>organic debris lofting down. But Bernard, forty six, has been

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<v Speaker 1>studying krill for fifteen years and knows how the shrimp

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<v Speaker 1>like crustaceans twirl in the water column and bolt backward.

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<v Speaker 1>When startled. That familiar movement sent her running down two

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<v Speaker 1>flights of stairs to the ship's control room. When she arrived,

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<v Speaker 1>she saw the action on the sea floor being broadcast

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<v Speaker 1>on a large bank of monitors, and she spouted a

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<v Speaker 1>handful of individual krills spread out on a hydro thermal vent,

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<v Speaker 1>a fissure in the ocean crust where hot magma and

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<v Speaker 1>sea water meat and create a mineral rich environment that

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<v Speaker 1>attracts a host of organisms. For Bernard, a professor of

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<v Speaker 1>biological oceanography at Oregon State University, finding krill here represented

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<v Speaker 1>a momentous discovery. I kind of lost my mind, she recalled.

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<v Speaker 1>It was the first time the animal had been observed

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<v Speaker 1>on a vent Antarctic Krill are a keystone species that

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<v Speaker 1>allows everything else in the Southern Ocean to flourish. If

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<v Speaker 1>Bernard could learn more about their habitat on the sea floor,

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<v Speaker 1>her research could inform our understanding of virtually every predator

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<v Speaker 1>on this hard to reach continent, from emperor penguins to

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<v Speaker 1>blue whales. Any new behavior from such a foundational animal

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<v Speaker 1>has the potential to effect the entire food above it.

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<v Speaker 1>That night, in the control room aboard the research vessel

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<v Speaker 1>from Schmidt Ocean Institute. Bernard soon realized all the krill

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<v Speaker 1>were females carrying eggs. The species usually release eggs higher

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<v Speaker 1>in the water column. What makes it worth the risk

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<v Speaker 1>to travel so far at this stage in reproduction? Were

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<v Speaker 1>they feeding on the bacteria covering the vent? She asked

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<v Speaker 1>the operator to use the rob's special suction arm and

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<v Speaker 1>gather a few of the crustaceans. This was also a first.

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<v Speaker 1>Bernard isn't aware of any researchers who have collected specimens

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<v Speaker 1>at that depth. She has since sent stomach and tissue

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<v Speaker 1>samples out for analysis. Bernard's work on the expedition, which

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<v Speaker 1>was supported by the National Geographic Society and Role's Perpetual

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<v Speaker 1>Planet Expeditions, is part of an ambitious project that sending

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<v Speaker 1>nearly two dozen scientists to all five oceans. Their efforts

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<v Speaker 1>will be the subject of a series of stories in

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<v Speaker 1>National Geographic as they searched for new insights, like say,

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<v Speaker 1>the presence of krill in under explored places in Antarctica.

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<v Speaker 1>The species is more than just a vital part of

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<v Speaker 1>the food chain. Krill are also a carbon sink, eating

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<v Speaker 1>phytoplankton that have absorbed CO two and then excreting pellets

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<v Speaker 1>to the seafloor, where it can take thousands of years

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<v Speaker 1>for the absorbed carbon to resurface. However, there are new

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<v Speaker 1>pressures on the species from both humans and climate change.

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<v Speaker 1>Krill are increasingly harvested as aquaculture feed, and the animal's

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<v Speaker 1>oil is highly sought after as a dietary supplement. Meanwhile,

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<v Speaker 1>as sea ice continues to melt, larval krill are losing

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<v Speaker 1>an important habitat where they can hide from predators, find food,

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<v Speaker 1>and develop into adults. Bernard hopes her ongoing research and

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<v Speaker 1>future insights from this discovery will protect this tiny animal

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<v Speaker 1>that so much life relies on. There's a thriving mass

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<v Speaker 1>of life down there, she said, and all up it

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<v Speaker 1>depends on krill. Next, seeing a glacier through a prehistoric lens,

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<v Speaker 1>a photographer uses Arctic ice and a unique technique to

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<v Speaker 1>offer a fresh perspective on a world transformed by climate change.

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<v Speaker 1>Glacial ice is formed from snow accumulating and compacting over millennia.

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<v Speaker 1>As the pressure increases, crystalline layers are smoothed into one

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<v Speaker 1>of the clearest substances found in nature. That alchemy and

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<v Speaker 1>the knowledge that climate change is causing glaciers to rapidly

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<v Speaker 1>disappear inspired forty four year old artist Tristan Duke to

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<v Speaker 1>create a photo lens out of glacial ice. I just

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<v Speaker 1>felt this real sense of urgency, Duke says he wanted

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<v Speaker 1>to capture a glacier through its own eyes. He puts

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<v Speaker 1>it like a self portrait. In the spring of twenty

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<v Speaker 1>twenty two, Duke called dozens of pounds of gear to Spalbarred, Norway,

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<v Speaker 1>including a giant tent camera that he designed himself, and

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<v Speaker 1>molds for shaping the ice into lenses. The tent functioned

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<v Speaker 1>like a camera of skura. Duke would place a palm

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<v Speaker 1>sized piece of ice in a hole in the canvas,

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<v Speaker 1>projecting an image of the landscape inside the tent that

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<v Speaker 1>would then be captured on a forty two by one

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<v Speaker 1>hundred inch negative. Some of the photographs were clearer than

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<v Speaker 1>he expected, but as the lenses melted, the accumulation of

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<v Speaker 1>water produced its own effect. People have told me that

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<v Speaker 1>it looks like the world blurred through tears, he says.

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<v Speaker 1>To contain contact, to contrast this arctic sublime against a

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<v Speaker 1>world on fire, he traveled through the American West to

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<v Speaker 1>document wildfires and energy infrastructure with lenses created from locally

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<v Speaker 1>sourced ice. He wants to invert the romantic gaze. We

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<v Speaker 1>see a sort of fragile nature bearing witness to the

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<v Speaker 1>unbridled and cataclysmic power of the human world. This article

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<v Speaker 1>by Megan Brown next The City of seven hundred Languages.

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<v Speaker 1>It's been four hundred years since New York City was

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<v Speaker 1>founded as the Dutch settlement of New Amsterdam. Back then,

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<v Speaker 1>some thirty European and native languages were spoken there. To day,

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<v Speaker 1>that number surpasses seven hundred. That's more than ten percent

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<v Speaker 1>of the world's nearly seven thousand languages, making New York

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<v Speaker 1>the most linguistically diverse city to ever exist. Can it

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<v Speaker 1>stay that way? A four hundred years of immigration loaded

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<v Speaker 1>New York with languages before Europeans arrived, and estimated fifteen

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<v Speaker 1>thousand Lennapis speakers may have lived in Lenapehuking, a region

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<v Speaker 1>that includes present day New York City. In sixteen twenty four,

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<v Speaker 1>the Dutch West India Company founded the city of New

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<v Speaker 1>Amsterdam on the site. By the mid sixteen seventies, it

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<v Speaker 1>was under British control and would be until the American Revolution.

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<v Speaker 1>Built on waves of immigration, it is now home to

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<v Speaker 1>the largest foreign born population of any major metropolitan in

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<v Speaker 1>the world. Those eras of immigration are envisioned here as

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<v Speaker 1>the rings of a growing tree. Each dot represents one

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<v Speaker 1>hundred immigrants each ring a decade. The result is a

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<v Speaker 1>snapshot of New York City's diverse ethnic populations over time,

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<v Speaker 1>from just a few hundred European settlers to three point

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<v Speaker 1>two million immigrants today, most from Latin America and Asia.

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<v Speaker 1>What New York City loses when languages vanish? By Ross Perlin.

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<v Speaker 1>Seca is an endangered language originally spoken in five villages

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<v Speaker 1>of northern Nepal, but its future may depend on a

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<v Speaker 1>handful of vertical villages apartment buildings in the middle of Brooklyn,

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<v Speaker 1>New York. How did a little documented, oral only language

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<v Speaker 1>used by no more than seven hundred people in the

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<v Speaker 1>High Himalaya come to the concrete jungle? Rasmena Gourung in

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<v Speaker 1>her twenties, one of Seka's youngest speakers, learned the language

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<v Speaker 1>from her grandmother in the village, but soon to the

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<v Speaker 1>country's capital, Katmandu, and eventually New York, where she estimates

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<v Speaker 1>at least a quarter of her pupil have ended up here.

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<v Speaker 1>They joined speakers of dozens of other endangered languages from

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<v Speaker 1>across the Himalaya, all forming new communities while getting by

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<v Speaker 1>in an ever evolving mix of Nepali, Tibetan, English, and

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<v Speaker 1>their own embattled mother tongues. But New York City, the

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<v Speaker 1>most linguistically diverse city in the history of the world,

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<v Speaker 1>may be hitting peak diversity. Its seven hundred plus languages

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<v Speaker 1>represent over ten percent of the global total. Though largely indivisible,

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<v Speaker 1>invisible and inaudible to outsiders, the city's languages are from

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<v Speaker 1>all over. Many immigrants have arrived in just the past

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<v Speaker 1>few decades from linguistic hotspots such as the Himalaya, West Africa,

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<v Speaker 1>insular Southeast Asia, and heavily indigenous zones of Latin America. Today, however,

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<v Speaker 1>many of the forces that brought people together are beginning

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<v Speaker 1>to pull them upon art Given accelerating language laws even

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<v Speaker 1>in the language's home lands, threats to immigration, and the

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<v Speaker 1>rising costs of city life, time may be running out.

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<v Speaker 1>The remarkable linguistic convergence in New York and similar cities

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<v Speaker 1>could vanish fast before there has even been time to

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<v Speaker 1>document or support it. This urgency is what drives the

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<v Speaker 1>work of the Endangered Language Alliance, the organization i Codirect,

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<v Speaker 1>which has started to map this landscape. At stake is

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<v Speaker 1>an unprecedented set of cultural, scientific, educational, and even economic possibilities.

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<v Speaker 1>Never before have linguists and speakers been so well positioned

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<v Speaker 1>to document languages from which few, if any, records exists,

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<v Speaker 1>while also pushing for their maintenance and revitalization. This concludes

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<v Speaker 1>readings from National Geographic Magazine for to day. Your reader

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<v Speaker 1>has been Marsha. Thank you for listening, Keep on listening

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<v Speaker 1>and have a great day.
