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          <title><![CDATA[penampil dengan topeng tari singa yang berwarna-warni | chiru_na]]></title>
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          <title><![CDATA[マンホールのデザイン  #かっぱ  | つばさ製作所]]></title>
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          <title><![CDATA[  茅の輪（ちのわ）と紙垂（しで） | つばさ製作所]]></title>
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          <title><![CDATA[#早朝 #面 #宮崎  | kenny]]></title>
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          <description><![CDATA[Unduh gambar berkualitas tinggi bertema topeng oni besar dengan ekspresi wajah, nuansa pagi buta, Miyazaki yang diambil oleh kenny secara gratis di cizucu.]]></description>
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          <title><![CDATA[中秋の名月に撮影した満月の写真になります。  月でウサギが餅をついている様子が伝わってくると思います。 | g000015jp]]></title>
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          <description><![CDATA[Unduh gambar berkualitas tinggi bertema bulan purnama dengan tekstur permukaan bulan yang jelas yang diambil oleh g000015jp secara gratis di cizucu.]]></description>
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          <title><![CDATA[アマビエサマ  奴はなかなかいなくならず アマビエサマは 今も憂いている カモ | tomo]]></title>
          <link>https://www.cizucu.com/id/photos/x6zWFGv5V5ZOkyapYS1P</link>
          <description><![CDATA[Lihat lebih banyak karya luar biasa dari tomo di cizucu.]]></description>
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          <pubDate>Mon, 29 Jul 2024 14:44:51 GMT</pubDate>
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            <media:description><![CDATA[Lihat lebih banyak karya luar biasa dari tomo di cizucu.]]></media:description>
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          <title><![CDATA[Thee Kuttichathan Theyyam, captured in Kozhikode, embodies the fiery spirit of the revered deity believed to be the mischievous yet protective child spirit of Lord Shiva and Goddess Parvati.  Rooted in centuries old folklore, this ritual invokes Kuttichathan through vibrant costume, rhythmic chenda drum beats, dance, and sacred fire.  The photograph is not just an image of a ritual, but a living story of Kerala’s cultural heritage, preserved in flame and motion, witnessed by the local community and visitors from different parts of the world who comes together in spirit of faith and culture. Performed by the very talented Nidheesh Peruvannan Sir. | Poulomi Das]]></title>
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          <description><![CDATA[Lihat lebih banyak karya luar biasa dari Poulomi Das di cizucu.]]></description>
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          <pubDate>Sat, 14 Mar 2026 22:35:46 GMT</pubDate>
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            <media:title><![CDATA[Thee Kuttichathan Theyyam, captured in Kozhikode, embodies the fiery spirit of the revered deity believed to be the mischievous yet protective child spirit of Lord Shiva and Goddess Parvati.  Rooted in centuries old folklore, this ritual invokes Kuttichathan through vibrant costume, rhythmic chenda drum beats, dance, and sacred fire.  The photograph is not just an image of a ritual, but a living story of Kerala’s cultural heritage, preserved in flame and motion, witnessed by the local community and visitors from different parts of the world who comes together in spirit of faith and culture. Performed by the very talented Nidheesh Peruvannan Sir. | Poulomi Das]]></media:title>
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            <media:description><![CDATA[Lihat lebih banyak karya luar biasa dari Poulomi Das di cizucu.]]></media:description>
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          <title><![CDATA[Fanesca is an ongoing body of work about how people are shaped by place, history, and belief—and how they reshape them in return through image, dress, and ritual. Rooted in Ecuadorian folklore and contemporary fashion, it examines cultural identity, self-styling, and nostalgia under global influence, tracking how tradition adapts rather than disappears. The project takes its name from fanesca, an Easter dish that blends Indigenous practices with Spanish Catholic beliefs—an everyday metaphor for syncretism and survival.  In its current chapter, La Santísima Tragedia, I focus on the Mama Negra celebration in Latacunga: a living fusion of Indigenous, Spanish, and African cultural lineages. The fiesta—also linked to the Virgen de la Merced—draws on a local vow to honour the figure credited with stopping Cotopaxi’s eruption in 1742. By photographing the ceremony through the language of fashion, portraiture, and performance, I trace how communities carry memory, negotiate power, and build collective resilience—where culture becomes a social infrastructure in the face of change. Fanesca has been featured by Vogue, Forbes, Metal Magazine, Lula Japan, among others. | Lucho Dávila]]></title>
          <link>https://www.cizucu.com/id/photos/cu3LZEeOyIJhneSTLWrR</link>
          <description><![CDATA[Lihat lebih banyak karya luar biasa dari Lucho Dávila di cizucu.]]></description>
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            <name>Lucho Dávila</name>
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          <pubDate>Mon, 30 Mar 2026 21:51:53 GMT</pubDate>
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            <media:title><![CDATA[Fanesca is an ongoing body of work about how people are shaped by place, history, and belief—and how they reshape them in return through image, dress, and ritual. Rooted in Ecuadorian folklore and contemporary fashion, it examines cultural identity, self-styling, and nostalgia under global influence, tracking how tradition adapts rather than disappears. The project takes its name from fanesca, an Easter dish that blends Indigenous practices with Spanish Catholic beliefs—an everyday metaphor for syncretism and survival.  In its current chapter, La Santísima Tragedia, I focus on the Mama Negra celebration in Latacunga: a living fusion of Indigenous, Spanish, and African cultural lineages. The fiesta—also linked to the Virgen de la Merced—draws on a local vow to honour the figure credited with stopping Cotopaxi’s eruption in 1742. By photographing the ceremony through the language of fashion, portraiture, and performance, I trace how communities carry memory, negotiate power, and build collective resilience—where culture becomes a social infrastructure in the face of change. Fanesca has been featured by Vogue, Forbes, Metal Magazine, Lula Japan, among others. | Lucho Dávila]]></media:title>
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            <media:description><![CDATA[Lihat lebih banyak karya luar biasa dari Lucho Dávila di cizucu.]]></media:description>
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