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Command Sgt. Maj. Jeffery Stitzel, U.S. Army Africa command sergeant major, gives thanks to those who have helped him throughout his tour and highlights some of his many accomplishments while serving as USARAF's command sergeant major during a change of responsibility ceremony at Hoekstra Field, Caserma Ederle, Jan. 8. (U.S. Army Africa photo by Spc. Craig Philbrick)
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Original Caption: A Group of Women Prepare to Take Over Maintenance Responsibilities for Aircraft., 1940 - 1945
U.S. National Archives' Local Identifier: 86-WWT-60(7)
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Women
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Original Caption: Senior Citizens Find That New Ulm, Minnesota Is a Good Place to Retire. There Is a Close Community Responsibility Towards Older People No Matter What Their Financial Position Might Be. Older Citizens and Those Unable to Care for Themselves Physically Are Cared for in Two Community Facilities, Alexander Home and Highland Manor. New Ulm Is a County Seat Trading Center of 13,000 in a Farming Area of South Central Minnesota Founded in 1854 by a German Immigrant Land Company.
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Photographer: Phillips, Kathy
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Environmental Protection Agency
Project DOCUMERICA
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Col. David Grosso, garrison commander, left, passes the garrison colors to Garrison Command Sgt. Maj. Steven O. Green during Tuesday's change of responsbility ceremony held at Manhart Field.
The Soldiers of 2nd Battalion, 22nd Infantry Regiment, 1st BCT 10th Mountain Division (LI) conduct a Change of Responsibility ceremony Aug. 13, 2021 at Memorial Park on Fort Drum, N.Y. During the ceremony, CSM Gregory N. Harmon passed responsibility to CSM Mark A. Frantz. (U.S. Army Photos by SPC Anastasia Rakowsky)
heresienstadt concentration camp
From Wikipedia, the free encyclopedia
For other uses of "Theresienstadt", see Theresienstadt (disambiguation).
Coordinates: 50°30′48″N 14°10′1″E
Theresienstadt concentration camp archway with the phrase "Arbeit macht frei" (work makes (you) free), placed over the entrance in a number of Nazi concentration camps
Location of Terezín within the modern Czech Republic
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Jews on selection ramp at Auschwitz, May 1944
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v t e
Theresienstadt concentration camp, also referred to as Theresienstadt ghetto,[1][2][3] was a concentration camp established by the SS during World War II in the garrison city of Terezín (German: Theresienstadt), located in German-occupied Czechoslovakia.
Tens of thousands of people died there, some killed outright and others dying from malnutrition and disease. More than 150,000 other persons (including tens of thousands of children) were held there for months or years, before being sent by rail transports to their deaths at Treblinka and Auschwitz extermination camps in occupied Poland, as well as to smaller camps elsewhere.[4]
Contents
1 History
2 Small Fortress
3 Main fortress
4 Command and control authority
5 Internal organisation
6 Industrial labour
7 Western European Jews arrive at camp
8 Improvements made by inmates
9 Unequal treatment of prisoners
10 Cultural activities and legacy
11 Use as propaganda tool
12 Statistics
12.1 Allied POWs
13 Notable prisoners who died at the camp
14 Notable survivors
15 Final months at the camp in 1945
16 Postwar trials
17 Works about Theresienstadt
17.1 Documentary films
17.2 Dramatic films
17.3 Plays
17.4 Music
17.5 Literature
18 See also
19 Notes
20 References
21 Further reading
22 External links
History
The fortress of Theresienstadt in the north-west region of Bohemia was constructed between the years 1780 and 1790 on the orders of the Austrian emperor Joseph II. It was designed as part of a projected but never fully realised fort system of the monarchy, another piece being the fort of Josefov. Theresienstadt was named for the mother of the emperor, Maria Theresa of Austria, who reigned as archduchess of Austria in her own right from 1740 until 1780. By the end of the 19th century, the facility was obsolete as a fort; in the 20th century, the fort was used to accommodate military and political prisoners.
From 1914 until 1918, Gavrilo Princip was imprisoned here, after his conviction for the assassination of Archduke Franz Ferdinand of Austria and his wife on June 28, 1914, a catalyst for World War I. Princip died in Cell Number 1 from tuberculosis on April 28, 1918.
After Germany invaded and occupied Czechoslovakia, on June 10, 1940, the Gestapo took control of Terezín and set up a prison in the "Small Fortress" (kleine Festung, the town citadel on the east side of the Ohře river). The first inmates arrived June 14. By the end of the war, the small fortress had processed more than 32,000 prisoners, of whom 5,000 were female; they were imprisoned for varying sentences. The prisoners were predominantly Czech at first, and later other nationalities were imprisoned there, including citizens of the Soviet Union, Poland, Germany, and Yugoslavia. Most were political prisoners.[5]
By November 24, 1941, the Nazis adapted the "Main Fortress" (große Festung, i.e. the walled town of Theresienstadt), located on the west side of the river, as a ghetto.[5] Jewish survivors have recounted the extensive work they had to do for more than a year in the camp, to try to provide basic facilities for the tens of thousands of people who came to be housed there.
From 1942, the Nazis interned the Jews of Bohemia and Moravia, elderly Jews and persons of "special merit" in the Reich, and several thousand Jews from the Netherlands and Denmark. Theresienstadt thereafter became known as the destination for the Altentransporte ("elderly transports") of German Jews, older than 65. Although in practice the ghetto, run by the SS, served as a transit camp for Jews en route to extermination camps, it was also presented as a "model Jewish settlement" for propaganda purposes.[6][7]
On November 11, 1943, commandant Anton Burger ordered the entire camp population, approximately 40,000 people at that time, to stand in freezing weather during a camp census (sometimes referred to as the "Bohušovicer Kessel Census"). About 300 prisoners died of hypothermia as a result.[8]
During a 1944 Red Cross visit, and in a propaganda film, the Nazis presented Theresienstadt to outsiders as a model Jewish settlement, but it was a concentration camp. More than 33,000 inmates died as a result of malnutrition, disease, or the sadistic treatment by their captors.[9] Whereas some survivors claimed that the prison population reached 75,000 at one time, according to official records, the highest figure reached (on September 18, 1942) was 58,491. They were crowded into barracks designed to accommodate 7,000 combat troops.[10]
In the autumn of 1944, the Nazis began the liquidation of the ghetto, deporting more prisoners to Auschwitz and other camps; in one month, they deported 24,000 victims[11] (about 18,000 in 11 transports between September 28 and October 28).
Small Fortress
Crematorium
The "Small Fortress" (Malá pevnost in Czech, Kleine Festung in German) was part of the fortification on the left side of the river Ohře. Beginning in 1940, the Gestapo used it as a prison, the largest in the Protectorate of Bohemia and Moravia. The first inmates arrived on June 14, 1940. By the end of the war, 32,000 prisoners, of whom 5,000 were female, passed through the Small Fortress. It was separate from and unrelated to the Jewish ghetto in the main fortress on the river's right side. An estimated 32,000 people were taken to the prison; most were usually deported later to a concentration camp.
Main fortress
In the spring of 1942, the Nazis expelled the 7,000 non-Jewish Czechs living in Terezín, and closed off the town. The Nazis established the ghetto and concentration camp in the main fortress on the east side of the river.
SS-Hauptsturmführer Siegfried Seidl[12] served as the first camp commandant, beginning in 1941. Seidl oversaw the labour of 342 Jewish artisans and carpenters, known as the Aufbaukommando, who converted the fortress into a concentration camp. Although the Aufbaukommando were promised that they and their families would be spared transport, during the liquidation of the camp in September 1944, all were transported to Auschwitz-Birkenau[13] for Sonderbehandlung, or "special treatment", i.e. immediate gassing of all upon arrival.[14]
Command and control authority
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The camp, Theresienstadt/Terezin, was a hybrid of ghetto and concentration camp, (KZ), with features of both. It was established by order of the SS-Reichssicherheitshauptamt (RSHA) in 1941 and administered by its GESTAPO Amt of the RSHA, Department IV-B-4, (Jews), headed by Eichmann who oversaw the ghetto and its SS-Commandant; he, in turn, was in charge of the daily ghetto administration, the SS officers, about 12, and the Czech gendarmes, who collaborated with the Germans; these last two were in charge of security and guard duties. An internal police force, run by Jewish inmates, answered directly to the Jewish self-administration and indirectly to the SS-commandant. Thus was the organisation responsible for the enslavement, deportation, and murder of the Jews. Theresienstadt was also the only KZ excluded from the control of SS-Wirtschafthauptamt (main economic administration office) under Pohl and was classified as "concentration camp, class 4" (mildest). Furthermore, the SS-men in this ghetto/concentration camp were not members of the Waffen-SS usually guarding concentration camps, as reported sometimes. Pohl and the SS-Wirtschafthauptamt were in control of all concentration camps except Theresienstadt.
Stone marking the burial of ashes of 15,000 victims of Terezín at the New Jewish Cemetery, Prague
Gestapo and Sicherheitsdienst oversaw the day-to-day operations of the Kleine Festung, (Small Fortress), a prison of the Prague Gestapo which was controlled by the 'Higher SS and Police Führer', (HSSPF), Karl Frank, who reported directly to Himmler rather than the Office of the Protectorate of Bohemia and Moravia, a civilian department.
SS-Hauptsturmführer Ernst Möhs (1898–1945) was Eichmann's liaison-officer in Theresienstadt. During the camp's operations, three officers served as camp commandant: Siegfried Seidl, Anton Burger, and Karl Rahm.
Internal organisation
As in other European ghettos, the Nazis required the Jews to select a Jewish Council, which nominally governed the ghetto. In Theresienstadt, this was known as the "Cultural Council"; later it was called the "Jewish self-government of Theresienstadt".[15] The first of the Jewish elders of Theresienstadt was Jakob Edelstein, a Polish-born Zionist and former head of the Prague Jewish community. He served until 1943, when he was deported to Auschwitz and shot to death after being forced to watch the executions of his wife and son.[16] The second was Paul Eppstein (de), a sociologist originally from Mannheim, Germany. Earlier, Eppstein was the speaker of the Reichsvereinigung der Juden in Deutschland, the central organisation of Jews in Nazi Germany. He served until the autumn of 1944, when he was allegedly shot in the Small Fortress on Yom Kippur.
Benjamin Murmelstein, a Lvov-born rabbi from Vienna, had been part of the Cultural Council in Vienna after the Anschluss. As in other cities, the Jews were charged by the Nazis with organising actions in the Jewish community, including selection of people for transport when the Germans decided to deport them, beginning in 1942. Murmelstein was also deported to Theresienstadt. In the autumn of 1944, he succeeded Eppstein. He and other prominent Jews of the Cultural Council were deported to Auschwitz in the liquidation of the ghetto, but he and some others survived the war. He and other Jewish elders have been extremely controversial figures, condemned for years for what was seen as their collaboration with the Nazis.
In the 21st century, there has been some reassessment, given the conditions of the times. The Last of the Unjust, released in 2013, is a documentary centring on interviews with Murmelstein that were filmed by Claude Lanzmann in 1975, during the production of his masterwork Shoah. The interviews were not used in the earlier film.[17][18]
In the last days of the ghetto, Jiří Vogel of Prague served as the elder. From 1943 to 1945, Leo Baeck was the speaker of the Council of Elders of Theresienstadt. Before being deported to the camp from Berlin, he had served as the head of the Reichsvereinigung der Juden in Deutschland. He survived Theresienstadt, and emigrated to London after the war.[19]
Industrial labour
Theresienstadt was used to supply the German war effort with a source of Jewish slave labour. Their major contribution was the splitting of local ore mined from Czechoslovakian mica. Blind prisoners were often spared deportation by assignment to this task. Others manufactured boxes or coffins, or sprayed military uniforms with a white dye to provide camouflage for German soldiers on the Russian front. According to ex-prisoners, Theresienstadt was also a sorting and re-distribution centre for underwear and clothing confiscated from Jews:
... from all parts of Germany, the baggage taken away from the Jews was sent to Theresienstadt, and there it was packaged, sorted-out in order to be sent out all over the country, to various cities, for the people who were bombed-out and suffered a shortage of underwear and clothing.[15]
Western European Jews arrive at camp
Among the western European Jews deported to the camp were 456 Jews from Denmark, sent to Theresienstadt in 1943. They had not been able to escape to neutral Sweden before the Nazis started the deportation. Included also in the transports were European Jewish children whom Danish organisations had tried to conceal in foster homes.
The arrival of the Danes was significant, as their government gained access to the ghetto for the International Red Cross in 1944, to view conditions there. (This took place after the D-Day Invasion of Normandy by the Allies). Most European governments, when occupied by the Nazis, had not tried to protect their fellow Jewish citizens. Historians believe the Germans were trying to keep the Danes satisfied as they had impressed many of their workers in war factories. In addition, the tide of war was changing.
Improvements made by inmates
Survivor Friedrich Schlaefrig described in 1946 how the early residents of Theresienstadt, with the assistance of the Germans, overcame the lack of water to the town:
We had no water system in Theresienstadt ... a number of wells were contaminated in a short time with typhoid fever. That was the reason that we had to close a number of wells, and had to undertake to extend the existing water pipe system. That was really a great piece of public works created under Jewish inventiveness and by Jewish labor. They expanded the water supply system, and have achieved [a condition] that we not only produced for the people good drinking water or, at least, not objectionable drinking water, but that also the toilet installations could be flushed with water, so that these unhygienic conditions were removed ... The Germans have permitted it, and we even obtained through them the material, because otherwise it would have been impossible ...[15]
After this, a fire department was established, made up of Jewish prisoners, with an acting fire chief. They relied on the newly constructed water system. Constructing the water system was only part of the major work undertaken by Jews, in what was called the technical service, in the first year of the camp. They had to make many more changes to buildings to adapt the fortress and barracks for the overcrowded conditions that the Germans imposed.[15]
Unequal treatment of prisoners
After the changes and sprucing up to prepare for the Red Cross visit, in the spring of 1944, the Gestapo screened the Jews of Theresienstadt, classifying them according to social prominence. Many of the "Prominente" were profiled, with photographs, among a collection of documents smuggled out after the liberation..[20] The Gestapo reassigned some 150 to 200 prominent individuals to single rooms that would be shared by only two people, so that a husband and wife could live by themselves. Several members of the Cultural Council were included among the Prominente, due to the influence of Benjamin Murmelstein, then the "Jewish elder" of Theresienstadt. Former prisoners suggested in statements that those who held positions of authority practised nepotism, trying to protect individuals close to them, while struggling to avoid deportation and death in the closing days of the war. Murmelstein and other members of the Cultural Council were still deported in the final liquidation, but he and some others survived the war.[15]
Cultural activities and legacy
Theresienstadt was originally designated as a model community for middle-class Jews from Germany, Czechoslovakia, and Austria. Many educated Jews were inmates of Theresienstadt. In a propaganda effort designed to fool the western allies, the Nazis publicised the camp for its rich cultural life. In reality, according to a Holocaust survivor, "during the early period there were no [musical] instruments whatsoever, and the cultural life came to develop itself only ... when the whole management of Theresienstadt was steered into an organized course."[15] An extremely rich cultural life then ensued, with lectures, recitals, poetry readings, concerts, and so on. At least four concert orchestras were organised in the camp, as well as chamber groups and jazz ensembles. Several stage performances were produced and attended by camp inmates. Many prominent artists from Czechoslovakia, Austria, and Germany were imprisoned at Theresienstadt, along with writers, scientists, jurists, diplomats, musicians, and scholars, and many of these contributed to the camp's cultural life.
The community in Theresienstadt tried to ensure that all the children who passed through the camp continued with their education. The Nazis required all camp children over a certain age to work, but accepted working on stage as employment. The prisoners achieved the children's education under the guise of work or cultural activity. Daily classes and sports activities were held. The community published a magazine, Vedem. The history of the magazine was studied and narrated by the Italian writer Matteo Corradini in his book "La repubblica delle farfalle" (The Republic of the Butterflies"). The English actor Sir Ben Kingsley read that novel, speaking on January 27, 2015 during the ceremony held at Theresienstadt to mark International Holocaust Memorial Day.
Ilse Weber, a noted Czech Jewish poet, writer and musician for children, was held in the camp from February 1942, and worked as a night nurse in the camp's children's infirmary. She volunteered to join a transport of children to Auschwitz in November 1944, where she, her son Tommy, and all the children with her were murdered in the gas chambers immediately on arrival.
Czech composer Rafael Schächter
The conductor Rafael Schächter was among those held at the camp, and he formed an adult chorus. He directed it in a performance of the massive and complex Requiem by Giuseppe Verdi. Schächter conducted 15 more performances of the work before he was deported to Auschwitz-Birkenau.[21]
Violinist Julius Stwertka, a former leading member of the Boston Symphony Orchestra and co-leader of the Vienna Philharmonic, died in the camp on December 17, 1942.
The pianist Alice Herz-Sommer performed 100 concerts while imprisoned at Theresienstadt. She and Edith Steiner-Kraus, her friend and colleague, both survived the camp, emigrated to Israel after the war, and became professors of music, Herz-Sommer at the Jerusalem Academy of Music, and Steiner-Kraus at the Tel Aviv Academy of Music.[22] In March 2012, a biography of Herz-Sommer was published.[23] At the time of her death in London in February 2014, at 110, she was the oldest known Holocaust survivor.[24]
Martin Roman and Coco Schumann were part of the jazz band Ghetto Swingers.
Artist and art teacher Friedl Dicker-Brandeis created drawing classes for children in the ghetto, among whom were Hana Brady ("Hana's suitcase"). They produced more than 4,000 drawings, which she hid in two suitcases before she was deported to Auschwitz in the final liquidation. The collection was preserved from destruction, and was discovered a decade later. Most of these drawings can now be seen at The Jewish Museum in Prague, whose archive of the Holocaust section administers the Terezín Archive Collection. Others are on display at Yad Vashem in Jerusalem.
The children of the camp also wrote stories and poems. Some were preserved and later published in a collection called I Never Saw Another Butterfly, its title taken from a poem by young Jewish Czech poet Pavel Friedman. He had arrived at Terezín on April 26, 1942, and later died at Auschwitz.
Painter Malva Schalek (Malvina Schalkova) was deported to Theresienstadt in February 1942. She produced more than 100 drawings and watercolours portraying life in the camp. On May 18, 1944, because of her refusal to paint the portrait of a collaborationist doctor, she was deported to Auschwitz, where she was killed.[25]
The artist and architect Norbert Troller produced drawings and watercolours of life inside Theresienstadt, to be smuggled to the outside world. When the Gestapo found out, he was arrested and deported to Auschwitz. His memoirs and two dozen of his artworks were published in 1991.[26]
The composer Viktor Ullmann was interned in September 1942, and died at Auschwitz in October 1944. He composed some twenty works at Theresienstadt, including the one-act opera Der Kaiser von Atlantis (The Emperor of Atlantis or The Refusal of Death). It was planned for performance at the camp, but the Nazis withdrew permission when it was in rehearsal, probably because the authorities perceived its allegorical intent. The opera was first performed in 1975, and shown in full on BBC television in Britain. It continues to be performed.
Music composed by inmates is featured in Terezín: The Music 1941–44, a two-CD set released in 1991.[27][28] The collection features music composed mostly in 1943 and 1944 by Pavel Haas, Gideon Klein, Hans Krása, and Viktor Ullmann while interned at Theresienstadt. Haas, Krása, and Ullmann died in Auschwitz concentration camp in 1944, and Klein died in Fürstengrube in 1945.[29]
In 2007, the album Terezín – Theresienstadt of music composed at Theresienstadt was released by the Swedish singer Anne Sofie von Otter, assisted by baritone Christian Gerhaher, pianists, and chamber musicians. In 2008, Bridge Records released a recital by Austrian baritone Wolfgang Holzmair and American pianist Russell Ryan that drew on a different selection of songs.
Use as propaganda tool
Cell
Main article: Theresienstadt (film)
Late in the war, after D-Day and the invasion of Normandy, the Nazis permitted representatives from the Danish Red Cross and the International Red Cross to visit Theresienstadt in order to dispel rumours about the extermination camps. The commission that visited on June 23, 1944, included E. Juel-Henningsen, the head physician at the Danish Ministry of Health, and Franz Hvass, the top civil servant at the Danish Foreign Ministry. Dr. Paul Eppstein was instructed by the SS to appear in the role of the mayor of Theresienstadt.[30]
Weeks of preparation preceded the visit. The area was cleaned up, and the Nazis deported many Jews to Auschwitz to minimise the appearance of overcrowding in Theresienstadt. Also deported in these actions were most of the Czechoslovak workers assigned to "Operation Embellishment". The Nazis directed the building of fake shops and cafés to imply that the Jews lived in relative comfort.
The Danes whom the Red Cross visited lived in freshly painted rooms, not more than three in a room. Rooms viewed may have included the homes of the "prominent" Jews of Theresienstadt, who were afforded the special privilege of having as few as two occupants to a room.[15] The guests attended a performance of a children's opera, Brundibár, which was written by inmate Hans Krása.
The Red Cross representatives were conducted on a tour following a predetermined path designated by a red line on a map. The representatives apparently did not attempt to divert from the tour route on which they were led by the Germans, who posed questions to the Jewish residents along the way. If the representatives asked residents questions directly, they were ignored, in accordance with the Germans' instructions to the residents prior to the tour. Despite this, the Red Cross apparently formed a positive impression of the town.[15]
Following the successful use of Theresienstadt as a supposed model internment camp during the Red Cross visit, the Nazis decided to make a propaganda film there. It was directed by Jewish prisoner Kurt Gerron, an experienced director and actor; he had appeared with Marlene Dietrich in The Blue Angel. Shooting took eleven days, starting September 1, 1944.[31] After the film was completed, the director and most of the cast were deported to Auschwitz. Gerron was murdered by gas chamber on October 28, 1944.[32]
The film was intended to show how well the Jews were living under the purportedly benevolent protection of the Third Reich. If taken at face value, it documents the Jews of Theresienstadt living a relatively comfortable existence within a thriving cultural centre and functioning successfully during the hardships of World War II. They had to comply and perform according to Nazi orders. Often called The Führer Gives a Village to the Jews, the correct name of the film is Theresienstadt. Ein Dokumentarfilm aus dem jüdischen Siedlungsgebiet ("Terezin: A Documentary Film of the Jewish Resettlement").[a] As the film was not completed until near the end of the war, it was never distributed as intended, although a few screenings were held. Most of the film was destroyed, but some footage has survived.
Statistics
10 Kronen bill shown to the Red Cross committee. Ex-inmates of Theresienstadt have described how they each received 50 crowns every month with which to buy things.[33] Residents working at the camp were also paid in this currency,[15] a form of truck system.
Approximately 144,000 Jews were sent to Theresienstadt. Most inmates were Czech Jews, but 40,000 were from Germany, 15,000 from Austria, 5,000 from the Netherlands, and 300 from Luxembourg. In addition to the group of approximately 500 Jews from Denmark, Slovak and Hungarian Jews were deported to the ghetto. 1,600 Jewish children from Białystok, Poland, were deported from Theresienstadt to Auschwitz; none survived. About a quarter of the inmates (33,000) died in Theresienstadt, mostly because of the deadly conditions, which included hunger, stress, and disease. The typhus epidemic at the very end of war took an especially heavy toll.
About 88,000 prisoners were deported to Auschwitz and other extermination camps, including Treblinka. At the end of the war, 17,247 had survived. An estimated 15,000 children lived in the ghetto. Willy Groag, one of the youth care workers, mistakenly claimed after the war that only 93 survived.[34]
Allied POWs
During the war, Allied POWs who repeatedly attempted to escape from POW camps were sent to Theresienstadt as punishment. 21 British, 21 New Zealand, and 17 Australian POWs were held there.[35] Keeping POWs from signatory countries of the Geneva Convention in such camp conditions was a war crime. Many of the survivors suffered chronic physical and mental health problems for most of their lives.[35]
In 1964, Germany paid the British government £1 million as reparation for the illegal transfer of British POWs to Theresienstadt.[35] Britain made no provision for dominion troops. For many years, the governments of Australia and New Zealand denied that any of their servicemen had been held at the camp. In 1987, Australian Prime Minister Bob Hawke established a committee of investigation. It confirmed that POWs were held at Theresienstadt. The government then authorised payments of A$10,000 each to the Australian survivors of the camp. The New Zealand government also arranged for compensation for the New Zealand survivors.[35]
U.S. Army Command Sgt. Maj. Kevin D. Harkey, outgoing command sergeant major, 710th Brigade Sustainment Battalion, passed the guidon to incoming Command Sgt. Maj. Brandon J. Vargas, 710th Brigade Sustainment Battalion, 3rd Brigade Combat Team, 10th Mountain Division, at a change of responsibility ceremony on Mountain Field at Fort Polk, Louisiana, November 24, 2020. Harkey will be retiring after serving more than 30 years. (U.S. Army photo by Staff Sgt. Ashley M. Morris)
One display reads:
ADA in Vietnam – Searchlights
From the origins of American Air Defense, searchlights had been an integral facet of the branch’s responsibilities. While the battlefields of South Vietnam were far different from those encountered by air defense units in WWI, WWII or Korea, battlefield illumination remained a necessity to fight at night.
In early 1966, General Westmoreland requested searchlight support to illuminate remote outposts and mitigate the massed infantry attacks practiced by the North Vietnamese Army and Vietcong irregulars against those distant firebases. The first lights in-theater were WWII vintage 60” carbon arc searchlights and slightly newer 30” carbon arc lights. These proved vulnerable to small arms fire and were quickly relegated to duty in or near South Vietnam’s few cities. However, the 23” VSS-1 Xenon Searchlight, normally mounted on the M48 tank was quickly modified to mount in the back of an M151A1 jeep.
Introduced in 1960, the M151 replaced earlier MB / GPW and M38 series 1/4 ton utility trucks (known as “jeeps”) in US military service. While M151s were standard equipment in most Army units, they played a crucial role in Army Air Defense Batteries in Vietnam.
The new searchlight system, designated AN / GSS-14 was powered directly from the vehicle with only minor modifications. A 100-amp regulator replaced the original 25-amp unit, allowing the jeep’s engine to serve as the light’s generator. The 100-million candlepower light had a straight-line range of five miles and nearly twice that if bounced off cloud cover.
Four separate Batteries of the 29th Artillery fielded the M151A1 / GSS-14 in South Vietnam, one per Corps Area. Three of those Batteries (B, G and I Batteries) were attached directly to an Automatic Weapons (M42 Duster) Battalion and worked in concert with Dusters and Quad-.50s, while the fourth (H Battery) was attached to the 164th Aviation Battalion. In addition to the GSS-14, B Battery began a combat trial with the more powerful TVS-3 30” Xenon Searchlight in 1969.
The Vietnam War was Air Defense’s last combat use of searchlights. By the end of the war, night division devices were being used with regularity and the ability to illuminate an enemy position was far outweighed by the ability to see that position in the blackest of nights using a night vision device.
The next display reads:
TVS-3 Searchlight
In 1966, the Commanding General, US Army Vietnam requested a replacement for the 30” carbon arc searchlights then in use with the US Army. While the Xenon VSS-1 used on the M48 tank was readily available and almost immediately pressed into service mounted on M151A1 jeeps, a larger light of 30” was required. The 1.2 billion candlepower TVS-3 searchlight was undergoing stateside testing in the mid-1960s and by 1968 their presence was requested in South Vietnam.
In March 1969, nine 30” Xenon TVS-3 searchlights were sent to South Vietnam for a 60 operational evaluation. Six were assigned to I Field Force Vietnam and one to II Field Force with two spares held as replacements as needed. The six lights sent to I Field Force were situated on mountain tops in the II Corps area. From these mountaintops, B Battery lights could illuminate nearly any point on the II Corps coastline, provide direct illumination nearly 20 miles inland and indirect illumination to support night vision operations at almost twice that distance. While the TVS-3 operational test was only planned for 60 days, the lights remained in-country through early 1971 and were used to great effect in both illumination and firebase defense roles.
H Battery operated in IV Corps, supporting units of the 9th Infantry Division and the 164th Aviation Battalion. It was the only one of the four searchlight batteries not attached to a Duster battalion.
The Xenon 1.2 billion candlepower light had a range of over twenty-five miles, providing battlefield illumination for friendly forces.
M60s were frequently found with searchlight jeeps, allowing the light operators to put a significant volume of fire on enemy positions once detected.
Citation:
The President of the United States of America, authorized by Act of Congress, July 8, 1918 (amended by act of July 25, 1963), takes pleasure in presenting the Silver Star to Sergeant Randall W. King, United States Army, for gallantry in action while engaged in military operations involving conflict with an armed hostile force, on 22 February 1969, while serving as a Searchlight Crewman with Battery I (Searchlight), 29th Artillery Regiment, II Field Force Artillery, in the Republic of Vietnam. On this date, Sergeant King and his Section Chief were providing illumination on the eastern perimeter of Long Binh Post. Sergeant King monitored a radio message reporting rocket flashes and rounds impacting on the southern perimeter. With complete disregard for his safety, he and his Section Chief headed their open searchlight vehicle toward the heavily bombarded south perimeter moving directly through an intense mortar and grenade barrage. Arriving at a bunker, they discovered several wounded soldiers on the ground. At great risk to his own life, Sergeant King assisted in the evacuation of these men to a jeep in the rear, although the area was under peak mortar and rocket attack and intense automatic weapons fire. After the wounded had been evacuated, Sergeant King took up a fighting position on the perimeter and laid down a high volume of suppressive fire. As he continued in his efforts to defend the searchlight position, a mortar round landed near his bunker and metal fragments knocked the weapon from his hands, temporarily blinding him. With his weapon inoperative and the other men in his bunker low on ammunition, Sergeant King volunteered to go for a resupply. On his third trip, he encountered a wounded man and carried the man to safety. He then returned to the searchlight position and proceeded to place effective machine gun fire on the enemy. Sergeant King's gallantry and devotion to duty were in keeping with the highest traditions of the military service and reflect great credit upon himself, his unit and the United States Army.
Citation:
The President of the United States of America, authorized by Act of Congress, July 8, 1918 (amended by act of July 25, 1963), takes pleasure in presenting the Silver Star to Private First Class Joey W. Clements, United States Army, for conspicuous gallantry and intrepidity in action against the enemy while serving as a Searchlight Crewman with Battery I (Searchlight), 2nd Battalion, 29th Artillery Regiment, II Field Force, on 14 June 1970, in the Republic of Vietnam. On this date, Private First Class Clements and his Section Chief were operating a searchlight on the defensive perimeter of their Base when their element suddenly received heavy enemy mortar and rocket-propelled grenade fire. In the initial moments of contact, his Section Chief was wounded, and Private Clements was forced to engage the advancing enemy with a machine gun until he had expended his ammunition. He then left to replenish his ammunition supply, and as he returned to the defensive position with the additional ammunition, he received severe shrapnel wounds in both legs and his chest. Refusing to be evacuated, he manned the machine gun and continued to provide effective suppressive fire. As he maneuvered to another position, he received arm wounds by a grenade. Still refusing aid, he manned the new position until the enemy broke contact. Private Clements' gallantry was instrumental in the repelling of the hostile force. Private First Class Clements' actions were in keeping with the highest traditions of the military service and reflect great credit upon himself, his unit, and the United States Army.
Another display reads:
30” AN / TVS-3 Xenon Searchlight
“We Light ‘Em, You Fight ‘Em”
Nine TVS-3 searchlights arrived in South Vietnam in March 1969 and were immediately emplaced in strategic locations across South Vietnam’s Central Highlands. The 1.2 billion candlepower lights enabled battlefield illumination up to 20 miles from the searchlight’s location, allowing for instantaneous illumination of remote outposts along the Cambodian and Laotian borders that were subject to frequent nighttime NVA Sapper attacks.
The TVS-3 quickly proved invaluable in the defense of friendly positions and remained in-theater far longer than its initial 60-day evaluation period. B Battery, 7th Battalion, 29th Artillery (Searchlight) operated the TVS-3 throughout the 1969 – 1971 timeframe.
The final display reads:
Air Defense Units in Vietnam
The US air defense role in the Republic of Vietnam was straightforward: defend friendly ground forces from air and ground attack. The equipment Air Defenders had at their disposal ranged from World War 2 vintage M55 Quad-.50 caliber machine gun turrets to the cutting edge MIM-23 Hawk Missile System.
Arriving in South Vietnam in early 1966 as “Artillery” battalions and separate batteries, Air Defenders served under I and II Field Force, providing convoy escort, firebase defense, battlefield illumination and an air defense umbrella over friendly territory that was second to none.
Three battalions and eight separate batteries covered friendly skies from the DMZ south to the Mekong Delta. Two additional battalions provided medium range air defense for the cities of Da Nang and Saigon from the very real threat of North Vietnamese IL-28 medium bombers.
In July 1968, Air Defense split from the Artillery branch and became an independent branch of the US Army. Although relatively few in number, Air Defenders in Vietnam made an indelible impression on the US experience in Vietnam and those battalions returned home in 1972 as the combat-experienced core of the Army’s newest branch.
Taken December 13th, 2013.
Corporate Social Responsibility Karnataka
Trinity Care Foundation Initiative in Backward Areas in Karnataka, India.
Connect www.facebook.com/trinitycarefoundation : trinitycarefoundation.org/csrprogrammesindia
One display reads:
ADA in Vietnam – Searchlights
From the origins of American Air Defense, searchlights had been an integral facet of the branch’s responsibilities. While the battlefields of South Vietnam were far different from those encountered by air defense units in WWI, WWII or Korea, battlefield illumination remained a necessity to fight at night.
In early 1966, General Westmoreland requested searchlight support to illuminate remote outposts and mitigate the massed infantry attacks practiced by the North Vietnamese Army and Vietcong irregulars against those distant firebases. The first lights in-theater were WWII vintage 60” carbon arc searchlights and slightly newer 30” carbon arc lights. These proved vulnerable to small arms fire and were quickly relegated to duty in or near South Vietnam’s few cities. However, the 23” VSS-1 Xenon Searchlight, normally mounted on the M48 tank was quickly modified to mount in the back of an M151A1 jeep.
Introduced in 1960, the M151 replaced earlier MB / GPW and M38 series 1/4 ton utility trucks (known as “jeeps”) in US military service. While M151s were standard equipment in most Army units, they played a crucial role in Army Air Defense Batteries in Vietnam.
The new searchlight system, designated AN / GSS-14 was powered directly from the vehicle with only minor modifications. A 100-amp regulator replaced the original 25-amp unit, allowing the jeep’s engine to serve as the light’s generator. The 100-million candlepower light had a straight-line range of five miles and nearly twice that if bounced off cloud cover.
Four separate Batteries of the 29th Artillery fielded the M151A1 / GSS-14 in South Vietnam, one per Corps Area. Three of those Batteries (B, G and I Batteries) were attached directly to an Automatic Weapons (M42 Duster) Battalion and worked in concert with Dusters and Quad-.50s, while the fourth (H Battery) was attached to the 164th Aviation Battalion. In addition to the GSS-14, B Battery began a combat trial with the more powerful TVS-3 30” Xenon Searchlight in 1969.
The Vietnam War was Air Defense’s last combat use of searchlights. By the end of the war, night division devices were being used with regularity and the ability to illuminate an enemy position was far outweighed by the ability to see that position in the blackest of nights using a night vision device.
The next display reads:
TVS-3 Searchlight
In 1966, the Commanding General, US Army Vietnam requested a replacement for the 30” carbon arc searchlights then in use with the US Army. While the Xenon VSS-1 used on the M48 tank was readily available and almost immediately pressed into service mounted on M151A1 jeeps, a larger light of 30” was required. The 1.2 billion candlepower TVS-3 searchlight was undergoing stateside testing in the mid-1960s and by 1968 their presence was requested in South Vietnam.
In March 1969, nine 30” Xenon TVS-3 searchlights were sent to South Vietnam for a 60 operational evaluation. Six were assigned to I Field Force Vietnam and one to II Field Force with two spares held as replacements as needed. The six lights sent to I Field Force were situated on mountain tops in the II Corps area. From these mountaintops, B Battery lights could illuminate nearly any point on the II Corps coastline, provide direct illumination nearly 20 miles inland and indirect illumination to support night vision operations at almost twice that distance. While the TVS-3 operational test was only planned for 60 days, the lights remained in-country through early 1971 and were used to great effect in both illumination and firebase defense roles.
H Battery operated in IV Corps, supporting units of the 9th Infantry Division and the 164th Aviation Battalion. It was the only one of the four searchlight batteries not attached to a Duster battalion.
The Xenon 1.2 billion candlepower light had a range of over twenty-five miles, providing battlefield illumination for friendly forces.
M60s were frequently found with searchlight jeeps, allowing the light operators to put a significant volume of fire on enemy positions once detected.
Citation:
The President of the United States of America, authorized by Act of Congress, July 8, 1918 (amended by act of July 25, 1963), takes pleasure in presenting the Silver Star to Sergeant Randall W. King, United States Army, for gallantry in action while engaged in military operations involving conflict with an armed hostile force, on 22 February 1969, while serving as a Searchlight Crewman with Battery I (Searchlight), 29th Artillery Regiment, II Field Force Artillery, in the Republic of Vietnam. On this date, Sergeant King and his Section Chief were providing illumination on the eastern perimeter of Long Binh Post. Sergeant King monitored a radio message reporting rocket flashes and rounds impacting on the southern perimeter. With complete disregard for his safety, he and his Section Chief headed their open searchlight vehicle toward the heavily bombarded south perimeter moving directly through an intense mortar and grenade barrage. Arriving at a bunker, they discovered several wounded soldiers on the ground. At great risk to his own life, Sergeant King assisted in the evacuation of these men to a jeep in the rear, although the area was under peak mortar and rocket attack and intense automatic weapons fire. After the wounded had been evacuated, Sergeant King took up a fighting position on the perimeter and laid down a high volume of suppressive fire. As he continued in his efforts to defend the searchlight position, a mortar round landed near his bunker and metal fragments knocked the weapon from his hands, temporarily blinding him. With his weapon inoperative and the other men in his bunker low on ammunition, Sergeant King volunteered to go for a resupply. On his third trip, he encountered a wounded man and carried the man to safety. He then returned to the searchlight position and proceeded to place effective machine gun fire on the enemy. Sergeant King's gallantry and devotion to duty were in keeping with the highest traditions of the military service and reflect great credit upon himself, his unit and the United States Army.
Citation:
The President of the United States of America, authorized by Act of Congress, July 8, 1918 (amended by act of July 25, 1963), takes pleasure in presenting the Silver Star to Private First Class Joey W. Clements, United States Army, for conspicuous gallantry and intrepidity in action against the enemy while serving as a Searchlight Crewman with Battery I (Searchlight), 2nd Battalion, 29th Artillery Regiment, II Field Force, on 14 June 1970, in the Republic of Vietnam. On this date, Private First Class Clements and his Section Chief were operating a searchlight on the defensive perimeter of their Base when their element suddenly received heavy enemy mortar and rocket-propelled grenade fire. In the initial moments of contact, his Section Chief was wounded, and Private Clements was forced to engage the advancing enemy with a machine gun until he had expended his ammunition. He then left to replenish his ammunition supply, and as he returned to the defensive position with the additional ammunition, he received severe shrapnel wounds in both legs and his chest. Refusing to be evacuated, he manned the machine gun and continued to provide effective suppressive fire. As he maneuvered to another position, he received arm wounds by a grenade. Still refusing aid, he manned the new position until the enemy broke contact. Private Clements' gallantry was instrumental in the repelling of the hostile force. Private First Class Clements' actions were in keeping with the highest traditions of the military service and reflect great credit upon himself, his unit, and the United States Army.
Another display reads:
30” AN / TVS-3 Xenon Searchlight
“We Light ‘Em, You Fight ‘Em”
Nine TVS-3 searchlights arrived in South Vietnam in March 1969 and were immediately emplaced in strategic locations across South Vietnam’s Central Highlands. The 1.2 billion candlepower lights enabled battlefield illumination up to 20 miles from the searchlight’s location, allowing for instantaneous illumination of remote outposts along the Cambodian and Laotian borders that were subject to frequent nighttime NVA Sapper attacks.
The TVS-3 quickly proved invaluable in the defense of friendly positions and remained in-theater far longer than its initial 60-day evaluation period. B Battery, 7th Battalion, 29th Artillery (Searchlight) operated the TVS-3 throughout the 1969 – 1971 timeframe.
The final display reads:
Air Defense Units in Vietnam
The US air defense role in the Republic of Vietnam was straightforward: defend friendly ground forces from air and ground attack. The equipment Air Defenders had at their disposal ranged from World War 2 vintage M55 Quad-.50 caliber machine gun turrets to the cutting edge MIM-23 Hawk Missile System.
Arriving in South Vietnam in early 1966 as “Artillery” battalions and separate batteries, Air Defenders served under I and II Field Force, providing convoy escort, firebase defense, battlefield illumination and an air defense umbrella over friendly territory that was second to none.
Three battalions and eight separate batteries covered friendly skies from the DMZ south to the Mekong Delta. Two additional battalions provided medium range air defense for the cities of Da Nang and Saigon from the very real threat of North Vietnamese IL-28 medium bombers.
In July 1968, Air Defense split from the Artillery branch and became an independent branch of the US Army. Although relatively few in number, Air Defenders in Vietnam made an indelible impression on the US experience in Vietnam and those battalions returned home in 1972 as the combat-experienced core of the Army’s newest branch.
Taken December 13th, 2013.
Steve Nash Foundation presents the SHOWDOWN in DOWNTOWN photos by RonSombilonGallery.com
Sponsored by Coast Capital Savings and BC Hydro PowerSmart
Showdown in Downtown is a collaboration of sponsors, local non-profits, sports superstars who educate and empower new energy for community action, the Street Festival brings together private and public resources to show off all we can do together.
About the Steve Nash Foundation
About the Foundation
Formed in 2001, given U.S. charitable status in 2004, and Canadian charitable status in 2007, the Steve Nash Foundation is a private foundation dedicated to assisting underserved children in their health, personal development, education and enjoyment of life. Like its NBA MVP founder, the Foundation is fast becoming a leader in assists . . . to a slightly shorter population.
Through our own initiatives, and through grants to public service and nonprofit entities in British Columbia, the Foundation aims to grow health in kids by funding projects that provide direct services to children affected by poverty, illness, abuse, or neglect, and create opportunity for education, health, and empowerment. We love the opportunity to get involved in the good work being done by child-focused ngo’s in our home province.
The Foundation also seeks to afford thoughtful solutions to community needs through our own projects to address critical health and education needs. The Foundation focuses its resources on underserved populations of children in British Columbia, Arizona, and the country of Paraguay. Equipping a neonatal intensive care ward in Asuncion to provide basic necessities for infants and their families, developing an early childhood education center of excellence to bring best practices to young kids that don’t always enjoy that access in Arizona, and uniting civic outreach, corporate and social service organizations to show kids how to get involved in their communities are examples of the daily work of the Foundation’s small but dedicated staff. Stemming from our first ever Steve Nash Foundation Charity Classic, held in Toronto, Ontario, in 2005, the Foundation is also working closely with the City to establish an all-access, all-kids after-school center there to build hope through hoops for kids.
While our work focuses exclusively on child welfare, we believe that corporations must share responsibility for the well-being of our communities. The Foundation employs and encourages environmentally-friendly office practices, and offers grantees assistance in developing their own recycling and energy conservation programs (check out our Green Leaf here). We also like to highlight the important work of other individuals and organizations, using our website links to increase their exposure, and contribute to their efforts. Further, we are proud to be working with young people that excel in their chosen fields, from whom we welcome energetic leadership and fresh voices.
The Steve Nash Foundation. Growing health in kids.
For more info, visit
SteveNash.org/about-the-foundation/
.
Col. Keith Logeman relinquished responsibility of his position as assistant commandant at the Defense Language Institute Foreign Language Center and command of the U.S. Air Force’s 517th Training Group July 13, 2017 on Soldier Field at the Presidio of Monterey, California.
Logeman was effectively retired from the Air Force July 14, 2017.
Col. Wiley Barnes assumed responsibility as DLIFLC assistant commandant, which also includes command of the 517th Training Group.
As assistant commandant, Logeman was responsible for more than 1,800 faculty members and 250 joint-service staff providing language training and operational support. As Commander of the 517th Training Group he lead two squadrons composed of about 1,200 Airmen, the majority of whom are cryptologic linguists.
Barnes assumed these same responsibilities from Logeman. Previously he was the Intelligence, Surveillance and Reconnaissance Operations Division Chief for United States European Command.
(U.S. Army photos by Patrick Bray/Released)
I've always thought that the strength of team sports was built on mutual responsibility, accepting responsibility is a big hurdle.
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
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venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
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Preparing young Queenslanders for life in the 1990s, we saw personal computers make their way into schools during the 80s with a strong focus on health, regional education and the arts by Queensland Education.
The photographic unit at the Premier’s Department, Office of State Affairs, captured a snapshot of various events, programmes and initiatives for school children throughout Queensland. This collection contains several arts, music and drama as well as students participating in computer usage.
In the early 1980s, several different computer manufacturers were vying for a foothold in the education market, Apple, Tandy, Atari, Sinclair, Amstrad, Microbee and many others. By 1985 Apple Macintosh was considered a standard system (alongside several others) for all states except Western Australia which adopted the BBC Model B and Microbee computer systems as a standard.
These photos are part are the photographic records held at Queensland State Archives, www.archivessearch.qld.gov.au/series/S189
1985
The discussion paper, Education 2000: Issues and options for the future of Education in Queensland was released.
The use of technology to enhance distance education, work in schools and educational administration was supported.
Approval was given for schools to alter the placement of the three pupil free days.
The Department of Education developed a policy on the education of gifted children.
The Special Education Resource Centres were formed as state-wide services, as part of the Division of Special Education.
Early special education officially commenced.
1986
The age of first attendance at primary school increased. Children had to turn five years by 31 January to be eligible for enrolment in Year 1.
There was an expansion of the curriculum in secondary schools and TAFE colleges evident in the further development of co-operative secondary-TAFE programs.
The Advisory Committee which reviewed submissions made in response to Education 2000 reported to the Minister.
The distance education trial began through the Mt Isa School of the Air.
A Preschool to Year 10 (P–10) Syllabus Framework was developed.
Endeavour Foundation schools transferred to Department of Education.
Policy Statement 15 Integration: Mainstreaming of Students with Special Needs introduced.
1987
Children had to turn 5 years by 31 December to be eligible for enrolment in Year 1 in the following year.
The Department of Education launched a series of documents entitled Meeting the Challenge which highlighted a corporate style of management.
The Department reshaped its central administration by strengthening the role of the Policy Committee, appointing a Chief Inspector and adopting comprehensive strategic planning processes.
In regions, initiatives were built on the commitment to decentralisation, while further devolution of responsibility occurred in the operational management of educational programs.
Two new education regions were formed (South Coast and Sunshine Coast regional offices).
The P–10 Curriculum Framework was developed and curriculum documents revised.
The Roma Middle School opened and catered for students in Years 4–10.
A post-compulsory college, the Alexandra Hills Senior College opened.
Two new centres of distance education opened at Longreach and Charters Towers.
1988
The Inspectorate was regionalised.
There was continued development of an integrated P–10 curriculum.
The senior secondary curriculum was broadened to cater for all learners.
Cooperative programs between secondary schools and TAFE colleges were conducted.
The use of computers and information technology in schools was given a high priority.
The Special Education Resource and Development Centres were formed as a consequence of the reorganisation of the Division of Special Education.
Individual education plans for students with disabilities were introduced as part of the new policy Policy Statement 16: Policy and Practice for Special Education Services.
The report National Overview of Educational Services for Isolated Severely Handicapped Children resulted from a Project of National Significance undertaken as a joint project of the Commonwealth Department of Employment Education and Training and the Department of Education Division of Special Services.
The Queensland School for the Deaf closes, as a consequence of decentralisation of services to students with hearing impairments during the 1980's. Programs for students with vision impairment were also decentralised during this period.
1989
A new Education Act 1989 was enacted.
The Department of Education's first strategic plan was adopted.
Decisions about school budgets were devolved to the school level.
There was an amalgamation of correspondence schools which became the School of Distance Education — Brisbane Centre P–12.
The first high school built to a new design opened at Bribie Island.
New prototype buildings for preschool, primary and special education units were assessed.
1989–1990
A comprehensive internal review of the Department of Education commenced through the consultation process, Education Have Your Say.
Professor Nancy Viviani reviewed Tertiary Entrance and produced the report, A Review of Tertiary Entrance in Queensland.
The Offices of Higher Education and Non-State Schooling were established.
The Department developed The Corporate Vision for Senior Schooling in Queensland to accommodate the diverse needs of students in Years 11 and 12.
The first entire primary school based on the new building model opened to students.
1990–1991
The report, Focus on Schools was released. A major restructure of the Department of Education followed.
The Public Sector Management Commission (PSMC) reviewed the Department of Education including its role, operations, responsibilities and management.
Greater responsibilities were devolved to 11 regions for resource, financial administration and human resource management.
A new English Language Arts Syllabus was introduced.
Priority was given to expanding languages other than English (LOTE).
The Viviani Report recommended the establishment of the Tertiary Entrance Procedures Authority (TEPA).
Consultants were engaged to assist in the development of an Equal Employment Opportunity (EEO) management plan.
The Equity Directorate (Workforce and Studies) was established. A social justice strategy was developed.
The PSMC developed guidelines for recruitment and selection based on merit and equity principles.
The inspectorate ended.
The report Focus on Schools recommended that a strategy for managing the integration policy in Queensland schools be developed as a matter of urgency, and that a state-wide support centre for students with low incidence disabilities be established. A restructure of the Department of Education followed.
Occupational therapists and physiotherapists were employed by the Department of Education to work in schools with students with disabilities. (These services were transferred from the Department of Families).
Policy Statement — Management of Support Teaching: Learning Difficulties (P–7) was introduced.
education.qld.gov.au/about-us/history/chronology-of-educa...
at a party....i came across this stillife passing the dining table in the middle of a room. The paper folded showing the word reponsibility in combination with the empty glass and the tool to get some more appealed to me as the perfect story for a photograph.
Canon EOS500
Adox Art film
Amaloco dev, fix
New York National Guard Command Sgt. Maj. Anthony Giamberdino, the incoming Command Sgt. Maj receives the guid-on from Command Marc Maynard, the outgoing command Sgt. Maj. of the 153rd Troop Command during the change of command ceremony at Camp Smith, May 15, 2022. A change of responsibility ceremony is a long traditional event rich in symbolism and heritage within the military. This ceremony reinforces noncommissioned officer authority in the Army and highlights their support to the chain of command. (U.S. Army National Guard Photo by Sgt. Jordan Sivayavirojna)
One display reads:
ADA in Vietnam – Searchlights
From the origins of American Air Defense, searchlights had been an integral facet of the branch’s responsibilities. While the battlefields of South Vietnam were far different from those encountered by air defense units in WWI, WWII or Korea, battlefield illumination remained a necessity to fight at night.
In early 1966, General Westmoreland requested searchlight support to illuminate remote outposts and mitigate the massed infantry attacks practiced by the North Vietnamese Army and Vietcong irregulars against those distant firebases. The first lights in-theater were WWII vintage 60” carbon arc searchlights and slightly newer 30” carbon arc lights. These proved vulnerable to small arms fire and were quickly relegated to duty in or near South Vietnam’s few cities. However, the 23” VSS-1 Xenon Searchlight, normally mounted on the M48 tank was quickly modified to mount in the back of an M151A1 jeep.
Introduced in 1960, the M151 replaced earlier MB / GPW and M38 series 1/4 ton utility trucks (known as “jeeps”) in US military service. While M151s were standard equipment in most Army units, they played a crucial role in Army Air Defense Batteries in Vietnam.
The new searchlight system, designated AN / GSS-14 was powered directly from the vehicle with only minor modifications. A 100-amp regulator replaced the original 25-amp unit, allowing the jeep’s engine to serve as the light’s generator. The 100-million candlepower light had a straight-line range of five miles and nearly twice that if bounced off cloud cover.
Four separate Batteries of the 29th Artillery fielded the M151A1 / GSS-14 in South Vietnam, one per Corps Area. Three of those Batteries (B, G and I Batteries) were attached directly to an Automatic Weapons (M42 Duster) Battalion and worked in concert with Dusters and Quad-.50s, while the fourth (H Battery) was attached to the 164th Aviation Battalion. In addition to the GSS-14, B Battery began a combat trial with the more powerful TVS-3 30” Xenon Searchlight in 1969.
The Vietnam War was Air Defense’s last combat use of searchlights. By the end of the war, night division devices were being used with regularity and the ability to illuminate an enemy position was far outweighed by the ability to see that position in the blackest of nights using a night vision device.
The next display reads:
TVS-3 Searchlight
In 1966, the Commanding General, US Army Vietnam requested a replacement for the 30” carbon arc searchlights then in use with the US Army. While the Xenon VSS-1 used on the M48 tank was readily available and almost immediately pressed into service mounted on M151A1 jeeps, a larger light of 30” was required. The 1.2 billion candlepower TVS-3 searchlight was undergoing stateside testing in the mid-1960s and by 1968 their presence was requested in South Vietnam.
In March 1969, nine 30” Xenon TVS-3 searchlights were sent to South Vietnam for a 60 operational evaluation. Six were assigned to I Field Force Vietnam and one to II Field Force with two spares held as replacements as needed. The six lights sent to I Field Force were situated on mountain tops in the II Corps area. From these mountaintops, B Battery lights could illuminate nearly any point on the II Corps coastline, provide direct illumination nearly 20 miles inland and indirect illumination to support night vision operations at almost twice that distance. While the TVS-3 operational test was only planned for 60 days, the lights remained in-country through early 1971 and were used to great effect in both illumination and firebase defense roles.
H Battery operated in IV Corps, supporting units of the 9th Infantry Division and the 164th Aviation Battalion. It was the only one of the four searchlight batteries not attached to a Duster battalion.
The Xenon 1.2 billion candlepower light had a range of over twenty-five miles, providing battlefield illumination for friendly forces.
M60s were frequently found with searchlight jeeps, allowing the light operators to put a significant volume of fire on enemy positions once detected.
Citation:
The President of the United States of America, authorized by Act of Congress, July 8, 1918 (amended by act of July 25, 1963), takes pleasure in presenting the Silver Star to Sergeant Randall W. King, United States Army, for gallantry in action while engaged in military operations involving conflict with an armed hostile force, on 22 February 1969, while serving as a Searchlight Crewman with Battery I (Searchlight), 29th Artillery Regiment, II Field Force Artillery, in the Republic of Vietnam. On this date, Sergeant King and his Section Chief were providing illumination on the eastern perimeter of Long Binh Post. Sergeant King monitored a radio message reporting rocket flashes and rounds impacting on the southern perimeter. With complete disregard for his safety, he and his Section Chief headed their open searchlight vehicle toward the heavily bombarded south perimeter moving directly through an intense mortar and grenade barrage. Arriving at a bunker, they discovered several wounded soldiers on the ground. At great risk to his own life, Sergeant King assisted in the evacuation of these men to a jeep in the rear, although the area was under peak mortar and rocket attack and intense automatic weapons fire. After the wounded had been evacuated, Sergeant King took up a fighting position on the perimeter and laid down a high volume of suppressive fire. As he continued in his efforts to defend the searchlight position, a mortar round landed near his bunker and metal fragments knocked the weapon from his hands, temporarily blinding him. With his weapon inoperative and the other men in his bunker low on ammunition, Sergeant King volunteered to go for a resupply. On his third trip, he encountered a wounded man and carried the man to safety. He then returned to the searchlight position and proceeded to place effective machine gun fire on the enemy. Sergeant King's gallantry and devotion to duty were in keeping with the highest traditions of the military service and reflect great credit upon himself, his unit and the United States Army.
Citation:
The President of the United States of America, authorized by Act of Congress, July 8, 1918 (amended by act of July 25, 1963), takes pleasure in presenting the Silver Star to Private First Class Joey W. Clements, United States Army, for conspicuous gallantry and intrepidity in action against the enemy while serving as a Searchlight Crewman with Battery I (Searchlight), 2nd Battalion, 29th Artillery Regiment, II Field Force, on 14 June 1970, in the Republic of Vietnam. On this date, Private First Class Clements and his Section Chief were operating a searchlight on the defensive perimeter of their Base when their element suddenly received heavy enemy mortar and rocket-propelled grenade fire. In the initial moments of contact, his Section Chief was wounded, and Private Clements was forced to engage the advancing enemy with a machine gun until he had expended his ammunition. He then left to replenish his ammunition supply, and as he returned to the defensive position with the additional ammunition, he received severe shrapnel wounds in both legs and his chest. Refusing to be evacuated, he manned the machine gun and continued to provide effective suppressive fire. As he maneuvered to another position, he received arm wounds by a grenade. Still refusing aid, he manned the new position until the enemy broke contact. Private Clements' gallantry was instrumental in the repelling of the hostile force. Private First Class Clements' actions were in keeping with the highest traditions of the military service and reflect great credit upon himself, his unit, and the United States Army.
Another display reads:
30” AN / TVS-3 Xenon Searchlight
“We Light ‘Em, You Fight ‘Em”
Nine TVS-3 searchlights arrived in South Vietnam in March 1969 and were immediately emplaced in strategic locations across South Vietnam’s Central Highlands. The 1.2 billion candlepower lights enabled battlefield illumination up to 20 miles from the searchlight’s location, allowing for instantaneous illumination of remote outposts along the Cambodian and Laotian borders that were subject to frequent nighttime NVA Sapper attacks.
The TVS-3 quickly proved invaluable in the defense of friendly positions and remained in-theater far longer than its initial 60-day evaluation period. B Battery, 7th Battalion, 29th Artillery (Searchlight) operated the TVS-3 throughout the 1969 – 1971 timeframe.
The final display reads:
Air Defense Units in Vietnam
The US air defense role in the Republic of Vietnam was straightforward: defend friendly ground forces from air and ground attack. The equipment Air Defenders had at their disposal ranged from World War 2 vintage M55 Quad-.50 caliber machine gun turrets to the cutting edge MIM-23 Hawk Missile System.
Arriving in South Vietnam in early 1966 as “Artillery” battalions and separate batteries, Air Defenders served under I and II Field Force, providing convoy escort, firebase defense, battlefield illumination and an air defense umbrella over friendly territory that was second to none.
Three battalions and eight separate batteries covered friendly skies from the DMZ south to the Mekong Delta. Two additional battalions provided medium range air defense for the cities of Da Nang and Saigon from the very real threat of North Vietnamese IL-28 medium bombers.
In July 1968, Air Defense split from the Artillery branch and became an independent branch of the US Army. Although relatively few in number, Air Defenders in Vietnam made an indelible impression on the US experience in Vietnam and those battalions returned home in 1972 as the combat-experienced core of the Army’s newest branch.
Taken December 13th, 2013.
Steve Nash Foundation presents the SHOWDOWN in DOWNTOWN photos by RonSombilonGallery.com
Sponsored by Coast Capital Savings and BC Hydro PowerSmart
Showdown in Downtown is a collaboration of sponsors, local non-profits, sports superstars who educate and empower new energy for community action, the Street Festival brings together private and public resources to show off all we can do together.
About the Steve Nash Foundation
About the Foundation
Formed in 2001, given U.S. charitable status in 2004, and Canadian charitable status in 2007, the Steve Nash Foundation is a private foundation dedicated to assisting underserved children in their health, personal development, education and enjoyment of life. Like its NBA MVP founder, the Foundation is fast becoming a leader in assists . . . to a slightly shorter population.
Through our own initiatives, and through grants to public service and nonprofit entities in British Columbia, the Foundation aims to grow health in kids by funding projects that provide direct services to children affected by poverty, illness, abuse, or neglect, and create opportunity for education, health, and empowerment. We love the opportunity to get involved in the good work being done by child-focused ngo’s in our home province.
The Foundation also seeks to afford thoughtful solutions to community needs through our own projects to address critical health and education needs. The Foundation focuses its resources on underserved populations of children in British Columbia, Arizona, and the country of Paraguay. Equipping a neonatal intensive care ward in Asuncion to provide basic necessities for infants and their families, developing an early childhood education center of excellence to bring best practices to young kids that don’t always enjoy that access in Arizona, and uniting civic outreach, corporate and social service organizations to show kids how to get involved in their communities are examples of the daily work of the Foundation’s small but dedicated staff. Stemming from our first ever Steve Nash Foundation Charity Classic, held in Toronto, Ontario, in 2005, the Foundation is also working closely with the City to establish an all-access, all-kids after-school center there to build hope through hoops for kids.
While our work focuses exclusively on child welfare, we believe that corporations must share responsibility for the well-being of our communities. The Foundation employs and encourages environmentally-friendly office practices, and offers grantees assistance in developing their own recycling and energy conservation programs (check out our Green Leaf here). We also like to highlight the important work of other individuals and organizations, using our website links to increase their exposure, and contribute to their efforts. Further, we are proud to be working with young people that excel in their chosen fields, from whom we welcome energetic leadership and fresh voices.
The Steve Nash Foundation. Growing health in kids.
For more info, visit
SteveNash.org/about-the-foundation/
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Command Sgt. Maj. Hu speaks at the Assumption of Responsibility ceremony Feb. 17 in Vicenza, Italy.
U.S. Army photo by Sgt. 1st Class Kyle Davis
Command Sgt. Maj. Hu Rhodes joined U.S. Army Africa as its senior noncommissioned officer in an assumption of responsibility ceremony today at Caserma Ederle in Vicenza, Italy.
“Thank you all for attending today,” said U.S. Army Africa Commander, Maj. Gen. David R. Hogg.
“This is an important ceremony for this command. I want to say thank you to our Italian host for being here, especially the Carabinieri. . . . the rest of the community, the command element from the 173rd and other members of the community,” Hogg said.
“I want to say thank you to Command Sgt. Maj. Miller . . . (he) has been the acting command sergeant major here for about three or four months. He has done a fabulous job.
“Now as everybody understands, the noncommissioned officer corps is the backbone of our Army, and the U.S. Army has the best noncommissioned officer corps in the world.
“The thing about a command sergeant major is, he embodies everything the noncommissioned officer corps is about. He’s got the experience, he’s got the credibility, and he understands Soldiers, and what it means to be a member of our Army.
“And so that’s what we have today when we bring in Command Sgt. Maj. Rhodes as the senior enlisted Soldier in this command. And so that everybody understands, Command Sgt. Maj. Rhodes was not assigned to this command — he was selected for this command. And he was selected on a list of about 10 highly qualified command sergeants major who applied and wanted to be the command sergeant major for U.S. Army Africa.
“And based on Command Sgt. Maj. Rhodes’ qualifications, he was the best man for the job, and subsequently he was personally selected by me to be our next command sergeant major,” Hogg said.
“Sir, thanks very much,” said Rhodes.
“I want to spend just a couple of minutes this morning talking about two things that matter to me as I come into this position. First thing I want to do is, I want to talk about just Soldiers, and the second thing I want to do is, I want to talk a little bit about leadership.
“When you serve in the forces that protect your country, and your way of life and your family — that is the most noble calling you can respond to. That’s what I see in Soldiers,” Rhodes said, pledging his commitment to the men and women of the command.
“I will always be open to time with you. My door is open. . . . Get on the calendar and you can come in, no appointment necessary through your chain of command; just get on my calendar so I’ll be in the office. I’ve got time for Soldiers. I care about the things you do because what you do is real work.
“The second thing I want to say this morning is about the leadership part: I believe in leadership. As the CG alluded to earlier, it’s not officer leadership or NCO leadership; it’s just leadership. If you’re in a position of responsibility, of command over someone else, you have a responsibility for your own ability before you have a responsibility for what they do. And you must not fail in that.
“Young Soldiers deserve leaders that like their job. If you don’t like what you’re doing, please get on my calendar and I will help you find another job; because if you don’t like leading Soldiers, we are not going to get along.
“There is nothing more precious in my world than the responsibility of mentoring those below us.”
“Sir, it is an honor to be here. We won’t fail. Thank you,” Rhodes said.
Rhodes served most recently as Commandant of the 7th Army NCO Academy in Grafenwoehr, Germany, and as the Command Sergeant Major of the Officer Candidate School at Fort Benning, Ga.
Prior to that, he spent most of his 27-year service career with the 75th Ranger Regiment. Rhodes has deployed on combat operations to Panama, Kuwait, Somalia, Afghanistan and Iraq. He is a recipient of the Bronze Star among numerous other awards.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
ARTICLE 2…”After the second world war in the Western country’s there was a great number of births around the same time and that generation was called the Baby Boomers. It was this generation of Baby Boomers, a critical mass of souls that would eventually grow up and experience the very first collective adolescent stage the human race has ever experienced.
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Prior to the Baby Boomers generation all past generations had simply gone from being a child one day and an adult the next. Children stayed children until a parent died or got sick and then the eldest child was expected to step up and take on the parent’s role. When a child got married they were expected overnight to just be able to step up and become an adult and take on all responsibilities expected of husbands and wives.
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The children were not taught in any classroom on how to be an adult it was just expected that when they were needed to do an adults role they would. The way the children learned how to do everything they were expected to do, as an adult, was simply to model their behaviour on all the behaviour the present adult population was exhibiting.
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Whatever and however the adult population behaved towards each other or the way the systems were set up in the past were simply expected to be maintained generation after generation. This system all came smashing down when the soldiers who returned from the battle fields of the second world war returned to their family homes and communities. Everything had changed. The male soldiers, deeply affected by the traumas of the battle fields could not simply return to their old ways nor could the majority of the female population who had been forced to step up and out of their past subservient and passive roles.
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Before the second world war relationships and friendships were very simple. Relationships and friendships were very black and white before the Baby Boomers generation. Children were expected to treat all men just as they treated their fathers and all women were to be treated as they would treat their mothers. This attitude was expected to follow on into their adult lives as well. A woman would treat her male bosses at work and her husband, in the home, with the exact same subservient and passive behaviour as she had been trained in her family home towards her father and brothers.
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Well, that was the expected tradition and culture at those times. What was really happening behind closed doors and within the wider communities had already been shattered by the need for the female role to be widened and extensively changed. During the second world war, far too many jobs, traditionally owned by the male population had to be taken up by the women folk at home. With so many women left at home while their husbands, fathers and male employers were away in the army and somewhat disposed elsewhere the need to turn a blind eye to the old traditions and beliefs of who owned what jobs and roles in the western societies had to be put aside until their men folk returned. Well that was the theory.
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It is when those men, who had survived the battle fields, returned home and were confronted with very changed women folk. The majority of men coming home from the fighting fields returned with all levels of post-traumatic stress and were simply expected to get back into their old lives. Those same men also expected to return to their family homes just as they had left them before they had gone off to war were then confronted with their female family members changed beyond recognition.
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If these men were not stressed harshly enough from the fighting fields risking their very lives in the belief they were protecting their vulnerable families and loved ones back home they then found themselves confronted with their women folk who refused to go back to being subservient and passive.
The war that had been fought in foreign lands had now come into the soldiers own homes, right into their own relationships and friendships. The war the men had fought in the battle fields was now being fought in their homes and their loved ones had become the enemy.
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All men were expected to treat all women with the same devotion and respect they had been trained in in their family homes prior to the second world war. Men were supposed to continue to nurture and protect their weaker women. Men were expected to be the stronger members of a community and women were meant to play roles subservient and passive towards all men in all areas of their lives regardless if in their jobs, at home or at school. The subservient and passive women were then expected to keep children away from men. Children during those times were the lowest of the low, the most subservient and the most passive members of all families.
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After the second world war all levels of relationships and friendships were put under massive strain throughout the entire western world. The roles traditionally controlled by one gender group over another had slowly been forced to transform into what we see today. What started out as a trickle at the end of the 1800s is now a tsunami pushing away all old models, all out dated external systems and demanding each and every individual transform their own relational inner selves.
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The battle fields had now gone internal.
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The Baby Boomers had no idea what was being played out when they hit their adolescents and to a certain degree still do not understand what happened or why, 60 years later.
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The scientific communities have been so busy watching the adult symptoms of the long shadows cast from their own adolescent stage they have generally missed that evolution occurs in the child stage of human development and gets consolidated in the adolescent stage. It is in the child stage that causes are set into motion and during adolescence, if those traumas are not shaken off beforehand, they get handed on to the individual and they believe the traumas define them.
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After tracking my own grandmother’s family over those extraordinary and exponential changing years I found the majority of them could not form stable and strong family units. Traditionally large families, at those times of 8 to 13 children were common but after the second world war many of those families split apart and it is very common to find very little contact between the adult siblings later on in their lives. Everything connected to the family unit right through to world cultures were changed forever. There was no going back.
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Relationships and friendships have been forced through immense transformation changes especially over the past 60 years. From the middle to the late 1800’s through to the first decades of the 21st century every fiber in the fabric of human relationships and friendships have been pulled and stretched to forms their participants still do not understand or recognise.
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In today’s societies the adolescent stage is still happening within every individual with newer levels of development being forged though largely misunderstood and feared by the majority of adults.
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The child brain works from a simple black and white level and is completely focused on “YOU”. It is “YOU” who holds the power over them, blaming everyone and everything for what they feel. The adolescent brain slowly awakens into consciousness around 11-12 and continues to around 15-16 years of age. During those few years of the adolescent cycle the young person slowly awakens and starts to see the hypocrisies and injustices abounding within the adult world.
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With only a well-developed child brain of black and white thinking the adolescent, if left to their own devices over those precious few years, believes they either join in and take full advantage of the hypocrisies and injustices OR turn their back and reject what they see laid out in front of them.
It is at this point the adolescent consolidates all their childhood experiences and learning's and makes choices that then go onto cast very long shadows into the rest of their youth and adult lives.
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It is during these very short years, from 11 to 16 years of age the adolescent has to experience the “I” stage and turn away from the “YOU” stage. Only after these few years of getting the “I” stage under their wings can they enter the next stage of youth where they start to develop the “WE” stage. What we see around us at present is the symptoms of individuals who attempt to hang onto immature stages and take them into stages which require new ways of being, new visions and new understandings. During the Baby Boomer stage individuals who attempted to prevent growth and not allow themselves to surrender to and move through the “I” stage and attempted to hold onto their child stage of “YOU” experienced symptoms of co-dependency and abundant forms of addictions.
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This transforming “WE” stage the entire human race is now being forced to surrender to presently is witnessing the symptoms of those not wanting to relinquish the immature “I” stage instead of embracing the new maturing “WE” stage. Those symptoms include exploding proportions of individuals affected by higher grades of narcissism, psychopaths, gluttony, ravenous lust, exponential addictions and materialism plus the complete objectification and commodification of every living creature and environment left on the planet at present.
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The life cycle of each human being is echoed throughout the entire human race development cycle. The human race through the Baby Boomer generation has experienced its adolescent stage and all generations to come over the following decades will be entering into an epoch change of directions and forced to focus in ways not seen or even imagined in past generations; the youth stage is gently being rolled out with each and every new baby now being born.
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The Baby Boomer generation if looked at from this vantage point may simply be seen as the most self-indulged, privileged, entitled, selfish group of human beings ever to walk upon this earth. But if you fly up and take an eagles view and place this stage into the human cycle history you would see it is only a short stage humanity has had to endure, a stage that had to be traversed just as every individual has had to over the past 100 or so years to arrive at the next portal, the next juncture, the next stage in the maturing of the entire human race.
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We need to take a fresh new look at the adolescents around us and the next group of children that reach this stage and guide them with a greater vision, a new mindset reflecting incredible opportunities awaiting them than simply handing them a sex and drug education package and leaving them to their own devises as the entire Baby Boomer generation found themselves.
Soldiers from 90th Troop Command salute during the national anthem at the 90th Troop Command change of responsibility ceremony at the 45th Infantry Division Museum, Oklahoma City, Dec. 3, 2022. (Oklahoma Army National Guard photo by Spc. Tyler Brahic)
[There are 10 images in this set on the John Marshall Warwick House] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
John Marshall Warwick (1799-1878) was a prosperous Lynchburg, Virginia tobacco merchant and once mayor (1833). He built this structure in 1826, an example of the transition from Federal-style to Greek-Revival architecture. The architect is thought to be John Willis, a local lawyer and part-time architect, whose own home (now known as the Carter-Glass House) was built 1827 and featured the same recessed panels that highlight the front façade of the Warwick house. He had the responsibility of rearing his grandson, John Warwick Daniel (1842-1910) who was a Civil War hero, a U. S. Senator and an orator. With the Civil War, John Warwick’s fortunes declined, and he lived in other housing for many years before his death. The house passed from family hands in 1879 then back into the family in 1909 when the home was bought by Don P. Halsey, Jr., great-grandson of John Marshall Warwick. In 1945 it passed out of the Halsey family. In 1975 Luther Caudill, Jr. owned the building and is credited with saving it from being demolished and in renovating the structure. At times the house was used as an office/apartment building. Today it houses Warwick House Publishing, book publisher. warwickpublishers.com/
The house is in excellent physical condition. It measures 43’x33’ and has 3-bays and 2-stories set on a raised basement. It is brick, laid in Flemish bond. The low-hipped metal-clad roof was once hidden from street-level by a balustrade above the cornice, which contains a row of dentil (not very visible in the photos). There are 4 interior chimneys, 2 on each side of the structure. The 6/6 double-hung sash windows have the original sashes and louvered shutters. In the center, just above the porch roof is a jib window. All the windows have thin sills and lintels of marble, the lintels ornamented with rosettes in the corners. An addition later in the 19th century is the wooden porch with the flat roof supported by square columns and pilasters with bases and caps and additional caps 3/4th up the height of each. Typical late 19th century scrollwork with cut-outs is seen in the column brackets; more conventional brackets in the cornice support the roof as well. Leading to the porch are stone steps and curvilinear iron balusters; these are likely the originals. The entrance is double-leaf two-panel door with colonettes to each side. A single pane rectangular transom with a cornice crowns the entryway. The side elevations have centered paired windows on each level with an additional 1st-level window near the rear. The original kitchen is in the basement and still has its cooking fireplace. Other structures on the property have been lost to time (laundry, carriage house, etc.) The major architectural embellishments are the ornamented recessed panels between the first and second stories with a swag and ribbon motif with a centered rosette. This particular ornamental feature is not common in Virginia; in 1988 molds of these panels were used in replacing those missing on the Governor’s Mansion in Richmond. The John Marshall Warwick House was listed on the National Register of Historic Places (NRHP) December 6, 1996, ID #96001449
The final NRHP nomination form is at the Virginia Department of Historic Resources website and includes much information on the interior of the structure.
www.dhr.virginia.gov/registers/Cities/Lynchburg/118-0019_...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
St Clement Danes is an Anglican church in the City of Westminster, London. It is situated outside the Royal Courts of Justice on the Strand. Although the first church on the site was reputedly founded in the 9th century by the Danes, the current building was completed in 1682 by Sir Christopher Wren. Wren's building was gutted during the Blitz and not restored until 1958 when it was adapted to its current function as the central church of the Royal Air Force.
The church is sometimes claimed to be the one featured in the nursery rhyme Oranges and Lemons and the bells do indeed play that tune. However, St Clement Eastcheap, in the City of London, also claims to be the church from the rhyme. St Clement Danes is known as one of the two 'Island Churches', the other being St Mary-le-Strand.
There are several possible theories as to the connection between the Danes and the origins of the church. A popular theory is that in the 9th century the Danes colonized the village of Aldwych on the river between the City of London and the future site of Westminster. This was at a time when half of England was Danish and London was on the dividing line between the English and the Danes. At Aldwych the Danes founded a church, hence the final part of its name.[1] (in Latin it was known as Ecclesia Clementes Danorum). Alternatively, after Alfred the Great had driven the Danes out of the City of London and they had been required to accept Christianity, Alfred sitpulated the building of the church.[2] In either case, being a seafaring people, the Danes named the church they built after St Clement, patron saint of mariners.[citation needed]
Other possible ideas are that in the 11th century after Siward, Earl of Northumbria killed the Dane Tosti, Earl of Huntingdon and his men, the deceased were buried in a field near London and a memorial church was subsequently built to honour the memory of the Danes. Also possible is that the Danish connection was reinforced by a massacre recorded in the Jómsvíkinga saga when a group of unarmed Danes who had gathered for a church service were killed.[1] The 12th century historian William of Malmesbury wrote that the Danes burnt the church on the site of St Clement Danes before they were later slain in the vicinity. Another possible explanation for the name is that as King Harold I "Harefoot" is recorded as having been buried in the church in March 1040, the church acquired its name on account of Harold's Danish connections.
The church was first rebuilt by William the Conqueror, and then again in the Middle Ages. It was in such a bad state by the end of the 17th century that it was demolished and again rebuilt from 1680–1682, this time by Christopher Wren. The steeple was added to the 115 foot tower from 1719-1720 by James Gibbs.
William Webb Ellis, often credited with the invention of Rugby football in 1823 was once rector of the church, and is commemorated by a memorial tablet.
In 1844 St. Clement Danes School was constructed on land on Houghton Road, Holborn which the churchwardens had purchased in 1552. It opened in 1862 and remained there until 1928, then moved to Shepherd's Bush until 1975, when it was finally re-established as a comprehensive school in Chorleywood, Hertfordshire.
The church was almost destroyed by German bombs during the London Blitz of 10 May 1941. The outer walls, the tower and Gibbs's steeple, survived the bombing, but the interior was gutted by fire.
Following an appeal for funds by the Royal Air Force, the church was completely restored and was re-consecrated on 19 October 1958 to become the Central Church of the Royal Air Force.
As part of the rebuilding, the following Latin inscription was added under the restored Royal coat of arms:
AEDIFICAVIT CHR WREN
AD MDCLXXII
DIRUERUNT AERII BELLI
FULMINA AD MCMXLI
RESTITUIT REGINAE CLASSIS
AERONAUTICA AD MCMLVIII
which translates as: "Built by Christopher Wren 1682. Destroyed by the thunderbolts of air warfare 1941. Restored by the Royal Air Force 1958.
Services are regularly held to commemorate prominent occasions of the RAF and its associated organisations.
Saint Clement is commemorated every April at St Clement Danes, a modern clementine custom/revival. Reverend William Pennington-Bickford initiated the service in 1919 to celebrate the restoration of the famous church bells and carillon, which he'd had altered to ring out the popular nursery rhyme. This special service for children ends with the distribution of oranges and lemons to the boys and girls. Formerly William Bickford, William Pennington-Bickford (died 1941) was Rector from 1910 to 1941 and he and his wife Louisa became known for their devotion to the welfare of the parish. (He had succeeded his father-in-law in the benefice.
Outside the church stand statues of two of the RAF's wartime leaders, Arthur "Bomber" Harris and Hugh Dowding.
The erection of the statue of Harris was controversial due to his responsibility for the bombing of Dresden and other bombing campaigns against German cities. Despite protests from Germany, including from the mayors of Dresden and Hamburg as well as some in Britain, the Bomber Harris Trust (an RAF veterans' organisation) erected a statue of him outside the RAF Church of St. Clement Danes in 1992. It was unveiled by Queen Elizabeth, the Queen Mother[5] who looked surprised when she was jeered by protesters. The line on the statue reads "The Nation owes them all an immense debt". The statue had to be guarded by policemen day and night for some time as it was frequently sprayed with graffiti.
he floor of the church, of Welsh slate, is inscribed with the badges of over 800 RAF commands, groups, stations, squadrons and other formations. Near the entrance door is a ring of the badges of Commonwealth air forces, surrounding the badge of the RAF.
A memorial to the Polish airmen and squadrons who fought in the defence of the United Kingdom and the liberation of Europe in World War II is positioned on the floor of the north aisle.
Books of Remembrance listing the names of all the RAF personnel who have died in service, as well as those American airmen based in the United Kingdom who died during World War Two.
Near the altar are plaques listing the names of RAF, Royal Flying Corps and Royal Naval Air Service personnel awarded the Victoria Cross and the George Cross.
In the gallery hang Queen's Colours and Standards which have been replaced, along with standards of several disbanded squadrons (most standards of disbanded squadrons hang in the rotunda of the RAF College Cranwell).
Pulpits, pews and chairs in the body of the church have been presented by various people, including past chiefs of the Air Staff, Sir Douglas Bader and the Guinea Pig Club. The armorial achievement of Lord Trenchard is displayed above the main enterance at the west end of the church. The lectern was a gift from the Royal Australian Air Force, the Cross from the Air Training Corps, the altar from the Dutch embassy. Also from the Netherlands is the font in the crypt, donated by the Royal Netherlands Air Force. The Paschal Candle was given by the Royal Belgian Air Force. Information on the donated organ is to be found in the next section.
The earliest records of an organ are from 1690 when an organ was installed by Bernard Smith. This went through several rebuildings over the next 250 years, but was finally destroyed in the Second World War. A new organ, situated facing the altar in the gallery, was installed in 1958 by the builder Harrison and Harrison. This was a gift from the United States Air Force. The case was made as a replica of the Father Smith organ previously destroyed. A specification of the organ can be found on the National Pipe Organ Register.