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REVEREND DAVID MAINSE, FOUNDER OF CROSSROADS/100 HUNTLEY STREET, DIES AT 81
BIOGRAPHY - DAVID MAINSE
For more than half a century, the Reverend David Mainse, founder of Crossroads Christian Communications Inc. and YES TV, used television and other media to speak into Canadian homes and lives.
Throughout that time, the technology changed but his message did not; in the simplest of words that message can be summed up as: "Jesus loves you! This I know, for the Bible tells me so."
Born August 13th, 1936 in Campbell's Bay, Quebec and raised on the outskirts of Canada's capital city of Ottawa, Ontario, David's earliest influences were his rural environment and his parents – who were missionaries and educators, and who inspired him to take a message of hope and love to the world.
His mother died when he was 12, leading David to become angry at God until he experienced a religious conversion at about the age of 16. He began teaching public school while still in his teens, studied theology, and was ordained. He served as a pastor across Ontario in Brighton, Deep River, Sudbury and Hamilton.
David met and married Norma-Jean Rutledge in 1958; she would be his partner in life and ministry for the next 59 years. Their foray into television began in Pembroke, Ontario, on June 2nd, 1962 with a 15-minute program following the late night news called "Crossroads." The format was simple: while David delivered a message, Norma-Jean (and her brothers) would share their musical talents.
The program expanded to stations across the country. In 1971, David resigned from his then role as pastor of Hamilton Bethel Gospel Tabernacle to concentrate on television. The next few years brought rapid ministry growth. Crossroads launched "Circle Square," a long-running children's program that has been carried in over 50 countries.
In 1977, the program began telecasting daily out of a newly-created studio at 100 Huntley Street in downtown Toronto. On June 15th, of that year, the first of what would become more than 10,300 broadcasts (and counting!) of the interview/talk show named for the studio's street address began. Norma-Jean produced the live, daily, 90-minute telecast. It was David's idea to have 24/7 telephone "prayer lines" staffed by volunteers to offer support to viewers. From the beginning, David modelled an ecumenical spirit and open, respectful dialogue on faith issues among citizens, including clergy and guests from across the denominational spectrum. To date, 100 Huntley Street has featured more than 16,000 guests sharing their personal stories and music, and has processed more than 11 million telephone calls from people seeking prayer. 100 Huntley Street has an on-air average weekly reach of over 1.3 million Canadian viewers.
Also in the 1970's, Crossroads created a teen television show called "Inside Track," and launched weekly productions in 18 different languages which aired both in Canada and internationally.
In 1979, David served as executive producer and host of the "Crossroads Creation Series," the first ever release of faith-based TV across the Soviet Union. The goal of the prime-time series was not to preach, but to introduce faith to the lives of atheists and explore the evidence for Creation. David subsequently travelled to Moscow to speak at the first-ever conference of Christian leaders from all fifteen Soviet Republics.
The release of "Kingdom Adventure," a Canadian TV series for children (which Crossroads produced in partnership with the CTV network) followed in the U.S.S.R. Millions of viewers wrote letters to the Moscow ministry office requesting the free colouring book offered through the show. This series was subsequently carried in other countries around the world, and continues to air in many countries today.
Crossroads also produced the award-winning film "Apples of Gold" in 1979, telling the story of the history and struggles of the Jewish people beginning with the time of the early Zionist movement. Jewish Community groups around the world purchased copies. It reportedly became Prime Minister Menachem Begin's favourite movie on the subject, and played twice weekly in Jerusalem's King David Hotel for more than a decade.
Also in the late 1970's, the CRTC started licensing Satellite TV stations in remote and underserved communities. David sensed an opportunity for religious groups to participate in that expansion, but the Broadcasting Act of the time prevented religious organizations from owning and operating television stations. Under David's leadership, Crossroads presented arguments to the CRTC and to which the broadcast regulator responded, seeing the merit of including religious communities in the expansion. As a result of David's vision and his team's work, it became permissible for religious groups to own and operate broadcast stations in the early 1980's, an opportunity that had not existed for 50 years in Canada.
In 1981, another of David's dreams materialized when Crossroads launched a School of Broadcasting and Communication. It would run until 2008. During that time, the school taught 1200 full time students and countless part-time students. Today, graduates serve in 78 countries, producing television programs seen by an estimated potential audience of 3 billion people.
Passionate about Canadian unity, David made headlines in the summer of 1981 when he took "100 Huntley Street" across Canada. His "Salute To Canada" tour encompassed a month of daily, live broadcasts from Victoria to Charlottetown and points in between. His purpose: to speak a message of love and unity to a hurting nation.
After receiving a heartbreaking amount of mail from children going through family stress, David challenged viewers to do more for the country's children. Their response resulted in a ranch property being donated to Crossroads in 1978. That first ranch quickly evolved into several summer camps known as Circle Square Ranches, and became one of the largest camping programs in Canada. (In 2011, Crossroads gifted Circle Square Ranches to the long-time operator of Pioneer Camps, Inter-Varsity Christian Fellowship.)
In 1982, "100 Huntley Street" originated from the mall in Washington for a week-long series called "The Maple Leaf Salutes the Stars and Stripes." President and Mrs. Reagan recognized the effort with warm congratulations.
Through David's determined and visionary leadership, the Emergency Response and Development Fund (formerly ERDF now "Crossroads Relief and Development") was established that same year. Since then, it has disbursed over $20 million to humanitarian projects worldwide.
In 1992, the Crossroads family of ministries moved their headquarters to a brand new, state-of-the-art, 143,000 sq. ft. television production facility called "The Crossroads Centre" in Burlington, Ontario.
Six years later, in 1998, David founded Crossroads Television System (CTS), a broadcast corporation separate from the Crossroads ministry. CTS launched September 30th of that year, following David's successful application to the CRTC for a 24-hour, over-the-air religious channel with a mandate to broadcast family-friendly and balanced programming. (In 2014, the entity rebranded as YES-TV. Today, there are also YES-TV outlets in Calgary and Edmonton.)
At the dawn of the new millennium, David launched the "Channel of Hope," which covered the world via three satellite networks from Expo 2000, in Hanover, Germany, telecasting 24 hours a day for six months.
He stepped down as C.E.O. of Crossroads and host of "100 Huntley Street" in the summer of 2003, but continued to appear from time to time on special productions. He never really retired, but lived out his vision and calling to reach people everywhere with God's love, most recently through a daily devotional blog (100words.ca).
From 2010 – 2012 David conducted a "Thank You Canada Tour," spanning the country to meet with ministry supporters and well-wishers in 170 communities to convey his personal thanks to Canadians for their support throughout his life of public ministry.
In 2012, David was diagnosed with MDS leukemia. He died at the age of 81 on September 25th, 2017. He leaves behind his wife of 59 years, Norma-Jean, their four children, 16 grandchildren and 13 great grandchildren.
Also of note:
David served for several years at the request of the world's most successful mutual funds leader, Sir John Templeton, as a judge for "The Templeton Prize For Progress in Religion."
David has received numerous awards for excellence in television production from the National Religious Broadcasters in the USA, and has several honorary doctorates, including from Tyndale University in Toronto (2003) and McMaster Divinity College (2011).
Four Canadian universities and colleges have scholarship funds available in Rev. Mainse's name to young people pursuing studies in the field of communications.
In 2005, David received the Christian Film & Television Commission, Movieguide Award in Hollywood California for "Lifetime Faith & Values."
In 2008, David Mainse was honoured (along with the Rev. Billy Graham) for exemplifying the highest integrity, both personally and organizationally while running a charity for more than forty years. This award was given to David by The Canadian Council of Christian Charities (CCCC), an association whose purpose is to minister to and be a watchdog agency for Christian charities and the public, with practical aspects of management, stewardship and accountability.
Two of Canada's longest serving Prime Ministers have recognized David's service to Canada. Excerpts follow: "I congratulate the Reverend David Mainse for inviting all of us to think about the debt we owe to the faith of our Fathers and to the spiritual heritage which finds expression in countless ways in our daily lives." ~ The Rt. Hon. Pierre Trudeau on 100 Huntley Street.
"As one who served as Prime Minister of Canada for nine years, I can say that David Mainse contributed mightily to the well-being of this nation. His qualities of tolerance inspired our youth; his sense of decency warmed our national spirit; and his exemplary personal life and compassionate outlook contributed to the strength of our citizenship." ~ The Rt. Hon. Brian Mulroney
DAVID MAINSE - BIOGRAPHY
FAMILY MAN. PASTOR. FOUNDER. FRIEND.
© 2020 Crossroads Christian Communications
Burlington, ON L7R 4M2


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33: Why Art Matters
In this episode of the Art Class Curator podcast, Cindy talks about why art matters and what makes art connection so very important for our students and for the world–from creating more connected and empathetic humans, to understanding and connecting with the past, to learning how to slow down and become comfortable with uncertainty.
Meaningful connection with works of art just creates better people. Period.
Listen to Why Art Matters Now
Subscribe on iTunes or your podcast player of choice.
Listen to Why Art Matters on Youtube
Links Mentioned in the Show
My Speech I gave last week at ASKLIVE
Deep Space Sparkle Podcast Interview: How One Art Teacher Overcame Debilitating Challenges to Achieve Her Dream: AME 121
What do kids learn from looking at art?
Judith and Holofernes Paintings: A Compare and Contrast Art Lesson
Cultural Art Group Research Project
The Two Fridas – Art Discussion Lesson
The Ultimate Collections of Artworks to Show your Students
Art Class Curator Podcast Ep. 32: 7 Ways to Spark Curiosity
Art Class Curator Podcast Ep. 30: Perfection = Failure
Why Art Matters Transcript
Hello and welcome to the Art Class Curator Podcast. I am Cindy Ingram, your host and the founder of Art Class Curator and the Curated Connections Library. We're here to talk about teaching art with purpose and inspiration, from the daily delights to creativity to the messy mishaps that come with being a teacher. Whether you're driving home from school or cleaning up your classroom for the 15th time today, take a second, take a deep breath, relax those shoulders and let's get started.
Hello everybody at Cindy Ingram and I am back for the Art Class Curator Podcast, and I'm going to start today's episode with a little bit of story of something that happened to me last week, which inspired me to create this episode. Last week… Today is December 3rd. Actually, it was the week before last. I had to go to Austin for a business conference. And what was exciting about this particular business conference is that they asked me to speak on stage about the success of my business and how I started it and that sort of thing. And I was up for a prize, which I did not win, but I got to speak on stage to about 700+ people and told the story of how I started my business, why I started my business and all of that.
I had my speech all prepared. I don't know that I've ever really told the full story on here, but I did tell the full story on the Art Made Easy Podcast with Patty Palmer. I will link to that episode in the show notes if you really want to hear the full story. But in a nutshell, it was about six years ago, I was 370 pounds. I was making $37,000 a year as an online art teacher. I had two small kids, and I was feeling a lot of debt and just feeling pretty stuck. And I always knew that, one, I was good at what I did at teaching, and two, I really wanted to do something great with my life. I wanted to travel, I wanted to do all this stuff, but I was really sort of grounded in terms of my weight, in terms of money, all sorts of things.
And I listened to a podcast episode on… The website used to be called Art of Simple. I don't know what she calls it now. I know she's changed it, but I listened to this podcast about a woman who traveled the world with her family. She took all of her kids. She was a blogger, so she worked from wherever she was at, making money from wherever she was at, and that's how she supported her family on this year-round trip around the world.
And so I listened to that and I was just really blown away by the possibility of that and realized how completely stuck I was in my life. I couldn't fit into even one airplane seat. If I wanted to travel, I couldn't. I mean, I could, but it's extra money, and not to mention the stamina, not to mention the job and the husband's job and the little kids, all this stuff. I realized, I wanted nothing more than to do that, and then I couldn't because there was so many things blocking me. And so that is really what inspired me to start Art Class Curator.
I started the website within a month or two of listening to that podcast. I just started writing about art. I originally was going to write for mainly homeschoolers. I figured homeschoolers need to learn more about art, but then I really quickly realized that teachers were the audience that I really want to serve the most because that's the background that I have. And I started my business, I eventually got to leave the classroom. I lost a lot of weight. I lost almost 140 pounds, and really made a lot of my dreams come true, which is pretty awesome. Anyway, I encourage you to listen to the interview with Patty Palmer if you want to know even more detail about that.
I was about to go up on stage to tell this story about how I just decided one day to do it and I did it, and really it was about taking the action. But before I had to speak on stage, I had an interview with somebody on the team of the company who was throwing the conference, and she was interviewing me about my business and what I do and the story. What I really realized as she was asking the questions was that the art is the story. And I did have the art woven into my story about how I was impacting students and teachers, how it was much bigger than just a job for me, that it was about changing the world, and I had that in there and I had art on the slides.
But as soon as she started asking me questions, those were the questions that she started to really dive into is why I did the art, what is my personal connection to art, what impact has art had on my life that led me to where I'm at today? And I stepped back and I realized, I was like, yes, my story of how I started my business is inspiring. A lot of people don't take the big moves that they want to take and just sort of keep doing the same old thing, wishing for something better. I decided that wasn't good enough for me." But in the end, it's the art that has driven me since well before any of that. It's since I was a kid, I was driven by the art, and I've always been driven by the art; and to me that was really powerful.
Then I changed my speech after I had that interview with her. It was the morning of the speech that I had that interview and then I realized I was like, "No, it's about the art." I needed to add more of the art story into it. I went back and added the art, more of the art. And I started to get, after I gave the speech, a lot of people in the audience kind of stopped me in the halls for the rest of the conference and told me that they really connected with the art story and how it's really meaningful to them. I talked to someone else who told me that the mission of getting people to connect with art is really near and dear to her because she grew up in a family of artists, but she didn't consider herself an artist. She just went away from it, but that there are other ways into the art.
It was really a great moment for me to step back and realize what we're doing in our Art Class Curator is super special. That this is not a normal thing that a lot of people have in their lives. And I learned by giving that speech to a bunch of online business people… They were not educators. Most of them actually are educating in some form or fashion through their businesses, but that they found that to be meaningful and that that awoke in them something that they remembered that they loved or something that they wished they had a part of them or something like that.
And I realize like this message is bigger than than me. It's bigger than you. It's a worldwide goal of all ages to connect people with works of art. I started to think about what makes art so special? Why is it that I have spent my entire life finding ways to connect with it and helping others connect with it? What is it about it? I got to thinking, and this kind of been mulling in my head ever since this experience at the at the speech, that no matter what was happening in my life, I always had art with me. And every moment of my life there was some sort of either a creative outlet like writing or drawing, but also just experiencing art.
One of my very early memories of art is actually of seeing the Lion King at the movie theater. I've told this story before, you might've read it. I think we put it in an email at one point. But when I was a kid, I was obsessed with Disney movies. I grew up in Amarillo, Texas, which is in the Texas panhandle. To give you an idea, the closest big city to us was like a six hour drive away. We didn't have art museums. We had culture, the traveling theater and different things, but really it's pretty much like smack dab in the middle of nowhere.
I hadn't seen real art before other than what was at my school or what we did in art class, so I never got to really experience connecting with works of art as a child. The next best thing to me was Disney movies. I used to want to be a Disney animator until I realized that it was just drawing the same thing over and over again in slightly different positions. And I was like, "Oh, that sounds terrible." I was like, "That doesn't capture what I love about these at all." But Lion King really for me was the big one because I lived a block from a dollar movie. And in the summer it was at the dollar movie, I went to see it 12 times at the movie theater. And every single time, I would cry at Circle of Life. As soon as it opened up on this screen and the sun and then all the animals and the song and the music, everything in me just erupted and I was just in love, total love, with that movie.
And it wasn't until years later when I started studying art history and learning about art and then even teaching about art that I realized that was an aesthetic experience, that was me emotionally connecting to art at that moment in my life, and that is magic. That experience, when you see something that someone else has made and you connect with it on such a deep level that it moves you to tears or your heart pounds or you're shocked or something physical happens in your body when you see it, that is such a powerful, powerful, amazing, amazing thing.
I realized that I've always sort of had that connection or that ability to connect with art. And to me, connecting with art is a lot of things. It is about connecting to the person who made it; so looking at an artwork, feeling what the other person on the other end felt; seeing a bit of them; seeing parts of them that only can be seen on canvas that they probably don't even know about themselves; seeing all of their pain and their, their joy and their culture and everything just connects you deeply with another person. I would say a lot of our lives, I'm sure that you guys maybe feel this too, but there is a lot of disconnect in our lives. And so at those moments of my life where I have felt like I couldn't connect or that there was something personal that kept me from connecting, that I had art as a way to connect.
An example of this is, I have been been binge watching The Crown on Netflix. I think I'm still in season one, maybe in season two. But on the episode I watched the other day, and this really isn't a spoiler, there was the scene where Winston Churchill was getting his portrait painted and he was looking at the art of the guy who painted his portrait. And then the guy who painted his portrait was looking at artwork from Winston Churchill because Winston Churchill was a painter as well. And there's a scene where they're both in their own studios, totally mesmerized by a work of art from the other person. And then it turns out, they were seeing pain and they were seeing the depth, and they were seeing like bits of the person in the painting. And then they had a conversation afterwards where they were talking about these paintings and what they saw in them, and it turns out both of them had had a child that died as a child and that they were both responding to that pain in the painting.
I don't know if that was a fabricated story. It most likely was, but I really loved that that scene that you can see the depth of a person through the way they apply the paint to the canvas. To me art is all about connection, connection to self, connection to the person who made it connection to the past. Looking at something made a long time ago helps you understand what they were going through a long time ago, helps you understand the path of history and what people have gone through in different times in real ways. You can read about communism or something like that, or you can learn about the Holocaust and you can hear and understand the scope of it, how horrible it was, but then you can stand in front of an artwork created about that topic and understand it in a whole new physical, visceral way.
There is that artwork in Budapest that has the shoes, bronze cast shoes along the side of the river where they knelt Jewish people by the river and shot them and they fell into the water and they had to leave their shoes. That makes those stories from history real in a way that just hearing about it does not. It connects us to others, connects us to the past and it connects us to yourself.
I've had multiple experiences in my life where I have looked at a work of art at the right time, at the right moment in my life, and that work of art just zinged me and told me exactly what I needed to know in my life. It taught me things about myself maybe that I didn't know, and I think that's an amazing tool that we can teach our students to find a ways to personally connect with work of works of art.
That is one of our big goals really over the last year. We've renamed our membership to the Curated Connections Library and have added that connection piece to a lot of areas of our program because connecting with an artwork through some sort of personal connection is so, so valuable. And yes, we can learn the history of an artwork, we can learn about artists. But when we have a personal connection to it, when we see something in that artwork that reminds us of something in our lives and it helps us move through something that we're going through, that's where that magic is. And that's why to me, I don't teach art history or even art appreciation. I hate saying art appreciation even though it's like the only word to describe that I know of. But to me, it's about our connection and it's getting students to connect.
Art also introduces you to other worldviews and exposes you to the world outside of yourself. I was on the way the other day to… I went to go see a musical Dear Evan Hansen, which was amazing. But I was with a friend and we were driving in the car on the way to the show and talking about which musicals our kids have seen or heard, and which ones we're willing to share with them and which ones are not quite ready for. But we were just having this general conversation and Dear Evan Hansen has some sensitive topics that my kids are not quite old enough for, but it's perfect for a high school age student. And then we talked about Rent and when you could show your kids Rent.
And I've already introduced my kids to Hamilton because it's just bad words, that's fine. But the other stuff, there's a lot more to to discuss with a child. And we started talking about how important it is though to expose our kids to stuff like this and to show them art from other countries, art from other types of people that they don't sort of see in their normal everyday life; so they see that the world is not just there small existence in their suburb or whatever, that there's a much bigger scope too what is involved in our world.
One of the examples that my friend had given was that she has been showing her daughter, they've been watching together Queer Eye For the Straight Guy on Netflix because she doesn't have any gay people in her family. There's not a lot in this community we live in that she wanted to make sure her daughter knew that there are other ways of living that are just as good and the same as our way of living in that.
It's really important to, to teach our kids that and expose them to as many different things as we can so that they are sort of educated citizens of the world, that they are knowledgeable and empathetic and respectful and all of those things. And art can be a way to have those conversations, when those conversations are so hard that we can use art as a tool to help us connect.
One of my favorite memories as a teacher was when I was teaching community college. That was my first teaching job outside of teaching in the art museum. And what I would have my students do every semester was… Because I was trying to fit in way too much stuff in a college art appreciation class, but I wanted to make sure that non-Western cultures who were represented in my classroom, so I would have a unit where students would be in groups. They would be assigned a culture from around the world and they got to choose the time period within the culture. Actually, they got to choose the culture too. I just made sure that everyone was covered and they had to work as a group to research about their art. They had to present it. They had to lead us in an activity or discussion about the artwork and stuff like that.
I always loved that, one, because doing those group presentations was pretty easy for me. I got to sit back and watch, but they really had an experience of learning about something new and talking about it. And for some of these students, it was a very new thing for them. I taught community college, I think it was like 2007 until 2011, I think, about, and so it was right at the time of the Iraq war when I was in the community college classroom. We had a student in one of my classes who is Muslim and his group did an Islamic art presentation.
And I remember it was a Saturday class. It was a three-hour long class and so we had a break in the middle and they were right before the break. And they did the presentation, and then I always say, "Oh, does anybody have any questions for the group?" And kids in the classroom started asking the student questions about his religion and about his culture, and about what he believes and what he doesn't believe, and what he thinks of everything that's going on, and the stigma that Muslims face in this world. I'm getting chills just thinking about it because it was just a moment of community and understanding and education. And there was a student in there who at the end of that class was changed because he had that conversation, and art gives us that opportunity to let those conversations happen.
And I talked about that a few episodes ago and the Perfection Equals Failure episode. But that, yes, those conversations can be really hard and you get so worried about messing things up, but they can change lives. Really important. Understanding other worldviews, feeling heard and represented, learning how to connect emotionally with other people and with yourself, all of that happens when we connect with a work of art. All of that is about that connection, but there are so many other ways that art is valuable in our students' lives.
Another one is focus. I've done a few reader surveys over the years with Art Class Curator and one of the common themes that come up is, students don't want to look away from their phones for five seconds because they can't be an engaged. All they want to do is be on their phones. They have really short attention spans and this and that. And when you put an artwork in front of a group of students and you spend 30 minutes to an hour talking about one artwork, that teaches the students that, "Hey, you guys need to slow down. Focus, slow down." It doesn't have to be boom, boom, boom. Going from one thing to another that you can facilitate a lesson where you could slow down and really explore the content.
And I always say when teaching art appreciation, art history that it's about the quality of the learning experience rather than the quantity. You could have a lesson where you go through and teach all of Renaissance art and you show them artwork after artwork, after artwork, after artwork, after artwork. Click, click, click through all the slides, 60 slides in a lesson to where you're only saying a slide every minute. Or you can choose five representative artworks from the Renaissance and really dive into those. Really spend time looking at them and analyzing them and having the students find those key points rather than you telling them. Sitting and focusing, it's going to give our students way more then if we were to just hit them with fact after fact, after fact, after fact, activity after activity, after activity.
Another thing that art gives us is a comfortableness. That's not a word, comfortableness. Is a comfortability? Actually, I have no idea what word I'm looking for. Is a comfort? Maybe just comfort. A comfort in dealing with uncertainty. We are not used to being uncertain. We have phones in our pockets that have the answer to every question, every question you want to ask, it's in there; and that is amazing.
I talked about in that last episode, the Curiosity episode, that that's amazing because the more we know, the more we can be curious about and so that sort of is a never ending, feeding cycle of wonder. We can just keep being curious. However, think about a time when you really wanted to know the answer to something. You're in a conversation with someone, something comes up, neither of you can remember the answer, but you don't want to be rude and get out your phone because you're having a lovely conversation. But then both of you are sitting there dying inside because you have to know the answer to this random thing that doesn't matter.
That uncertainty is really anxiety producing because we like to know the answer. We'd like to close the loop. But art, there is no right answer. When you're teaching about a work of art, once it leaves the artist's hands, it has thousands of different meanings. It can mean one thing to one person and mean something completely different to someone else. To the artist, it means something else; to the art historian, definitely something else. And even different days, one day I could look at a painting and have a certain reaction to it. I could come back the next year, have a totally different reaction because things have happened in my life that have made me a different person.
When an artwork and a person meet, you've got the entire history of the person. You've got their personality, their emotions, their traumas, their stories, their family, their everything that's happened in their life. When the artwork is in front of the person, you've got the context, you've got the symbolism, you've got the colors and the form, you've got the context… I already said context, but you have all of the things that make up that artwork. And when those two things meet, there is no one way to do it because that combination will never ever be the same. Even if I go to look at one artwork today and then go back tomorrow, chances are it will be a completely different experience.
We have to learn to be okay with that. Okay that if our students ask us what does this mean in an artwork that we say, "I don't know, what do you think?" And not rush to find the answer because there is no "the answer". And the students, giving them that opportunity to not know the answer, but to be able to come up with their own answers, that doesn't happen. That does not happen, so we can provide that for our students and it's so amazingly powerful.
Dealing with the uncertainty, focus, critical-thinking skills, we could pose questions in front of artworks that get the kids to think about things in their lives, in history, in anything in a completely different way. It can have them chat. You can ask a question that would just completely challenge all assumptions they have about the world, all assumptions they have about what art is, what an artist is or isn't. There's so much that can happen in front of a work of art. Coming up with stories and symbols and meanings, and that all comes from within the student. That doesn't come from you. That doesn't come from the book. It doesn't come from anything other than that interaction between the artwork and the student.
My token example for critical thinking in front of an artwork is, I love to have students compare Artemisia Gentileschi's painting of Judith Slaying Holofernes with Caravaggio's. We go through the whole conversation. This one has more diagonal lines. This one has more straight lines. This one's more bloody. This one's not that. The women are different, their positions are different, their expressions are different, all the differences. What they have in common as well. But then at the end you say, "Hey, okay, which one of these was painted by a man and which one of these was painted by a woman?" And so they look at it, they pick their answer. You have them raised their hand and vote. It's 50/50 split most of the time, where half a right and half are wrong. Then you ask them for their reasoning.
In Caravaggio's, the woman is really sort of dainty. I'll put a link in the description show notes about this artwork so that you can… I have a blog post about this activity that you can check out. It has a PowerPoint with the artworks on it as well that you can download. But she's kind of dainty and she's kind of pushed back. I'm doing the motions as if you can see me. And so they'll say, "Well, a woman is more dainty and more hesitant, so I think a woman would have painted that." And then someone else is like, "No, the woman is way more powerful in the Gentileschi painting. She's really buff and she's really in it and she's passionate, so it's definitely a woman."
The reasons are split every time. And then the students can really kind of see what their biases are about gender and what that means, and a really kind of eye opening and fun exercise. And also that one works really well for your observations. If you ever want a really good observation lesson, that one is a great one if you teach high school, especially. Elementary might be a little bit bloody so just watch out for that.
We've talked about the personal connection, the connection to past. We've talked about focus. We've talked about dealing with uncertainty and critical thinking. Another thing that it helps with students is to understand the images. Think about the existence of your student and how many images they see on a day to day basis. It's staggering, ads on the games on their phones, Instagram and social media advertising, TV and stuff too. But just everywhere they look, picture after picture, after picture, and they take so many pictures too.
And looking at art and interpreting it, seeing what artists do to create meaning and message and manipulate your emotions. Those are things that you can help your student understand is that images are used to manipulate your emotions and advertisements and all of that. And so more time in front of works of art means more visual literacy, more understanding of the role images play, and how images impact you and how they impact you in a negative way and in a positive way, get you to do things you wouldn't normally do, stuff like that.
Okay, I've got three more things about why art matters. This is a long list I have in front of me here, and that is art experiences, looking at interpreting, engaging with art is going to have crossovers into other subjects and into their future. Not just, "I don't care about the math grades," however, I mean I do, I guess. I don't know. Looking at art and talking about it is going to help you with communication, with collaboration, with connection and empathy. And all of these things are going to make people better people, make your students better people.
They're going to leave school having a better understanding of what it means to be good person. How to talk to people, how to communicate, how to look for details, those are all skills they're going to use day to day in their jobs, more than anything that they're going to learn in other classes. I mean, I'm not saying the art is the best subject, but art is the best subject. We help create better people, more productive people, more educated people, more empathetic people, more curious people, more wondrous people. We do that by showing them art.
If you have any hesitation at all on should you do this, how should you do this, I would just say, do it. Get artworks, put them in front of your students, talk about them. We have a lot of resources that are at artclasscreator.com to help you do that. Visit the show notes at artclasscurator.com/33 and I will link to some of the things I talked about today, but also some of my favorite activities to start with. If this is something you're kind of new at, I have some of my favorites that I would say The Two Fridas is one I always like to start with, but we have a lot of lessons on the site that are ready to go.
I think I got all my points on why art matters, although I do think I skipped curiosity and wonder. Yes, I did. I could edit this back in, but I'm not going to. I'm just going to talk about it now that art makes us more curious, makes us more delighted at the world, more connected to the world and more. joyful about the human experience.
Go back out there, keep making those better people through your lessons, and I would like to hear about it. Please send me an email or leave a comment on this post or on Instagram and let me know what art does for you. And if you've listened to past episodes of this podcast, I had guests and I would ask them what artwork changed their life and they shared their stories. I really want more people like you listening right now to share your art story so that we can add those onto these podcast episodes where it's just me. Because I think hearing other people's connections to art is just as moving as having one yourself sometimes just hearing about that. Please, you can send me a voice message, just record it on your voice memos app on your phone and send it to Cindy at artclasscurator.com and you might end up on podcast. Thank you very much for listening. I will be back next week with another topic. Thanks so much. Bye.
Thank you so much for listening to the Art Class Curator Podcast. Help more art teachers find us by reviewing the podcast and recommending it to a friend. Get more inspiration for teaching art with purpose by subscribing to our newsletter, your Weekly Art Break. Recent topics include the importance of seeing art in-person, famous and should be famous women artists, and 21 days of art from around the world. Subscribe at artclasscurator.com/artbreak to receive six free art appreciation worksheets.
This week's art quote is from Zelda Fitzgerald and she says, "Nobody has ever measured, not even poets, how much the heart can hold." Thanks so much for listening. Have a wonderful week.
Thanks for listening! Have an idea for an episode topic or think you may be a great guest for the show? Click here to send us an email telling us about it.
Filed Under: Art, Podcast
Please subscribe to my e-mail newsletter to receive the free Art Appreciation Printable Worksheet Bundle which includes 6 ready-to-use art worksheets designed to work with almost any work of art.

redpajama_set_name: RedPajamaCommonCrawl


Bringing together leading writers and practicing architects including Jean Dethier, David Mayernik, Massimo Scolari, Robert Adam, David Watkin and Leon Krier, this volume provides a kaleidoscopic, multi-layered exploration of the Architectural Capriccio.
It not only explains the phenomena within a historical context, but moreover, demonstrates its contemporary validity and appropriateness as a holistic design methodology, an inspiring pictorial strategy, an efficient rendering technique and an optimal didactic tool.
The book shows and comments on a wide range of historic masterworks and highlights contemporary artists and architects excelling in a modern updated, refreshed and original tradition of the Capriccio.
The capacity of the Capriccio to create an imaginary, imagined or 'analogue' reality by combining and relocating existing or invented buildings and places in uniquely suggestive drawings and paintings offers unprecedented insights in the 'Architectural Mind'. Unlike what the word Capriccio might suggest, it is not 'capricious' but indeed follows complex rules of realism and figuration, as well as coherent narratives and semantics. It is a playful reflection of the dialectics of the real and the ideal.
The Capriccio does not challenge the mechanism of reality, but questions the mechanic and linear reading of the real, of life and of art and offers a large palette of threads, figures, tones and nuances to illustrate and contribute creatively to the complexity of a sustainable built and living architectural environment.


text:
NGOs Fund
Woman's Hour Craft Prize
The Woman's Hour Craft Prize 2017 is a BBC, Crafts Council and V&A initiative. It aims to find and celebrate the most innovative and exciting craft practitioner/s or designer-maker/s resident in the UK today, in the most comprehensive prize of its kind.
The prize will reward originality and excellence in concept, design and process and individuals who have demonstrably contributed to craft practice in the last five years.
The prize will be judged by experts in the craft field, with twelve finalists exhibiting their work at the V&A and in a subsequent touring exhibition.
An overall winner will be chosen from the twelve exhibiting finalists and awarded a prize of £10,000 at a ceremony in November 2017
Over the past 70 years Woman's Hour has championed and celebrated both the craft of listeners and of craft practitioners and in that tradition the launch of the prize coincides with the celebrations for their anniversary year.
The Prize is open to British nationals and UK residents (of any gender) who are aged 18 years or over (on the submission deadline of the 6 February 2017). Students in full or part-time education (studying for a craft qualification) are not eligible.
The Prize is not open to employees of the BBC, Crafts Council, V&A, or anyone connected with the Prize or their direct family members.
Moreinfo: http://www.craftscouncil.org.uk/opportunities/womans-hour-craft-prize-apply-now
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Getty Images: This Is Canada photo contest | David Niddrie Photography .:blog:.
I was recently selected by Getty Images as a finalist in their This Is Canada photo contest. The image that got me there is the one above, shot last Canada Day during a parade here in Vancouver, BC. There are ten images up for both Grand Prize and People's Choice awards and voting is now open to the public for the latter. If you are so inclined, I would love your vote for my image 'Shady'.
To vote, simply go to this link and 'Like' my image. Yes, it's a facebook vote, so please feel free to share the link with anyone you see fit.
Votes are collected until June 10th and the winners for both prizes are announced June 14. Fingers crossed!
Thank you for your vote and for your ongoing support.


text:
Q: lazy compiler/debugger? i'm searching for hours now, to get a solution for this problem:
at the very beginning of my android app, a layout with buttons is shown to the user. if he clicks on the button "Tasks" a listView should pop up (another activity and layout) to show him all available Tasks, and with a click on one he can do even more things, but they're not necessary for my problem. the point is, the app won't get any Data out of the Database, but when I Step Into or Step Over the lines which call a method for all the DBStuff it works.
Here are the necesssary lines:
 if (connection1.OpenDatabase(1, getDataBaseName()))
        {
            CTask = connection1.DBQueryTable(getDataBaseName(), "Tasks", TempFieldT);
            CEquipment = connection1.DBQueryTable(getDataBaseName(), "Equipment", TempFieldE);
            connection1.CloseDatabase();
        }

so he will run over those lines, execute the lines beneath, but wont give any Data back, when i'm not supervising it with breakpoints, and the steps. when i do it, all things work the way they should.
The Database Stuff the app runs through at this place.
public Android.Database.ICursor DBQueryTable(string DataBaseName, string TableName, string[] Fields)
    {
        FindDBPath(DataBaseName);
        Android.Database.ICursor c;
        string TempF = "";
        string str = "";
        foreach (string n in Fields)
        { TempF += n + ","; }
        SQLQuery = "SELECT " + (str = TempF.TrimEnd(',')) +" FROM " + TableName;
        c = sqldTemp.RawQuery(SQLQuery, null);
        return c;
    }

so why do the app/compiler/debugger behave like this? are there any mistakes i did, but i can't figure out right now?
Ps: yeah i know there is a query function, but thats not necessary here as long as it would provide a solution to my problem.

A: Your DBQueryTable method returns a cursor. That will become invalidated as soon as you close the connection in the following line:
connection1.CloseDatabase();

You should keep the connection open for as long as you need the cursor. For example, you could fetch all the data from the cursor and then close the connection.

redpajama_set_name: RedPajamaStackExchange


A man is seriously injured after being stabbed in Glasgow's south side.
Police were called to The Old Toll Bar in Paisley Road West after reports of a knife attack at around 12.20am on October 6.
A 43-year-old man was rushed to hospital where he remains in a serious condition.
Cops probing the incident have confirmed that the man is being treated for stab wounds.
Three men, aged 19, 22 and 24, have been arrested in connection with the attack.
Officers remain on the scene an enquiries are ongoing.
A spokesperson from Police Scotland told Glasgow Live: "Police were called to an incident at 12.20am on October 6 outside The Old Toll Bar in Paisley Road West.
"A 43-year-old man was taken to hospital with stab wounds and remains in a serious condition.
"Three men, aged 19, 22 and 24, have been arrested in connection with the incident.


text:
Final Answer: France Powers Into Davis Cup Final
by: Richard Pagliaro | September 13, 2014
Tags: Fabio Fognini, Jo-Wilfried Tsonga, Marco Chiudinelli, Richard Gasquet, Roger Federer, Simone Bolelli, Stan Wawrinka
French players celebrate after securing France's first trip to the Davis Cup final since 2010. (AP Photo)
The swarming circle of French players leaped off the terre battue like a trampoline. It's been 31 years since Yannick Noah won Roland Garros—the former Davis Cup captain is the last Frenchman to rule Roland Garros—but Richard Gasquet and Jo-Wilfried Tsonga turned the place into a bounce house today, bringing nearly 15,000 roaring fans along for the ride.
The French pair defeated Tomas Berdych and Radek Stepanek, 6-7 (4), 6-4, 7-6 (5), 6-1 on the red clay of Roland Garros, sending the host into its first Davis Cup final in four years. France snapped the two-time defending champion Czech Republic's streak of 11 consecutive victories and handed Berdych and Stepanek just their second Davis Cup doubles defeat in 17 matches together.
"[I feel] very proud and very happy," Gasquet told DavisCup.com afterward. "It's great to win against the Czech Republic. We fight a lot. We didn't play so well, but I think it's very nice. The audience is wonderful, everyone is happy for us. It's a big honor for us to play on this court and win 3-0 and go to the final."
While France is celebrating, Switzerland still has some work to do to reach its first final since 1992. The Italian duo of Fabio Fognini and Simone Bolelli staved off elimination—and a Swiss celebration—scoring a 7-5, 3-6, 5-7, 6-3, 6-2 triumph over Stan Wawrinka and Marco Chiudinelli today in Geneva to cut the host's lead to 2-1.
The good news for Italy is its Davis Cup hopes remain alive. The bad news is 17-time Grand Slam champion Roger Federer should be fully rested and ready to clinch against scheduled opponent Fognini, who lost to Wawrinka in Friday's singles then toiled for nearly four hours on court in today's doubles victory. The theatrical Italian concedes he is drained, but he may well be captain Corrado Barazzutti's best option given the fact Federer is 10-0 lifetime against 48th-ranked Italian Andreas Seppi, who lacks the weapons to trouble the Swiss from the baseline.
"This point was very important for us, even if Roger wasn't playing," Fognini told DavisCup.com. "I am much happier with my performance today, I served much better than yesterday, I returned much better. It's still going to be very difficult for us but it's a little less difficult than before. It depends if I play tomorrow, we have to decide. I'm a bit tired, but Simone and I always played long matches, we played four hours in Argentina, we played a long match in Naples, so we're going to try until the end."
Should Federer falter, which is unlikely as he's won 22 of his last 23 Davis Cup singles matches, Wawrinka would play Bolelli in a decisive fifth match. The Australian Open champion has won two of their three meetings, but Bolelli swept Wawrinka in straight sets in their last match at the 2011 Wimbledon. If Italy pulls off what would be an astounding comeback, it would host France in the final. Wawrinka didn't sound too worried about that prospect after a grueling doubles defeat.
"The good thing is we're still up 2-1 and that's most important," Wawrinka said. "In Davis Cup you have to be ready for the weekend. I'm going to warm-up and watch Roger at the beginning for sure. If it looks like he's going to win maybe I'm going to watch all of his match. But I know how to deal with that. I know I have to get ready in case I have to play the fifth match."
If Switzerland clinches its semifinal against Italy on Sunday as expected, it would set up a dynamic Davis Cup final in France filled with star power and contrasting story lines. Federer and Wawrinka, who won the Olympic doubles gold medal at the 2008 Beijing Games, are playing for Switzerland's first Davis Cup championship. France would be playing for its first Davis Cup championship on home soil since left-handers Guy Forget and Henri Leconte stunned an American squad led by Andre Agassi and Pete Sampras, 3-1, to capture the 1991 Cup in Lyon.
The last time France faced Switzerland in Davis Cup was a decade ago when current captain Clement, Nicolas Escude and Julien Benneteau comprised the French squad that edged the host, 3-2. Federer, Yves Allegro, Ivo Heuberger and Michel Kratochvil represented Switzerland in that tie.
France's superior depth, home-court advantage and the fact the November 21-23rd final comes a week after the ATP World Tour Finals in London—Federer has already qualified for London, Wawrinka is on pace to qualify, while French players can use the week to train for Davis Cup—will make Les Bleus a very formidable opponent to the red and white side.
Hosting the final doesn't ensure victory, of course, but it has been an immense advantage in recent years. Eight of the last 11 Davis Cup finals have been won by the home team. The Czech Republic beat Serbia, 3-2, in Belgrade in last November's final; Spain, which was without Rafael Nadal, upset host Argentina in the 2008 final, and Mario Ancic and Ivan Ljubicic led Croatia to a 3-2 victory over host Slovakia in the 2005 final in Bratislava.
The last time France hosted a Davis Cup final it was on the verge of hoisting the Cup, taking a 2-1 lead over Russia on the red clay in Paris. Mikhail Youzhny made history that day as the first man to rally from a two-set deficit in a fifth and decisive match in a Davis Cup final, beating France's Paul-Henri Mathieu in five sets to clinch Russia's first Cup in the 2002 final. The then 32nd-ranked Youzhny had never won a live Davis Cup match before. His performance remains a reminder of both the enormous pressure —and empowering possibilities —Davis Cup finals invoke.
"It's great; a few years ago we qualified for the final, but unfortunately, I was injured," said Tsonga, who has played a pair of memorable five-setters against Wawrinka at Roland Garros, losing a two-set lead in 2011 before prevailing in 2012. "I would love the possibility to play another final— and maybe win it."
Tweets by @Tennis
TBT, 1998: Venus and Serena's first meeting as pros, at Aussie Open
The stage was set for a historic moment; the match happened in the second round.
by Joel Drucker
The 2021 Australian Open: Did Craig Tiley overplay his hand?
The burgeoning issue is whether or not the tournament can be staged fairly.
by Peter Bodo
TENNIS.com Podcast: Chanda Rubin shares insight into broadcast world
The former No. 6 is covering matches from within bubbles and from the Los Angeles studio.
by Nina Pantic and Irina Falconi


text:
Pay increases in mayor's office raise eyebrows
Most city departments face cuts, layoffs
John London
Cincinnati City Hall
The rank-and-file is raising a fit over the raises Cincinnati's mayor is giving his staff. One officer spotted a WLWT News 5 vehicle this morning, rolled down his window and asked with an incredulous smile: "Double-digit raises?"That's the kind of reaction there Thursday as the city's safety forces face the uncertainty of cuts and job loss.To close a $35.2 million budget gap, City Manager Milton Dohoney has called for deep layoffs. In the fire department alone, there would be 120 fewer firefighters if all of the so-called "Plan B" is implemented."Anger, frustration, disgust. I think that's putting it mildly," said Matt Alter, president of Firefighters Local 48.He said the fact that the raises dovetail with an atmosphere of safety layoffs amounts to "a slap in the face.""What am I supposed to tell the firefighters now?" Alter said. "How do I explain to the firefighters and paramedics?"Mayor Mark Mallory was not available for any comment about it today.But in a memo to Budget Director Lea Eriksen, the mayor noted he has made a series of cuts and savings in his office budget.One of his staff members has already left, so that former staffer's duties are being divided up among two of the remaining staffers.That's part of the justification for raises that range from 11 percent to 20 percent.Mallory said the actions he's taken to reduce his office's expenditures actually result in a savings of $66,000.But even some of the mayor's staunchest supporters are bothered by the timing.Vice Mayor Roxanne Qualls, who is running for the seat Mallory must vacate this year, said the raises showed poor judgment."In this situation, if one should find that there are savings, then particularly facing the budget deficit and layoffs, we would all hope that people would turn back all of the savings," Qualls said.Her chief mayoral opponent, John Cranley, jumped with both feet on the vice mayor's words."If Roxanne Qualls is serious about being disturbed by this, she could immediately pass a (motion) to take those raises back and keep some cops and firefighters from being laid off," Cranley said.The raises – spread across four mayoral staff workers – add to just over $39,000."If we're stuck with this Plan B, what the mayor did is a blip on the radar screen," said City Councilman Wendell Young. "I mean, it means nothing."Young was referring to the manager's recommendations for hundreds of employee layoffs, suggesting the city was approaching a crossroads moment when it must choose between continued growth and development or stagnation.As for the raises, Young suggested the reality gets submerged by the emotions attached to all the uncertainty."(Mallory) only took money that he was already spending and took some of it to give to these people, but the reality is simply the public doesn't see it that way," Young said.Young added it's a tough environment to do anything that gives the appearance of showing favoritism."The reality is his people work hard, he felt he could do this for them and I want to be sympathetic, but honestly I wish he hadn't done it," Young said.Kathy Harrell of the Fraternal Order of Police wishes the same thing. She points out the last raise officers had was 2 percent – three years ago.Alter thought about all of this as he sat at his fire union office Thursday, emphasizing firefighters don't begrudge anyone a raise.But, as he contemplated the number of layoffs the city might implement in six weeks, he said, "The timing of this is absolutely terrible."
CINCINNATI —
The rank-and-file is raising a fit over the raises Cincinnati's mayor is giving his staff.
WLWT investigates Cincinnati city salaries
Council to decide fate of Cincinnati streetcar at Monday meeting
As budget deadline looms, what lies ahead for Cincinnati?
Despite cuts elsewhere, mayor's aides get raises
One officer spotted a WLWT News 5 vehicle this morning, rolled down his window and asked with an incredulous smile: "Double-digit raises?"
That's the kind of reaction there Thursday as the city's safety forces face the uncertainty of cuts and job loss.
To close a $35.2 million budget gap, City Manager Milton Dohoney has called for deep layoffs. In the fire department alone, there would be 120 fewer firefighters if all of the so-called "Plan B" is implemented.
"Anger, frustration, disgust. I think that's putting it mildly," said Matt Alter, president of Firefighters Local 48.
He said the fact that the raises dovetail with an atmosphere of safety layoffs amounts to "a slap in the face."
"What am I supposed to tell the firefighters now?" Alter said. "How do I explain to the firefighters and paramedics?"
Mayor Mark Mallory was not available for any comment about it today.
But in a memo to Budget Director Lea Eriksen, the mayor noted he has made a series of cuts and savings in his office budget.
One of his staff members has already left, so that former staffer's duties are being divided up among two of the remaining staffers.
That's part of the justification for raises that range from 11 percent to 20 percent.
Mallory said the actions he's taken to reduce his office's expenditures actually result in a savings of $66,000.
But even some of the mayor's staunchest supporters are bothered by the timing.
Vice Mayor Roxanne Qualls, who is running for the seat Mallory must vacate this year, said the raises showed poor judgment.
"In this situation, if one should find that there are savings, then particularly facing the budget deficit and layoffs, we would all hope that people would turn back all of the savings," Qualls said.
Her chief mayoral opponent, John Cranley, jumped with both feet on the vice mayor's words.
"If Roxanne Qualls is serious about being disturbed by this, she could immediately pass a (motion) to take those raises back and keep some cops and firefighters from being laid off," Cranley said.
The raises – spread across four mayoral staff workers – add to just over $39,000.
"If we're stuck with this Plan B, what the mayor did is a blip on the radar screen," said City Councilman Wendell Young. "I mean, it means nothing."
Young was referring to the manager's recommendations for hundreds of employee layoffs, suggesting the city was approaching a crossroads moment when it must choose between continued growth and development or stagnation.
As for the raises, Young suggested the reality gets submerged by the emotions attached to all the uncertainty.
"(Mallory) only took money that he was already spending and took some of it to give to these people, but the reality is simply the public doesn't see it that way," Young said.
Young added it's a tough environment to do anything that gives the appearance of showing favoritism.
"The reality is his people work hard, he felt he could do this for them and I want to be sympathetic, but honestly I wish he hadn't done it," Young said.
Kathy Harrell of the Fraternal Order of Police wishes the same thing. She points out the last raise officers had was 2 percent – three years ago.
Alter thought about all of this as he sat at his fire union office Thursday, emphasizing firefighters don't begrudge anyone a raise.
But, as he contemplated the number of layoffs the city might implement in six weeks, he said, "The timing of this is absolutely terrible."


text:
Gregg says pilot project to test EMS app in rural Iowa
January 16, 2023 4:55AM CST
Lt. Governor Adam Gregg
DES MOINES — Lieutenant Governor Adam Gregg says the State of Iowa will be testing a smart phone app that could improve emergency response times in rural Iowa.
"Last year on a trade mission to Israel I learned about the United Hatzalah model for EMS. Hatzalah is the Hebrew word for rescue," Gregg says. "Think of it as Uber, but for EMS, allowing us to crowd source emergency responders. When an emergency occurs and 911 is called nearby trained volunteers are alerted through an app on their phone, allowing them to respond quickly and stabilize the patient until an ambulance arrives."
Gregg suggests the system could be adapted to address the lack of ambulance services in rural Iowa. "As it stands today, too many rural Iowans have limited access to timely, lifesaving intervention in an emergency," Gregg says.
In Jerusalem, the Hatzalah EMS app is used by 6200 trained volunteer medics who respond on specially equipped motorcycle ambulances.
"This Israel model has driven down response times in Jerusalem to 90 seconds on average," Gregg says. "We believe this concept can be adapted to help address our EMS challenges in rural Iowa and we'll be funding a pilot program to do just that."
The Hatzalah model is being used in some areas of the United States, but mostly in urban areas.


text:
Collecting and archiving stories,
memories and experiences of
Sri Lankan Tamils in London
EARLY LIFE IN SRI LANKA
LAYERS OF BELONGING
POLITICS & THE NATION-STATE
LEAVING & ARRIVAL
Through the generations finds its resting place on the idea of home.
For our speakers, home may be a place in the past, the present or the future, in the imagination or in the physical comfort of community or family, in Britain, Sri Lanka, a homeland in the North and East of Sri Lanka or somewhere else entirely.
Lavanya Loganathan, 16, talks about growing up surrounded by Hindu Tamil celebrations in Ealing and the influence these immersions have had on her understanding of Tamil heritage and her impressions of life in Britain and Sri Lanka.
When Britons arrived in Sri Lanka in the 18th Century, landing, as many tourists do now, on its coastal shores before carving a path deep into its lush, green geographic centre of Kandy, they were following a well-worn trail to the country opened up as early as 1505 by Portuguese and
Dutch colonists.
As the mass migration away from Sri Lanka grew, Tamil life spread to many places, including Germany, Norway, Denmark, the UK, Canada, Australia and the USA. This type of experience is often referred to as diaspora.
SHE WAS A RIOTS BABY PART 2
Anonymous recollects her experiences of the mob violence of Black July, 1983, in Wellawatte, Colombo, the last in a series of anti-Tamil riots beginning in 1958 and widely regarded as the spark that ignited Sri Lanka into open war.
AMBALAVANER SIVANANDAN
Ambalavaner Sivanandan left Ceylon in 1958, then aged 35, shocked by the violence of the '58 riots in Colombo. Months later, he arrived in London and 'walked straight into the Notting Hill Gate riots.'
ANONYMOUS FEMALE (MRS F)
Mrs F, born in 1947, is the fourth in
a family of ten children raised in Valvettithurai, Jaffna District, a town perched on the northernmost tip
of Sri Lanka.
Anonymous recollects her experiences of the mob violence
of Black July, 1983, in Wellawatte, Colombo, the last in a series of
anti-Tamil riots beginning in 1958 and widely regarded as the spark that ignited Sri Lanka into open war.
anti-Tamil riots beginning in 1958
and widely regarded as the spark that ignited Sri Lanka into open war.
MANGAYARKARASI AMIRTHALINGAM
Mangayarkarasi Amirthalingam was born in Moolai, Vaddukoddai, Jaffna
in 1933. At twelve years old, she enrolled in Ramanathan College – founded by early Tamil political
leader Sir Ponnambalam Ramanathan –
to study music.
PEARL THEVANAYAGAM
Pearl Thevanayagam came to England at the age of 21 to study English literature in 1976. She returned home in 1981 after the death of her father and embarked on a successful career in war reporting.
RAJESHKUMAR 'RAGHAVAN'
Raghavan is the alias of Rajeshkumar. Born in Punnalaikkadduvan in the North of Sri Lanka, Raghavan spent most of his youth in the charge of the LTTE before leaving in protest over authoritarianism and internecine killings in 1984.
SELLATHURAI SIVARASA
Sellathurai Sivarasa was born in Inuvil, Jaffna in 1932. He was raised by his mother after his father was bitten by
a snake in his residence.
SINTHUJAN VARATHARAJAH
Sinthujan Varatharajah was born in a refugee camp in Coburg, Germany in 1985. His parents fled Sri Lanka in the early 1980s, and, through a chance meeting with a German couple in the Jaffna hotel where his father worked, chose Germany as their destination.
LAVANYA LOGANATHAN
Lavanya Loganathan was born in Ealing Hospital in 1996. She is one of three generations living under the same roof in Greenford, a large suburb in the west London borough of Ealing.
ANONYMOUS MALE (BATTICALOA)
Anonymous (Batticaloa) was born in Batticaloa, Eastern Province in 1965. By his early teens, Batticaloa had begun to feel the effects of conflict after the 1977 riots. When he reached university age in 1983, his father abruptly sent him to India for studies.
AMBICA SELVARAJ
Ambica Selvaraj was born in a multicultural neighbourhood in Colombo in April 1951. Though she spoke Tamil at home and in school, she spent most of her childhood in
the company of Sinhalese and
English-speaking children,
unaware of the issues that would become so salient later on.
RS was born in Wallington, London in April 1989. He was raised in a tight-knit Christian family in the London Borough of Sutton, one of the southernmost boroughs of London.
The life story approach to oral history often begins with childhood. For some of our interviewees, youth coincided with the birth of an independent Ceylon, renamed Sri Lanka in the
1972 Constitution. Others came of age during periods of communal
conflict or war. In each case, their stories vividly recall the ebb and flow of daily life in a close-knit Jaffna village or in the bustle of the capital in Colombo.
Reflecting on relationships in Sri Lanka between people of different regional, economic, ethnic or linguistic backgrounds, many recall a rich diversity of interactions.
When Britons arrived in Sri Lanka in the 18th Century, landing, as many tourists do now, on its coastal shores before carving a path deep into its lush, green geographic centre of Kandy, they were following a well-worn trail to the country opened up as early as 1505 by Portuguese and Dutch colonists.
With statehood came the challenge of defining who belonged to the new nation and in what language its laws and customs would be communicated.
British Tamils had their own group of pioneers drawn to London long before it became a port of last resort and asylum for families and individuals fleeing conflict.
Through the Generations
Copyright © 2019 Race On The Agenda


text:
package org.kuali.kpme.pm.api.pstncontracttype;

import java.io.Serializable;
import java.util.Collection;

import javax.xml.bind.annotation.XmlAccessType;
import javax.xml.bind.annotation.XmlAccessorType;
import javax.xml.bind.annotation.XmlAnyElement;
import javax.xml.bind.annotation.XmlElement;
import javax.xml.bind.annotation.XmlRootElement;
import javax.xml.bind.annotation.XmlType;

import org.apache.commons.lang.StringUtils;
import org.joda.time.DateTime;
import org.joda.time.LocalDate;
import org.kuali.kpme.core.api.groupkey.HrGroupKey;
import org.kuali.rice.core.api.CoreConstants;
import org.kuali.rice.core.api.mo.AbstractDataTransferObject;
import org.kuali.rice.core.api.mo.ModelBuilder;
import org.w3c.dom.Element;

@XmlRootElement(name = PstnContractType.Constants.ROOT_ELEMENT_NAME)
@XmlAccessorType(XmlAccessType.NONE)
@XmlType(name = PstnContractType.Constants.TYPE_NAME, propOrder = {
    PstnContractType.Elements.NAME,
    PstnContractType.Elements.PM_CNTRCT_TYPE_ID,
    PstnContractType.Elements.DESCRIPTION,
    CoreConstants.CommonElements.VERSION_NUMBER,
    CoreConstants.CommonElements.OBJECT_ID,
    PstnContractType.Elements.ACTIVE,
    PstnContractType.Elements.ID,
    PstnContractType.Elements.EFFECTIVE_LOCAL_DATE,
    PstnContractType.Elements.CREATE_TIME,
    PstnContractType.Elements.USER_PRINCIPAL_ID,
    PstnContractType.Elements.GROUP_KEY_CODE,
    PstnContractType.Elements.GROUP_KEY,
    CoreConstants.CommonElements.FUTURE_ELEMENTS
})
public final class PstnContractType
    extends AbstractDataTransferObject
    implements PstnContractTypeContract
{

    @XmlElement(name = Elements.NAME, required = false)
    private final String name;
    @XmlElement(name = Elements.PM_CNTRCT_TYPE_ID, required = false)
    private final String pmCntrctTypeId;
    @XmlElement(name = Elements.DESCRIPTION, required = false)
    private final String description;
    @XmlElement(name = CoreConstants.CommonElements.VERSION_NUMBER, required = false)
    private final Long versionNumber;
    @XmlElement(name = CoreConstants.CommonElements.OBJECT_ID, required = false)
    private final String objectId;
    @XmlElement(name = Elements.ACTIVE, required = false)
    private final boolean active;
    @XmlElement(name = Elements.ID, required = false)
    private final String id;
    @XmlElement(name = Elements.EFFECTIVE_LOCAL_DATE, required = false)
    private final LocalDate effectiveLocalDate;
    @XmlElement(name = Elements.CREATE_TIME, required = false)
    private final DateTime createTime;
    @XmlElement(name = Elements.USER_PRINCIPAL_ID, required = false)
    private final String userPrincipalId;
    @XmlElement(name = Elements.GROUP_KEY_CODE, required = false)
    private final String groupKeyCode;
    @XmlElement(name = Elements.GROUP_KEY, required = false)
    private final HrGroupKey groupKey;
    @SuppressWarnings("unused")
    @XmlAnyElement
    private final Collection<Element> _futureElements = null;

    /**
     * Private constructor used only by JAXB.
     *
     */
    private PstnContractType() {
        this.name = null;
        this.pmCntrctTypeId = null;
        this.description = null;
        this.versionNumber = null;
        this.objectId = null;
        this.active = false;
        this.id = null;
        this.effectiveLocalDate = null;
        this.createTime = null;
        this.userPrincipalId = null;
        this.groupKeyCode = null;
        this.groupKey = null;
    }

    private PstnContractType(Builder builder) {
        this.name = builder.getName();
        this.pmCntrctTypeId = builder.getPmCntrctTypeId();
        this.description = builder.getDescription();
        this.versionNumber = builder.getVersionNumber();
        this.objectId = builder.getObjectId();
        this.active = builder.isActive();
        this.id = builder.getId();
        this.effectiveLocalDate = builder.getEffectiveLocalDate();
        this.createTime = builder.getCreateTime();
        this.userPrincipalId = builder.getUserPrincipalId();
        this.groupKeyCode = builder.getGroupKeyCode();
        this.groupKey = builder.getGroupKey() == null ? null : builder.getGroupKey().build();
    }

    @Override
    public String getName() {
        return this.name;
    }

    @Override
    public String getPmCntrctTypeId() {
        return this.pmCntrctTypeId;
    }

    @Override
    public String getDescription() {
        return this.description;
    }

    @Override
    public Long getVersionNumber() {
        return this.versionNumber;
    }

    @Override
    public String getObjectId() {
        return this.objectId;
    }

    @Override
    public boolean isActive() {
        return this.active;
    }

    @Override
    public String getId() {
        return this.id;
    }

    @Override
    public LocalDate getEffectiveLocalDate() {
        return this.effectiveLocalDate;
    }

    @Override
    public DateTime getCreateTime() {
        return this.createTime;
    }

    @Override
    public String getUserPrincipalId() {
        return this.userPrincipalId;
    }

    @Override
    public String getGroupKeyCode() {
        return this.groupKeyCode;
    }

    @Override
    public HrGroupKey getGroupKey() {
        return this.groupKey;
    }

    /**
     * A builder which can be used to construct {@link PstnContractType} instances.  Enforces the constraints of the {@link PstnContractTypeContract}.
     *
     */
    public final static class Builder
        implements Serializable, PstnContractTypeContract, ModelBuilder
    {

        private String name;
        private String pmCntrctTypeId;
        private String description;
        private Long versionNumber;
        private String objectId;
        private boolean active;
        private String id;
        private LocalDate effectiveLocalDate;
        private DateTime createTime;
        private String userPrincipalId;
        private String groupKeyCode;
        private HrGroupKey.Builder groupKey;

        private Builder(String groupKeyCode, String name) {
        	setGroupKeyCode(groupKeyCode);
        	setName(name);
        }

        public static Builder create(String groupKeyCode, String name) {
            return new Builder(groupKeyCode,name);
        }

        public static Builder create(PstnContractTypeContract contract) {
            if (contract == null) {
                throw new IllegalArgumentException("contract was null");
            }
            Builder builder = create(contract.getGroupKeyCode(),contract.getName());
//            builder.setName(contract.getName());
            builder.setPmCntrctTypeId(contract.getPmCntrctTypeId());
            builder.setDescription(contract.getDescription());
            builder.setVersionNumber(contract.getVersionNumber());
            builder.setObjectId(contract.getObjectId());
            builder.setActive(contract.isActive());
            builder.setId(contract.getId());
            builder.setEffectiveLocalDate(contract.getEffectiveLocalDate());
            builder.setCreateTime(contract.getCreateTime());
            builder.setUserPrincipalId(contract.getUserPrincipalId());
            builder.setGroupKey(contract.getGroupKey() == null ? null : HrGroupKey.Builder.create(contract.getGroupKey()));
            return builder;
        }

        public PstnContractType build() {
            return new PstnContractType(this);
        }

        @Override
        public String getName() {
            return this.name;
        }

        @Override
        public String getPmCntrctTypeId() {
            return this.pmCntrctTypeId;
        }

        @Override
        public String getDescription() {
            return this.description;
        }

        @Override
        public Long getVersionNumber() {
            return this.versionNumber;
        }

        @Override
        public String getObjectId() {
            return this.objectId;
        }

        @Override
        public boolean isActive() {
            return this.active;
        }

        @Override
        public String getId() {
            return this.id;
        }

        @Override
        public LocalDate getEffectiveLocalDate() {
            return this.effectiveLocalDate;
        }

        @Override
        public DateTime getCreateTime() {
            return this.createTime;
        }

        @Override
        public String getUserPrincipalId() {
            return this.userPrincipalId;
        }

        @Override
        public String getGroupKeyCode() {
            return this.groupKeyCode;
        }

        @Override
        public HrGroupKey.Builder getGroupKey() {
            return this.groupKey;
        }

        public void setName(String name) {

        	if (StringUtils.isWhitespace(name)) {
                throw new IllegalArgumentException("name is blank");
            }
            this.name = name;
        }

        public void setPmCntrctTypeId(String pmCntrctTypeId) {

            this.pmCntrctTypeId = pmCntrctTypeId;
        }

        public void setDescription(String description) {

            this.description = description;
        }

        public void setVersionNumber(Long versionNumber) {

            this.versionNumber = versionNumber;
        }

        public void setObjectId(String objectId) {

            this.objectId = objectId;
        }

        public void setActive(boolean active) {

            this.active = active;
        }

        public void setId(String id) {

            this.id = id;
        }

        public void setEffectiveLocalDate(LocalDate effectiveLocalDate) {

            this.effectiveLocalDate = effectiveLocalDate;
        }

        public void setCreateTime(DateTime createTime) {

            this.createTime = createTime;
        }

        public void setUserPrincipalId(String userPrincipalId) {

            this.userPrincipalId = userPrincipalId;
        }

        public void setGroupKeyCode(String groupKeyCode) {
            if (StringUtils.isWhitespace(groupKeyCode)) {
                throw new IllegalArgumentException("groupKeyCode is blank");
            }
            this.groupKeyCode = groupKeyCode;
        }

        public void setGroupKey(HrGroupKey.Builder groupKey) {
            this.groupKey = groupKey;
        }

    }

    /**
     * Defines some internal constants used on this class.
     *
     */
    static class Constants {

        final static String ROOT_ELEMENT_NAME = "pstnContractType";
        final static String TYPE_NAME = "PstnContractTypeType";

    }

    /**
     * A private class which exposes constants which define the XML element names to use when this object is marshalled to XML.
     *
     */
    static class Elements {

        final static String NAME = "name";
        final static String PM_CNTRCT_TYPE_ID = "pmCntrctTypeId";
        final static String DESCRIPTION = "description";
        final static String ACTIVE = "active";
        final static String ID = "id";
        final static String EFFECTIVE_LOCAL_DATE = "effectiveLocalDate";
        final static String CREATE_TIME = "createTime";
        final static String USER_PRINCIPAL_ID = "userPrincipalId";
        final static String GROUP_KEY_CODE = "groupKeyCode";
        final static String GROUP_KEY = "groupKey";

    }

}

redpajama_set_name: RedPajamaGithub


text:
La grotte d'Ebbou, ou grotte du Château d'Ebbo, est une grotte ornée située sur la commune de Vallon-Pont-d'Arc, dans le département de l'Ardèche, en région Rhône-Alpes.

Description

Sur la rive droite de l'Ardèche, au pied des falaises, à environ 1 km du Pont d'Arc, un porche monumental, orienté au nord, est suivi par un boyau étroit et des salles aux parois ornées de gravures préhistoriques.

Historique
Les premières descriptions datent de Jules Ollier de Marichard en 1870, qui remarque certaines gravures pariétales, qualifiées de "signes du zodiaque".

André Glory authentifie la grotte en juillet 1947, et en réalise les premiers relevés. L'édifice est classé au titre des monuments historiques en 1947.

Art pariétal
Une soixantaine de gravures animales sont répertoriées, représentant des chevaux, bouquetins, cerfs, aurochs, bisons... Les représentations sont stylisées, avec des têtes minuscules, et une seule patte représentée par paire.

Par comparaison stylistique avec les grottes de la région, l'art pariétal est attribué principalement au Solutréen, mis à part un bison, attribué au Magdalénien.

Notes et références

Bibliographie
 André Glory, Les gravures de la grotte préhistorique d'Ebbou à Vallon Ardèche, La Nature , ,
 Jos Jullien et Hippolyte Müller, La grotte d'Ebbou (Ardèche) : congrès d'Alès 1938, de Grenoble 1939, et d'Avignon  congrès 1946, Rhodania,
 Roudil J-L, Préhistoire de l'Ardèche : le temps des chasseurs et leur art, 1995, Conseil départemental de l'Ardèche

Voir aussi

Articles connexes
 Liste des monuments historiques de l'Ardèche

Liens externes

Ebbou
Ebbou
Ebbou
Ebbou
Ebbou
Monument historique en Ardèche
Monument historique classé en 1947
Vallon-Pont-d'Arc

redpajama_set_name: RedPajamaWikipedia


text:
Get authentic, real-time news that helps you fight COVID-19 better.
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COVID-19 has been reported to trigger Guillain–Barré Syndrome
Dec 9, 2020315 views
Researchers at Rutgers Robert Wood Johnson Medical School have reported the first instance of COVID-19 triggering a recurrence of Guillain-Barré Syndrome in a 54-year-old man who had suffered from it twice and had a third occurrence after testing positive for COVID-19.
The team looked at about 1,200 hospital patients diagnosed with COVID-19 who were admitted and discharged between March and May of 2020 and this was the only instance where COVID-19 triggered the recurrence of Guillain-Barré Syndrome.
Guillain–Barré Syndrome can follow acute viral and bacterial infections, causing symptoms including weakness and tingling in the extremities. As the condition worsens, the weakness quickly spreads, eventually sometimes paralyzing the whole body. While most people recover from the condition, about 5% of people experience a recurrence.
We recommend that patients who develop COVID-19 and have a history of autoimmune [demyelinating] disorders should be closely observed for several weeks for neurologic symptoms, said Payal Parikh, assistant professor at Rutgers Robert Wood Johnson Medical School.
The findings will improve the understanding of the spectrum of Guillain-Barré Syndrome, which may be trigged by acute viral or bacterial infection, and help create treatments for COVID-19 patients.
https://www.mdpi.com/2076-0817/9/11/965
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text:
How to Renew a Passport
U.S. Passport Books by eldadcarin/DepositPhotos
The steps to renew a passport depend on a few factors including the age of the applicant and how quickly the passports needs to be renewed. Requirements are different for each situation. A summary of descriptions is provided for each situation below followed by links to more detailed information.
Adult Passport Renewal
U.S. citizens who were issued passports at age 16 or older can apply for a renewal by mail as long as their previously-issued passports are not significantly damaged nor been expired for more than 5 years.
The procedure include mailing a completed passport renewal form DS-82 with the previously-issued passport, a recent passport photo and payment for fees to the address on the form. Evidence of a legal name change is also required, is applicable.
Passport Renewal for Minors Ages 16 & 17
Minors ages 16 and 17 cannot renew passports by mail. They must apply in person for new passports at a nearby application acceptance facility.
Those with a valid photo ID do not need to be accompanied by a parent as long as parental awareness can be demonstrated. This can be done by a signed statement consenting to issuance of a passport from at least one parent (should be accompanied by a photocopy of that parent's ID).
The form that is submitted in this case is DS-11. Supporting documents include evidence of U.S. citizenship, identification document, photocopy of ID and a recent passport photo. Payment for the application fee is sent with the form while the execution fee is paid to the Acceptance Agent.
Passport Renewal for Children Age 15 and Under
Both parents are required to appear when applying to get a new passport for a child who is age 15 or younger. There are special procedures for situations in which only one parent can accompany the minor. The non-applying parent can provide notarized consent to apply or, when the parent cannot be located, the applying parent can submit a Statement of Exigent/Special Family Circumstances.
Requirements include a completed, unsigned form DS-11, citizenship document, evidence of child/parent relationship, ID of parents, photocopies of identification documents and passport photo. Mandatory fees include the application fee and execution fee.
Note, a passport will usually not be issued to a minor if the Department of State has received written objection to the issuance of a passport by a parent who has custodial rights.
More Information about Renewing a Passport
Steps to Get U.S. Passport Renewals
Step-by-step guide to renewing passport. Includes a list of requirements, application form, fees and tips for getting a passport renewed.
Passport Renewal FAQ
Answers to frequently asked questions about renewing United States passports. Get the answer to the most frequently asked questions on this subject.
3 Ways to Get a Passport Renewed
Learn how to expedite a passport renewal by mail, at a regional agency or through a registered courier.
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Answers to frequently asked questions concerning how to renew a passport by expedited service.
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Description: This is a beautiful beach that has plenty of tourist facilities. Lush greenery surrounds the beach of Lichnos.
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P, V.; G.V., S. K.; PURANIK, S.; S, S.; REDDY, R.; G, R.; KA, S.; REDDY, M. DEVELOPMENT OF STABILITY INDICATING RP-HPLC METHOD FOR THE SIMULTANEOUS ESTIMATION OF AMBROXOL HYDROCHLORIDE AND LEVOCETIRIZINE DIHYDROCHLORIDE. International Journal of Advances in Pharmaceutical Analysis, v. 2, n. 2, p. 34-40, 1 jul. 2012.


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