by Edited press release|29.06.2022|11:27

The National Museum of Racing and Hall of Fame in Saratoga Springs, NY has immediate full-time openings for Curator and Museum Educator positions. Interested candidates should send a CV, cover letter and references to: [email protected]

Job Overview: Museum Curator

Department: Conservatory
FSLA Status: Exempt
Reports to: Director

The museum curator is responsible for the development, installation and maintenance of temporary and semi-permanent exhibitions; assistance to the collections manager, if necessary, for collection, acquisitions and conservation; Respond to media and public inquiries regarding exhibitions and permanent collections; maintain adequate communication between the Curatorial Department and the Collections and Exhibits Committee and the Board of Trustees.

Main Duties and Responsibilities Exhibitions:

1. Planning, development and installation of exhibitions: Includes long-term planning; creation and maintenance of annual budgets for general and special exhibitions; research subjects and script the scenario, panels and labels of the exhibition; design exhibits (general flow, wall elevations, window arrangements, selection of objects); design exhibit graphics and labels; project management and collaboration with guest curators, exhibition designers and preparators (as needed); produce marketing materials associated with exhibitions, including exhibition materials, catalogs and website content; work with technical services/education to develop exhibits or related interactive programs; installation of artwork, display cases and accompanying labels; promote exhibitions with the Director of Communications.
2. Correspondence with the Collections and Exhibitions Committee and the Board of Trustees: answer questions and receive suggestions from museum trustees regarding exhibition ideas, potential donors or lenders; discuss and review collections issues regarding acquisitions and major projects with the Collections Committee and others as required; serve as acting secretary for all Collections Committee meetings and prepare meeting materials, including agenda, prior to meetings, sending approved meeting minutes to the entire Committee in a timely manner ; present the exhibition report at the annual meeting of the board of directors in August.
3. Graphic design and publishing: Participate in various graphic design projects and design signs, advertisements, etc., according to the needs of the Museum and its events; verification of publications, written materials, leaflets, etc., before publication.

Qualifications: This museum curator position requires a bachelor’s degree in museum studies, history, or art history with three to five years of experience in curatorial work. A master’s degree in museum studies or a related field and experience working in a museum are preferred. This position requires knowledge of collection management and exhibition development procedures, in addition to the ability to prioritize, delegate and work collaboratively on major projects. Strong attention to detail and superior organizational skills are essential. Knowledge of Thoroughbred racing industry and history preferred. Computer skills required include: Microsoft Office, knowledge of maintaining and updating databases (PastPerfect for collections). Some graphic design skills and software knowledge (Adobe Creative Suite) preferred.

Salary range: $50,000 to $55,000

Job Overview: Museum Educator

Department: Education
FSLA Status: Exempt
Reports to: Director

The Museum Educator is responsible for creating, implementing, maintaining, and promoting educational programs that reflect the museum’s mission to preserve and promote the history of Thoroughbred racing in America and to to honor the sport’s most accomplished participants in the Official Thoroughbred Racing Hall of Fame. The Museum Educator will extend the interpretation and presentation of the Museum’s collection to the public through the development and implementation of curriculum-based programs for youth, as well as programs for adults. The Museum Educator is responsible for overseeing the museum’s volunteer program and the Discovery Paddock located at the Saratoga Racetrack during the annual summer meet, both of which are managed by the Program Educator.

Job Responsibilities:

1. Youth programs:
   • Develop, coordinate and deliver educational programs (with program educator) for preschool through middle school (including weekly preschool drop-in program), Girl Scouts, 4-H, BOCES, camps, health, l history and horses (4th curriculum), high school and college curricula.
   • Coordinate, manage and display annual student art exhibitions.
   • Develop and coordinate the Discovery Paddock program at Saratoga Racetrack.
   • Develop and coordinate an eight-week summer program called “Backstretch Buddies” for the children of Faith’s House.
   • Develop, coordinate and deliver special programs targeting youth and their families, such as Family Fun Days celebrating special events at the Museum.
   • Develop awareness programs to bring to schools.
   • Plan special events, solicit donations (eg, student art exhibit, school holiday programming).
2. Programs for adults:
   • Develop, coordinate, and deliver adult education programs, including guided tours of the Oklahoma Museum and Training Track, photo-finish photography tours, and offsite speaking engagements.
   • Develop programs highlighting the Museum’s special exhibitions, including those concerning relevant historical moments and events.
   • Coordinate a series of seasonal farm tours.
   • Develop community outreach programs and presentations.
3. Online programming:
   • Create and host online educational programs and virtual tours via Facebook Live, YouTube and Zoom.
4. Volunteers and guides:
   • Work with the Program Educator to develop, coordinate and implement a Museum-wide volunteer and docent program, including recruitment, selection, training, supervision and scheduling.
   • Collaborate between departments to maximize the use of volunteers and guides to meet the needs of the Museum.

Qualifications: Bachelor’s degree in education, museology, history or equine studies. Knowledge of K-12 developmental stages, with a focus on early childhood development, arts integration, local and national standards, and application of learning theories to education museum. Ability to work effectively with people of all ages. Highly organized and able to multi-task and set priorities. Flexible and patient with strong customer service, training and supervisory skills. Very creative and able to solve problems with originality. Ability to work in a fast paced team environment.

Salary range: $40,000 to $50,000

For more information about the National Museum of Racing and Hall of Fame, including upcoming events, please visit www.racingmuseum.org or call (518) 584-0400.

MANILA, Philippines — President-elect Ferdinand Marcos Jr. is set to be inaugurated at the National Museum of the Philippines on Thursday, June 30, becoming the fourth president to be sworn in at the building.

But while the presidential swearing-in will indeed be a significant event, the historical and cultural relevance of the National Museum is already rich.

What else is there to know and explore at the museum?

The National Museum is not just a building

Many people refer to the historic Old Legislative Building as the National Museum of the Philippines (NMP). But did you know that this is only one of the museums that is under the supervision of the NMP?

The building where Marcos is to take the oath houses the National Museum of Fine Arts and is part of the National Museum complex in Manila.

Next door is the National Museum of Anthropology, housed in the former Ministry of Finance building which was rebuilt in 1949 after suffering heavy damage during World War II.

The museum now houses “Philippine terrestrial and underwater ethnographic and archaeological collections that tell the story of the [country] of the past,” according to its website.

The National Museum of Natural History, on the other hand, was only opened to the public in 2018. Its building, the former headquarters of the Ministry of Agriculture and Trade and the Ministry of Tourism, was built in 1940 but was finally rebuilt in 1949 after the war. .

The latest addition to the complex houses 12 permanent exhibits on the country’s “rich biological and geological diversity”. Its most prominent feature, and undeniably the most photographed, is the “Tree of Life” structure which represents the ecosystems of the Philippines.

There are also 14 museums outside of Metro Manila that come under the NMP under Republic Act 11333 – the National Museums of the Philippines Act – which makes the creation of regional museums and satellite offices mandatory.

You can check this practice map to learn more about these regional museums.

National Museum of Fine Arts: the house of the “Spoliarium” and much more

Marcos will be sworn in June 30 at noon at the Old Legislative Building, a historic structure that was first built in 1918 and originally designed to house the National Library of the Philippines, according to the official museum website.

It was rebuilt in 1949, after being badly damaged during the war.

After being used by Congress and other government agencies, the building was eventually turned over to the NMP and now houses the National Museum of Fine Arts.

The museum’s website says it has 29 galleries that feature the works of Filipino artists – modern painters, sculptors and printmakers, among others – as well as other works of art borrowed from other institutions and individuals.

But perhaps the most famous painting that inhabits the Old Legislative Building is the Spoliarium – “The most enormous work” of the Filipino painter Juan Luna who won the gold medal at the Exhibition of Fine Arts in Madrid in Spain in 1884.

The painting is considered a national cultural treasure, a term that refers to “any locally found cultural property possessing outstanding historical, cultural, artistic and scientific value significant to the country,” according to the NMP.

The Spoliarium is exhibited in a room that bears his name. Just in front of the painting is The Assassination of Governor Bustamanteone of the famous works of Felix Resurreccion Hidalgo, a contemporary of Luna.

The museum also includes a room dedicated to portraits of early 20th-century Filipino artists. Among the paintings on display are those by national artist Fernando Amorsolo, including an unfinished portrait of a young woman.

If you explore further and find yourself in the Old Senate Chamber, you can also find National Artist Carlos “Botong” Francisco. Filipino struggles throughout historya massive mural painted for Manila City Hall in 1968. It was eventually transferred to the museum in 2013 for restoration and public display in 2018.

In the heart of Manila

The National Museum complex is located in the heart of Manila. If you plan to visit it, you might as well discover other historical sites nearby.

Manila City Hall, designed by Filipino architect Antonio Toledo, is a short walk from the Old Legislative Building.

A short walk away – or perhaps a short jeepney ride – is the Manila Metropolitan Theater which has just opened after undergoing rehabilitation from years of neglect. It now hosts performances and screenings of restored classics of Filipino cinema. (Fire in theaters June 17, 2022.)

The National Museum complex is also just in the northern part of Luneta Park. In fact, the famous sculpture of a relief map of the Philippines sits in the middle of the Museum of Anthropology and the Museum of Natural History. Just a short walk and you will reach the Rizal monument.

To complete your tour of the country’s rich history in Manila, you can also visit Intramuros, the walled city that dates back to the Spanish colonial period. Inside are Manila Cathedral and Fort Santiago, where national hero Jose Rizal was imprisoned before his execution in 1896.

Place for presidential inaugurations, protest movements

The significance of the Old Legislative Building as the site of Marcos’ inauguration is not lost on many. It is, after all, such a historic site that it was declared a National Historic Landmark in 2010.

The building has been a silent witness to the inauguration of three presidents so far: Manuel Quezon in 1935, José Laurel in 1943 and Manuel Roxas in 1946. It was also the site of the Constitutional Convention in 1934.

In a column in requester, historian Ocampo noted, “The Fine Arts Building was the site of past inaugurations: Manuel Luis Quezon (1935), Jose P. Laurel (1943), and Manuel Roxas (1946). Had the organizers taken a closer look at history, they might have opted for another venue because two of the three presidents who were sworn in there died in office. All three have not completed their term.

But most relevant – at least in the context of the incoming Marcos administration – are the events the building witnessed during the reign of the late dictator Ferdinand Marcos.

This is where Filipinos staged protests to oppose the dictatorship. These included huge protests during the First Quarter Storm, a period of civil unrest, which preceded the declaration of martial law in the Philippines.

In January 1970, approximately 50,000 protesters gathered outside the building as Marcos delivered his state of the nation address.

Martial law became one of the country’s darkest periods marked by massive corruption and human rights abuses, which the Marcos family tried to erase after their patriarch was ousted in the revolution of popular power in 1986. – Rappler.com

As the school year draws to a close, college and elementary students in the small town of Sackville, New Brunswick reflect on important discoveries they have made with each other and a large black box filled with 25 Canadian artifacts.

Grade 1 students Alistair Lutes and Clara Soper recall the day the huge crate containing seven layers of carefully wrapped treasures from the Canadian Museum of History’s collection arrived in their classroom from Gatineau, Quebec.

“That was great, great fun,” Alistair said, thinking back to the birchbark moose call that was part of the curated collection of artifacts and artifact replicas.

“Oh my god,” Clara added, “We love these boxes.”

WATCH | “Well, what’s in it?” Grade 1 students experience their first story box:

The unlikely pairing of an elementary class with college students in a religious studies class at Mount Allison University is the brainchild of ever-enthusiastic professor Susie Andrews.

When she heard about the Canadian Museum of History loan project, she knew it could be the basis for a new course and a new collaboration.

“Our collaborations make learning richer, more meaningful and frankly more joyful,” Andrews said with a smile. “It brings 25 items from their world-class collection to life for students across the country. …and so it’s the box that is the story behind our story here in Sackville.”

Step 1: Unpacking

For Brianne Arsenault’s Grade 1 class, it started with the arrival of the story box and a barrage of questions from her curious students.

“Their eyes got really big because the box was bigger than them,” she laughed. “So it was, ‘What is it? Where is it from? Where is it going? How long will we have it? do? ‘”

Arsenault said it was wonderful to watch the children make their own connections to the items as they unpacked the box layer by layer.

“I have students that their families hunt, so to see a moose cry — they knew what it was before I knew what it was. I have students who were born in Nunavut, so to see things that came from the North — they knew what it was,” she said.

“I can’t always give them that in day-to-day teaching…that they can see a real-life object of their own heritage, of what they love.”

Step 2: Creation

Students at Mount Allison University also spent time with the big black history box as part of their religious studies course called Sacred Stuff.

Annabelle Kean, a second-year art history student, didn’t know what to expect when she signed up, but admits the name of the course immediately intrigued her. She wondered how a society “surrounded by stuff every day” went about determining what deserved such a label.

“In putting the name sacred on these specific objects, I was very interested in why we do this. Why are some objects sacred and others just everyday objects?”

When the National Museum artifacts arrived in Sackville, Andrews challenged Kean and his classmates to choose one and create a secondary activity box for the 1st graders.

“Our project was to think about, ‘How can we make this joyful and interesting?'” Andrews said. “So the task for the students at Mount A – their invitation was to create another set of boxes with books, activities and stories that would keep students in our community engaged.”

Step 3: Sharing

Kean says she was “really lucky” when her group was awarded a small section of a 150m rainbow banner, made by a group of young people in 2005 to show support for the gay marriage, to build their box around.

They thought long and hard about how to make the object meaningful for a group of six and seven year olds.

“We focused on something they could relate to, which was the idea of ​​pride and being proud of something and identity and knowing who you are within yourself.”

The colors of the Pride Flag represent different qualities, Kean explained, including life, healing, sunlight, nature, harmony and spirit.

“What colors could they choose?”

Kean is bisexual and dated seven years ago. She said it meant something to her that there were gay kids seeing this box and she wanted to present it in a “joyful” and “proud” way.

“They won’t remember it in ten years, but maybe they’ll remember the feeling of pride and the rainbow and the colors and maybe they can come back to them more easily. themselves, having an easier time accepting who they are.”

In Mrs. Arsenault’s Classroom, students say the box activities Kean helped create were some of their favorites.

It included two books about the families, a spool of yarn they unwound measuring 150 yards long – the length of the original handmade Pride banner, and all the art supplies to create a paper rainbow. of silk.

“I’ve been a history buff since I was a little kid like them, so knowing that I can be a part of that to maybe inspire them…that’s something I love,” Kean said.

Step 4: Login

On a hot afternoon at the end of the school year, the students of Mme. Arsenault’s class open their last activity box. This one centered on a modern artefact: a luggage tag that once belonged to Olympian Perdita Felicien.

Each student bends over their desk, carefully folding, taping and decorating a piece of cardboard that they have fashioned into a suitcase.

They then stuff their suitcases with tiny paper cutouts of bathing suits, pillows and even toothbrushes. All carefully cut by university students who wanted everyone to imagine their own adventure.

According to Mount Allison student Shannon Goguen, creating the activities in the boxes and inviting students to explore and engage with museum objects in such a personal way has been “a beautiful thing”.

“I have two young children, so I know how this pandemic has affected children and how lonely they can feel,” she said. “And so, if we could put some sparkle in their day, that’s really important to me.”

Goguen and Kean say it’s also pretty cool that a college class introduced them to their new community of Sackville and allowed them to create something from scratch for someone else.

“It gave me the opportunity to engage with the community — which I think is really special and not something you can experience in traditional academia,” Goguen said. “It will probably stay with me forever.”

Andrews says seeing his university students make such meaningful connections is a “dream come true.”

“The students at Mount Allison were thrilled to think about what it would be like for the little people in our community — the kids learning in these schools — to imagine themselves on a journey to the Olympics.

Step 5: Repeat

Andrews looks forward to continued collaborations between his students and his community.

Arsenault hopes next year will see even closer ties between his Salem Elementary students and Mount Allison students now that COVID restrictions have been lifted.

“We brought in a museum and it was a fascinating and exciting time,” she said. “It opened my eyes to so many different ways to teach things.”

She said the secondary boxes imagined and created by Mount Allison students “replaced all the expectations” she had.

“There were boxes that made me cry just because they were so well made…they were able to handle and maneuver their [learning] invitations in a way that spoke to my six-year-olds and in turn spoke to me.”

A new museum is coming to Fort Worth, though you might not know that from the renders. Last week, plans for a National Juneteenth Museum were released on the holiday, which marks the date in 1865 when emancipation was announced in Texas. The project is the brainchild of Opal Lee, the so-called grandmother of Juneteenth, who in 2016, and at the age of 89, marched from Fort Worth to Washington, D.C., to rally support for the establishment of the day as a national holiday. (That was, well, in 2021.)

Lee, now 95, is understandably excited about the proposed $70 million museum, to be built on Fort Worth’s historically black Southside and slated to open June 16, 2024. “It’s off the chain,” she said. The New York Times. But the design of the museum, for BIG, the business of Danish prodigy Bjarke Ingels, immediately aroused skepticism in the architectural world. Why was Ingels, a white architect from Copenhagen, selected in the first place? So what Chris Daemmrich, an advocate for racial equity in design, noted on Twitter that the skyline in the project’s initial renderings wasn’t even Fort Worth, but a dated view of Austin. Oops.

To know Ingels’ career is to know how this kind of mistake could have happened. Over the past decade he has risen from the shadow of his mentor, Dutch architect Rem Koolhaas, to become an architectural phenomenon, his firm racking up order after order with a seductive, dynamic attitude and the premise that every problem is a solution in disguise. In the past two months alone, BIG has won competitions for a new opera house in Prague and an airport in Zurich, announced plans for a gastronomy center in Spain and opened a headquarters for Google in Silicon Valley. Oh, and Ingels also found time to talk about the future of the planet at the Vatican. Is it any wonder that his company can confuse a few relatively minor Texas towns?

According to its architects, the design, which features a series of asymmetrically aligned gabled halls pointing to a central courtyard (imagine: a collection of shotgun houses arranged in the shape of a doughnut), is a response to the vernacular residential architecture of Fort Worth. “It will have a handcrafted quality,” said Douglass Alligood, the architect in charge of the project for BIG. Time. Alligood, it should be noted is Black, and BIG partners with Irving KAI Companies, an African-American-owned firm that will serve as the reference architect for the project.

If anything, the Fort Worth landmark that the museum most resembles is Hall of Panthersthe demolished concert space (originally a bowling alley) made famous as a country music venue and recognizable by its staggered gabled roofline.

It would be a strange precedent for a museum celebrating emancipation, but Fort Worth has an unusual history of architectural inspiration. The vaulted roofs of Louis Kahn Kimbell Museum came, it is said, from the barns of the adjacent Will Rogers Memorial Center.

The Kimbell is just one of Forth Worth’s outstanding works of museum architecture, and surely ‘Ms. Opal” and Juneteenth deserve work that meets this extremely high standard. BIG, at the moment, is off to a shaky start.

CORRECTION, June 23 at 1 p.m.: This story has been updated to correct the spelling of architect Douglass Alligood’s name.

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Staff reports

Fox Nation’s Laura Ingraham will visit Dan Starks, founder of the National Museum of Military Vehicles in Dubois, Wyoming, on Wednesday’s episode of “Hidden Gems.”

Starks and Ingraham will discuss the history and mission of the Museum. “It’s one of the most amazing museums I’ve ever seen,” Ingraham said.

Appearing on the Jesse Waters show on Tuesday night, Ingraham promoted his upcoming special by calling the segment “an incredible story of a man who spent $120 million to build a military museum in the middle of nowhere, Wyoming. which is one of the most amazing museums I’ve ever seen.

The National Military Vehicle Museum is a world-class military history museum that opened southeast of Dubois, WY in August 2020.

Inside the 140,000 square foot museum, visitors will find nearly 500 fully restored military vehicles, artillery pieces, warships and aircraft dating from 1897 to the present day with a current focus on experience. of World War II, the Korean War and the Vietnam War.

The purpose of the museum is to tell the stories of how these vehicles were used and to remember the bravery of servicemen who fought, and sometimes died, in them.

The museum also houses a large collection of historically significant firearms and opened last May.

The Fox Nation is a by subscription on-demand video streaming service that “celebrates the people, stories and history of America”.

***For all things Wyoming, sign up for our daily newsletter***

Juneteenth became a federal holiday last year, but many African Americans have celebrated it for years. This marks the day the slaves of Galveston, Texas were told they were free.

Anyone can participate in the National Museum of African American History and Culture’s June 19 festivities, even from a distance.

Juneteenth is a day that holds special meaning for so many people. In 1863, President Abraham Lincoln signed the Emancipation Proclamation – but many enslaved people in Galveston, Texas didn’t learn they were free until two years later – on June 19.

The museum plans special performances and workshops. They also have a Juneteenth book listed online and resources to teach kids what it means.

Part of the celebration includes delicious food. The museum café will offer a special Juneteenth menu and the museum is hosting virtual cooking classes so you can learn how to make them yourself at home.

A d

Kevin Young is the director of the museum and has been celebrating Juneteenth for years. Last year, it finally became a federal holiday. A day of reflection and remembrance as families honor their ancestors and each other.

Watch the video above for the full report.

See: More Juneteenth coverage

The dreamed of National Latin American Museum probably won’t be finished for at least ten years, but a big step was taken towards its completion when the first exhibit of the future Smithsonian Museum opened as a pop-up on the National Mall in Washington D.C.

This exhibition, a kind of preview, is called ¡Present! A Latin History of the United States. It is housed in the Molina Family Latino Gallery, a 4,500 square foot space inside the National Museum of American History.

Jorge Zamanillo, director of the National Museum of the Latin American, indicates that the placement is intentional. It is meant to show visitors that Latino history is part of American history.

“It’s foundational. It really sets the stage. Kind of like a 101 on the Latin American presence in the United States and how it fits into the larger narrative of American history,” Zamanillo said.

When ¡Present! was in development, Smithsonian curators surveyed visitors about their knowledge of Latin American history to determine what should be front and center in this exhibit. The final show speaks to what many of these visitors did not know, says Ranald Woodmandirector of exhibitions and public programs at the Smithsonian Latino Center.

“Most visitors think Latinos are new to the United States, they see us all as immigrants and as being mostly Mexicans, Puerto Ricans and Cubans,” he says.

The small but dynamic exhibition reflects all kinds of Latin American experiences and presents them in English and Spanish. ¡Present! covers four themes: colonial legacies, war and the expansion of the United States, histories of immigration and the formation of the nation.

In one of the galleries, for example, visitors can see a raft: a small boat where Cuban refugees spent several days in 1992 on their way to Florida by sea. In another, an intricate work of art titled Tree of life, by V of Mexican origineronica Castillouses clay to recreate historic moments and themes present throughout the gallery.

Woodaman said he wanted the exhibit, which runs in chronological order, to end in the present — with data-driven stories that show the growing impact of Latinos in the United States. He also wanted to end on a note of affirmation, nodding to how the community breaks down boundaries and shines a light on the stories of people like Sonia Sotomayor, Supreme Court Justice, Cuban-American singer Celia Cruz and Colombian American drag queen and activist José Sarria.

And at the very end of the gallery, there’s a quiet little room with books and board games that feels like a chill-out space to unwind.

“We want people to come to this space and feel welcome, and feel like they can come hang out here on a Saturday or Sunday and play Domingos of Dominoes or come hang out and learn the science behind the spices in our Latino foods,” says Emily Key, who leads public engagement at the museum. “Why does chili taste the way it does? What’s the science behind it?”

Until the National Museum of the American Latino is finally built and opened, in 2024 or later, this gallery marks a milestone: the beginning of the end of a decades-long quest to showcase Latino culture. -American in the American context.

Copyright 2022 NPR. To learn more, visit https://www.npr.org.

The Edinburgh Festival Fringe is one of the city’s biggest annual attractions and a mass celebration of the beautiful, the weird and the eclectic. However, as visitors search for their perfect sight, they can find Edinburgh’s best view.

A Google search will tell you that the hills and lookout points that dot the city offer some pretty fantastic views. However, going off the beaten path and walking a few historic alleys can reveal the most Instagram-friendly moments.

READ MORE – Kind Edinburgh stranger hands out £1,000 to locals at petrol station

New Town reporter Danyel VanReenen has rounded up some of Edinburgh’s best views ahead of the festival.

National Museum roof terrace

The National Museum‘s rooftop terrace is a personal favorite because it’s free and offers nearly 360-degree views of the city and suburbs.

The view from the northwest reveals a breathtaking look at Edinburgh Castle’s facade set above the historic Royal Mile skyline. From the south, various Gothic buildings and towers rise out of the suburbs as a tribute to Edinburgh’s rich history.

The views to the East are more difficult to see, but Holyrood can be seen from the stairs as spectators ascend to the roof.

The view is all the more satisfying after perusing the exhibits of the National Museum. The building itself is a huge maze of history and knowledge. With exhibits for visitors of all ages, abilities and interests, it’s well worth the time on the way to the rooftop.

The roof terrace is accessible by stairs as well as by an elevator.

Craigmillar Castle

The views from the ramparts of Craigmillar Castle are in second place. The historic complex is in the city of Edinburgh, but feels a world away from the bustle of the Royal Mile.

The oldest part of the castle was built in the late medieval period, and Mary Queen of Scots used the castle as a refuge in 1566.

As well as the palpable history and authenticity of the castle, views from the ramparts reveal the beauty of Edinburgh city center from a distance as well as sea views near Leith and Portobello, and the famous beauty of the Scottish countryside .

Green hills roll away from Castle Hill and slowly blend into the housing estates. On a clear day, the blue/black sea is visible. Holyrood and Edinburgh Castle can be spotted in the distance, and visitors can almost imagine the former royal gardens that grew there.

Entry costs £7 and the castle walls are not wheelchair accessible due to the age and design of the structure.

Kirkyard of Greyfriar

Greyfriar’s Kirkyard is known more for its church and graveyard than for its views. However, the alternate, darker view of the city through the gravestones and over the old Flodden Wall has some appeal.

While the tombstones and mausoleums create an atmosphere that generally matches the gray skies over Scotland, the best views are from the south-east corner of the properties near the main street entrance. Visitors can wander between the tombstones while keeping an eye on the horizon above. Most notably, the spiers of Tolbooth Kirk stand front and center.

The Kirkyard is free to the public and has a paved path from the entrance at the top of Candlemaker Row near the junction of the George IV Bridge.

Victoria Street

Victoria Street may not offer panoramic views of Edinburgh; however, it is certainly a perfect location.

On particularly gray and rainy days, the color of restaurant and shop fronts contrasts sharply with the weather. Visitors may feel like they have entered Diagon Alley from the Harry Potter universe.

The buildings that line the road are typical multi-storey constructions of the city. The city’s classic sandstone architecture is predominant on the upper half of the buildings, but the lower floors feature brightly painted facades. Most buildings have storefronts, cafes, and restaurants that provide shelter on rainy days. Cobbled streets complete the picture of historic idealism.

Pedestrians have to watch out for cars and oncoming traffic while taking the perfect shot.

Other views from around the city include Calton Hill, King Arthur’s seat in Holyrood Park, the cobbled forecourt of Edinburgh Castle, and Prince’s Street Gardens on the north side of the station.

READ MORE – East Lothian mum shares horror of Harry Styles fan landing on her after 35ft fall

READ MORE – Drivers urged to use ‘hidden’ in-car button to save money on fuel costs

READ MORE – Video captures moment Edinburgh residents were forced to abandon their homes during a fire

SIRIUSXM and the SMITHSONIAN NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE (NMAAHC) have partnered to honor BLACK MUSIC APPRECIATION MONTH.

There will be an invitation-only event at the museum auditorium in WASHINGTON, DC on THURSDAY, JUNE 30. It will be an unveiling of the SIRIUSXM NEIGHBORHOOD RECORD STORE and a live recording of the award-winning THE WEBBY/ANTHEM podcast, ALL MUSIC IS BLACK MUSIC.

The NEIGHBORHOOD RECORD STORE is an interactive destination housed in NMAAHC’s “MUSICAL CROSSROADS” exhibit that features record covers for individual browsing and a digital interactive station that connects songs and artists across various genres, themes, regions and time periods .

Expected guests for the evening include ROCK AND ROLL HALL OF FAME inductees and GRAMMY® Award-winning producer/songwriters JIMMY JAM and TERRY LEWIS, NMAAHC Associate Director/Conservation Affairs Dr. DWANDALYN REECE, and vocalist/instrumentalist MOBLEY; the ALL MUSIC IS BLACK MUSIC podcast theme composer.

SIRIUSXM CEO JENNIFER WITZ said, “Since joining forces a year ago with the launch of ALL MUSIC IS BLACK MUSIC, SIRIUSXM and the NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE have continued to develop and extend their relationship. come together to honor BLACK MUSIC APPRECIATION MONTH and officially unveil the next chapter of our collaboration with the SIRIUSXM NEIGHBORHOOD RECORD STORE.”

SIRIUSXM SVP / Head of Diversity, Equity and Inclusion NICOLE HUGHEY added, “We are commemorating BLACK MUSIC APPRECIATION MONTH all over SIRIUSXM, in our hallways and on our airwaves, and we are incredibly excited to now be teaming up with the NMAAHC to take the celebration to WASHINGTON, DC. We are firm believers in the mission of the NMAAHC and are excited to continue to find new ways to work together to promote and celebrate African American history and culture.

All previous episodes of the podcast can be heard on SIRIUSXM Channel 106, the SXM app, PANDORA and STITCHER. For more information see here.

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According to the General Directorate of Public Relations and Information, the Iraqi delegation, accompanied by Mohammad Ali Kiani, director general of cultural cooperation and Iranians abroad, visited the museum and was welcomed by Jibril Nokandeh, director General of the National Museum of Iran.

The visit started with the historical section of the Museum of Ancient Iran and the explanations given by Firoozeh Sepidnameh, the director of this museum, were noticed by the guests.

The joint cultural manifestations of the two countries with the ancient history of Iran and Iraq at the Museum of Ancient Iran, including the historical and cultural monuments of the Achaemenid period, attracted the attention of the Iraqi Minister of Culture, Tourism and Antiquities.

At the end of his visit to the National Museum of Iran, Hassan Nazem was present at the “Touch of History” exhibition for the blind, and by touching samples of historical and cultural monuments, he described this special exhibition as very admirable. .

The Museum of Archeology and Art of the Islamic Era of Iran, in the presence of Karam Mirzaei, the director of the museum, welcomed the Iraqi delegation, and in this section, the Koranic manuscripts were examined by Hassan Nazem.

At the end of the visit, the Director General of the National Museum of Iran presented a collection of National Museum publications to the Iraqi Minister of Culture, Tourism and Antiquities.

MP/PR

Panjim (Goa) [India]Jun 11 (ANI): Union Finance Minister Nirmala Sitharaman inaugurated the National Customs and GST Museum “Dharohar” in Goa on Saturday as part of the iconic Azadi Ka Amrit Mahotsav Week of the Ministry of Finance , celebrated from June 6 to 12 .

According to the Ministry of Finance, the inauguration ceremony was held in a unique way, with the Minister of Finance removing the golden sand from a single piece of rock art installed in the century-old heritage building in which the museum is located. .

The two-storey ‘Blue Building’, which was formerly known as Alfandega, during the period of Portuguese rule in Goa, has stood on the banks of the Mandovi River in Panaji for over 400 years.

Pankaj Chaudhary, MoS Finance and Mauvin Godinho, Minister of Transport, Tourism and Panchayat, Government of Goa were present at the inauguration ceremony.

Dharohar is a one-of-a-kind museum in the country that not only showcases the items seized by Indian Customs but also depicts various aspects of the work done by the Customs Department while safeguarding the country’s economic borders, heritage, flora and its wildlife and society.

“Dharohar has 8 galleries, namely: Introductory Gallery, History of Taxation Gallery, Guardians of Our Economic Frontiers Gallery, Guardians of Our Art and Heritage, Guardians of Flora and Fauna, Guardians of our social welfare, Indirect Tax Travel -Salt Tax to GST and GST Gallery,” the ministry said.

He further informed that the tour de force of Dharohar museum is a unique gallery “Battle of Wits” which showcases the brain battle between smugglers and customs officers. It contains chronic seizures of ancient coins, statues, endangered wild animals, weapons and narcotics.

The Museum offers the rare opportunity to gain insight into the workings of the Department over the years, ushering in a change in its methodologies to meet the challenges that arise while providing exceptional service to the Nation.

Its exhibits include the Ain-i-Akbari manuscript intercepted by Indian customs at the Indo-Nepal border at Raxaul, a replica of the Amin pillars of Kaurkshetra, astronomical instruments from the medieval period, metal and seized stone, ivory objects and wildlife. elements.

GST Gallery is a brand new addition to the Dharohar Museum. A one-of-a-kind initiative in the country, this GST Gallery takes us through the long and arduous journey to GST that spans two decades. Beginning with the Atal Behari Vajpayee government which initiated discussions on the GST in 2000, the Gallery chronicles the various stages and processes that paved the way for the introduction of reformed unified indirect taxation in the form of the GST on July 1, 2017.

An electronic museum catalog contains high-resolution images of the various exhibits in the museum along with relevant information. This electronic catalog is downloadable using the QR code which would serve as a ready counter not only for visitors but also for scholars of archeology and ancient history.

‘Dharohar’ is an important addition to India’s tourist map and a must-see attraction in Goa. (ANI)

This report is generated automatically from the ANI news service. ThePrint declines all responsibility for its content.

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The Smithsonian’s National Museum of the Latino American received a founding gift of $5 million from Walmart to support the planning, design and construction of the museum and to help launch engaging virtual public programming. The company joins a growing list of companies, organizations and individuals who have provided significant support for the new Smithsonian Museum.

“We are grateful for Walmart’s commitment to telling deeper stories about the Latin American experience in the United States,” said Jorge Zamanillo, director of the National Museum of the Latin American. “With Walmart’s early support, the museum can plan and develop innovative ways to enhance the learning experience for future museum visitors.”

The National Museum of the American Latino will open the Molina Family Latino Gallery on June 18 at the Smithsonian’s National Museum of American History. The inaugural exhibition “¡Present! A Latin American History“, introduces visitors to key concepts, moments and biographies that illuminate the historical and cultural heritage of Latino Americans. The exhibit tells the stories of Latinas and Latinos who shaped the United States, and the gallery helps visitors imagine what they might see when the National Museum of the American Latino opens in its own building.

Walmart’s donation goes through the Walmart.org Center for Racial Equity and builds on the company’s longstanding support of the Latin American community.

“As the first Smithsonian museum dedicated to showcasing the contributions of Latinos and Latinas who have shaped the United States, the National Museum of the American Latino will play an important role in telling a fuller story of who we are as nation,” said Kathleen McLaughlin, executive vice president and chief sustainability officer for Walmart and president of the Walmart Foundation. “We share the Smithsonian’s belief that our communities are stronger when we embrace diversity, equity and inclusion and seek to appreciate more deeply each person’s history and lived experiences.”

About the National Museum of Latin American

The Smithsonian’s National Museum of the American Latino advances the representation, understanding, and appreciation of Latino history and culture in the United States. The museum provides financial resources and collaborates with other museums to develop scholarly research, public programs, digital content, collections and more. The museum’s Molina Family Latino Gallery will be the Smithsonian’s first gallery dedicated to the Latino experience. Legislation creating the National Museum of the Latin American at the Smithsonian was passed on December 27, 2020. Connect with the museum at latino.si.edu

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After a brief interaction with the museum’s founder-director, SM Nair, Naqvi sat on the lawns of the museum where the iconic dinosaur replica once stood and thought how wonderful it would be to work in a space like this one. “I already had a fascination with Mandi House, being a theater enthusiast. I thought working at the Natural History Museum would suit both my cultural and intellectual interests.

About a year later, and six months after the NMNH opened to the public, Naqvi’s dream came true when he was hired as a museum assistant. “I was the happiest person. I used to work here during the day and do theater in the evening. This is also where I found my passion for the environment,” said Naqvi, who took his retired as Dean of the Faculty of Life Sciences and Chairman of the Department of Museology at AMU.

The idea for a natural history museum had been conceived six years earlier, in 1972, on the occasion of the 25th anniversary of India’s independence. The United Nations Conference on Human Development was held in Stockholm, Sweden that year and Indira Gandhi was one of the few country leaders to attend. Back in India, she proposed the construction of a natural history museum in New Delhi.

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The concept of natural history museums was then already well established in the West. However, in Delhi, the museum was to have a whole new meaning. “At the international level, the basic function of natural history museums was to establish large collections of geological, botanical and zoological specimens (insects, fossils, plants, birds, bones, etc.) and their preservation,” explained Naqvi. “But the NMNH’s mandate was to raise awareness through its collections, exhibits and activities of the need for environmental conservation.”

It is for this purpose that the NMNH opened its doors to the public on June 5, 1978, World Environment Day. It was established inside the FICCI building at Mandi House, where it remained until it was destroyed in a massive fire in April 2016.

Before the establishment of the NMNH, Mandi House was known as the cultural center of Delhi. But after the NMNH, Mandi House has also become a center for environmental activism. Naqvi recalled how some of the biggest names among environmentalists in India like Sunita Narain, Ashish Kothari and Sharad Gaur used to visit the museum for meetings and exhibitions. “In our canteen and halls, as well as in Triveni and the Sri Ram Center, we would sit and discuss issues affecting the environment,” Naqvi said.

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He said that because of the NMNH, even those who were not environmentalists, such as filmmakers and theater activists, became interested in the environment. A lover of theatre, Naqvi had joined the street theater group Jana Natya Manch, which at the time performed plays on social issues. “But being influenced by NMNH, I have written plays on environmental issues such as the Bhopal gas tragedy, ozone layer depletion, tiger poaching, pollution, etc.”

The 1970s and 1980s were the decades when environmentalism and nature conservation took root in India. Some of the greatest moments in the history of environmental movements in India like Silent Valley Movement, Chipko Movement, Appiko Movement and Narmada Bachao Andolan all started during this period. “The government was also starting to care about environmental issues and the establishment of the NHMH was part of the efforts to raise awareness about this,” Naqvi said.

The museum’s four galleries have been organized with the aim of telling a story with the environment in mind. Naqvi proudly remembers creating a very dear project on soil conservation. It was a large tree whose roots went deep into the ground. Above it was written in big bold letters, “the six inches of humus take millions of years to form”. “The message was that soil is the most important part of the ecosystem,” Naqvi explained.

From its birth until its last day, the museum organized daily film screenings and audiovisuals on the environment. Environmentalist Sharad Gaur, who was part of WWF India’s education team, recalled how the NMNH contacted them to produce an audiovisual on addiction and Delhi’s relationship with nature. The project titled “Delhi’s Debt to Nature”, shot by Gaur and produced by the WWF crew in the mid-1980s, was shown regularly in one of the museum’s theaters until around the early 2000s . “It showed how Delhi had developed from its natural origins, especially the Ridge and the Yamuna, and how it continues to be dependent on them and the need to protect them,” Gaur recalled. “It also showed the early effects of urbanization in Delhi, such as fly ash pollution, which was a big problem in the city in the 1980s and 90s, degradation of rivers and loss of natural forests. “

Gaur explained that the museum had a unique impact on Delhi’s social life. The NMNH was the first natural history museum in India to introduce a discovery room for children’s learning. “There was a small animal area where children could go and interact with harmless animals such as rabbits, guinea pigs, mice, etc. This was the first time that many young children were exposed to handling animals. animals,” Gaur said. He also recalled how visually impaired children were encouraged to touch and hold animal specimens like a tiger, a turtle, feel the texture of crocodile skin, or of different tree barks.”There is no institution today that does work that can replicate these experiences,” he said.

The current director of the museum, Naaz Rizvi, said that although the museum in its physical capacity has not been operating in Delhi since the 2016 fire, it has been actively carrying out several awareness campaigns, marches and plays in the NCR. “We did over 200 programs during the pandemic to raise awareness among children and we also opened our YouTube channel,” she said. The museum is also active in its four regional branches of Mysore, Bhopal, Bhubaneshwar and Sawai Madhopur. Their latest exhibition which started on May 22 at the Mysore branch is themed around Mahseer fish.

Speaking about NMNH’s recovery plans, Rizvi said, “Government of India has already allocated 6.5 acres of land for it. We are working on it and will announce its progress soon.

What do the National Museum of Australia (NMA), the home appliance brand Breville and First Nations artists have in common?

Marking a culinary journey that spans 65,000 years, they come together to produce a new exhibition that explores historical and contemporary ‘kitchen’ objects.

Celebrating one of the oldest food cultures in the world, An Indigenous Culinary Journey: Designed to Live, premieres in NMA’s new Lakeside Landing space to launch a partnership between four First Nations artists and Australian brand Breville.

Focusing on continuing to create cultural brands associated with Indigenous food culture by pairing traditional First Nations tools for living with modern kitchen objects, it explores the dynamism of an adaptive culture while fulfilling the Museum’s promise of bring Australian stories to life.

While the exhibit celebrates traditional objects used in food gathering and preparation such as grinding stones, cutting tools (flint), coolamons, fire sticks and baskets associated with First Nations food culture, it also unveils a new six-piece Breville collection..

Comprising a toaster, kettle, coffee machine, juicer, oven and bambino coffee maker, each Breville object is illustrated with signs of country and culture by artists from the Western Desert of Kiwirrkurra—Warlimpirrnga Tjapaltjarri ( Pintupi), Yalti Napangati (Pintupi) and Nikua (Yukultji) Napangati (Pintupi) and Sydney-based artist Lucy Simpson (Yuwaalaraay).

Combining ancient stories with the best of contemporary design, the collection brings a bit of country into people’s homes, creating the ultimate fusion of age-old Australian art and food culture.

Describing the exhibition as unique and “benchmark”, NMA’s Senior Indigenous Curator Margo Ngawa Neale said the importance of the partnership is not just to showcase Australia’s culinary journey, but also the high cultural and legal integrity in which it was made, including the partnership with Dr. Terri Janke, a Wuthathi/Meriam woman and an international authority on Indigenous cultural and intellectual property.

“This is a truly unique and benchmark way for a truly socially responsible Australian company to partner with First Nations artists and a cultural institution,” says Margo.

“These four artists have done something I call ‘Country Wrapped’ around these kitchen appliances and they get an astronomical sum for each appliance because they [Breville] didn’t ask them to decorate them, they asked “Do you want to put your country and your dreams on it?”, as they would if they had commissioned a painting.

Initiated and developed by Alison Page, a Wadi Wadi and Walbanga woman from the Yuin Nation who is part of the National Museum‘s Indigenous Reference Group and is currently Adjunct Associate Professor of Design at Sydney University of Technology and Founder of The Agency National Indigenous Design Fund, the Breville Art Project will be available for purchase by the public.

And with each artist owning the copyright to their work and receiving ongoing royalties for every product made, Breville donates 100% of its profits to the National Indigenous Culinary Institute of Australia, Indi Kindi by the Moriarty Foundation, University of Technology Sydney, and other initiatives supporting the creation of opportunities for Aboriginal and Torres Strait Islander people—a significant partnership for both the brand and the artists.

“Breville does this to position and brand itself as an Australian company and does this in recognition of the First Peoples of this country,” says Margo.

“Living in the heart of homes, these once mundane devices, now shrouded in Country, are becoming cultural ambassadors.

Sharing Australia’s 65,000-year-old First Nations culture in a modern context, An Indigenous Culinary Journey: Designed to Live not only juxtaposes the idea that highly sophisticated objects of design provide the same service as traditional Indigenous tools, but also pays homage to the history (and future) of brand-making.

“Cultural branding is what we have always done since time immemorial. And we’ve evolved over time and some things stay the same, like the defining elements of culture that are important to us in our daily lives,” says Margo.

“To me, it’s no different than an Aboriginal painting on canvas in your living room…It’s a way to have Aboriginal art and culture at the heart of your home.”

Until Sunday August 7, the exhibition will tour internationally later in 2022.

The venue once housed the Legislative Building which protesters surrounded to oppose the early years of Marcos’ father’s dictatorship

MANILA, Philippines – Ferdinand “Bongbong” Marcos Jr. will be sworn in as the 17th President of the Philippines at the National Museum on June 30, his side announced Thursday, June 2.

It is unclear whether the swearing-in will take place indoors or outdoors, but according to the new presidential leadership personnel secretary, Naida Angping, “the building and its surroundings meet our requirements for the inauguration of President-elect Marcos”.

“Preparations are already in full swing to ensure he will be ready by then,” Angping said.

Marcos was elected by 31 million people or an overwhelming 58% of the vote, the first majority president to be elected in the country.

historical place

The National Museum, located in the heart of Manila, has a picturesque white neoclassical facade with a flagpole in the center. The driveway and entrance to the museum are elevated.

Camp Marcos in a press release called it a “historic place.”

“Formerly known as the Old Legislative Building, it served as the venue for the inauguration of former Presidents Manuel L. Quezon (1935), Jose P. Laurel (1943), and Manuel Roxas (1946),” the official said. Marcos press release. .

Marcos’ father, the late dictator Ferdinand Marcos Sr., presided over the Senate as President of the Senate in the same building.

But when Marcos Sr. won a second presidential term in 1969, it was also where protesters gathered to oppose his leadership, marking the start of the first quarter storm or a period of civil unrest in the country.

A massive student rally surrounded the Old Legislative Building on January 26, 1970, the same facade that may have seen the son sworn in on June 30.

The National Museum, the former legislative building, was the site of a massive protest in 1970 led by the likes of Edgar Jopson that sparked the storm of the first quarter and led to the declaration of martial law in 1972.
Photo from “The Life and Struggle of Edgar Jopson” by Benjamin Pimentel pic.twitter.com/FhZzl20i0M

— Lian Buan (@lianbuan) June 2, 2022

The first-term storm eventually led Marcos Sr. to declare martial law in 1972, a dark time for the Philippines but which the family had tried to rebrand as a golden age as part of a campaign to return to the power. Marcos Sr. abolished Congress through the 1973 Constitution, a railroad charter that was upheld by the Supreme Court in a decision still accused today of enabling repressive dictatorship.

If Marcos Jr were to be inaugurated in the old indoor session hall, it would still be in the shadow of his history padlocked in 1973 when his father abolished Congress.

When Marcos Sr passed the 1973 Constitution, the opposition went to Congress – now the National Museum – and found it locked. Two months later, the Supreme Court of Javellana against ES upheld the Consti of 1973, accused until today of enabling the repressive regime.
📸 Official Journalhttps://t.co/q1bXZIJ6rB pic.twitter.com/aKgooKE7IH

— Lian Buan (@lianbuan) June 2, 2022

The first plan was for Marcos to take the oath at the Quirino Rostrum, the same venue as the dictator’s inauguration. But the area is still home to several COVID-19 field hospitals.

“The safety and well-being of our employees is paramount. Thus, we have chosen not to disrupt the medical care of the COVID-19 patients who are accommodated there. That’s why we opted for the National Museum as the venue,” Angping said.

Who will administer the oath?

Usually, Supreme Court justices administer the oath of presidents — Bienvenido Reyes for Rodrigo Duterte, Conchita Carpio Morales for Benigno “Noynoy” Aquino III, Hilario Davide for post-EDSA II Gloria Macapagal-Arroyo.

Supreme Court spokesman Brian Keith Hosaka said Chief Justice Alexander Gesmundo’s office had not received any requests, “but I don’t know with the associate justices’ offices.”

Other government officials, including mayors and even barangay captains, are empowered by Republic Act 10755 to administer the President’s Oath. – Rappler.com

The National Museum of African American History and Culture (NMAAHC) is proud to present the next page of Our American History, an online series for museum supporters. We offer these stories to honor and celebrate the African American experience, share an immensely rich history and culture, and inspire and support our community as we move into the future together, according to a press release. Release.

General Colin Luther Powell, our nation’s first African-American Secretary of State, was a revered military hero, four-star general, decorated veteran, and statesman. His accomplishments over his decades of military and civilian service, including being the recipient of the Soldier’s Medal, Bronze Star, Purple Heart, Congressional Gold Medal and two Presidential Medals of Freedom, among others, serve as a powerful testament and symbol of the fulfillment of the American promise.

It’s the quintessential American story, characterized by resilience, determination and a deep love of country. In forging his own path to success, Powell also shattered glass ceilings and paved the way for others in public service.

The son of Jamaican immigrants, Powell was born in Harlem, NY, in 1937 and grew up to value hard work and determination above all else. He grew up in the New York public school system and attended the City College of New York, where he majored in geology and explored the possibilities of a military career by joining the Army Reserve Officer Training Corps (ROTC) .

“…I saw those cadets in uniform, and I wasn’t very good at civil engineering…I was drawn to it. I liked the structure, I liked the discipline, I liked being with a group of young people who were like me with this same inclination towards military activity. And frankly, at City College and ROTC, I found another family. I was leaving my family in the Bronx now back with a different type of family, and I fell in love with it. I was a straight A student at ROTC.

— General Colin Powell

After graduating in 1958, Powell was commissioned as a second lieutenant in the United States Army. Over the next decade, Powell completed basic infantry, ranger, and airborne officer schools. He served as a platoon leader and commanded a company of the Fifth Infantry Division before being promoted to captain in 1962. In December 1962, Powell was posted to Vietnam as an adviser to a South Vietnamese infantry battalion. There he was injured and awarded a Purple Heart.

Returning home in November 1963, Powell completed the Advanced Infantry Officer Course and was promoted to Major in 1966. In 1968 Powell returned to Vietnam. He was decorated with the Soldier’s Medal for bravery after surviving a helicopter crash and, while injured, he single-handedly saved three other people.

After his military service in Vietnam, Powell pursued a master’s degree in business administration from the george washington University of Washington, D.C. During this time, he accepted his first of many political posts, serving as a member of the White House under President Nixon.

Powell has served in both Republican and Democratic presidential administrations. He joined the Carter administration in the Office of the Secretary of Defense, eventually serving as the senior military assistant to the Deputy Secretary in the late 1970s. Reagan administration, he served in the Pentagon as a senior military aide to the then-Secretary of Defense Caspar Weinberg.

In 1986, Powell was appointed deputy national security adviser. Three years later, in 1989, he became a four-star general and was appointed by the president George H. W. Bush as the twelfth chairman of the Joint Chiefs of Staff, the nation’s highest-ranking military officer, and the president’s principal military adviser. He was the first African-American president and the first president to earn his commission through ROTC. Powell remained in this position for the first few months of the clinton administration before retiring from the military in 1993.

He was appointed Secretary of State by the President George W. Bush in 2001, becoming the first African American to hold that position. Powell’s tenure was marked by the September 11 terrorist attacks and the start of the second Gulf War. He remained politically active after his retirement in 2005, notably endorsing barack obama for the presidency in 2008.

Colin Powell’s story is marked by youthful initiative and outstanding public service to the military, the American people, and the country as a whole. He received bipartisan support throughout his public career and embodied the determination, patriotism and democratic values ​​that are emblematic of our nation and, in doing so, cemented his legacy as an American hero.

Powell, who joined the Museum’s Advisory Board in 2010, has also been one of the National Museum of African American History and Culture’s strongest supporters. He and his wife, Alma Powell, are founding donors who have provided generous personal support to both the Museum’s capital campaign and the Living History Campaign Today to secure the future of the Museum. Powell has also agreed to be one of the Honorary Chairs of the Living History Campaign.

“[The National Museum of African American History and Culture] fills a gap that existed in American history for so many years…and now it’s here and it’s beautiful, it’s magnificent, and it’s unlike anything on the Mall…and I think the American people will love coming here and completing this part of our wonderful history of this great country.

— General Colin Powell

Powell was an invaluable member of our community. His determination, patriotism and character inspired many, from those he led in the military to those he served in government. Powell created his legacy by “achieving every day” and in doing so, left an immense impact on our nation’s history that will live on for generations to come.

Totti entering the NMEC – Min. Tourism & Antiquities

CAIRO – May 29, 2022: The National Museum of Egyptian Civilization in Fustat received retired Italian player from AC Roma and the Italian national team Francesco Totti, on the sidelines of his current visit to Egypt to attend the Champions League final between Liverpool and Real Madrid.

MECP – Min. Tourism & Antiquities

Totti was received by Ahmed Ghoneim, director of the National Museum of Egyptian Civilization. Ghoneim gave Totti an overview of the museum, the history of its creation and its unique archaeological collections that tell the story of Egyptian civilization through the ages. Totti toured the museum, which includes the central exhibition halls, the Egyptian Textiles Hall and the Royal Mummies Hall.

Totti in the NMEC – Min. Tourism & Antiquities

During the visit, Totti expressed his happiness with this visit and the greatness of the museum’s unique archaeological collections.

For his part, Ghoneim confirmed that the museum’s reception of such important visits sends a positive image of Egypt and makes the museum a main part of tourist programs.

Max Hiroshi Yamane was named after his grandfather Yamane Hiroshi, who was Nisei (second-generation Japanese American), meaning his parents immigrated to America and Hiroshi was born in America. Max’s grandfather, Hiroshi, owned a farm in King County, Washington, near Seattle. His grandfather Hiroshi’s family was from Yamaguchi Prefecture in Japan. After the Japanese bombed Pearl Harbor, hostility toward Japanese Americans escalated. As a direct result, President Franklin Delano Roosevelt signed Executive Order 9066 forcing his grandfather, his family, and more than 120,000 people of Japanese (Nikkei) ancestry living on the West Coast from their homes, jobs, and homes. life and force them to 10 prison camps across the United States. Minidoka, also known as Hunt Camp, was one such internment camp where Hiroshi and his family were sent. During his internment, the King County farm his grandfather Hiroshi owned was seized by the US government and is now Boeing Airfield. After the internment and the end of the war, his grandfather worked for the United States Postal Service.

Max’s grandmother, Ogawa Tsuruyo, grew up in the town of Shiyogama, near Sendai, Japan. She lived in Tokyo during World War II. After the war, she left Japan to help care for her niece’s children in Moses Lake, Washington in the mid-1950s. It was her intention to return to Japan until she met the grand- Max’s father, Hiroshi. Together they moved to Seattle.

Their son, Max’s father, Grover Kunihero Yamane, joined the United States Air Force and was stationed in Panama City, Panama, where he met Max’s mother, Jill, originally from German, Scottish, British and Dutch. While in the Air Force, his parents were stationed around the world. Max was born in Florsheim am Main, Germany and has a brother Miles Kunihero Yamane. When asked what his father taught him about his Japanese heritage, he replied, “I begged him to teach me things when I was a kid. But he never said anything. I only learned things when I visited my grandmother in Seattle, which unfortunately wasn’t often. Max added, “I learned a simple Japanese language, some mannerisms, and her experience of living in Japan during World War II from her.”

Due to Air Force postings, Max’s father moved his wife and two sons to San Antonio in 1997, then to Florida in 2001, then back to San Antonio in 2003. While in college circa 2007, Max attended the Crossroads Powwow in San Antonio. and became interested in native culture. The more Native people saw him at different social events, the more he was accepted by members of the local Native community. He found the native community of San Antonio very friendly and started asking questions about the art of fancy dancing. With the encouragement and support of his new Aboriginal friends, Max began dancing, a move that would change his life.

After graduating from high school in 2012, Max moved to Harrisonburg, Virginia to attend James Madison University and major in sociocultural anthropology. At JMU, he became involved in the Native student community and spent most of his free time with his new Native friends. He also began to continue dancing at events throughout the mid-Atlantic region and became interested in a new passion: Indigenous music.

Max earned a BA from JMU, then enrolled at the University of Maryland at College Park to pursue a master’s degree in ethnomusicology. In his new location, he began singing with local drumming groups at powwows, political protests, and community events. He coordinated the University of Maryland Pow Wow which had not been held for many years. Seeing his potential and honest respect for native culture, he became like family to many natives in the DC, Maryland and Virginia area.

At the University of Maryland, Max began his master’s thesis titled “Songs to Soothe a Mother: Intertextuality and Inter Tribalism in Kiowa War Mother Songs,” which focused on how the intertextuality of Kiowa War Mother songs connects the Ethos and Martial Practices of Kiowa. reservation time to war in the 20th century. To do this, he moved to Oklahoma for the summer to research and learn directly from Kiowa Tribal Elders and Knowledge Holders. In Oklahoma, he stayed with natives who treated him like family and trusted him to record their cultural knowledge. Max’s new native parents approved of him and introduced him to important tribal elders to interview.

Kiowa Elder Delores Toyebo Harragarra shared her experience working with Max. “Our family met Max Yamane in the summer of 2017 at the Kiowa Language and Culture Revitalization Program community outreach event in Tulsa, Oklahoma,” she said. “Max was interested in Kiowa songs. We invited him to our home in Carnegie, Oklahoma for a visit and a discussion about his study of various Kiowa songs. Max is a very engaging young man, very respectful of Native American culture. Our family is very lucky to have met Max, he has endeared himself not only to our family but also to the other members of the Kiowa tribe.

During his first summer in Oklahoma, Max went to powwows and competed in the Men’s Fancy Dance category. At powwows, he was invited to sit in various powwow drums by other southern plains singers. He quickly picked up songs from different tribes and learned to lead them. Over time, Max also started composing powwow songs. His talents were discovered by the singer of the famous powwow group Otter Trail. He was invited by the lead singer to travel with them for singing engagements all over Indian Country. After several summers of traveling, the Otter Trail singer gave Max one of Indian Country’s most prestigious gifts, his own personal song.

“My adopted son, Max, has already been asked to serve as the principal dancer for the Tunica Biloxi Powwow in Louisiana,” said Alexander Santos, lead singer of the Otter Trail Singers. “The greatest gift an individual can receive is their own personal song. So, I composed one for them to use for such an occasion. This song was made even more special with the lyrics added by Mr. Ralph Zotigh It’s a sign of someone who is loved and admired and that makes this song even more special.

The lyrics of this song are truly unique as they blend Max’s Japanese heritage including the Japanese language directly into a song that is sung at Native powwows. Part of the Japanese language in the song describes Max’s surname, when translated means “root of the mountain” or “foot/base of the mountain”.

Through his work on his master’s thesis, Max developed an interest in learning the Kiowa language. To acquire this knowledge, Max attends the Kiowa Language and Culture Revitalization Program twice a week. In this program, Max and Kiowa educators virtually meet with Kiowa elders to learn about language, customs and history. Max actively practices the Kiowa language while participating in this program and with his Kiowa family.

Beyond powwows and educational efforts, Max also works to assist tribes, tribal programs, and tribal organizations with special project grant opportunities as a contractor with Tribal Tech, LLC and their parent agency. , the Association for Native Americans (ANA) in Washington, D.C.

Young Brinson, Team Lead Program Specialist for Tribal Tech, LLC, had this to say about Max: “Max Yamane is a sought-after Program Specialist here at ANA. He is dedicated to serving his beneficiaries at all levels. and has been instrumental in various high-profile projects.” He is one of our Language Think Tank team members and always provides excellent insight into language resources and pedagogies. Max is what I’d like to call a recipient’s best friend considering everything he brings to the table. ”

Max has completed his M.A. and is currently a PhD candidate in Ethnomusicology at the University of Maryland with research interests in American Indian Southern Plains music and dance, powwow, Native protest music and language revitalization and music. Like other respected non-Indigenous researchers and scholars before him, Max’s curiosity, openness to learning, and deferential approach to relationship building allowed him to learn and record information directly from respected indigenous peoples.

flags for the dead

Honor given to the dead

Flags for the Fallen Seal

For Memorial Day, Georgia Museum places 26,000 48-star flags in memory of Eighth Air Force WWII casualties

POOLER, GEORGIA, USA, May 24, 2022 /EINPresswire.com/ — Flags for the Fallen, a public event for Memorial Day week at National Mighty Eighth Air Force Museum at 175 Bourne Ave., Pooler, Ga., May 26-30.

The museum will present the second annual Flags for the Fallen in which 26,000 48-star flags will adorn the museum’s Memorial Garden. More than 400 volunteers are expected from the Greater Savannah, Georgia area.

The US Army’s Eighth Air Force was activated in Savannah in 1942 and deployed to England. Between 1943 and 1945, during World War II, 26,000 Eighth Air Force airmen were lost.

A “Call of the Fallen Eagles” will be broadcast throughout the garden, call names World War II airmen of the Eighth Air Force by name, bomb or fighter group and date of death.

Eighth Air Force World War II veterans, men in their late 90s and early 100s, attend opening and Memorial Day ceremonies and other activities during the five-day event.

WWII re-enactors will perform ‘Women of the Eighth Air Force in England’ and re-enact mission briefings on Saturday 28 and Sunday 29 May. A panel discussion of Eighth Air Force World War II veterans is scheduled for Sunday, May 29.

A book signing on Sunday, May 29 at 2:30 p.m. EST with a century-old B-17 Flying Fortress pilot John “Lucky” Luckadoo and author Kevin Maurer for their new book “Damn Lucky: One Man’s Courage during the Bloodiest Military Campaign in Aviation History.”

In addition to the activities taking place at the museum, the Commemorative Air Force will be selling warbird rides on four World War II aircraft, including the “Texas Raiders” B-17 Flying Fortress, to Sheltair Aviation (FBO) from nearby Savannah-Hilton Head International Airport. May 26 to May 30. The warbird ride’s flight path will take the B-17 over the 26,000 48-star flags in the museum’s Memorial Garden several times a day.

The public can sponsor 48-star flags honoring fallen airmen for $10 each by texting 26K to 50155.

About the National Museum of the Mighty Eighth Air Force
The National Museum of the Mighty Eighth Air Force preserves for all Americans the stories of courage, character, and patriotism displayed by the men and women of the Eighth Air Force from World War II to the present day.

Jane Grismer
National Mighty Eighth Air Force Museum
+1 516-331-0212
write to us here

Muscat: The National Museum on Saturday inaugurated the exhibition “Syria: The Cradle of Civilizations” in cooperation with the General Directorate of Antiquities and Museums of Damascus, and inaugurated the “Objects on loan from the Republic of India” at the Museum of Oman and the World Gallery in cooperation with the Indian Embassy in Muscat.

The exhibition was inaugurated under the patronage of Her Highness Sayyida Mona bint Fahd Al Said, Deputy President of Sultan Qaboos University for International Cooperation and Deputy of the Board of Trustees of the National Museum, in the presence of Dr Lubana Mushawah, Minister Culture of Syria, Amit Narang, Ambassador of India to the Sultanate of Oman, and a number of people interested in cultural and museum affairs.

The inauguration ceremony included a speech by E. Jamal bin Hassan al-Mousawi, Secretary General of the National Museum, and. Dr. Labana Mushawah, Minister of Culture of Syria, followed by the speech of Amit Narang, Ambassador of the Republic of India to the Sultanate of Oman.

After the inauguration, an official session of talks took place between the Sultanate of Oman and the Ministry of Culture of Syria, during which the bilateral cooperation between the two countries was discussed, emphasizing the efforts aimed at developing relations in the cultural and museum fields and strengthening bilateral relations. relationship between the two parties. The Sultanate of Oman side was represented by His Highness Sayyida Dr. Mona bint Fahd Al-Said, Jamal bin Hassan Al-Moosawi and a number of officials from the National Museum. The Syrian side was represented by Dr. Labana Mushawah, and Idris Maya, Ambassador of Syria, and. Muhammad Nazir Awad, Director General of the General Directorate of Antiquities and Museums, and a number of the accompanying delegation.

Jamal bin Hassan Al-Moosawi, Secretary General of the National Museum, said: The preservation of Syrian heritage in the current exceptional circumstances is an urgent necessity that should not be postponed due to the important role that the cultural factor plays in the reconstruction and social detection. identity. This ancient heritage is a civilizational heritage that belongs to all humanity, going beyond the borders of Syria due to its exceptional historical, artistic, aesthetic and significant dimensions.

Jamal al-Moosawi added: “Within the framework of international cooperation and the preservation of material heritage, and on the basis of the agreement reached in (2019 CE) on a temporary loan of museum objects from the General Directorate Antiquities and Museums of Damascus, which were damaged during the period of the Syrian crisis for conservation purposes, and from the end of the year (2020) until the middle of the year (2021), (201 ) museum pieces were received in two batches, including the unique Palmyrene sculptures, in addition to artifacts from the Paleolithic period – Pre-Pottery A, the Bronze Age, the Umayyad Caliphate period, the Ayyubid period, the Mamluk period and the Ottoman period. During the first semester (2020), (9) Palmyra statues were preserved. Then, in the first quarter of (2022), the National Museum’s conservation and preservation team completed the restoration of (195) pieces of Syrian artifacts and the (9) Palmayrene statues. As the artifacts went through several stages of the conservation and preservation process, beginning with sterilization, documentation, and photography, and ending with restoration operations, ultimately the team’s efforts were successful.

For his part, Dr. Labana Mushawah, said: The exhibition “Syria: Cradle of Civilizations” is complementary to the numerous and continuous efforts of the Omani and Syrian sides, which began more than two years ago by loaning the National Museum from the Sultanate of Oman a number of well-known Syrian artifacts The cultural heritage of Syria exceeds 175 pieces, many of which have been restored, preserved and kept in the National Museum.

The National Museum of Oman and the World Gallery display artifacts on loan from the Republic of India. A book entitled “Tarikh-i-Kesari” which presents information on the history of Oman and Zanzibar, on loan from the National Museum of New Delhi, and a work of art from Fort al-Mirani in Muscat, on loan from the National Museum of Modern Art in New Delhi. The collection will be on display to all visitors until June 30, 2022.

Amit Narang said: “The common historical ties between the peoples of the Sultanate of Oman and the Republic of India span thousands of years, and the artifacts on loan from India reflect this common past and the continued cooperation between the two countries. This inauguration is the first step after the pandemic. We look forward to more similar cooperation opportunities in the future, because there are many things that can be shared between the two countries, not only historically but also culturally.We aspire to cooperate with the National Museum to establish more exhibitions of many arts of India.

The book “Tarikh-i-Kesari” by Muhammad Akbar Ali Khan is a rare visual and written record of the era of princely states in India, with thumbnails of their founders or current rulers, in addition to rulers whose states had close relations with the British Raj.

The book was published on January 1, 1877, in the Urdu and Hindi languages, with the support of “Anjamen Islamic Delhi” or the General Islamic Gathering, on the occasion of Queen Victoria’s accession to the title of “Empress of India”, which was announced in “Durbar Delhi” or the gathering of the court in Delhi.

The publication deals with the biographies of rulers, kings and princes, including Sultan Thuwainibin Said al-Busaidi (ruled: 56-1866 CE) and Sultan Barghash bin Said al-Busaidi (ruled: 70-1888 CE), whose two unique miniature paintings of the two sultans, listing their exploits and titles. It also goes over a detailed summary of Muscat and Zanzibar and their geographic locations, sources of income for both countries, and data on their armies. The book reports that the British government awarded 21 gunshots as a mark of respect and welcome to the Sultan of Muscat, Oman and the Sultan of Zanzibar, as they are the independent rulers of two fully sovereign states. According to what came in this book, which confirms the long history of the Omani political entity in its two parts, Sultan Thuwaini bin Said al-Busaidi is the only ruler in the Arabian Peninsula who enjoyed these ceremonies without anyone from other, according to what is said in this book, which confirms the long history of the Omani political entity in its two parts.

As for the oil painting, it embodies a view of Fort al-Mirani in Muscat by British artist Thomas Daniel, which dates back to the period of the al-Busaid dynasty (1229 AH/1814 CE). The painting is on loan from the National Museum of Modern Art in New Delhi (Republic of India).

“The commission will be comprised of individuals with expertise in researching, studying and promoting the history of Asian American Pacific Islanders,” Hirono said. “This commission will submit a report to Congress, in which case we should act.”

American communities in Asia and the Pacific Islands “have made significant contributions to American life, but despite these undeniable contributions, our communities have been largely excluded or erased from American history,” Hirono said in his remarks.

She went on to say, “While not invisible, AAPI groups are often pejoratively portrayed as outsiders: always the other, instead of people who have lived and contributed positively to this country for generations.”

The Hawaii Democrat added that these stories have helped “fuel xenophobia and racism.” She said the creation of this museum would help “combat these harmful narratives by sharing the history of AAPI on an unprecedented scale.”

Senate Majority Leader Chuck Schumer said he was “delighted” to support this “long overdue step” that will help establish one of the “greatest museums dedicated solely to telling the stories of Americans from Asian Origin Throughout History” in the nation’s capital.

Part of the visit – Min. Tourism & Antiquities

CAIRO – May 17, 2022: CEO of the National Museum of Egyptian Civilization in Fustat Ahmed Ghoneim received a high-level delegation from the European Investment Bank.

This visit was part of the museum’s concern to receive public and important figures, as part of the series of visits it has witnessed since its opening in April 2021, to support all means of fruitful cooperation with all The parties involved.

Lamis Abdel Rahman, a member of public relations at the museum, gave the delegation a tour inside its halls, where they toured the Central Exhibition Hall, the Egyptian Textile Hall and the Royal Mummies Hall.

Abdel Rahman provided them with a detailed presentation of the history of the museum, the story of its creation, the scenario of the museum’s exhibition and the unique archaeological collections it houses which tell the story of Egyptian civilization through ages.

Part of the visit – Min. Tourism & Antiquities

Moreover, Abdel Rahman gave them an overview of the most important educational, cultural and societal activities provided by the museum in its role as a cultural beacon.

During the visit, the members of the delegation expressed their joy of the visit and their fascination with the unique archaeological collections, which are presented with the latest scientific methods to illustrate the development of Egyptian civilization throughout history.

Part of the visit – Min. Tourism & Antiquities

They also praised the museum’s architectural design and distinguished location, which convey a sense of comfort and calm, and make the museum a comprehensive cultural, educational and entertaining entity for all ages.

The visitors of National Japanese American Museum on Central Avenue will receive a grim education about the camps that forced many American citizens to be incarcerated during World War II.

It’s a new way to see and experience the sad history of the camps, with augmented reality bringing viewers closer to the struggle that so many Japanese-Americans faced.

“My mother ran a hotel. My family lost everything because they had to leave the hotel,” said Michi Tanioka, a camp survivor.

Most were just children when they were forced into the camps during World War II.

Artist Masaki Fujihata used old photos and new technology to bring their stories to life.

“It’s really important to give the visitor a new experience. The experience means the contrast between ordinary life and the events of the past,” Fujihata said.

Augmented reality allows visitors to walk through history, and exhibit organizers feel it can change perspectives.

“You see incredible photographs, remarkable for their scale and the power they have,” said UCLA professor Michael Emmerich.

The old cameras that took these photos are also there to view, which are further reminders of this sad chapter in American history.

“It’s an American story, they had their struggles, they didn’t give up on their American dream, it was their home,” said June Aochi Berk, another camp survivor.

For many, the wounds have healed, but there are scars.

Now they can be seen, and maybe even felt, in ways the exhibit organizers hope they will remember.

For more information visit the National Japanese American Museum website.

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Molina Family Latino Gallery and “¡Presente! A Latino History of the United States” will debut at the National Museum of American History

The Smithsonian’s National Museum of the American Latino will open the Molina Family Latino Gallery on June 18 with its first exhibition, “¡Presente!” A Latin History of the United States. The Latino Museum will open the gallery of the National Museum of American History at the Smithsonian and will offer exhibits and programs during the 10 years leading up to the opening of the museum building.

A press preview will take place on Wednesday June 15 from 8:30 a.m. to 12:30 p.m. followed by a public opening on Saturday June 18. Interested media can RSVP to [email protected] or [email protected]

“The Molina Family Latino Gallery is the first iteration of the National Museum of the American Latino,” said Jorge Zamanillo, director of the National Museum of the American Latino. “It will take 10 to 12 years to open a museum building, but the gallery gives the public a glimpse of the museum’s potential.”

As Molina Family Latino Gallery’s first exhibition, “¡Presente!” introduces visitors to key concepts, moments, and biographies that illuminate the historical and cultural legacy of Latino Americans. The exhibit also tells the stories of Latinas and Latinos who shaped the United States. Indigenous freedom fighter Toypurina, Mexican American labor leader César Chávez, Puerto Rican baseball player Roberto Clemente, Guatemalan labor organizer Luisa Moreno, Colombian American drag queen José Sarria and Cuban American singer Celia Cruz are just a few. historical and contemporary figures presented in the exhibition.

A companion website highlights a selection of oral histories, 3D objects, historical biographies and artifacts in the “¡Presente! ” exposure.

The 4,500 square foot gallery is designed as a space where multi-generational and cross-cultural visitors can celebrate and learn about Latin American history and culture year-round. The Molina Family Latino Gallery is rooted in universal principles of inclusive design to create a personally engaging and stimulating visitor experience for visitors with varying physical, sensory and cognitive conditions. Additionally, all content is available in English and Spanish. Audiences can experience how Latinos and Latinas have helped shape the United States and its national culture through historical artifacts, multimedia interactives, sensory experiences, and a learning space.

Ceiling-high display cases organized into four main themes line the perimeter of the gallery and display relevant historical artifacts, revealing documents, personal stories and interpretive graphics. Historical themes cover ‘Colonial Legacies’, ‘War and US Expansion’, ‘Immigration Stories’ and ‘Shaping the Nation’.

Eight-foot-tall interactive digital screens form El Foro (The Forum) at the center of the gallery where visitors can engage with 12 first-person oral histories of contemporary characters. Visitors can select stories via the touchscreen or an adjacent accessibility keyboard.

The Somos Theater offers visitors a contemplative space to watch the multimedia project “Somos” (“We Are”). The video installation was made by writer and filmmaker Alberto Ferreras. “Somos” is the first play commissioned for the theater and features a diverse group of Latinas and Latinos discussing identity, family histories and first-hand experiences.

MUSLE, or Mapping the US Latino Experience, provides visual representations of national demographics to tell the stories of the Latino experience in the United States. Visitors can activate one of four touchscreens to explore the 16 stories about income inequality, education, diversity and more. Graphs and other images illustrate important data points and convey stories of community organizations.

The General Motors Learning Lounge, a multifunctional studio within the Molina Gallery, will host presentations and hands-on activities. If necessary, the living room can be converted into a gathering place conducive to storytelling, podcasts and conferences. The General Motors Learning Lounge is part of the Latino Museum’s strategy to enhance lifelong learning and increase access to collections and resources spanning the arts, sciences, and humanities that are available through the Smithsonian, the Latino Museum and affiliated museums.

The Molina Family Latino Gallery was made possible through support from individuals, foundations and corporations, including a $10 million principal gift from the family of C. David and Mary Molina. C. David Molina was a California healthcare leader who founded Molina Healthcare Inc.

“This is a special year for the opening of the Molina Family Latino Gallery,” said Eduardo Díaz, acting deputy director of the National Museum of the American Latino. “25 years ago, the Smithsonian founded the Latino Center to increase Latino representation throughout the institution, which also helped pave the way for the Latino Museum. I am proud to have played a role in the development of the gallery and to have contributed to the inauguration of the new Latino Museum.

To complete the celebration of the opening of the gallery and to commemorate 25 years of Latinity (Latino culture) at the Smithsonian, two days of public events will kick off Hispanic Heritage Month in September, including:

Friday September 16: dance party
An evening event with live music, dance and interactive cultural experiences. The event will include pop culture activations and special docent-led tours in the Molina Family Latino Gallery. The event will include live musical performances and dance workshops. Culturally curated Latin cuisine and specialty beverages will be available for purchase. This is a free and paid event for ages 21 and older.

Saturday, September 17: Latin Heritage Family Day
An intergenerational festival with enriching educational offerings will feature hands-on activities and performances to celebrate 25 years of Latinity at the Smithsonian. The event will showcase Latino history, art and culture, showcasing various Smithsonian museums and cultural centers through activities and collections, as well as partner organizations in the Latino community. Family-friendly activities will include puppet theater and cooking demonstrations as well as pop culture and adult programs. The day will also spotlight Latinos in sports. It will conclude with an evening concert comprised of musical performances that capture the diversity of Latinityincluding urban musical traditions and salsa.

About the National Museum of Latin American

The Smithsonian’s National Museum of the Latin American advances the representation, understanding, and appreciation of Latin American history and culture in the United States. The museum provides financial resources and collaborates with other museums to develop scholarly research, public programs, digital content, collections and more. The museum’s Molina Family Latino Gallery is the Smithsonian’s first gallery dedicated to the Latino experience. Legislation establishing the National Museum of the Latino American at the Smithsonian was passed on December 27, 2020. A museum site search is underway and is expected to be announced by December 2022. latino.si.eduand follow @USLatinoMuseum on Facebook, instagram and Twitter.

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The National Military Vehicle Museum will have its long-awaited grand opening on May 28 just outside of Dubois. Dan Starks is the Museum’s founder and president. He joined Bob Beck of Wyoming Public Radio in describing the museum and why it’s worthwhile.

Dan Stark: This is a private company that was funded by my family with two main goals. The first goal is to honor the service and sacrifice of American veterans and their families. The second goal is to educate future generations about the history of American freedom.

Bob Beck: Where did you get the idea to do that?

DS: It has evolved over time. My starting point was to acquire an abandoned WWII Sherman tank with the idea that I wanted to find someone to restore it so I could drive it in the local 4th of July parade. From this seed, it became clear to me that the history surrounding these vehicles really resonated with a wide range of Americans. And as my collection started to grow, and word of mouth spread, and more and more people asked to come see the collection, it became clear that enough people were interested in that we should put this collection in a public place, be called a museum and organize our stories and make them accessible to anyone who cares.

BB: Did you have to explain to people very early on that you were acquiring these objects for a museum and that you did not plan to take Dubois back?

DS: Ha, ha, no. It’s a good point, though. Most of these vehicles have no real weapons. Those with live weapons are highly regulated and required ATF stamps under ATF regulations. But every vehicle made available to the public in the museum has been demilitarized, and the essential components of what would otherwise be real firearms are stored in vaults.

BB: Have they all been used in military actions?

DS: Many of them were used in military actions. We do not know the precise history of many of these vehicles. Some of them may have been in the United States, they may have been used for training. There are a few of these vehicles for which we know the history of their battles. We have an M18 Hellcat tank destroyer, for example, which we have documented fought in the Battle of the Bulge in December 1944. We have a DVD of the real commander of this tank destroyer. But it is the exception rather than the rule to know the exact history of vehicles. The military has not tracked the history of its vehicles in a way that would allow us to easily know their exact history.

BB: So you bought 500 fully restored military vehicles. Was it difficult to acquire them? And how do we acquire all these things?

DS: It was a challenge to acquire. And I never imagined that my efforts would lead to this kind of collection. I have acquired my vehicles all over the world. Probably half of the vehicles I acquired were in the United States when I acquired them, but the other half, about 250 of them, were in various locations overseas, ranging from Australia to South America via most of Europe and Canada. Some of these vehicles, I was coming across some of these vehicles that I was finding at auctions, because the museums were closing. For example, the Normandy Tank Museum closed due to financial difficulties and liquidated its collection. I was able to acquire a number of vehicles during this liquidation auction. But now I’m well known enough in the world of military vehicles that when people want to get rid of interesting artifacts, they very often contact me and ask if I’m interested before putting their collectibles up for sale.

BB: You also have weapons and all sorts of things, don’t you?

DS: Yes. I have a collection of historically significant firearms. The most important firearm is a musket which was first fired at the Battle of Bunker Hill on June 17, 1775. It is amazing that it has not already been lost in history or in a museum. It remained in the family of New Hampshire militiaman John Simpson, who carried this weapon into battle at Bunker Hill and returned home with his weapon at the end of the Revolutionary War. It remained in his family until 2019, when the family decided to make it available in a public auction and I was lucky enough to be able to acquire it during this auction.

BB: You mentioned that it really is a museum about freedom. What is the story you are trying to tell?

DS: Key attributes of what it takes to create and now what it takes to maintain our freedom. For example, the role of manufacturing in preserving American freedom. When we think of American manufacturing, people think of the economic impact on American manufacturing jobs, for example. But I don’t hear a discussion about the importance of maintaining proper American manufacturing, refreshing military vehicles and military weapons in the case of the kind of warfare we had in WWII. Little is known today that one of the main reasons we were able to overcome so many disadvantages after being ill-prepared for World War II was the size and strength of our manufacturing economy. World War II really illustrated this clearly. And today, that lesson tends to get lost in public conversation. We therefore bring this lesson back to the fore.

Another key dynamic is the value of appreciating our veterans. George Washington said young people’s willingness to serve in future wars, however justified, will be directly proportional to how they perceive the country has valued and treated its veterans. This brings us to the example of Americans who served in the Vietnam War. They never received the level of appreciation and homage they deserved. They were often fired, and sometimes even abused, as they returned to the United States after their service in Vietnam. And regardless of the politics of the Vietnam War, it is so essential to value, respect, care for, and appreciate Americans who served in the Vietnam War, regardless of its politics. And so we talk about that at length in the museum and talk about the importance of having Americans ready to step in and continue to serve in the United States military. And if we want Americans to be ready to do it, we should take better care of those who have already done it.

BB: Well, let’s talk about the grand opening for a bit. It’s going to be May 28 at 10 a.m. Are you going to have a number of large speakers?

DS: Yes, Governor Gordon has graciously agreed to speak. We have a retired three-star general from Washington DC to speak, we have the former VFW National Commander included in our speakers, and we have a full day at the event.

We have a new gallery that we are opening in our main museum building. It’s sort of the cornerstone that prompts us to have the grand opening now. It is the last gallery that builds our first main building. And that will really kick off our start to better communicate across the country what we offer here in the museum.

We are going to make it a fun day as well as an educational day. We offer free chariot rides to our customers during the day. And we are also setting up an outdoor shooting range to give customers the opportunity to shoot some of the guns they see in our gun safe and some of the guns they hear about when they discover the history of American freedom.

BB: The museum is eight miles southeast of Dubois on Highway 26. People can learn more about the event and the museum at museum website.

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Move will prepare them for their new spotlight in the “Entertainment Nation” exhibition, which opens on December 9. The last day to see the slippers is June 12.

The famous Ruby Slippers that Judy Garland wore in the 1939 MGM film The Wizard of Oz are gearing up for their new role and will be removed from display on June 12 to prepare them for the National Museum’s first entertainment exploration of American History. story in “Entertainment Nation” / “Nación del espectáculo” opening December 9. Visitors will be able to follow a yellow brick road to the Ruby Slippers, which will in a special case be a “spotlight” in the new exhibition. The sequined shoes are one of the most requested Smithsonian items and have been on almost permanent display since they were donated anonymously to the museum in 1979.

the Wizard of Oz is a fantasy tale about the journey of Dorothy, a Kansas farmer, to a magical land and was based on the 1900 novel by L. Frank Baum (1856–1919). In Technicolor history, the MGM film is a milestone due to its many color sequences set in the land of Oz. For the film, the magic shoes changed from the silver slippers in the book to an iridescent red hue.

Designed by MGM Studios chief costume designer Gilbert Adrian, the slippers are commercially made red shoes that have been modified by having red netting attached to their highs and heels, then covered in red sequins. As with most movie costumes and props, the Ruby Slippers were made quickly and were only meant to last for the brief duration of filming. Now over 80 years old, the Ruby Slippers underwent a year-long research and conservation treatment in 2016-2017 as part of a Kickstarter campaign for #KeepThemRuby. Videos, blogs and other materials will provide digital access to the Ruby Slippers while they are out of sight in preparation for the new exhibit. “Entertainment Nation” will immerse visitors in the dramatic arc of the nation’s story told through the power and influence of theatre, television, film, music and sports. Within the Ray and Dagmar Dolby Hall of American Culture, the 7,000 square foot bilingual multimedia exhibit will feature iconic objects from the museum’s renowned collection illustrated with captivating graphics, video and stories. American Cruise Lines is the exclusive projector sponsor of Ruby Slippers in “Entertainment Nation”.

Through unparalleled collections, rigorous research, and dynamic public outreach, the National Museum of American History seeks to empower people to create a more just and compassionate future by examining, preserving, and sharing the complexity of our past. The museum, located on Constitution Avenue NW between 12th and 14th Streets, is open daily from 10 a.m. to 5:30 p.m. (closed December 25). Admission is free and no pass is required. The doors of the museum are always open online and the Virtual Museum continues to expand its offerings, including online exhibits, materials and PK-12 educational programs. The public can follow the museum on social networks at Twitter, instagram and Facebook. For more information, visit https://americanhistory.si.edu. For information about the Smithsonian, the public can call (202) 633-1000.

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The Fort Nisqually Living History Museum, located in Tacoma’s Point Defiance Park, has been selected to participate in the Museum Assessment Program (MAP), which is administered by the American Alliance of Museums. Through a guided self-assessment and onsite consultation with a museum professional, participation in the MAP will enable Fort Nisqually to better serve the citizens of Tacoma by facilitating compliance with and exceeding the highest professional standards in the museum field. .

The museum’s participation is made possible through funding provided by the Institute of Museum and Library Services (IMLS). MAP helps museums strengthen their operations, plan for the future, and meet standards through a self-assessment and on-site consultation visit by an expert peer reviewer.

The Fort Nisqually Living History Museum chose to conduct a stewardship assessment of the MAP collections to mitigate risk to exhibits and increase accessibility to research materials. The museum will review the environmental conditions in each of its buildings and create a housekeeping plan with the goal of institutionalizing preventive care and ensuring the preservation of its collection. “Our museum has an extensive collection of artifacts and documents related to the Hudson’s Bay Company and the Puget Sound Agricultural Company in Fort Nisqually,” says site supervisor Jim Lauderdale. “As a living history museum, we face unique collection management challenges. Participating in this program will allow us to prioritize long-term preservation issues.

“Choosing to be part of the MAP program is indicative of the Fort Nisqually Living History Museum’s commitment to civic engagement, public service, and overall excellence,” said Laura Lott, president of the AAM. “Studies have shown that American museums are among the most trusted and valued institutions in the country. MAP is designed to make them even better.

Since its inception in 1981, the MAP program has served more than 5,000 museums. The MAP is supported by a cooperation agreement between the AAM and the IMLS. For more information, including a full list of museums participating in MAP, please visit www.aam-us.org/map, call 202-289-9118 or email [email protected] Our website also contains information on museums across the country that have previously participated in MAP and other AAM Excellence Programs (such as verification of basic documents and accreditation).

The AAM is the only organization representing the entire museum community in the country and has been dedicated to promoting excellence in the museum field for more than 100 years. For more information about AAM, visit www.aam-us.org. The Institute of Museum and Library Services is the primary source of federal support for the country’s 123,000 libraries and 35,000 museums. To learn more about the Institute, visit: www.imls.gov.

The Fort Nisqually Living History Museum is a restoration of the Hudson’s Bay Company outpost and headquarters of the Puget Sound Agricultural Company. Visitors travel back in time and learn about life in Washington Territory in the 1850s. Nine buildings are open to the public, including the Attic and Postman’s House, both National Historic Landmarks, and a Visitor Center with museum store.

POOLER, Ga. (WSAV) — Fallen service members will be honored Memorial Day weekend at the National Museum of the Mighty Eighth Air Force.

“This museum is established to recognize the courage and sacrifice of the 350,000 men who served in the Mighty Eighth Air Force. It was the largest air armada in the world in history, and of that number, 26,000 lost life. If you believe in this country, if you believe in the armed forces and you believe in the sacrifice that these men and women make; come here and help us remember those who have fallen,” Pete Nichols explained. , the museum’s communications manager.

Flags for the Fallen pays tribute to those 26,000 starred and striped men and women scattered throughout the Mighty Eighth Memorial Garden. Each flag creates a visual representation of the heroes who gave their lives fighting for our freedoms.

“This number is higher than any other military unit in World War II, higher than the Marines, higher than the Army, and it’s just a moment to remember their sacrifice and the courage they have. given,” Nichols added.

Volunteers are needed to help raise 26,000 flags, each representing the men and women who gave their lives to defend our freedoms in the Mighty Eighth Air Force.

“This empty garden right now will be filled with flags everywhere. It’s just amazing. The only thing is that we need people to help us do it. We block out three days to do this: Monday, Tuesday, Wednesday of Memorial Day week. The event will open this Thursday,” Nichols said.

Click or tap here register. The flags will be unfurled May 23-25, ahead of the Flags for the Fallen event which kicks off on Thursday of Memorial Day weekend.

A national museum is truly a mirror of a country’s historical, cultural and biological heritage as well as a place where a country’s pride is enshrined. A national museum educates people about their past heritage while awakening feelings about their country. It is the story of the National Museum of Colombo that brings the proud history of Sri Lanka closer to the next generation.

Sir William Henry Gregory of the United Kingdom (UK) took office as Governor of Ceylon on March 4, 1872. He was a keen observer of museums during his time in the UK. Due to his extensive knowledge of the works of art, even the British Museum had collaborated with him at the time.

Arriving in Ceylon for a five-year term, he was shocked by the cultural heritage that was hiding in the ruins at that time. He suggested to the British government that a museum be built to preserve Ceylon’s dying history, but the government initially rejected the proposal, citing the huge sum of money involved. Undeterred, the governor continued to use his connections to seek approval for the construction of a museum.

italian architecture

It was not until 1874 that the British government finally approved his proposal and approved the construction of Ceylon’s first national museum. Accordingly, the government architect designed the base building of the museum according to Italian architecture and the contract for its construction was awarded to Wapchi Marikkar, who built the Colombo Post Office, the Old City Hall from Pettah and the Galle Face Hotel. All its carpentry was entrusted to SM Perera.

After two years, the Colombo Museum was completed as a two-story building with ornate towers, arches and open porches. It was opened to the public on January 1, 1877, with 808 artifacts and 384 other specimens. Objects included inscriptions, various stone carvings, items such as jewelry, coins, and natural science replicas such as mammals, reptiles, fish, shells, corals, and minerals. Dr. Amarald Haley was the first director of the museum. He held this position until his retirement in April 1891.

Under the direction of Dr. Arthur Wiley and Dr. Joseph Pearson, who succeeded Dr. Haley as director of the museum, several new compartments were added to the East and West Museum. Dr. Pearson also started a magazine called “Spolia Zeylanica” to publish articles about research at the museum. At the same time, a bronze statue of Sir William Henry Gregory was erected in front of the museum in thanks for his immense service in donating a museum to Ceylon.

Golden age

After Dr. Pearson, AHS Malpas became the director of the Colombo Museum. He was the last British National Director of the Colombo Museum. After his tenure, Dr. PEP Deraniyagala was appointed to this position, ushering in a golden age for the Colombo Museum.

At his request, the Colombo Museum was designated as a national museum by the Museum Law No. 31 of 1942, and branches were opened in Jaffna, Kandy and Ratnapura. It was at this time that the British government agreed to return to the government of Ceylon the jewels and throne of King Sri Wickrema Rajasinghe kept in the British Museum.

Since then, the National Museum of Colombo, which has been developed under various directors, now has nine branches. It also has 16 exhibition stands where antiques belonging to ancient eras are kept. Another valuable feature of the national museum is its library.

Opened together with the museum, it contains a number of ancient books written on Ceylon and houses a copy of every book printed in the country since 1885. There are also pamphlet books from the pre-Christian era, a Pali version of the Mahavamsa and a brochure books donated by the King of Burma. Lately, various collections of prominent books have been donated to him and among them are the collections of HCP Bell, Henry Blake and Sir Solomon Dias Bandaranaike.

POOLER, Ga. (WSAV) – A major expansion is in store for the National Museum of the Mighty Eighth Air Force. The $10 million campaign is underway with plans to update and expand their exhibits and facilities.

Eighty years ago, the preservation of the stories of the Eighth Air Force began. Now, the 350,000 men and women who served in the largest air armada in world history will continue to inspire future generations through what will be a 30,000 square foot expansion.

“People like Chip and his comrades in the air, they saved the world. This museum is saving their stories,” John O’Neil, museum co-chair Maximum effort project explained.

The National Museum of the Mighty Eighth Air Force preserves stories like those of 97-year-old veteran Charles. P. “Chip” Phillips, who is the last surviving member of his crew.

“I was in Eighth Air Force, 92nd Bomber Group. My whole crew is gone. I am the only one to survive. My crew and the crew of nine, and most of my phone book and my address book, most of them are gone,” Phillips said.

Every year, thousands of people pass through the museum’s atrium to learn the stories of bravery and patriotism, but many of those stories don’t always reach the next generation.

“My dad was a pilot in the Eighth Air Force, flew 32 missions. Personally, when I was growing up, I didn’t have the curiosity to ask my dad a lot of questions and try to get stories out of him, and that is usually the case with young people,” Richard “Sandy” Alderson, an Uber with the Mighty Eighth Foundation Board of Trustees added his support for the project’s goal of making history accessible to younger generations.

the Maximum effort the expansion will enlarge the museum, adding a full-size B-17 on display in the Battle Gallery. 87% of the museum’s collections are behind closed doors, the addition will expand gallery space for new exhibitions and the STEM education center, creating greater access to historical narratives and funding for preservation efforts.

“This campaign is really about keeping the museum relevant for the next generation who need to hear the message but maybe want to hear the message differently than they did 25 years ago,” Alderson explained.

Board members said the expansion will increase digital interaction for people around the world to learn about the incredible stories of the Eighth Air Force. They will begin in the fall and the completion of the project is expected to take two years.