This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page MD---Egyptian history and culture is on its way to Salisbury University’s Blackwell Library through the images of Attaya Gaddis the “Native Son Photographer” April 10-30 Gaddis began working for the renowned photographer Antonio Beato in Luxor Here he was introduced to the dry gelatin-coated When Beato retired in 1907 he sold his studio to Gaddis capturing the pyramids of Giza as well as the Nubian tribes When King Tutankhamen’s tomb was discovered in 1922 Gaddis’ talents were demanded for use by locals and tourists alike Gaddis’ success led him to open two shops one in Islamia and one in a bazaar in Luxor Before he died in 1972 he passed his business onto his children who have kept it going since 1952 About 3,000 glass negatives remain and 2,000 are archived at The Gaddis Home one of Luxor’s first brick buildings Sponsored by the Embassy of Egypt in Washington, D.C., World Artist’s Experience and the Office of Cultural Affairs, this event is free and the public is invited. Library hours are Monday-Friday 8 a.m.-10 p.m., Saturday 10 a.m.-8 p.m., and Sunday noon-midnight. For more information call 410-219-2872 or visit the SU Web site at www.salisbury.edu Have an SU story idea to pitch to the PR Office Visit the PR Office homepage for the appropriate contact Johnson awarding the Temple of Dendur to The Met Johnson signed a letter that officially awarded the Temple of Dendur to The Metropolitan Museum of Art allowing generations of museumgoers the opportunity to enjoy this monument in its new setting as an example of a small but traditional Egyptian temple During the period in which it was built (15–10 B.C.) Dendur was part of a region under the religious authority of the large temple to Isis at Philae By building a temple at Dendur dedicated to both the great goddess Isis and these two brothers Augustus encouraged the local Nubian population to view Roman rule favorably In order to better contain the annual flooding of the Nile that affected the region's crop production the construction of the Aswan High Dam began in 1960 and by 1970 the formation of Lake Nasser was complete This vast lake covers more than 2,000 square miles If not for UNESCO's ambitious International Campaign to Save the Monuments of Nubia the Temple of Dendur would have been submerged forever beneath Lake Nasser fifty countries around the world came together to contribute expertise and funds—both governmental and private—to record settlements as well as to move and reinstall on safe ground twenty-two temples to recognize the United States' substantial contribution to this campaign Egypt gifted Dendur's temple and gateway to the U.S A commission was appointed in 1967 by the National Foundation on the Arts and the Humanities to review applications from institutions and local governments interested in displaying the Temple of Dendur Met Director Thomas Hoving and Curator of Egyptian Art Henry G Fischer presented a proposal to the commission making a strong case for The Met's readiness to care for the temple The presentation was successful and Dendur was awarded to the Museum a few weeks later Hoving and Fischer promised to make the temple available to visitors display it in a manner that enhanced its architectural presence—in both daytime and nighttime settings—inside a gallery that protected the temple and housed it alongside one of the world's finest collections of Egyptian art Crates being offloaded from the freighter S.S Fischer traveled to Egypt to oversee the packing and shipping of the temple's blocks Concordia Star made its way across the Atlantic and docked in New York to an air structure on what was then the Museum's south parking lot (an area now occupied by the Carroll and Milton Petrie European Sculpture Court) for storage The temple's blocks as they were transported south on Fifth Avenue from the air structure to the newly renovated loading dock After The Met's loading dock was redesigned the blocks were then transferred to that protected area to be conserved and organized Subsequently the blocks were moved upstairs to Gallery 131 After the stonemasons and conservators reassembled the temple and its gateway additional protection was added to the structures while the rest of the wing was completed Scaffolding in front of the Temple of Dendur during the final phase of the construction of Gallery 131 Architects Kevin Roche John Dinkeloo and Associates accounted for the monumentality of the Temple of Dendur by designing a space that evokes the temple's original location on a natural rocky hillside near the Nile River and by presenting the temple facing east where it stands under the bright light of a wall made entirely of windows this generous gift from Egypt still serves as a symbol of the Museum's continued mission to participate in the exploration of this great ancient civilization and to assist in preserving its rich past View upcoming auction estimates and receive personalized email alerts for the artists you follow Familiar and Fantastic: Photographs from the Dandrew-Drapkin Donation (February 19-June 12 2011) celebrates a turning point in the Museum’s history Please enable JS and disable any ad blocker Date: 1870-1890 Source: Library of Congress Author: Antonio Beato © 2025 WNET PBS is a 501(c)(3) not-for-profit organization tips and exclusive itineraries in Florence text Francesca Lombardi photo Valentina Stefanelli was Minister for Cultural and Environmental Heritage from 1995 to 1996 in the Dini government Superintendent for the Polo Museale Fiorentino and Director of the Vatican Museums from 2007 to 2016.After graduating in art history in 1964 with Roberto Longhi he began his career in the state administration and in the world of the Superintendencies we remember him with a beautiful interview in which he takes us through the Vatican Museums: his point of view as Director but also as a refined art expert where time seems to stand still in the name of the harmony of art where even light kneels before the sculptured figures of the great masters of the past: the Vatican Museums We had the privilege of visiting them with a very special guide a name that needs no more words of introduction artifacts by Native Australians  or worship vessels from Central-African countries stand side by side with Raffaello’s and Michelangelo’s masterworks The Church has always wished for its museums to represent the plurality and variety of artistic cultures as a reminder of the complexity of mankind as such What cultures among those represented at the Vatican Museums I am intrigued by the universality of the Church: Catholic derives from the ancient Greek word meaning universal This is the amazing thing about the Vatican Museums and I would be lying if I said that I know everything about the Vatican Museums One or even several lives are not enough to gain a comprehensive knowledge of these museums which represent human civilization in its totality One of the corridors of the Vatican Museums The paintings by Beato Angelico in the Niccoline Chapel the proportions are the same as those of Beato Angelico’s frescoes of the St this Chapel was built at the request of Tomaso Parentucelli bibliographer and philosopher thanks to whom the union of  the Eastern Church and the Western Church was made possible for a few years This Cardinal was a friend of Cosimo de’Medici the rich banker who had provided financial support for the building of the St Cosimo de’Medici summoned to Florence Tomaso Parentucelli to have him set up the Convent’s beautiful trilingual library The Cardinal spent six months in Florence choosing and cataloguing the books And he was so awestruck by the frescoes that when he became Pope he had Beato Angelico work on his private chapel The Chapel was inaugurated the year of the great Jubilee It was the place where the Pope prayed in private and was most certainly honored to be able to fresco the Pope’s private place of meditation The Pope himself asked that the chapel be decorated with episodes from the life of the two deacons St The most striking thing about the chapel is the perspective: in some scenes Beato Angelico anticipates Piero della Francesca Stephen and Laurence were both brilliant speakers and they are depicted speaking to the Emperor Eloquence was Pope Nicholas V’s gift and Beato Angelico celebrated this gift in one of the Vatican Museums’ most beautiful gems The Vatican Museums are also home to Pinturicchio’s masterwork Pope Alexander VI had a suite of six rooms in the Vatican Palace renovated and decorated by Italian painter Pinturicchio who was aided by a large group of assistants The works were completed in the space of two years probably by the time Pinturicchio had left The six rooms- a sequence of precious and refined decorations with grotesques alternating with “spiced” paintings loaded with color whose golden reflections glitter on the walls and ceilings- bear the mark of Pinturicchio who probably combined the impression the visit to the Domus Aurea had made on him and the Pope’s taste for Hispanic-Moresque decorations The paintings and frescoes draw on Christian iconography while recalling the “archaeological style” which was very popular in Rome at the time different from the Niccoline Chapel- a place of meditation and celebration of knowledge and eloquence- but equally fascinating in its magnificence most of the rooms house the Collection of Modern Religious Art to obviate the divorce of art from the Church in the modern age The collection includes over 1500 works of painting sculpture and graphics donated by contemporary Italian and foreign artists such as Gauguin Three artists and three works of art: the Stefaneschi Triptych by Giotto di Bondone 1520: it is said that he gave his last brushstrokes to the Christ’s face moments before passing away All the people of Rome mourned at his funeral at the thought that he- such a handsome man- was dead and his artwork so alive The Sistine Chapel: your personal vision of this world-famous masterpiece of art Most people visit the Sistine Chapel to see the Ceiling and The Last Judgment by Michelangelo a great artist and quite uncommon man: quick-tempered and obsessed with money to the point of madness It is said that he lived on a diet of half a loaf of bread and wore dog-skin trousers that he never took off… But he was a divine artist and the Sistine Chapel is a true masterpiece take a look at the walls: works by Sandro Botticelli Luca Signorelli… just to mention the best-known ones Visit the Room of Heliodorus with the beautiful golden summer light filtering through at sunset: it is a vision you will hardly forget What place of the Vatican Museums do you feel the most familiar with the Perseus and Hermes feel like familiar presences I stop here to reflect or simply take in Rome’s grandeur and its Fellinesque soul After the important exhibition in Reggello for the six hundredth anniversary of the Triptych of St another review delves into the figure of Masaccio (San Giovanni Valdarno in dialogue with another Renaissance protagonist set up in two locations: at the Museo delle Terre Nuove and at the Museum of the Basilica of Santa Maria delle Grazie The exhibition is part of Terre degli Uffizi a project of the Uffizi Galleries and Fondazione CR Firenze within their respective projects Uffizi Diffusi and Piccoli Grandi Musei Promoted by the Municipality of San Giovanni Valdarno and curated by Michela Martini Carl Brandon Strehlke and Valentina Zucchi the Valdarno exhibition presents a selection of works that allow visitors to delve into the innovations that Masaccio and Angelico offered to the history of art putting them in relation with other artists close to them and enhancing their connection with the city and the territory.On display at the Museo delle Terre Nuove is a selection of works centered on the figure of Masaccio related to the iconography of the Madonna and Child These are two masterpieces from the Uffizi Galleries: the so-called Casini Madonna a small panel painted by Masaccio for the Sienese clergyman Antonio Casini that depicts Mary with the baby in swaddling clothes to whom she tenderly tickles which shows Mary intent on suckling the baby Jesus based on the iconography of the Madonna of Milk the public will find the work of Masaccio’s brother Giovanni di ser Giovanni as well as the Madonna and Child from the workshop of Lorenzo Ghiberti These works are accompanied by an in-depth look at the figures of Mariotto di Cristofano his collaborator and at the same time sensitive to Angelico’s taste The exhibition section at the Museum of the Basilica is dedicated to Angelico where works by the artist from public and private property are located with a special focus on the theme of theAnnunciation Here they will encounter Beato Angelico’sAnnunciation a reliquary from Santa Maria Novella and commissioned to the painter by Dominican and sacristan Giovanni Masi the artist now reveals full adherence to Renaissance novelties depicting the mystery of the incarnation through real Entirely human is the crossing of glances between the divine messenger and Mary caught in the most earthly moment of welcoming the angel’s announcement into her womb Also by the friar painter is the preparatory drawing from the Drawings and Prints Cabinet of the Uffizi Galleries as he beats his bare chest with a stone and turns his moved gaze probably toward the Crucifix who appreciated his authenticity of life and faith “Dialogue” therefore wants to be the key word of this valuable exhibition which offers the opportunity to admire refined masterpieces to observe their mutual influences and to reflect on the highest and deepest components of artistic representation “In this 2022,” says Uffizi director Eike Schmidt “interest in the early Tuscan Renaissance glorified and studied in so many initiatives Under this aegis opens the San Giovanni Valdarno exhibition Dialogue on Truth in Painting.’ The common thread is the relationship with the territory and in particular the local community The exhibition itinerary offers a selection of works from the early 15th century linked to the Valdarno territory by destination (Annunciation by Beato Angelico predella by Andrea di Giusto) or the origin of the authors (Masaccio reconstructing an ideal panorama of Florentine art at the dawn of the Renaissance From the Uffizi come absolute masterpieces: above all one recalls Masaccio’s moving Madonna del solletico.” “Yet another highly stimulating and unprecedented confrontation between two giants of our early Renaissance and a new opportunity to enhance an area and its treasures that are less known to the general public as is in the spirit of the project,” stresses Luigi Salvadori these events offer not only the knowledge of works of dazzling beauty but are an opportunity to get in touch with environments and suggestions that are among the new peculiarities of post-covid tourism as indicated by the most qualified operators is the trend of the moment and Tuscany is the undisputed queen for this type of offer.Terre degli Uffizi perfectly intercepts this new trend that has greatly increased the attendance in the venues involved in the first cycle and is having the same multiplier effect in the first exhibitions of the second edition." “For the City of San Giovanni Valdarno,” says Mayor Valentina Vada “it is an honor and a privilege to be part of Terre degli Uffizi because finally we are able to bring Masaccio back to his native land (after the last exhibition dedicated to him in 2001 on the occasion of the 600th anniversary of his birth Masaccio and the Origins of the Renaissance) in an exhibition organized in collaboration with Le Gallerie degli Uffizi and Fondazione CR Firenze And why certainly the exhibition ”Masaccio and Angelico Dialogue on Truth in Painting,“ as we hope will attract visitors and tourists constituting an important tool of enhancement and promotion for our municipality and the entire Valdarno as well as an opportunity for the economic operators of the area I am convinced that the great effort made by the Municipality of San Giovanni Valdarno will be rewarded and will serve to make known a city that is a small jewel in the heart of Tuscany and that has the ambition to stand alongside with its characteristics and peculiarities the best-known and largest cities in the Region The link between San Giovanni Valdarno and the Uffizi Galleries will not end with the exhibition on Masaccio and Angelico but will continue with a project of long-term loans of works that will be housed in the Museo delle Terre Nuove.” Pictured is Beato Angelico’sAnnunciation «When Kate Soper's adventurous score for I Was Here I Was I fills The Temple of Dendur in The Sackler Wing on June 20 the gallery itself will be at the center of the performance The Temple of Dendur has long been an unrivaled venue for concerts but for this dramatic and unprecedented finale to Alarm Will Sound's yearlong residency the Temple will be the principal character in a story that spans two millennia and three different storylines.» I Was Here I Was I is an opera in three acts that uses both music and spoken text to extract individual experiences with The Temple of Dendur that range from Ancient Nubia to present-day New York City will move throughout the space in a brilliant staging by director and librettist Nigel Maister The opera's story weaves through the Temple's own timeline animating an artifact two thousand years old and providing narrative to the breathtaking space over time: A nineteenth-century woman sails down the Nile discovering beauty and brutality in equal measure; two Nubian brothers drown in the river setting in motion a chain of events that will see their Temple saved from a similar fate millennia later; and a twenty-first-century tourist confronts the Temple on Fifth Avenue and has a soul-shaking transformation Generations seek to control memory and secure their places in history throughout this story which is inspired in part by the writings of Victorian adventurer Amelia Edwards Kate Soper—a 2012 Guggenheim Fellowship recipient—has created music that moves swiftly between song and word requiring singers with razor-sharp precision it is Soper's ability (and her emerging signature) to compose music with enchanting melodies that float alongside boundary-pushing vocal techniques Her musical dialect has been hailed for its dynamism as well as its lyricism and through the unmatched abilities of the virtuosic ensemble Alarm Will Sound will come to life in one of the Met's most popular and beloved galleries to take on its singular history The Temple of Dendur—built between 22–10 b.c fifty miles South of Aswan—was given to the United States by Egypt in 1965 and installed in the Museum's Sackler Wing in 1978 The Temple itself maintains a significant relationship with the Nile: not only does it stand as a monument dedicated to two brothers who drowned man-made lake was the impetus behind its eventual relocation The building of the High Dam at Aswan in the 1950s which would allow for more crops year-round also created a vast lake of about three thousand square miles in the region subsequently flooding Nubia and its ancient artifacts a committee was formed to seek the relocation and reassembly of as many Nubian monuments as possible The Temple of Dendur was disassembled in 1963 by the Egyptian Antiquities Service and the sandstone blocks were carefully dismantled using a complex numbering system instituted to detail the exact location and formation of the structure's components the United Arab Republic offered the Temple to the United States and a freighter loaded with the priceless sandstone blocks docked at Pier 10 at Hamilton Avenue in Brooklyn in 1968 Now in the care of the Met's curators in the Department of Egyptian Art the Temple blocks were stored in the South Parking Lot in enormous inflated structures made of canvas and vinyl They were then moved to the north end of the Museum and construction began in a temperature- and humidity-controlled environment—a gallery that would not only prevent deterioration but also allow The Temple of Dendur to be visible from inside as well as outside the Museum With the construction of the gallery well underway restoration and repair of the blocks began in late 1974 when they were brought up to the platform for careful reassembly The sandstone blocks of The Temple of Dendur in a plastic "bubble" on the Museum's South Parking Lot MMA Storage; blocks in North Parking Garage with materials and scaffolding in foreground The Temple of Dendur's gravitational force endures: an ancient landmark with a majestic aura amid the urban hustle By exploring human encounters with the Temple throughout its fascinating history I Was Here I Was I inspires new connections with one of the Met's most beloved artifacts—transporting audiences well beyond the site-specific performance experience The Temple of Dendur from gate to rear of temple 24 m 60 cm (82 ft.) Given to the United States by Egypt in 1965 awarded to The Metropolitan Museum of Art in 1967 and installed in The Sackler Wing in 1978 (68.154) I Was Here I Was I will premiere on Friday, June 20, at 7:00 p.m. To purchase tickets, visit www.metmuseum.org/tickets; call 212-570-3949; or stop by the Great Hall Box Office Thank you!We have emailed you a PDF version of the article you requested You can also addnewsletters@iflscience.comto your safe senders list to ensure you never miss a message from us IFLScience HomeWhy Dozens Of Samurai Took A Photo In Front Of Egypt's Sphinx In 1864Complete the form below to listen to the audio version of this article IFLScience needs the contact information you provide to us to contact you about our products and services You may unsubscribe from these communications at any time For information on how to unsubscribe, as well as our privacy practices and commitment to protecting your privacy, check out ourPrivacy Policy IFLScience HomeJoin for Exclusive FacebookemailTom is a writer in London with a Master's degree in Journalism whose editorial work covers anything from health and the environment to technology and archaeology. FacebookemailDOWNLOAD PDF VERSION Ikeda Nagaoki and his delegation took a quick tourist photograph during their doomed journey to Europe A grainy photograph taken in 1864 shows a group of Japanese samurai standing in front of the Great Sphinx of Giza in Egypt. This jolting image messes with our sense of history – the traditional Japanese clothes, the ancient Egyptian monument and the European camera just don’t seem to add up the 159-year-old photograph highlights a pivotal moment in the history of Japan and the globalized world.  The image depicts the Second Japanese Embassy to Europe, also called the “Ikeda Mission.” Under the order of the Tokugawa shogunate, the military dictators who ruled feudal Japan, local governor Ikeda Nagaoki was sent off to Europe in 1864 in a bid to resolve a burning disagreement over the port of Yokohama.  Alongside the 27-year-old was a delegation of 36 men. As we can see in images of the men taken in Paris many were armed with two swords – an honor that was reserved for samurai the educated warrior class of Japan who wielded significant political power at the time The second half of the 19th century was a time when Japan was at an existential crossroads. European colonizers had taken control of huge swathes of Asia Japan had been acting on a strict isolationist policy called sakoku since the 17th century that attempted to cut off the island from outsiders in a push to preserve their culture Christianity was strictly forbidden and they only traded with the Chinese and the Dutch.  The proud island of Japan had managed to stay relatively untouched by the relentless force of colonialism but it became increasingly clear that change was knocking at their front door.  US Commodore Matthew Perry arrived on the shores of Yokohama with a fleet of American warships and demanded that Japan open up its ports for international trade and the coastal settlement of Yokohama quickly became a hub of foreign trade Japan was understandably uneasy about the growing influence outsiders had on their country and anti-foreign sentiment became inflamed Emperor Kōmei promoted the edict: "Revere the Emperor Expel the Barbarians." As part of the push to take back control Ikeda was ordered to travel to France and demand an end to the open-port status of Yokohama When making their pitstop in Egypt, they took the time to visit the Great Pyramids of Giza where the delegation had their picture taken by photographer Antonio Beato the expedition set sail through the Mediterranean and eventually arrived in France but their demands to close the port of Yokohama were outright rejected and the mission crumbled in total failure Japan was eventually forced to let go and concede. In 1868, the Japanese kick-started the Meiji Restoration. Following the overthrow of the Tokugawa Shogunate, the island opened its doors to Westernization, sparking rapid modernization, industrialization Still paying attention to their tradition and culture Japan rose to become an imperial powerhouse that started to rival the West.  but when the Ikeda Mission stood at the foot of the Sphinx in 1864 they were standing on the precipice of Japan’s contemporary history with the world's pre-modern past behind them and the uncertain modern future ahead.  Correction: 19/01/2023: This article originally stated " the voyage went through the Suez Canal," but this wasn't opened until 1869. The expedition actually traveled through Egypt by land. The article has been amended to reflect this.  HumansT. 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RSS On the occasion of the major exhibition celebrating the 700th anniversary of Dante’s death set up at the San Domenico Museums in Forlì until July 11 anagreement has been signedfor the exchange of two masterpieces by Beato Angelico between the San Marco Museum in Florence and the Pinacoteca dei Musei civici in Forlì Beato Angelico’s Last Judgment will also be on display thanks to the collaboration between the Regional Museums Directorate of Tuscany the Fondazione Cassa dei Risparmi di Forlì and the Culture Tourism and Legality Service of the Municipality of Forlì The agreement was approved and supported by the director of the Uffizi Galleries director of major exhibitions of the Fondazione Cassa dei Risparmi di Forlì curated by Antonio Paolucci and Fernando Mazzocca.Throughout the duration of the exhibition the exchange between the Last Judgment preserved at the Museum of San Marco and the diptych with the Nativity and the Oration in the Garden donated to the city of Forlì in the first half of the 19th century by Abbot Melchiorre Missirini known for having been Antonio Canova’s secretary for a long time the temporary absence of the Last Judgment in the Beato Angelico Room of the Museo di San Marco in Florence recently renovated thanks to the contribution of the Friends of Florence will be compensated with the unprecedented presence of the Forlì diptych The Last Judgment was also recently restored by Lucia Biondi thanks to the contribution of Rotary Firenze Certosa regional director of the Museums of Tuscany the agreement “goes in the direction of enhancing the collections of our museums and at the same time contributing at the highest level and in compliance with all safety conditions such as the exhibition dedicated by Forlì to Dante in this year of celebrations of the great Poet.” the two Forlì tablets,united in all likelihood originally to form a diptych “constitute one of the most important specimens proving Angelico’s intimate and absolute harmony with Masaccio’s vision and pictorial modes.” “The virtuous exchange of works of art confirms the effectiveness and goodness of the Uffizi Galleries’ policy of decentralizing flows and enhancing places mistakenly considered peripheral are the true centers of culture and exchanges of today and tomorrow,” said Uffizi Galleries Director Eike Schmidt For more info on the Forlì exhibition: mostradante.it 100 years since the birth of Don Lorenzo Milani 75th anniversary of the Italian Constitution and the Universal Declaration of Human Rights               To promote the goals of the                “Transforming Education Summit” In preparation for the United Nations “Summit of the Future”      Transforming the Future and research course for administrators and teachers                                       PROGRAM Monica Fedeli, Vice Rector for the Third Mission Francesca Benciolini, Councilor for Peace Marco Mascia, UNESCO Chair in Human Rights President of the University Center for Human Rights “Antonio Papisca,” University of Padova Coordinators of the National Network of Schools for Peace Director of the National Coordination of Local Authorities for Peace and Human Rights 3:00 PM – 4:00 PM Transforming the Future (Plenary Session) Jean Fabre, Former Deputy Director of the United Nations Development Program (UNDP) Telmo Pievani, Philosopher of Biological Sciences 4:00 PM – 6:30 PM Transforming the Future (Working Group Session) Let’s meet in groups in the "worksite of worksites." Let’s reflect together Let’s share the concerns we bring from school Let’s design civic education for the future together 9:00 AM – 10:00 AM My School for Peace (Plenary Session) Alessio Surian, Professor of Intercultural Education Director of the Interdepartmental Research Center for Intercultural and Migration Studies (CIRSIM) 10:00 AM – 12:30 PM My School for Peace (Working Group Session) Let’s share the review of the experiences we carried out at school Let’s design civic education for peace together 12:30 PM - 3:00 PM Meeting of School Principals and lunch break 3:00 PM – 4:00 PM My School for Care (Plenary Session) Director of the National Network of Schools for Peace 4:00 PM – 6:30 PM My School for Care (Working Group Session) Let’s reflect together. Let’s design civic education for care together 9:00 AM – 1:00 PM Transforming Education (Closing Plenary Session) The “Pact of Assisi”: all that we need to do Transforming schools for the new generations and projects of a transformative community Coordinator of the National Network of Schools for Peace President of the EIS-LUMSA School of Advanced Education in Rome Elisabetta Mughini, Research Director National Institute for Documentation Innovation Educational Research (INDIRE) Laura Nota, Professor of Developmental and Educational Psychology Director of the Research and Intervention Laboratory for Choice Orientation at the University of Padova  Father Simone Tenuti, Sacred Convent of Saint Francis of Assisi Leopoldo Grosso, Psychologist and psychotherapist Co-Director of the Centre for Governmentality and Disability Studies "Robert Castel," Suor Orsola Benincasa University Presentation and debate on the conclusions of the National Conference Interventions by participating Principals and Teachers University Center for Human Rights “Antonio Papisca” and UNESCO Chair “Human Rights Democracy and Peace” at the University of Padova National Coordination of Local Authorities for Peace and Human Rights National Network of Schools for Peacevia della Viola 1 (06122) Perugia M 335.1431868 - T 075/5722479 Human Rights Center “Antonio Papisca”via Beato Pellegrino 28 (35137) Padova - T 049/827 1813 Ferdinand Marcos Sr.’s administration instigated a wave of attacks on the media at an unprecedented level in Philippine history concern arises surrounding the state of journalism and the future of the media.  However, fear among various sectoral groups persists due to Marcos Jr.’s silence on attacks against the free press since the beginning of his term Further fueling this fear is the history of his father and namesake “[Political propaganda regarding the Marcoses] wasn’t just prevalent it was the only thing that existed [during] Martial Law,” Senior Desk Editor for Rappler Chito de la Vega shares Journalists had little freedom with their writing dealing with controlling editors and threats of losing their jobs de la Vega began his career in journalism in 1984 working for the Manila Evening Post—a small broadsheet owned by subordinates of the Marcos family.“I remember there were [other journalists] working for Marcos newspapers and yet lost their jobs so I had to toe the line,” de la Vega admits Amid the media takeover of Marcos cronies, a collective of small opposition newspapers emerged to form the “mosquito press.” Though the mosquito press constantly faced threats of office shutdowns and detainment from the government they remained steadfast in writing about the atrocities that transpired under Marcos Sr.’s regime until the late dictator was ousted in 1986 the free press re-established its foothold in Philippine society de la Vega applied to the Philippine Daily Inquirer where he worked for 32 years before shifting to Rappler in 2017 The existence of an organized network of pro-Marcos troll farms that generate inorganic engagement on pro-administration propaganda has been well-documented. This tactic was the cornerstone of Marcos Jr.’s election campaign and continues to boost the image of his presidency we’re not bombarded with imagery [that] Marcos is a hero they’re removing the meaning from the things that we take for granted as fact,” Political Science Department Associate Chair Beatriz Beato shares As an editor in Marcos Jr.’s administration de la Vega has likewise noticed the differences between the father’s and son’s treatment of the press because of the social media tools available to him,” he shares Beato spotlights gaps in Martial Law education as a factor that made Marcos Jr She notes that these lessons highlight infrastructure projects but omit the Philippines’ economic hardships during the time; these gaps may then serve as foundations of pro-Marcos propaganda To combat this, de la Vega and other Rappler journalists have taken an active role in unearthing the truth about the Marcoses by producing several investigative pieces about their networks of disinformation these are often bombarded with comments from trolls administration-critical pieces have lost credibility among Filipinos The emergence of political vlogs has only encouraged mistrust in formal news outlets Despite being an informal source of information political vlogs have gained popularity among Filipino citizens which Beato believes is due to their accessibility and unique ability to capture the daily realities of the common Filipino With hyper-partisan vloggers boasting millions of views and yielding much sway over political discourse, the Palace has prioritized vloggers’ accreditation in Malacañang coverage.  Such a decision has raised concerns about the future of journalism what happens to the role of the media not just as a reporter […] Journalists and media practitioners have the specific role also of keeping the government in check,” Beato says Despite taking on starkly different attitudes towards the media share the same goal—to leave a well-admired and untarnished legacy for the Marcoses A year into the Marcos Jr. presidency, the Philippine Center for Investigative Journalism tagged the president’s relationship with the press as amiable yet the disconnect between the president’s words and actions concerning press freedom remains salient One such case is of an alternative news website Bulatlat, which the National Telecommunications Commission (NTC) issued a block order against in October 2022. In pursuance of a June 2022 NTC memorandum the block order instructed Internet service providers to block websites of alternative media outlets such as Bulatlat and Pinoy Weekly for supposed affiliations with communist rebels “[Marcos Jr.’s tactics] are a little more subtle they use tactics such as discrediting subtly [the] progressive smaller publications,” Beato emphasizes As the nation witnesses these attempts in carrying out a decades-old goal Filipinos are tasked to strengthen the counter-narratives that can upend the oppression characterizing the legacy of the Marcoses Filipinos have a choice to be on the side of history that upholds genuine truth and justice—or the one that buries it and website in this browser for the next time I comment Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" Fill out our form in the Contribute page and write for The GUIDON Click the button below to view our Take the Lede Crowdsourcing Form © 2022 The GUIDON All Rights ReservedDesigned and developed by Digital Development 2019–2020 and 2022–2023 Cleo Egnal holds a B.A in Written Arts from Bard College and is weirdly knowledgeable about anything vaguely British and historical where she is just trying to figure out post-grad life Beato is renowned not only for venturing into a new genre of photography so soon after the art's inception but also for pioneering various new techniques and for photographing places and people that were previously inaccessible to a wide audience giving British citizens insight into the cultures of and wars going on in countries like China He ventured into photographing corpses on the battlefield and took his skills and creativity all around the world Beato's innovation and mastery of a blossoming genre have secured him in the history books as one of the most prominent war photographers of all time. He was, after all, the man who captured one of the most haunting photographs of the 19th century, that of the crucified Japanese servant In 1856, when Felice Beato was only 24, a photographer named James Robertson sent him to photograph the battle sites of the Crimean War The battle had been extensively covered in the Western press – and equally photographed thanks to Beato Robertson himself signed the 150 photographs that he brought back contemporary sources such as the Times London noted that "Mr has sent up an intelligent photographer to the Crimea before he sent Beato to document the Crimean War.   From a young age, Beato and his family moved around and moved with his family to Constantinople in 1844 (which is where he met James Robertson).  and Robertson went on a photographic expedition to the Middle East in 1857 Beato had been sufficiently bitten by the travel bug and spent the rest of his life wandering the world following the expansion of the British empire throughout the East He visited countless countries and took countless photographs along the way earning him the ability to be one of the first to photograph countries such as India As the British Empire expanded across the East in the 19th century, so did the British people's curiosity about these foreign lands Beato had already taken advantage of Britain's interest in the Indian Mutiny by photographing the aftermath of the revolt As Beato continued to hone his photographic skills the market for photographs of places previously unavailable to Westerners was booming These photographs were collected as souvenirs and seen as more impartial than paintings and therefore sensitive to gruesome material avoided picturing the full carnage of war; Beato was the first to depict the actual devastation of the battles sites including enemy corpses and scattered bones lying among the ruins Beato was, simply put, a renegade who didn't care what other people thought or about what the 'norm' was, and he used his unique perspective as a Westerner in Eastern countries to capture the first war photographs in history.  leaving him few options when photographing war.  and knew he had to find a way around the 'listlessness' of photographs in comparison to extravagant He learned how to tell a story with his photographs becoming a pioneer of photojournalism before the newspapers could even reprint his photographs By using techniques he learned as an apprentice to Robertson Beato was able to construct a narrative through photography in a way previously inaccessible to photographers.  Since photography required a longer exposure period it was impossible to capture battles as they were happening in real time Photographers were relegated to the aftermath and Beato took advantage of this to set the stage however he wanted and he even dug up the buried bones of those massacred at a palace in Lucknow Beato was not the only one to stage his photographs – a contemporary of his moved cannonballs to the middle of a road to further exacerbate the chaos he was trying to capture.