Headline: Huawei’s FDD Tri-Band Massive MIMO Wins Red Dot Design Award 2025
[Shenzhen, China, June 16, 2025] At Germany’s prestigious Red Dot Award Design Competition, Huawei’s FDD tri-band Massive MIMO earned the Red Dot Design Award for its exceptional performance and lean, energy-efficient design.
The award-winning FDD tri-band Massive MIMO
Since its commercial debut in Nigeria with MTN—Africa’s largest mobile operator—this February, Huawei’s FDD tri-band Massive MIMO has been tested and deployed on over 20 networks across the globe. The solution delivers significant value to operators’ customers by relieving traffic demand on 4G networks, providing deep and wide 5G coverage, and enabling enhanced 5G-A uplink. The solution simultaneously delivers five leading technological advantages:
Simplified ultra-wideband: The solution supports industry-leading, high-power 720 W output, while employing cutting-edge Real Wide Bandwidth and Compact Dipole technologies. This realizes unified operations across three bands (such as 1.8 GHz, 2.1 GHz, and 2.6 GHz, or AWS, PCS, and 2.6 GHz) within a single form factor whose size is equivalent to a conventional two-band Massive MIMO device. This enables the solution to boost both frequency bands and power capabilities without increasing size or wind load.
Ultimate capacity: This solution is an effective enabler for 4G, 5G, and 5G-A. It can deliver 3-fold to 4-fold downlink capacity gains on 4G networks, which can increase to 7-fold in NR over LTE 4T4R, thereby effectively alleviating network congestion.
Enhanced uplink: By leveraging M-Receiver technology, the solution realizes 5-fold uplink capacity and 10 dB uplink coverage gains compared to LTE 4T4R, fulfilling new demands of the mobile AI era that are typified by HD streaming and security, multimodal AI interactions, and autonomous driving.
Native beamforming: Tri-band Massive MIMO traditionally increases interference due to the addition of extra beams. However, supported by enhanced intelligent beam scheduling and intelligent beamforming, Huawei’s tri-band Massive MIMO enables dynamic beam movement with users and intelligent interference avoidance, boosting user experience by 20% to 30%.
Energy saving: The innovative GigaGreen architecture supports “0 bit 0 watt”, enabling ultra-deep dormancy during low-traffic periods and instant wake-up when traffic increases, meaning substantial reductions in overall network power consumption.
“We have prioritized innovation in order to provide customers with wireless products that deliver unparalleled performance in terms of user experience, network capacity, energy efficiency, and simplified deployment. It is our mission to help operators build premium networks that offer improved efficiency and cost-performance. This award for tri-band Massive MIMO represents the industry’s recognition of our innovative design. Moving forward, we will continue down the path of innovation and escort our operator partners as they strive towards greater business success,” said Fang Xiang, Vice President of Huawei Wireless Network Product Line.
Headline: Huawei’s FDD Tri-Band Massive MIMO Wins Red Dot Design Award 2025
[Shenzhen, China, June 16, 2025] At Germany’s prestigious Red Dot Award Design Competition, Huawei’s FDD tri-band Massive MIMO earned the Red Dot Design Award for its exceptional performance and lean, energy-efficient design.
The award-winning FDD tri-band Massive MIMO
Since its commercial debut in Nigeria with MTN—Africa’s largest mobile operator—this February, Huawei’s FDD tri-band Massive MIMO has been tested and deployed on over 20 networks across the globe. The solution delivers significant value to operators’ customers by relieving traffic demand on 4G networks, providing deep and wide 5G coverage, and enabling enhanced 5G-A uplink. The solution simultaneously delivers five leading technological advantages:
Simplified ultra-wideband: The solution supports industry-leading, high-power 720 W output, while employing cutting-edge Real Wide Bandwidth and Compact Dipole technologies. This realizes unified operations across three bands (such as 1.8 GHz, 2.1 GHz, and 2.6 GHz, or AWS, PCS, and 2.6 GHz) within a single form factor whose size is equivalent to a conventional two-band Massive MIMO device. This enables the solution to boost both frequency bands and power capabilities without increasing size or wind load.
Ultimate capacity: This solution is an effective enabler for 4G, 5G, and 5G-A. It can deliver 3-fold to 4-fold downlink capacity gains on 4G networks, which can increase to 7-fold in NR over LTE 4T4R, thereby effectively alleviating network congestion.
Enhanced uplink: By leveraging M-Receiver technology, the solution realizes 5-fold uplink capacity and 10 dB uplink coverage gains compared to LTE 4T4R, fulfilling new demands of the mobile AI era that are typified by HD streaming and security, multimodal AI interactions, and autonomous driving.
Native beamforming: Tri-band Massive MIMO traditionally increases interference due to the addition of extra beams. However, supported by enhanced intelligent beam scheduling and intelligent beamforming, Huawei’s tri-band Massive MIMO enables dynamic beam movement with users and intelligent interference avoidance, boosting user experience by 20% to 30%.
Energy saving: The innovative GigaGreen architecture supports “0 bit 0 watt”, enabling ultra-deep dormancy during low-traffic periods and instant wake-up when traffic increases, meaning substantial reductions in overall network power consumption.
“We have prioritized innovation in order to provide customers with wireless products that deliver unparalleled performance in terms of user experience, network capacity, energy efficiency, and simplified deployment. It is our mission to help operators build premium networks that offer improved efficiency and cost-performance. This award for tri-band Massive MIMO represents the industry’s recognition of our innovative design. Moving forward, we will continue down the path of innovation and escort our operator partners as they strive towards greater business success,” said Fang Xiang, Vice President of Huawei Wireless Network Product Line.
Source: People’s Republic of China – State Council News
Wang Huning, a member of the Standing Committee of the Political Bureau of the Communist Party of China Central Committee and chairman of the National Committee of the Chinese People’s Political Consultative Conference, addresses the 17th Straits Forum in Xiamen, southeast China’s Fujian province, June 15, 2025. [Photo/Xinhua]
The main conference of the 17th Straits Forum was held Sunday in the coastal city of Xiamen in east China’s Fujian province, kicking off a series of events within its framework.
Under the theme of “expanding people-to-people exchanges and deepening integrated development,” the forum features 56 exchange activities covering primary-level, youth, cultural and economic exchanges, drawing the attendance of over 7,000 people from all walks of life in Taiwan.
Wang Huning, a member of the Standing Committee of the Political Bureau of the Communist Party of China Central Committee and chairman of the National Committee of the Chinese People’s Political Consultative Conference, attended the main conference, and emphasized the importance of staying resolute in safeguarding peace across the Taiwan Strait and working together to promote national reunification.
Wang noted that this year marks the 80th anniversary of the victory in the Chinese People’s War of Resistance Against Japanese Aggression and the World Anti-Fascist War, as well as the recovery of Taiwan — a shared national memory for people on both sides of the Strait. He stressed that the fruits of that victory must be preserved.
Both sides of the Taiwan Strait belong to one China, he said, emphasizing the importance of upholding the one-China principle and the 1992 Consensus. He called for resolutely opposing “Taiwan independence” separatist activities and external interference to jointly safeguard peace and stability of the Strait.
Wang underscored that the mainland will always provide staunch support for Taiwan compatriots and is firmly committed to deepening the integrated development of both sides of the Strait to give Taiwan compatriots a greater sense of gain, happiness and belonging.
Ahead of the main conference, Wang met with guests from Taiwan who are attending the forum.
Ma Ying-jeou, former chairman of the Chinese Kuomintang party, also attended the main conference and said that the peaceful development of cross-Strait relations is a shared aspiration of people on both sides.
Ma expressed hope that, based on the common political foundation of upholding the 1992 Consensus and opposing “Taiwan independence,” cross-Strait exchanges and cooperation will be strengthened.
Since its launch in 2009, the forum has featured nearly 800 events, attracting more than 350,000 people from across the Strait, including over 140,000 Taiwan compatriots.
Before this year’s forum, Taiwan’s Democratic Progressive Party authorities had escalated their obstruction of cross-Strait exchanges, repeatedly smeared the forum, and sought to intimidate and deter Taiwan compatriots from participating.
Nevertheless, many Taiwan compatriots overcame difficulties to attend the event, demonstrating both their willingness and sense of responsibility to engage in exchanges and cooperation.
“There are so many natural bonds and bridges between people on both sides of the Strait — they won’t be severed by the obstruction of any particular political party,” said Yu Chi-hsuan, a young Taiwan participant at the forum, who is with her husband from the eastern Zhejiang province.
Noting that her mother also traveled from Taiwan to join them at the forum, Yu said that many of her young friends hope to visit the mainland to watch movies like the animated blockbuster “Ne Zha” and check out the trendy toy shops here.
“The forum further opens wide the door for cross-Strait exchanges, and we should walk further down the path of integrated development,” said Chiu Ching-ling, a veteran variety show producer from Taiwan. He believes that there will always be friends from Taiwan attending the Straits Forum, and the exchanges will continue to flourish.
▲ Hedi Mertens’s Gruppo di quadrati sulla base di un quadrato (1966) shown on Neo QLED by Samsung.
Samsung Electronics, the Official Art TV of Art Basel, today announced the launch of the Art Basel in Basel (ABB) Collection, an exclusive curation of digital art available across Samsung TVs with Samsung Art Store.1 Representing the most extensive Art Basel collection to date, the ABB Collection introduces 38 curated works from globally renowned artists and galleries — marking a new milestone in Samsung and Art Basel’s mission to bring world-class art to a wider audience.
The ABB Collection stands apart for its emphasis on diversity, with works that span continents, mediums and voices. For the first time, the collection features representation from an Africa-based gallery, deepening the global reach and cultural richness of the Samsung x Art Basel initiative. Some of this collection will be displayed at the Art Basel, from June 19-22, at Messe Basel in Switzerland.2
A Curated Vision of Global Expression
Handpicked from over 100 submissions, the 38 pieces in the ABB Collection were carefully curated with a focus on artist diversity, medium variety and geographic representation. The collection celebrates both emerging talent and established visionaries, aligning with Art Basel’s dedication to championing contemporary art from all corners of the world.
Highlights include:
Roméo Mivekannin, “Young woman with peonies after Frédéric Bazille” (2023): A compelling reimagining of classical portraiture from a postcolonial perspective.
Basim Magdy, “An Intergalactic Messenger Teleported us to a Cave Settlement Ruled by Shared Compassion and Humility” (2022): A vibrant exploration of utopian futurism.
Zandile Tshabalala, “Pink Blossoms” (2024): A powerful portrait celebrating Black femininity and nature.
Antonia Kuo, “Willo” (diptych) (2024): A striking dual-panel composition that fuses digital manipulation with analog techniques.
The collection also includes works by iconic names such as Jo Baer, Kibong Rhee and Lynn Hershman Leeson, further enriching the visual and thematic depth of this year’s selection.
ArtCube: An Interactive Hands-on Experience at Art Basel
▲ Jo Baer’s Untitled (1961-1962) shown on Neo QLED by Samsung.
To further highlight the intersection of art and technology, Samsung will present an interactive lounge titled ArtCube3 at Art Basel. This immersive showcase will demonstrate how The Frame, MICRO LED and Neo QLED 8K redefine digital art experiences by displaying artwork — including selections from the Art Basel Collection — with breathtaking detail and depth.
ArtCube invites visitors to engage with the Samsung Art Store’s exclusive collections and freely experience the premium picture quality. Visitors can also make customized portraits of moving art pieces only available through ArtCube’s tailored curation. In addition to the ArtCube lounge experience, Samsung will host a series of panel discussions featuring influential voices from the contemporary art scene, sparking conversations around technology’s expanding role in artistic expression and accessibility.
Strengthening a Cultural Partnership
Samsung and Art Basel have partnered to introduce curated digital collections that began with the 2024 Art Basel Miami Beach, 2025 Art Basel Hong Kong, and now includes the 2025 Art Basel in Basel. Artworks from Art Basel Hong Kong, launched in March, have gained global popularity among Art Store users, ranking them in top 10 most-viewed art pieces.4 This ongoing collaboration highlights the shared vision of expanding the role of displays as vibrant platforms for storytelling and artistic dialogue.
“With the launch of a new collection in the Samsung Art Store for Art Basel in Basel 2025, we’re thrilled to offer our global audiences new ways to engage with our show,” said Maike Cruse, Director of Art Basel in Basel. Our global partnership with Samsung extends the visitor experience beyond the Messe and into people’s homes — creating new entry points to discover the exceptional artists and galleries that define our flagship fair in Basel.”
Completing a Unique Art Experience on Samsung Art TVs
▲ Lynn Hershman Leeson’s Seduction (1985) shown on Neo QLED 8K by Samsung.
Samsung Art Store offers the best way to transform your TV and elevate your home decor with the perfect piece of art for every season, holiday and mood. You can choose from 3,500+ works of art spanning over 800 artists, including the ABB Collection.
Spanning the Neo QLED 8K, Neo QLED, QLED, The Frame and The Frame Pro, which are powered by Samsung Vision AI for AI-enhanced picture and sound, Samsung Art Store is newly available across the Samsung 2025 TV lineup. These TV models also come with new personalized features that bring users closer to all the shows, movies and sports they love. Across the lineup, Samsung offers more ways than ever to transform TV screens into personalized art galleries.
The Art Basel in Basel Collection is now available exclusively on the Samsung Art Store to all Samsung Art TV users.
For more information, visit www.samsung.com.
About Art Basel
Founded in 1970 by gallerists from Basel, Art Basel today stages the world’s premier art shows for Modern and contemporary art, sited in Basel, Miami Beach, Hong Kong and Paris. Defined by its host city and region, each show is unique, which is reflected in its participating galleries, artworks presented, and the content of parallel programming produced in collaboration with local institutions for each edition. Art Basel’s engagement has expanded beyond art fairs through new digital platforms including the Art Basel App and initiatives such as the Art Basel and UBS Global Art Market Report and the Art Basel Awards. Art Basel’s Global Lead Partner is UBS. For further information, please visit artbasel.com.
1 Samsung Art TV includes MICRO LED, The Frame, The Frame Pro, Neo QLED 8K, Neo QLED and QLED models starting from Q7F and above.
2 Event is open to the public from June 19-22, after VIP opening from June 16-18.
3 Samsung Lounge ‘ArtCube’ is in Halle 1, the main exhibition floor inside Messe Basel.
4 The information provided is based on the results collected during April 2025.
At the United Nations Ocean Conference 2025 (UNOC)1 in Nice, held to mark World Oceans Day on June 8, Samsung Electronics hosted a premiere event for “Coral in Focus,” a new documentary that brings the global coral crisis into sharp relief. The event, held at Ocean House, featured a screening of the film followed by a panel discussion with leading voices in marine science, conservation and technology.
Directed by award-winning filmmaker Quentin van den Bossche, “Coral in Focus” follows scientists, engineers and local conservationists as they confront the urgent threats facing coral reefs — ecosystems that support up to a billion people and a quarter of all marine life. This work is part of a broader effort announced at Galaxy Unpacked in January 2025, where Samsung unveiled its partnership with Seatrees to support the restoration of coastal ecosystems with communities in Fiji, Indonesia and the United States, leveraging Galaxy camera technology to document and aid in the recovery of marine environments.
The documentary spotlights the urgent threats facing coral reefs and showcases how innovative technology and global collaboration can drive meaningful impact for marine ecosystems.
A Crisis Hidden Beneath the Surface
As ocean temperatures shattered records, more than 80% of the world’s reefs have suffered from mass bleaching. When corals bleach, they lose not just their color but their lifeblood — the algae that feed them. This crisis, largely invisible to the public, threatens biodiversity, food security and coastal resilience. Long-term climate action is crucial to safeguarding coral reefs, while short-term restoration efforts — informed and supported by innovative technology — can help them withstand rising ocean temperatures.
A Galaxy Smartphone That Sees Beneath the Waves
Samsung collaborated with Seatrees, a nonprofit dedicated to restoring marine ecosystems, and the Scripps Institution of Oceanography at the University of California, San Diego, a global leader in reef research, to pioneer a new frontier in coral restoration by exploring new, innovative solutions. Ocean Mode,2 a specialized camera feature created specifically for this partnership, was developed, introduced and validated in real-world conditions in Indonesia and Fiji. This process has created a credible foundation for broader scientific use while improving the overall accessibility of this new technology.
By enabling more scientists, conservationists and even citizen scientists with the ability to photograph, map and monitor reefs, Ocean Mode can help restoration efforts scale, and make it possible for anyone to protect more reefs, in more places, with greater impact.
Innovation With Measurable Impact
Ocean Mode transforms the Galaxy S24 Ultra into a mobile marine research tool, enabling vivid, high-resolution image capture even in challenging underwater conditions. It corrects the excessive blue and green hues typical of underwater photography, allowing for a more accurate representation of coral health and diversity.
The camera adjusts shutter speed and leverages multi-frame image processing to reduce motion blur caused by water movement or diver activity, ensuring sharp, detailed images. With its interval shooting capability, the device can automatically capture thousands of images in a single dive, dramatically improving both efficiency and consistency. These images can then be used to generate 3D models of coral reefs using technology known as photogrammetry, giving researchers a powerful way to visualize and study the drivers of the structure and health of reefs over time.
Over the past year, the project has delivered extraordinary results. With these coral restoration initiatives, 17 3D models of coral reefs have been made with the help of scientists and Samsung to analyze the impact of coral restoration efforts and validate the precision of Galaxy devices for photogrammetry. In total, Seatrees project partners planted more than 14,046 coral fragments to restore 10,705 square meters of coral reef habitat.
A Premiere With Purpose
The “Coral in Focus” premiere at Ocean House, in partnership with Project Everyone, brought together scientists, storytellers and sustainability leaders for a powerful conversation on the role that technology and global collaboration play in the future of coral reefs.
▲ (From left) Alex Heath, Cassie Smith, Dr. Daniel Wangpraseurt, Michael Stewart and Quentin van den Bossche
▲ “Ocean Mode became its own character in the documentary,” said Quentin van den Bossche, director of “Coral in Focus.” “This helped us illustrate some of the complex, specific challenges that reef conservationists encounter. And showing the difference between photos taken with and without Ocean Mode helped ground the technology in something visual and even emotional. This is where the impact of partnerships among companies, research institutes and nonprofits truly comes to life.”
▲ Michael Stewart, co-founder of Seatrees, holds a Galaxy S24 Ultra to show Ocean Mode Year 1 impact metrics — about 14,046 coral fragments planted across three restoration sites.
“A key focus of the coral restoration efforts is being able to monitor what’s working and what’s not. And that starts with capturing high-quality images of our supported reefs,” said Michael Stewart, co-founder of Seatrees. “Our local partners have really appreciated Ocean Mode because it has improved their ability to capture higher-quality images with Galaxy phones to make the 3D models created by the scientists at Scripps more accurate.”
“Mobile technology is a powerful way to connect communities with ecosystems they may never physically encounter but are deeply tied to through climate, biodiversity and cultural heritage,” said Daniel Wangpraseurt, Ph.D., associate research scientist at the Scripps Institution of Oceanography. “Smartphones are now capable of taking high-resolution imagery to help generate more accurate 3D models. They also hold unique potential to increase the pace at which we share this information with people around the world who may never get to experience a coral reef themselves.”
▲ “Through our partnership with Seatrees, we saw how Galaxy technology could play a role not just in responsible sourcing but in supporting coral reef restoration,” said Cassie Smith, Senior Manager, Corporate Sustainability and U.S. Public Affairs at Samsung Electronics America. “The documentary tells that story beautifully — showing what happens when like-minded partners, engineers, scientists and local communities come together with shared purpose and the right tools.”
▲ Attendees of the “Coral in Focus” documentary premiere included Swati Thiyagarajan, award-winning documentary filmmaker, environmental journalist with the Sea Change Project and associate producer and production manager of the Academy Award-winning “My Octopus Teacher”; Titouan Bernicot, founder and CEO of Coral Gardeners and National Geographic Explorer; and Beverly Camhe, writer, producer and entertainment executive.
“It’s essential for the private sector to be involved and help get impactful solutions off the ground,” said Lefteris Arapakis, co-founder of Enaleia. “We need all parties working together to protect and scale ocean conservation efforts. I’m especially excited about Ocean Mode — tools like this make our work more efficient and help us create greater impact.”
“It was a beautiful film, and I love how it left us with a sense of hope and something we could do about the problem,” said Dana Habib, associate at the Institute for Integrated Transitions.
▲ Panelists and attendees discuss the “Coral in Focus” film and project.
The discussion was moderated by Alex Heath, Managing Director, U.S. Head of Social Impact & Sustainability at Edelman. The event also featured 3D reef models generated from photogrammetry data created with Galaxy S24 Ultras used in the field.
Exploring Ocean Conservation at UNOC
In addition to the premiere of “Coral in Focus,” Samsung representatives spoke on two panels hosted by the United Nations Educational, Scientific and Cultural Organization (UNESCO-IOC) at the UNESCO-IOC “Beyond Borders: Ocean Futures” pavilion. First, Generation17 Young Leader José Francisco Ochoa spoke about the importance of digital technology and community partnership during the panel “Showcasing the Diversity of Ocean Literacy Practices Around the World,” where he shared insights on how Generation17 elevates his work to advance ocean literacy.
Samsung also participated in a panel discussion titled “The Role of Corals in Unlocking the Secrets of Biodiversity,” highlighting its commitment to marine conservation. Cassie Smith, Senior Manager of Corporate Sustainability and U.S. Public Affairs at Samsung Electronics, presented how Galaxy technology, including Ocean Mode, serves as a tool to support marine ecosystem protection through environmental monitoring, data collection and community engagement. The panel was part of a full day of programming held during UNOC that promotes ocean literacy and awareness of ocean preservation.
A Continued Commitment to Ocean Health
The collaboration with Seatrees builds on Samsung’s broader commitment to ocean health. Since 2022, the company has incorporated over 150 tonnes of recycled fishing nets into Galaxy devices. Now, with Ocean Mode, Samsung is redefining the role of mobile technology in climate action — expanding research capabilities, raising awareness and making the invisible visible.
To watch the full documentary and access more information about the initiative, visit the Samsung x Seatrees partnership landing page.
1 Held every three to five years, UNOC serves as a global platform uniting governments, scientists, businesses and civil society to promote ocean action and implement Sustainable Development Goal 14: Life Below Water. The 2025 conference in Nice emphasizes scaling science-based solutions to protect marine ecosystems and ensure a sustainable future for the world’s oceans.
2 Ocean Mode was exclusively developed for this project and is only available to participating partners.
Source: Hong Kong Government special administrative region – 4
Attention TV/radio announcers:
Please broadcast the following as soon as possible:
Here is an item of interest to swimmers.
The Leisure and Cultural Services Department announced today (June 15) that due to big waves, the red flag has been hoisted at Repulse Bay Beach in Southern District, Hong Kong Island. Beachgoers are advised not to swim at the beach.
Keith Rankin, trained as an economic historian, is a retired lecturer in Economics and Statistics. He lives in Auckland, New Zealand.
Is history binary? A judge of past behaviour with just two available options: thumbs-up, or thumbs-down? If you are not on the ‘right side’ of history, are you therefore on the ‘wrong side’?
Can there be a ‘right side of history’? Given the contexts that we now proclaim to be the right or wrong sides of history, can we presume to evaluate future judgements of our behaviours as ‘history’? And, if we can, is ‘history’ about morals, or momentum; or, prosaically, is she just about facts? Can you (or we) ride history, like a wave? Clio, in Greek mythology, is the muse of history. She is not a straightforward lady.
Are politicians who support, by word or deed, fascists (or racists or any other obviously nasty ‘ists’) in another country ‘on the wrong side of history’ or could they be ‘riding a historical wave’? I am reminded of the Hitler youth singing ‘Tomorrow Belongs to Me’ in the musical cabaret. In Natacha Butler’s report (Al Jazeera 10 June 2025, Europe’s far-right leaders, hosted by Marine Le Pen, rally in France) she notes “the conviction [by ‘far-right’ protesters] that history is on their side”.
History as Momentum
Whoever participates in a social or political movement believes that their movement will become sufficiently consequential for those in the future to believe that the movement affected the course of history. So, the Hitler youth were correct, in the sense that their movement made their tomorrow different to what it would otherwise have been. The Hitler youth, though, were expecting a favourable judgement by ‘us’ in 2025. Clearly, we judge their movement in highly unfavourable terms, while accepting that the world at the end of the twentieth century mighthave been a better world than the world would have been had Adolf Hitler been killed in combat in the Great World War in1918. Problematic, though, is the whole subjective idea of a ‘better world’; better for whom?
An important example of historicism, or alleged historical momentum, is the writings of Karl Marx. He thought he was writing scientific history, of ‘historical materialism’, and many people believed him; a few still do. Marx fused classical Ricardian economics – the intellectual ancestor of today’s neoliberal macroeconomics – with the philosophical historicism of Georg Hegel. Josef Stalin, and others in his intellectually unaccommodating mould, killed people who spun different (or nuanced) stories of past or future history.
History as a Judge
From a judgment perspective, we place much weight on academic historians in the medium-term future to make (for all time) the correct verdict events in the present, immediate past, and immediate future.
Whether or not Clio is qualified to judge as ‘good’ or ‘bad’ past events, people, or movements, we today can evaluate Clio today – or at least her mortal disciples – on her performance so far.
Two of many issues we could look into are, first, Winston Churchill and the World War Two bombing campaigns by the ‘Allies’, and our present understanding of the Great Depression of the 1930s.
Churchill, more than most political leaders, features in many separable stories in history. His role in pursuing the Gallipoli campaign in 1915 has generally been awarded a ‘thumbs-down’. Likewise, his role as Chancellor of the Exchequer in 1925, when he decided to fix the British pound to gold at the overvalued pre-war (1914) exchange rate; this decision was one of the key events that led the world into the Great Depression.
However, most post-war judgement of Churchill has focussed on his role as an opponent of ‘appeasement’ in 1938, and on his role as Great Britain’s leader for the majority of World War Two (though he had been removed as Britain’s leader, in a landslide electoral defeat, by the time the atomic bombs fell on Japan). On the ‘appeasement’ matter, Neville Chamberlain continues to be the epitome of someone ‘on the wrong side of history’, with Churchill on the ‘right side’.
Churchill had his own personal political agenda in 1938; his lifelong pursuit of the glory of the British Empire. Churchill’s principal strategic interest was to maintain the Mediterranean Sea as ‘Britain’s Lake’; substantially but not only because it represented Britain’s sea passage to India. So many of his actions in World War Two can best be understood in terms of what he was fighting for, not what he was fighting against.
In 1938, the alternatives to the ‘appeasement’ of Hitler were to abstain in the face of Nazi Germany’s clear-and immediate-threat to East Europe (a part of the non-Mediterranean world that Churchill was not interested in), or to threaten to declare war against Germany knowing that Britain couldn’t act on its threat and thereby risked revealing its weakness. (In the summer of 1939, Britain did reveal its weakness to Josef Stalin, who then relayed that information onto Hitler at the end of August, allowing Hitler to invade Poland in the sure knowledge that Britain had no military capacity to come to Poland’s aid. Chamberlain’s allowing that ‘information leak’ to happen was surely a bigger mistake than his 1938 Munich Accord with Hitler.) And we note that Churchill said that, rather than ‘peace in our time’, there “would be war”.
Churchill did not claim that any of the alternative choices that Chamberlain faced could or would have prevented war. Unless, that is, Chamberlain had been able to terrify Hitler into not going ahead with his military plans. (Hitler would have been more likely to liken threats by Chamberlain to ‘being mauled by a mouse’; a famous if somewhat forgotten witticism of our own Robert Muldoon, speaking in reference to Opposition leader Bill Rowling.)
Realistically, Hitler was never going to commit to putting his military toys away. I think that, in light of the alternatives, Chamberlain made the right call in 1938; he hoped that he had restricted Hitler’s military ambitions to the acquisition of territory inhabited by German-speaking people.
On the matter of the Allied bombing campaign, being willing to commit unspeakable aerial executions upon tens of millions of ‘enemy’ civilians, history has largely been silent; those (over a million) who were actually barbecued by the Allies fell well short of those who Churchill’s ‘scientific adviser’ and onetime ‘best friend’ Friedrich Lindemann would have liked to have ‘dehoused’. (See my Barbecued Hamburgers and Churchill’s Bestie, 17 Apr 2025.) We cannot rely on academic historians to counter decades of myth; in part because we have too few competent historians, and in part because historians hunt in packs and are as liable to fall under the sway of the zeitgeists of their eras as are the rest of humanity’s intellectual communities.
Despite Churchill’s firebombing efforts, most of which took place in the early months of 1945, it was American bombing specialist Curtis LeMay who became barbecuer-el-supremo. (See my Who Executed 100,000 Civilians in a Single Night?) In 1945, and mainly through his own initiative, he burned more Japanese civilians to death than those who died from the atomic bombs. Was Curtis LeMay on the right side of history? The Japanese ruling class thought so in 1964; LeMay had helped to make the new Japan possible. The Emperor had been saved, as an emperor without an empire. And Japan had been saved from Stalin’s advances, advances that stopped at Korea, Sakhalin, and the Kuril Islands.
We note that the worst of the Allies’ terror campaign took place towards the end of the war, when the ‘evil’ Axis was in no position to reciprocate. Inherently, such crimes – on the scale that ‘we’ perpetrated them – are asymmetric warfare. Killing your enemies’ civilians seemingly grants your enemies a moral right to kill your civilians. I think that no party who commits those kinds of war crimes can ever be on ‘the right side of history’; though some other people may take more convincing. To compound the criminality of the Allied bombing campaign, it was ineffective, because World War Two was already asymmetric; the main turning points were Hitler’s foolish declaration of war against the United States, and the Battle of Stalingrad in the latter part of 1942. World War Two could have been ended much more quickly with carrot than with stick, by finding suitable ways for the retreating powers to ‘save face’. Truth and reconciliation always trump vengeance. Yet so many horrendous “killings of civilians to [allegedly] save ‘our’ soldiers” remain either on the ‘right side of history’ or concealed from view, obviating the popular requirement to cast judgement.
The Great Depression was still much in historical memory in the 1970s and 1980s. In the 1930s, Josef Stalin and his comrades believed this was the beginning of the end of the capitalist world; and he executed any economists (eg Nikolai Kondratiev) who suggested otherwise. At the time, a number of progressive western economists (eg Alvin Hansen) to an extent agreed with Stalin.
However, in the 1970s, a group of extremist ‘Chicago’ economists and economic historians – Milton Friedmanwould lay claim to being both an economist and a historian – successfully committed on the world an intellectual coup-d’etat which would distract the historical community from reality. Friedman’s coupsters scapegoated the United States Federal Reserve Bank (on the basis of a few quite minor ‘mistakes’ in monetary policy in 1929 and 1930). The net result was that the real culprits, the fiscal conservatives, escaped the condemnation of history.
The Friedmanites, and their ‘intellectual’ descendants, have claimed the ‘right side of history’; claiming victories (without convincing counterfactuals) in the alleged titanic battle between the ‘inflation monster’ and the battlers of the ‘lower middle classes’. These faux historians claimed that small “mistakes” in monetary policy in 2003/04 and 2021/22 have been the predominant causes of the 2008/09 ‘global financial crisis’ and the 2022 to 2024 ‘cost of living’ crisis. When it comes to macroeconomics and macroeconomic policy, this writing of consumable history is about as pathetic (as intellectual history) as the claims of the Holocaust-deniers, or of the people (such as Herr Hitler) who claimed that Germany was ‘stabbed-in-the-back’ by international Jewry in 1918.
Clio is a muse to be loved and cultivated. She gives much, but rarely in simplistic right-wrong terms; and she changes her mind, in response to both new information and new zeitgeists. Whereas Hitler’s Nazis burned the books they didn’t like – and many other books besides – Aotearoa’s fiscal conservatives are looking for a whimper – a tearless shredding – rather than a blaze. And our remaining unshredded public collections, our memories – our abilities to evaluate the rights and the wrongs and the waves of our national and international pasts – stand to depreciate, to wither.
*******
Keith Rankin (keith at rankin dot nz), trained as an economic historian, is a retired lecturer in Economics and Statistics. He lives in Auckland, New Zealand.
Keith Rankin, trained as an economic historian, is a retired lecturer in Economics and Statistics. He lives in Auckland, New Zealand.
Is history binary? A judge of past behaviour with just two available options: thumbs-up, or thumbs-down? If you are not on the ‘right side’ of history, are you therefore on the ‘wrong side’?
Can there be a ‘right side of history’? Given the contexts that we now proclaim to be the right or wrong sides of history, can we presume to evaluate future judgements of our behaviours as ‘history’? And, if we can, is ‘history’ about morals, or momentum; or, prosaically, is she just about facts? Can you (or we) ride history, like a wave? Clio, in Greek mythology, is the muse of history. She is not a straightforward lady.
Are politicians who support, by word or deed, fascists (or racists or any other obviously nasty ‘ists’) in another country ‘on the wrong side of history’ or could they be ‘riding a historical wave’? I am reminded of the Hitler youth singing ‘Tomorrow Belongs to Me’ in the musical cabaret. In Natacha Butler’s report (Al Jazeera 10 June 2025, Europe’s far-right leaders, hosted by Marine Le Pen, rally in France) she notes “the conviction [by ‘far-right’ protesters] that history is on their side”.
History as Momentum
Whoever participates in a social or political movement believes that their movement will become sufficiently consequential for those in the future to believe that the movement affected the course of history. So, the Hitler youth were correct, in the sense that their movement made their tomorrow different to what it would otherwise have been. The Hitler youth, though, were expecting a favourable judgement by ‘us’ in 2025. Clearly, we judge their movement in highly unfavourable terms, while accepting that the world at the end of the twentieth century mighthave been a better world than the world would have been had Adolf Hitler been killed in combat in the Great World War in1918. Problematic, though, is the whole subjective idea of a ‘better world’; better for whom?
An important example of historicism, or alleged historical momentum, is the writings of Karl Marx. He thought he was writing scientific history, of ‘historical materialism’, and many people believed him; a few still do. Marx fused classical Ricardian economics – the intellectual ancestor of today’s neoliberal macroeconomics – with the philosophical historicism of Georg Hegel. Josef Stalin, and others in his intellectually unaccommodating mould, killed people who spun different (or nuanced) stories of past or future history.
History as a Judge
From a judgment perspective, we place much weight on academic historians in the medium-term future to make (for all time) the correct verdict events in the present, immediate past, and immediate future.
Whether or not Clio is qualified to judge as ‘good’ or ‘bad’ past events, people, or movements, we today can evaluate Clio today – or at least her mortal disciples – on her performance so far.
Two of many issues we could look into are, first, Winston Churchill and the World War Two bombing campaigns by the ‘Allies’, and our present understanding of the Great Depression of the 1930s.
Churchill, more than most political leaders, features in many separable stories in history. His role in pursuing the Gallipoli campaign in 1915 has generally been awarded a ‘thumbs-down’. Likewise, his role as Chancellor of the Exchequer in 1925, when he decided to fix the British pound to gold at the overvalued pre-war (1914) exchange rate; this decision was one of the key events that led the world into the Great Depression.
However, most post-war judgement of Churchill has focussed on his role as an opponent of ‘appeasement’ in 1938, and on his role as Great Britain’s leader for the majority of World War Two (though he had been removed as Britain’s leader, in a landslide electoral defeat, by the time the atomic bombs fell on Japan). On the ‘appeasement’ matter, Neville Chamberlain continues to be the epitome of someone ‘on the wrong side of history’, with Churchill on the ‘right side’.
Churchill had his own personal political agenda in 1938; his lifelong pursuit of the glory of the British Empire. Churchill’s principal strategic interest was to maintain the Mediterranean Sea as ‘Britain’s Lake’; substantially but not only because it represented Britain’s sea passage to India. So many of his actions in World War Two can best be understood in terms of what he was fighting for, not what he was fighting against.
In 1938, the alternatives to the ‘appeasement’ of Hitler were to abstain in the face of Nazi Germany’s clear-and immediate-threat to East Europe (a part of the non-Mediterranean world that Churchill was not interested in), or to threaten to declare war against Germany knowing that Britain couldn’t act on its threat and thereby risked revealing its weakness. (In the summer of 1939, Britain did reveal its weakness to Josef Stalin, who then relayed that information onto Hitler at the end of August, allowing Hitler to invade Poland in the sure knowledge that Britain had no military capacity to come to Poland’s aid. Chamberlain’s allowing that ‘information leak’ to happen was surely a bigger mistake than his 1938 Munich Accord with Hitler.) And we note that Churchill said that, rather than ‘peace in our time’, there “would be war”.
Churchill did not claim that any of the alternative choices that Chamberlain faced could or would have prevented war. Unless, that is, Chamberlain had been able to terrify Hitler into not going ahead with his military plans. (Hitler would have been more likely to liken threats by Chamberlain to ‘being mauled by a mouse’; a famous if somewhat forgotten witticism of our own Robert Muldoon, speaking in reference to Opposition leader Bill Rowling.)
Realistically, Hitler was never going to commit to putting his military toys away. I think that, in light of the alternatives, Chamberlain made the right call in 1938; he hoped that he had restricted Hitler’s military ambitions to the acquisition of territory inhabited by German-speaking people.
On the matter of the Allied bombing campaign, being willing to commit unspeakable aerial executions upon tens of millions of ‘enemy’ civilians, history has largely been silent; those (over a million) who were actually barbecued by the Allies fell well short of those who Churchill’s ‘scientific adviser’ and onetime ‘best friend’ Friedrich Lindemann would have liked to have ‘dehoused’. (See my Barbecued Hamburgers and Churchill’s Bestie, 17 Apr 2025.) We cannot rely on academic historians to counter decades of myth; in part because we have too few competent historians, and in part because historians hunt in packs and are as liable to fall under the sway of the zeitgeists of their eras as are the rest of humanity’s intellectual communities.
Despite Churchill’s firebombing efforts, most of which took place in the early months of 1945, it was American bombing specialist Curtis LeMay who became barbecuer-el-supremo. (See my Who Executed 100,000 Civilians in a Single Night?) In 1945, and mainly through his own initiative, he burned more Japanese civilians to death than those who died from the atomic bombs. Was Curtis LeMay on the right side of history? The Japanese ruling class thought so in 1964; LeMay had helped to make the new Japan possible. The Emperor had been saved, as an emperor without an empire. And Japan had been saved from Stalin’s advances, advances that stopped at Korea, Sakhalin, and the Kuril Islands.
We note that the worst of the Allies’ terror campaign took place towards the end of the war, when the ‘evil’ Axis was in no position to reciprocate. Inherently, such crimes – on the scale that ‘we’ perpetrated them – are asymmetric warfare. Killing your enemies’ civilians seemingly grants your enemies a moral right to kill your civilians. I think that no party who commits those kinds of war crimes can ever be on ‘the right side of history’; though some other people may take more convincing. To compound the criminality of the Allied bombing campaign, it was ineffective, because World War Two was already asymmetric; the main turning points were Hitler’s foolish declaration of war against the United States, and the Battle of Stalingrad in the latter part of 1942. World War Two could have been ended much more quickly with carrot than with stick, by finding suitable ways for the retreating powers to ‘save face’. Truth and reconciliation always trump vengeance. Yet so many horrendous “killings of civilians to [allegedly] save ‘our’ soldiers” remain either on the ‘right side of history’ or concealed from view, obviating the popular requirement to cast judgement.
The Great Depression was still much in historical memory in the 1970s and 1980s. In the 1930s, Josef Stalin and his comrades believed this was the beginning of the end of the capitalist world; and he executed any economists (eg Nikolai Kondratiev) who suggested otherwise. At the time, a number of progressive western economists (eg Alvin Hansen) to an extent agreed with Stalin.
However, in the 1970s, a group of extremist ‘Chicago’ economists and economic historians – Milton Friedmanwould lay claim to being both an economist and a historian – successfully committed on the world an intellectual coup-d’etat which would distract the historical community from reality. Friedman’s coupsters scapegoated the United States Federal Reserve Bank (on the basis of a few quite minor ‘mistakes’ in monetary policy in 1929 and 1930). The net result was that the real culprits, the fiscal conservatives, escaped the condemnation of history.
The Friedmanites, and their ‘intellectual’ descendants, have claimed the ‘right side of history’; claiming victories (without convincing counterfactuals) in the alleged titanic battle between the ‘inflation monster’ and the battlers of the ‘lower middle classes’. These faux historians claimed that small “mistakes” in monetary policy in 2003/04 and 2021/22 have been the predominant causes of the 2008/09 ‘global financial crisis’ and the 2022 to 2024 ‘cost of living’ crisis. When it comes to macroeconomics and macroeconomic policy, this writing of consumable history is about as pathetic (as intellectual history) as the claims of the Holocaust-deniers, or of the people (such as Herr Hitler) who claimed that Germany was ‘stabbed-in-the-back’ by international Jewry in 1918.
Clio is a muse to be loved and cultivated. She gives much, but rarely in simplistic right-wrong terms; and she changes her mind, in response to both new information and new zeitgeists. Whereas Hitler’s Nazis burned the books they didn’t like – and many other books besides – Aotearoa’s fiscal conservatives are looking for a whimper – a tearless shredding – rather than a blaze. And our remaining unshredded public collections, our memories – our abilities to evaluate the rights and the wrongs and the waves of our national and international pasts – stand to depreciate, to wither.
*******
Keith Rankin (keith at rankin dot nz), trained as an economic historian, is a retired lecturer in Economics and Statistics. He lives in Auckland, New Zealand.
Source: People’s Republic of China – State Council News
BEIJING, June 15 — A large-scale VR immersive experience, “The Recluse Dongpo,” premiered at the Hainan Museum in May, attracting eager fans of the iconic Song Dynasty poet Su Shi to embark on a virtual journey through millennia of Chinese history.
Wearing VR headsets, participants came face-to-face with a digital rendition of Su Shi (also known as Su Dongpo), who vividly recounted his dramatic life — from political exile to literary legend — in an interactive narrative.
This fusion of technology and tradition exemplifies China’s ongoing reinvention of cultural tourism. Alongside its iconic landscapes, the country is witnessing a surge in heritage-driven travel, where films, live performances, and immersive experiences spawn compelling new destinations.
According to a recent China Tourism Academy survey, travelers show growing interest in cultural activities: Nearly 29.2 percent of respondents prioritize cultural experiences in their itineraries, while 78.3 percent express general enthusiasm for such engagements during trips.
Cultural spaces can serve as new settings for tourism experiences and consumption, while tourism spaces can also function as new platforms for cultural display and dissemination, said Li Xinjian, executive dean of the Capital Institute of Culture and Tourism Development at Beijing International Studies University.
In a major government reshuffle in 2018, China merged two government agencies to form a new ministry — the Ministry of Culture and Tourism — “to promote the integrated development of cultural undertakings, cultural industries, and tourism,” according to an official document. The development of culture-driven tourism has since picked up speed.
A 2023 high-level meeting on cultural development underscored the need to promote the “creative transformation and innovative development of China’s fine traditional culture.”
Governments at all levels have been tapping into local cultural resources to enhance tourist appeal and boost the economy. During the Dragon Boat Festival holiday from May 31 to June 2, the city of Beijing held more than 1,700 cultural tourism events, including dragon boat carnivals, intangible cultural heritage markets, and Hanfu (traditional Chinese attire) workshops.
The Chinese capital recorded 8.21 million tourist visits during the period, up 5.4 percent year on year. It generated 10.77 billion yuan (about 1.49 billion U.S. dollars) in tourism revenue.
Traditional festivals proved to be high seasons for travelers. This year, during the first Spring Festival after it was inscribed on UNESCO’s Intangible Cultural Heritage list, travelers flocked to temple fairs, dragon dance performances, and intangible cultural heritage experiences to celebrate an authentic Chinese New Year.
The 2025 Aranya Theater Festival, which will open in the coastal city of Qinhuangdao in north China’s Hebei Province, will stage 29 theatrical productions from 12 countries. During the festival, cultural activities such as art exhibitions and workshops will also be held in the coastal resort of Aranya.
The 2024 edition of the festival received about 164,000 visitors, including foreign travelers.
With the improvement of people’s living standards and increased opportunities for travel, there is a growing demand for cultural experiences during tourism activities, and participation takes diverse forms, said Dai Bin, president of the China Tourism Academy.
Museums, historical cities, ancient towns, cultural districts, live-action shows, concerts, and music festivals have become major attractions in numerous tourist destinations, Dai added.
A government initiative on boosting cultural and tourism consumption launched earlier this year proposed specific measures, such as encouraging public cultural institutions to actively develop cultural experiences, arts education services, and other offerings, enriching the supply of cultural and entertainment products, and allowing local governments to allocate special bond funds to support cultural and tourism projects.
According to Dai, the integrated development of culture and tourism will be a focus for boosting the tourism sector during China’s 15th Five-Year Plan period (2026-2030).
Efforts will be made to promote the integration of cultural industries and tourism supply to create more new cultural experience venues and novel tourism consumption settings for visitors, he added.
Emily Trent is Head of Arts and Culture at Auckland Council so she knows why a city needs art, and how art contributes to the quality of our regenerating midtown.
The Auckland Council group is reinventing midtown, ensuring it’s ready to serve the city well ahead of the City Rail Link opening in 2026.
Projects include:
Te Hā Noa – Victoria Street linear park (Albert Street to Elliott Street) – first section complete – story and timelapse; second section complete – story and timelapse.
Federal Street upgrade, extension of the shared path laneway circuit – complete. Artwork Lost & Found by Joe Sheehan
Queen Street – upgrade complete – story and timelapse
Myers Park – upgrade and artwork Waimahara by Graham Tipene (Ngāti Whātua Ōrākei, Ngāti Kahu, Ngāti Hine, Ngāti Hauā, Ngāti Manu) is complete – story and video
Wellesley Street bus interchange – Auckland Transport’s works are in progress
Against a backdrop of the city’s magnificent, multi-sensory artwork Waimahara in Myers Park, we ask Emily why art is important in any urban regeneration, and in this regeneration in particular.
This Q&A is part of an occasional series shining light on the regeneration of midtown and some of the people who are playing a part in it. The Auckland Council group announced an investment of $155 million in multiple projects to regenerate midtown in September 2021. Many are delivered already.
Our Q&A with Emily Trent:
Why does a city need public art?
Art is the way a city tells its story. Art defines who we are in the world. It delights and surprises. And right now Auckland’s midtown is a living example of that.
How is art playing a part in the midtown regeneration?
Anywhere in the world, art is central to a city’s regeneration.
Waimahara is a celebration of te ao Māori in Tāmaki Makaurau, and it invites us to remember water. It references Te Waihorotiu stream, which flows beneath Queen Street and has its source here in Myers Park.
Within Waimahara, we see references to water. We hear immersive elements such as birdsong, taonga pūoro (traditional musical instruments), and we see references to taiao (nature) like kauri and hīnaki (fish trap) forms.
Are there other forms of expression?
Within this space, there’s art all around. There’s art in the planting, there’s art in the boardwalk, there’s art in the stairway by Tessa Harris. And art is in the cultural identity and the story we tell through this built environment.
Public art, and the arts, culture and creativity, are the thread that connects us as humans. It can bring joy and play. It can make a place safe and liveable. It invites you to linger, to be inspired and to find joy just around the corner.
How does Auckland Council’s public art collection take shape?
Auckland Council partners with artists and creatives to bring public art to the Auckland region. The Auckland Council Regional Art Collection has over 400 artworks all across the region that bring joy and creativity.
What other art can people see in this area?
In addition to Waimahara, we have Lost & Found in Federal Street by Joe Sheehan.
We’ve got new works coming to Victoria Street. And we’ve got murals. The regeneration of midtown is providing amazing opportunities for new works and also to refresh existing works.
What about the City Rail Link stations?
Next year Aucklanders will be able to step into the City Rail Link stations. These stations provide an amazing canvas for public art. We’ll be able to see our cultural identity expressed through art in the stations.
Is this, in effect, a free, all-weather, outdoor art gallery?
Our city’s expression is visible in the built environment through public art. It can delight us, it can connect us, and it can provide an opportunity for discussion and consideration. It’s accessible to everyone. Art tells the story of our place in the world.
Stronger, mandatory child safety measures have been signed off by every Australian Education Minister to strengthen child safety in early childhood education and care services.
This forms part of the significant progress that has already been made since the release of the Australian Children’s Education and Care Quality Authority (ACECQA) Review of Child Safety Arrangements under the National Quality Framework.
In July 2024, a new National Code and Guidelines were released that recommended only service-issued devices can be used when photographing and filming children.
From 1 September 2025, further key changes include:
Mandatory 24 hour reporting of any allegations, complaints or incidents of physical or sexual abuse – down from the current 7 day window
A ban on vapes in all early education and care services
Stronger protections around digital technology use, with services required to have clear policies on taking photos and videos of children, parent consent, CCTV practice and using service-issued devices.
Child safety will also be explicitly embedded into the National Quality Standard from 1 January 2026.
ACECQA will issue new guidance and resource materials to support the early education sector implement these changes.
These changes are in addition to the furtherreforms flagged by the Albanese Labor Government in March this year to crack down on unscrupulous early childhood education and care providers and strengthen integrity across the care economy.
These include measures to:
Prevent providers who persistently fail to meet minimum standards and repetitively breach the National Law from opening new Child Care Subsidy approved services.
Take compliance action against existing providers with egregious and continued breaches, including the option to cut off access to Child Care Subsidy funding where appropriate.
Strengthen powers to deal with providers that pose an integrity risk.
Education Ministers will meet next week to consider additional actions to strengthen child safety in education and care services.
Quotes attributed to Minister for Education Jason Clare:
“The safety and protection of children in early childhood education is our highest priority.
“Australia has a very good system of early childhood education and care, but more can be done to make sure safety guidance and measures are fit-for-purpose.
“That’s why Education Ministers are acting on this key recommendation to make sure the right rules are in place to keep our children safe while they are in early education and care.”
Quotes attributed to Minister for Early Childhood Education Dr Jess Walsh:
“Children’s health and safety is paramount at early childhood centres, and these changes will help to ensure that we continue to provide that assurance.
“The Australian Government is absolutely committed to ensuring that children have a positive, rewarding and safe early education experience to get the best possible start in life.”
Quotes attributed to ACT Minister for Education and Early Childhood Yvette Berry:
“The safety and wellbeing of children in early childhood education is our highest priority. Access to quality early childhood education sets children up for lifelong learning and success.
“Valuing children and investing in their learning and development requires us also to value and invest in the early childhood workforce.
“I look forward to continuing to work in partnership with the Commonwealth, to strengthen the National Quality Framework.”
Quotes attributed to Victorian Minister for Children Lizzie Blandthorn:
“The safety and wellbeing of children is our highest priority – and here in Victoria we work every day to make sure they are safe, supported and ready to thrive.
“We welcome these new changes, and we’ll continue to work with the Commonwealth, states and territories to review and improve safety for all children.”
Quotes attributed to acting NSW Minister for Education and Early Learning Courtney Houssos:
“These measures are an important first step. While we work with our colleagues on a national approach, the national law allows states to cater to their own needs.
“NSW welcomes these measures and looks forward to providing additional measures in response to our most recent review.”
Quotes attributed to Queensland Minister for Education and the Arts John-Paul Langbroek:
“We must all be persistent in our efforts to strengthen safety measures at childhood education and care services.
“These changes are a step in the right direction, and I welcome this national approach which will ensure Queensland kids are better protected while providing consistency across all states and territories.”
Quotes attributed to Northern Territory Minister for Education and Training and Minister for Early Education Jo Hersey:
“The Northern Territory Government welcomes the Child Safety Review, particularly its focus on strengthening supervision and improving the physical environment to keep children safe.
“As part of our commitment to addressing the root causes of crime, we recognise that safeguarding children is fundamental to long-term community safety.”
Quotes attributed to Western Australia Minister for Education; Early ChildhoodSabine Winton:
“The Cook Labor Government is committed to ensuring the safety of children who attend early childhood education and care services in Western Australia.
“I know there are incredible early learning centres and early childhood educators that help children learn and thrive each and every day.
“I look forward to working alongside the Albanese Labor Government to further strengthen child safety in early childhood education services, to ensure children have the best possible start to life.”
Quotes attributed to South Australian Minister for Education, Training and Skills Blair Boyer:
“I’m pleased to see all states and territories working together to strengthen the regulations around education and care services to ensure children are safe no matter where the live.
“The Malinauskas Labor Government recently provided an extra $7 million to the Education Standards Board to increase and improve regulatory services. This has seen a 63 per cent increase on the previous year in the number of service visits.
“I look forward to meeting with my colleagues next week to discuss in more detail how we can ensure we as state and federal governments are doing everything we can to provide safe and secure environments for our youngest Australians.”
For more information
NQF changes information sheet
Review of Child Safety Arrangements under the National Quality Framework
This year alone, 12 Indigenous people have died – 31% of total custodial deaths.
The raw numbers are a tragic indictment of government failure to implement in full the Commission’s 339 recommendations.
We are potentially further away from resolving this crisis than we were 34 years ago.
Recent deaths
Kumanjayi White was a vulnerable young Warlpiri man with a disability under a guardianship order. He stopped breathing while being restrained by police in an Alice Springs supermarket on May 27. His family is calling for all CCTV and body camera footage to be released.
Days later a 68-year-old Aboriginal Elder from Wadeye was taken to the Palmerston Watchhouse after being detained for apparent intoxication at Darwin airport. He was later transferred to a hospital where he died.
Alice Springs protest over the death of Kumanjayi White.
Both were under the care and protection of the state when they died. The royal commission revealed “so many” deaths had occurred in similar circumstances and urged change. It found there was:
little appreciation of, and less dedication to, the duty of care owed by custodial authorities and their officers to persons in care.
Seemingly, care and protection were the last things Kumanjayi White and the Wadeye Elder were afforded by NT police.
Preventable deaths
The royal commission investigated 99 Aboriginal deaths in custody between 1980 and 1989. If all of its recommendations had been fully implemented, lives may have been saved.
For instance, recommendation 127 called for “protocols for the care and management” of Aboriginal people in custody, especially those suffering from physical or mental illness. This may have informed a more appropriate and therapeutic response to White and prevented his death.
Recommendation 80 provided for “non-custodial facilities for the care and treatment of intoxicated persons”. Such facilities may have staved off the trauma the Elder faced when he was detained, and the adverse impact it had on his health.
More broadly, a lack of independent oversight has compromised accountability. Recommendations 29-31 would have given the coroner, and an assisting lawyer, “the power to direct police” in their investigations:
It must never again be the case that a death in custody, of Aboriginal or non-Aboriginal persons, will not lead to rigorous and accountable investigations.
Yet, the Northern Territory police has rejected pleas by White’s family for an independent investigation.
Another audit?
Northern Territory Labor MP Marion Scrymgour is calling on the Albanese government to order a full audit of the royal commission recommendations.
She says Indigenous people are being completely ostracised and victimised:
People are dying. The federal government, I think, needs to show leadership.
It is unlikely another audit will cure the failures by the government to act on the recommendations.
Instead, a new standing body should be established to ensure they are all fully implemented. It should be led by First Nations people and involve families whose loved ones have died in custody in recognition of their lived expertise.
In 2023, independent Senator Lidia Thorpe moved a motion for the Aboriginal and Torres Strait Islander social justice commissioner to assume responsibility for the implementation of the recommendations. While the government expressed support for this motion, there has been no progress.
Another mechanism for change would be for governments to report back on recommendations made by coroners in relation to deaths in custody. Almost 600 inquests have issued a large repository of recommendations, many of which have been shelved.
Leadership lacking?
Prime Minister Anthony Albanese recently conceded no government has “done well enough” to reduce Aboriginal deaths in custody. But he has rejected calls for an intervention in the Northern Territory justice system:
I need to be convinced that people in Canberra know better than people in the Northern Territory about how to deal with these issues.
Albanese is ignoring the essence of what is driving deaths in custody.
Reflecting on the 25-year anniversary of the royal commission in 2016, criminology professor Chris Cunneen wrote that Australia had become much less compassionate and more ready to blame individuals for their alleged failings:
Nowhere is this more clear than in our desire for punishment. A harsh criminal justice system – in particular, more prisons and people behind bars – has apparently become a hallmark of good government.
There are too many First Nations deaths in custody because there are too many First Nations people in custody in the first place.
At the time of the royal commission, 14% of the prison population was First Nations. Today, it’s 36%, even though Indigenous people make up just 3.8% of Australia’s overall population.
Governments across the country have expanded law and order practices, police forces and prisons in the name of community safety.
This includes a recent $1.5 billion public order plan to expand policing in the Northern Territory. Such agendas impose a distinct lack of safety on First Nations people, who bear the brunt of such policies. It also instils a message that social issues can only be addressed by punitive and coercive responses.
The royal commission showed us there is another way: self-determination and stamping out opportunities for racist and violent policing. First Nations families have campaigned for these issues for decades.
How many more Indigenous deaths in custody does there have to be before we listen?
Thalia Anthony receives funding from the Australian Research Council.
Eddie is an Independent Representative on the Justice Policy Partnership under the Closing the Gap Agreement.
OMA SAVINGS BANK PLC, STOCK EXCHANGE RELEASE, 15 JUNE 2025 AT 21:55 P.M. EET, INSIDE INFORMATION
Inside information, negative profit warning –Oma Savings Bank Plc lowers its earnings guidance for 2025
Oma Savings Bank Plc (OmaSp or Company) lowers its earnings guidance for 2025 as the company’s cost level is expected to remain high throughout the 2025 financial year due to investments in risk management and quality processes, increased headcount, and efforts to address the findings of the Financial Supervisory Authority’s inspection. In addition, the update to the ECL model implemented during the first quarter has increased the level of credit loss provisions more than anticipated. Furthermore, fee and commission income is expected to grow more slowly than anticipated in the prevailing economic environment. OmaSp estimates that the Group’s comparable profit before taxes is EUR 50-65 million for the financial year 2025.
New business outlook and earnings guidance for 2025 are as follows (updated 15 June 2025):
The outlook for the Company’s business for the financial year 2025 is affected by the decline in market interest rates and the continued high level of costs due to IT investments and system improvements required by risk management and quality processes. In addition, the Company continues to invest in customer experience on different channels. The uncertainty of the operating environment and economic situation affects the development of balance sheet items and comparable profit for the financial year 2025.
Oma Savings Bank Plc provides earnings guidance on comparable profit before taxes for 2025. Earnings guidance is based on the forecast for the entire year, which takes into account the current market and business situation. Forecasts are based on the management’s insight into the Group’s business development.
We estimate the Group’s comparable profit before taxes to be EUR 50–65 million for the financial year 2025 (comparable profit before taxes was EUR 86.7 million in the financial year 2024).
Previous business outlook and earnings guidance (published 5 May 2025):
The outlook for the Company’s business for the financial year 2025 is affected by the decline in market interest rates and the continued high level of costs due to IT investments and system improvements required by risk management and quality processes. In addition, the Company continues to invest in customer experience on different channels. The uncertainty of the operating environment and economic situation affects the development of balance sheet items and comparable profit for the financial year 2025.
Oma Savings Bank Plc provides earnings guidance on comparable profit before taxes for 2025. Earnings guidance is based on the forecast for the entire year, which takes into account the current market and business situation. Forecasts are based on the management’s insight into the Group’s business development.
We estimate the Group’s comparable profit before taxes to be EUR 65–80 million for the financial year 2025, with a clarification that the figure is expected to be below the mid-point of the range (comparable profit before taxes was EUR 86.7 million in the financial year 2024).
DISTRIBUTION: Nasdaq Helsinki Ltd Major media www.omasp.fi
OmaSp is a solvent and profitable Finnish bank. About 600 professionals provide nationwide services through OmaSp’s 48 branch offices and digital service channels to over 200,000 private and corporate customers. OmaSp focuses primarily on retail banking operations and provides its clients with a broad range of banking services both through its own balance sheet as well as by acting as an intermediary for its partners’ products. The intermediated products include credit, investment and loan insurance products. OmaSp is also engaged in mortgage banking operations.
OmaSp core idea is to provide personal service and to be local and close to its customers, both in digital and traditional channels. OmaSp strives to offer premium level customer experience through personal service and easy accessibility. In addition, the development of the operations and services is customer-oriented. The personnel is committed and OmaSp seeks to support their career development with versatile tasks and continuous development. A substantial part of the personnel also own shares in OmaSp.
NEW YORK, June 15, 2025 (GLOBE NEWSWIRE) — Monteverde & Associates PC (the “M&A Class Action Firm”), has recovered millions of dollars for shareholders and is recognized as a Top 50 Firm in the 2024 ISS Securities Class Action Services Report. We are headquartered at the Empire State Building in New York City and are investigating:
Servotronics, Inc. (NYSE:SVT), relating to the proposed merger with TransDigm Group Incorporated. Under the terms of the agreement, a subsidiary of TransDigm will commence a tender offer to acquire all the outstanding shares of Servotronics for $38.50 per share in cash.
Southern States Bancshares, Inc. (NASDAQ:SSBK), relating to the proposed merger with FB Financial Corporation. Under the terms of the agreement, Southern States’ shareholders will receive 0.800 shares of FB Financial common stock for each share of Southern States stock.
ACT NOW. The Shareholder Vote is scheduled for June 26, 2025.
LENSAR, Inc. (NASDAQ:LNSR), relating to the proposed merger with Alcon. Under the terms of the agreement, LENSAR shareholders will receive $14.00 per share, with an additional non-tradeable contingent value right offering up to $2.75 per share in cash conditioned on the achievement of certain milestones.
ACT NOW. The Shareholder Vote is scheduled for July 2, 2025.
iCAD, Inc. (NASDAQ:ICAD), relating to the proposed merger with RadNet, Inc. Under the terms of the agreement, iCAD stockholders will receive 0.0677 shares of RadNet common stock for each share of iCAD common stock held at the closing of the merger.
ACT NOW. The Shareholder Vote is scheduled for July 14, 2025.
NOT ALL LAW FIRMS ARE THE SAME. Before you hire a law firm, you should talk to a lawyer and ask:
Do you file class actions and go to Court?
When was the last time you recovered money for shareholders?
What cases did you recover money in and how much?
About Monteverde & Associates PC
Our firm litigates and has recovered money for shareholders…and we do it from our offices in the Empire State Building. We are a national class action securities firm with a successful track record in trial and appellate courts, including the U.S. Supreme Court.
No company, director or officer is above the law. If you own common stock in any of the above listed companies and have concerns or wish to obtain additional information free of charge, please visit our website or contact Juan Monteverde, Esq. either via e-mail at jmonteverde@monteverdelaw.com or by telephone at (212) 971-1341.
Contact: Juan Monteverde, Esq. MONTEVERDE & ASSOCIATES PC The Empire State Building 350 Fifth Ave. Suite 4740 New York, NY 10118 United States of America jmonteverde@monteverdelaw.com Tel: (212) 971-1341
Attorney Advertising. (C) 2025 Monteverde & Associates PC. The law firm responsible for this advertisement is Monteverde & Associates PC (www.monteverdelaw.com). Prior results do not guarantee a similar outcome with respect to any future matter.
NEW YORK, June 15, 2025 (GLOBE NEWSWIRE) — Monteverde & Associates PC (the “M&A Class Action Firm”), has recovered millions of dollars for shareholders and is recognized as a Top 50 Firm in the 2024 ISS Securities Class Action Services Report. We are headquartered at the Empire State Building in New York City and are investigating:
Servotronics, Inc. (NYSE:SVT), relating to the proposed merger with TransDigm Group Incorporated. Under the terms of the agreement, a subsidiary of TransDigm will commence a tender offer to acquire all the outstanding shares of Servotronics for $38.50 per share in cash.
Southern States Bancshares, Inc. (NASDAQ:SSBK), relating to the proposed merger with FB Financial Corporation. Under the terms of the agreement, Southern States’ shareholders will receive 0.800 shares of FB Financial common stock for each share of Southern States stock.
ACT NOW. The Shareholder Vote is scheduled for June 26, 2025.
LENSAR, Inc. (NASDAQ:LNSR), relating to the proposed merger with Alcon. Under the terms of the agreement, LENSAR shareholders will receive $14.00 per share, with an additional non-tradeable contingent value right offering up to $2.75 per share in cash conditioned on the achievement of certain milestones.
ACT NOW. The Shareholder Vote is scheduled for July 2, 2025.
iCAD, Inc. (NASDAQ:ICAD), relating to the proposed merger with RadNet, Inc. Under the terms of the agreement, iCAD stockholders will receive 0.0677 shares of RadNet common stock for each share of iCAD common stock held at the closing of the merger.
ACT NOW. The Shareholder Vote is scheduled for July 14, 2025.
NOT ALL LAW FIRMS ARE THE SAME. Before you hire a law firm, you should talk to a lawyer and ask:
Do you file class actions and go to Court?
When was the last time you recovered money for shareholders?
What cases did you recover money in and how much?
About Monteverde & Associates PC
Our firm litigates and has recovered money for shareholders…and we do it from our offices in the Empire State Building. We are a national class action securities firm with a successful track record in trial and appellate courts, including the U.S. Supreme Court.
No company, director or officer is above the law. If you own common stock in any of the above listed companies and have concerns or wish to obtain additional information free of charge, please visit our website or contact Juan Monteverde, Esq. either via e-mail at jmonteverde@monteverdelaw.com or by telephone at (212) 971-1341.
Contact: Juan Monteverde, Esq. MONTEVERDE & ASSOCIATES PC The Empire State Building 350 Fifth Ave. Suite 4740 New York, NY 10118 United States of America jmonteverde@monteverdelaw.com Tel: (212) 971-1341
Attorney Advertising. (C) 2025 Monteverde & Associates PC. The law firm responsible for this advertisement is Monteverde & Associates PC (www.monteverdelaw.com). Prior results do not guarantee a similar outcome with respect to any future matter.
Class Action AttorneyJuan MonteverdewithMonteverde & Associates PC (the “M&A Class Action Firm”), has recovered millions of dollars for shareholders and is recognized as a Top 50 Firm in the 2024 ISS Securities Class Action Services Report. The firm is headquartered at the Empire State Building in New York City and is investigating Blueprint Medicines Corporation (NASDAQ: BPMC) related to it sale to Sanofi. Under the terms of the proposed transaction, Sanofi will pay $129.00 per share in cash at closing, and Blueprint shareholders also will receive one non-tradeable contingent value right (CVR) entitling the holder to receive two potential milestone payments of $2.00 and $4.00 per CVR for the achievement, respectively, of future development and regulatory milestones for BLU-808. Is it a fair deal?
NOT ALL LAW FIRMS ARE EQUAL. Before you hire a law firm, you should talk to a lawyer and ask:
Do you file class actions and go to Court?
When was the last time you recovered money for shareholders?
What cases did you recover money in and how much?
About Monteverde & Associates PC
Our firm litigates and has recovered money for shareholders…and we do it from our offices in the Empire State Building. We are a national class action securities firm with a successful track record in trial and appellate courts, including the U.S. Supreme Court.
No one is above the law. If you own common stock in the above listed company and have concerns or wish to obtain additional information free of charge, please visit our website or contact Juan Monteverde, Esq. either via e-mail at jmonteverde@monteverdelaw.com or by telephone at (212) 971-1341.
Contact: Juan Monteverde, Esq. MONTEVERDE & ASSOCIATES PC The Empire State Building 350 Fifth Ave. Suite 4740 New York, NY 10118 United States of America jmonteverde@monteverdelaw.com Tel: (212) 971-1341
Attorney Advertising. (C) 2025 Monteverde & Associates PC. The law firm responsible for this advertisement is Monteverde & Associates PC (www.monteverdelaw.com). Prior results do not guarantee a similar outcome with respect to any future matter.
The Department of Sport, Arts and Culture (DSAC) has issued a final call to South Africa’s creative community, including artists, industry bodies, and cultural organisations, to submit their most outstanding work for consideration in the 2025 National Arts and Culture Awards (NACA).
The closing date for submissions is 20 June 2025.
Now in its second year, the NACA Awards, previously known as the Cultural and Creative Industry Awards, shine a national spotlight on the creators, innovators, and visionaries who push boundaries and shape South Africa’s cultural identity.
Whether you work as a filmmaker, dancer, designer, curator, musician, writer, or performer, this is your stage.
Minister of Sport, Arts and Culture, Gayton McKenzie, said the NACA Awards are more than recognition, “they are a reflection of who we are as a people.”
“We urge the sector to submit their finest work, not just to compete, but to inspire. Share your most thoughtful, impactful, and meaningful creations, works that capture the spirit of our nation and contribute to South Africa’s creative landscape.
“If you’ve been waiting for the right moment, this is your time to share your brilliance with the country,” McKenzie said.
The 2025 NACA Awards will feature 30 honours across six major categories, and these include:
Heritage Sites
Visual Arts and Crafts
Literary Works
Audio Visual and Interactive Media
Design and Creative Services
Performing Arts
In addition, the Ministerial (Discretionary) Awards will be conferred at the Minister’s discretion and do not require nominations.
Key eligibility criteria are as follows:
Open to South African citizens, permanent residents, and locally owned entities
Works must be professional and have been created or released between 1 April 2024 and 31 March 2025
Entries must be submitted online at www.naca.dsac.gov.za. Each submission should include all required documentation and media samples. Incomplete entries will not be considered.-SAnews.gov.za
Source: The Conversation – Africa – By Kim Gurney, Senior Researcher, Centre for Humanities Research — Platform: SA-UK Bilateral Digital Humanities Chair in Culture & Technics, University of the Western Cape
Independent art spaces are collectives of artists (and others) who club together to set up a communal space – often in former industrial sites and more affordable parts of the city – to further their practice. These spaces are DIY art institutions, if you like, that operate largely under the radar. In art world lingo, “offspaces”.
Designed for purpose over profit, they encourage experimental work and creative risk-taking. They also favour art in public space, which provides an intriguing lens on the city.
My Africa-wideresearch took me to five such spaces, each at least 10 years old, so that I could learn their secret sauce of sustainability. I found it’s largely about shapeshifting, a capacity for constant reinvention. The key ingredient is artistic thinking, made up of five key principles highlighted in the examples below.
Offspaces are found everywhere but have notably grown across Africa over the past couple of decades, along with fast-changing cities and a resurgent art scene. One big picture point is crucial, and that’s about urbanisation. Globally, more and more people are moving to cities and most of them are young – by 2050, one in three young people in the world will be of African origin and the continent will be largely urban.
There can be a lack of imagination about what all this means and that’s where artists come in. They offer new ideas to help build the world we want to live in, rather than reinforce the one we already have.
Offspaces in Africa have to navigate prevailing uncertainty, which is a daily reality for most people living in cities. In response, artists band together to build their own pseudo institutions, bit by bit. These self-made pathways offer useful navigational tactics for others – or “panya routes”, as Kenyans call the trails that motorbike taxis invent.
The spaces I visited were all moving away from reliance on foreign donor funding (given little or no state support) towards a hybrid model that blends with local philanthropy, collaborative economies and self-generated income schemes. They also want to own their own land and hold assets so that they can think about the future.
1. The GoDown Arts Centre – Nairobi, Kenya
Murals at the former GoDown (2010), currently being rebuilt. Katy Fentress/Flickr, CC BY-NC-SA
The GoDown Arts Centre was established in 2003. Previously a large compound of repurposed warehouses (“godowns”) in Nairobi’s industrial area, right now it’s a construction site as it morphs into an iconic cultural hub. GoDown 2.0 is a multipurpose vision that works at different scales, like a fractal. There will be a large, welcoming facade leading into a semi-public section for music and dance, with artist studios at the heart. Plus galleries, library, museum, auditorium, offices, hotel, a restaurant, conference facilities and parking.
Its rebuild is a great example of how artists create public space: in phases. It follows a radical “design-with-people” approach, starting with years of input from all directions to reconsider the building and its relationship to the city.
This ground-up ethos of horizontality, the first key principle, also shapes its signature event, an annual public arts festival called Nai Ni Who? (Who is Nairobi?). Local residents are the curators, and the everyday city is the artwork. Participants are taken around neighbourhoods on foot to experience the good, the bad, and the possibilities. These grounded insights also inform ongoing engagements GoDown has with policymakers about the shape of a future Nairobi.
2. ANO Institute – Accra, Ghana
ANO, established in 2002, repurposed a former workshop for car repairs into a gallery, after starting life in a public park. On the other side of the road, opposite the gallery, stood its office, residency space and growing library.
Most intriguingly, a striking rectilinear structure was positioned alongside. This Mobile Museum mimics the trading kiosks that line every street. Many are also shapeshifters: kindergarten by day, church by night, for example.
ANO’s empty museum, collapsible and see-through, went on a countrywide adventure in 2018 and 2019, asking people to imagine its contents, and later revisited with the results. It signalled a larger and ongoing effort, Future Museum, to find a more relevant exhibition form that’s alive to the fluid way culture is threaded here into everyday life.
ANO demonstrates the second principle of performativity – that is, not only saying things with art but doing things too. More recently, it rebuilt on a new site in central Accra, designed by 87-year-old Ophelia Akiwumi, entirely from raffia palm in a focus on indigenous knowledge systems.
3. Townhouse Gallery – Cairo, Egypt
I visited Townhouse just after it reclaimed its inner-city premises following a partial physical collapse. But this turned out to be a false restart. It closed for good not long after, citing a complex brew of factors that ended 21 years of various battles and resurrections. That it survived so long – from 1998 until 2019 – is remarkable for an offspace.
Part of the reason was its solidarity networks, including with neighbourhood communities – mostly mechanic shops and other artisanal trades who even helped Townhouse rebuild. In its heyday, Townhouse comprised an art gallery, library, theatre and performance venue, and notably hatched other spaces.
The latest rose like a phoenix from its ashes – Access Art Space, which reanimates the same physical space with visual art exhibitions. The legacy of Townhouse is the third principle of elasticity – responding nimbly to constant flux but also being able to refuse impossible conditions with “the right no” (a necessary response in certain situations).
4. ZOMA Museum – Addis Ababa, Ethiopia
ZOMA Museum has also lived many lives. Starting small, its roots were in a three-day public arts festival called Giziawi #1 (Temporary). It comprised performances and exhibitions across the city but focused on Meskel Square, a key public space.
Zoma Contemporary Art Centre grew out of that in 2002, followed in 2019 by Zoma Museum when its co-founders bought a plot of polluted land. Its rehabilitation into an ecological haven has become a case study in sustainable architecture.
Zoma is built by local artisans from mud and straw using indigenous technologies going back centuries. Yet its elegant buildings look futuristic. Zoma is all about the fourth principle of convergence – the past, present and future all happening at once. It’s also about doing multiple things, like running Zoma School, an inherited kindergarten. The land is part of the curriculum.
Just a year after it opened, Zoma spawned yet another life, an offshoot in a newly opened park blending nature with culture and recreation.
5. Nafasi Art Space – Dar es Salaam, Tanzania
Nafasi is Swahili for opportunity or chance, which fittingly describes the workings of Nafasi Art Space, established in 2008 – that is, second chance. This fifth and final principle of artistic thinking means giving materials, people and situations another go.
A good example of this is Nafasi’s new art school, built using repurposed shipping containers, like the rest of its premises – artist studios, a spacious gallery and performance arena. In the 2022 academy cohort, a general practice lawyer and an accountant were learning alongside artists, with a biologist at the helm.
Nafasi Art Academy cites the city’s biggest local market, Kariakoo, as design reference, particularly its distinctive elevated canopy and swirling stairwell. The curriculum also takes local context as a starting point, structured in themes to answer community-led questions. Its key function, like all the other offspaces, is storytelling. And the story it tells best is about institution-building as art.
The research behind this article was supported by the South African Research Chair in Urban Policy at UCT’s African Centre for Cities, where the author was previously affiliated.
Source: The Conversation – Africa – By Kim Gurney, Senior Researcher, Centre for Humanities Research — Platform: SA-UK Bilateral Digital Humanities Chair in Culture & Technics, University of the Western Cape
Independent art spaces are collectives of artists (and others) who club together to set up a communal space – often in former industrial sites and more affordable parts of the city – to further their practice. These spaces are DIY art institutions, if you like, that operate largely under the radar. In art world lingo, “offspaces”.
Designed for purpose over profit, they encourage experimental work and creative risk-taking. They also favour art in public space, which provides an intriguing lens on the city.
My Africa-wideresearch took me to five such spaces, each at least 10 years old, so that I could learn their secret sauce of sustainability. I found it’s largely about shapeshifting, a capacity for constant reinvention. The key ingredient is artistic thinking, made up of five key principles highlighted in the examples below.
Offspaces are found everywhere but have notably grown across Africa over the past couple of decades, along with fast-changing cities and a resurgent art scene. One big picture point is crucial, and that’s about urbanisation. Globally, more and more people are moving to cities and most of them are young – by 2050, one in three young people in the world will be of African origin and the continent will be largely urban.
There can be a lack of imagination about what all this means and that’s where artists come in. They offer new ideas to help build the world we want to live in, rather than reinforce the one we already have.
Offspaces in Africa have to navigate prevailing uncertainty, which is a daily reality for most people living in cities. In response, artists band together to build their own pseudo institutions, bit by bit. These self-made pathways offer useful navigational tactics for others – or “panya routes”, as Kenyans call the trails that motorbike taxis invent.
The spaces I visited were all moving away from reliance on foreign donor funding (given little or no state support) towards a hybrid model that blends with local philanthropy, collaborative economies and self-generated income schemes. They also want to own their own land and hold assets so that they can think about the future.
1. The GoDown Arts Centre – Nairobi, Kenya
Murals at the former GoDown (2010), currently being rebuilt. Katy Fentress/Flickr, CC BY-NC-SA
The GoDown Arts Centre was established in 2003. Previously a large compound of repurposed warehouses (“godowns”) in Nairobi’s industrial area, right now it’s a construction site as it morphs into an iconic cultural hub. GoDown 2.0 is a multipurpose vision that works at different scales, like a fractal. There will be a large, welcoming facade leading into a semi-public section for music and dance, with artist studios at the heart. Plus galleries, library, museum, auditorium, offices, hotel, a restaurant, conference facilities and parking.
Its rebuild is a great example of how artists create public space: in phases. It follows a radical “design-with-people” approach, starting with years of input from all directions to reconsider the building and its relationship to the city.
This ground-up ethos of horizontality, the first key principle, also shapes its signature event, an annual public arts festival called Nai Ni Who? (Who is Nairobi?). Local residents are the curators, and the everyday city is the artwork. Participants are taken around neighbourhoods on foot to experience the good, the bad, and the possibilities. These grounded insights also inform ongoing engagements GoDown has with policymakers about the shape of a future Nairobi.
2. ANO Institute – Accra, Ghana
ANO, established in 2002, repurposed a former workshop for car repairs into a gallery, after starting life in a public park. On the other side of the road, opposite the gallery, stood its office, residency space and growing library.
Most intriguingly, a striking rectilinear structure was positioned alongside. This Mobile Museum mimics the trading kiosks that line every street. Many are also shapeshifters: kindergarten by day, church by night, for example.
ANO’s empty museum, collapsible and see-through, went on a countrywide adventure in 2018 and 2019, asking people to imagine its contents, and later revisited with the results. It signalled a larger and ongoing effort, Future Museum, to find a more relevant exhibition form that’s alive to the fluid way culture is threaded here into everyday life.
ANO demonstrates the second principle of performativity – that is, not only saying things with art but doing things too. More recently, it rebuilt on a new site in central Accra, designed by 87-year-old Ophelia Akiwumi, entirely from raffia palm in a focus on indigenous knowledge systems.
3. Townhouse Gallery – Cairo, Egypt
I visited Townhouse just after it reclaimed its inner-city premises following a partial physical collapse. But this turned out to be a false restart. It closed for good not long after, citing a complex brew of factors that ended 21 years of various battles and resurrections. That it survived so long – from 1998 until 2019 – is remarkable for an offspace.
Part of the reason was its solidarity networks, including with neighbourhood communities – mostly mechanic shops and other artisanal trades who even helped Townhouse rebuild. In its heyday, Townhouse comprised an art gallery, library, theatre and performance venue, and notably hatched other spaces.
The latest rose like a phoenix from its ashes – Access Art Space, which reanimates the same physical space with visual art exhibitions. The legacy of Townhouse is the third principle of elasticity – responding nimbly to constant flux but also being able to refuse impossible conditions with “the right no” (a necessary response in certain situations).
4. ZOMA Museum – Addis Ababa, Ethiopia
ZOMA Museum has also lived many lives. Starting small, its roots were in a three-day public arts festival called Giziawi #1 (Temporary). It comprised performances and exhibitions across the city but focused on Meskel Square, a key public space.
Zoma Contemporary Art Centre grew out of that in 2002, followed in 2019 by Zoma Museum when its co-founders bought a plot of polluted land. Its rehabilitation into an ecological haven has become a case study in sustainable architecture.
Zoma is built by local artisans from mud and straw using indigenous technologies going back centuries. Yet its elegant buildings look futuristic. Zoma is all about the fourth principle of convergence – the past, present and future all happening at once. It’s also about doing multiple things, like running Zoma School, an inherited kindergarten. The land is part of the curriculum.
Just a year after it opened, Zoma spawned yet another life, an offshoot in a newly opened park blending nature with culture and recreation.
5. Nafasi Art Space – Dar es Salaam, Tanzania
Nafasi is Swahili for opportunity or chance, which fittingly describes the workings of Nafasi Art Space, established in 2008 – that is, second chance. This fifth and final principle of artistic thinking means giving materials, people and situations another go.
A good example of this is Nafasi’s new art school, built using repurposed shipping containers, like the rest of its premises – artist studios, a spacious gallery and performance arena. In the 2022 academy cohort, a general practice lawyer and an accountant were learning alongside artists, with a biologist at the helm.
Nafasi Art Academy cites the city’s biggest local market, Kariakoo, as design reference, particularly its distinctive elevated canopy and swirling stairwell. The curriculum also takes local context as a starting point, structured in themes to answer community-led questions. Its key function, like all the other offspaces, is storytelling. And the story it tells best is about institution-building as art.
The research behind this article was supported by the South African Research Chair in Urban Policy at UCT’s African Centre for Cities, where the author was previously affiliated.
Source: The Conversation – Africa – By Kim Gurney, Senior Researcher, Centre for Humanities Research — Platform: SA-UK Bilateral Digital Humanities Chair in Culture & Technics, University of the Western Cape
Independent art spaces are collectives of artists (and others) who club together to set up a communal space – often in former industrial sites and more affordable parts of the city – to further their practice. These spaces are DIY art institutions, if you like, that operate largely under the radar. In art world lingo, “offspaces”.
Designed for purpose over profit, they encourage experimental work and creative risk-taking. They also favour art in public space, which provides an intriguing lens on the city.
My Africa-wideresearch took me to five such spaces, each at least 10 years old, so that I could learn their secret sauce of sustainability. I found it’s largely about shapeshifting, a capacity for constant reinvention. The key ingredient is artistic thinking, made up of five key principles highlighted in the examples below.
Offspaces are found everywhere but have notably grown across Africa over the past couple of decades, along with fast-changing cities and a resurgent art scene. One big picture point is crucial, and that’s about urbanisation. Globally, more and more people are moving to cities and most of them are young – by 2050, one in three young people in the world will be of African origin and the continent will be largely urban.
There can be a lack of imagination about what all this means and that’s where artists come in. They offer new ideas to help build the world we want to live in, rather than reinforce the one we already have.
Offspaces in Africa have to navigate prevailing uncertainty, which is a daily reality for most people living in cities. In response, artists band together to build their own pseudo institutions, bit by bit. These self-made pathways offer useful navigational tactics for others – or “panya routes”, as Kenyans call the trails that motorbike taxis invent.
The spaces I visited were all moving away from reliance on foreign donor funding (given little or no state support) towards a hybrid model that blends with local philanthropy, collaborative economies and self-generated income schemes. They also want to own their own land and hold assets so that they can think about the future.
1. The GoDown Arts Centre – Nairobi, Kenya
Murals at the former GoDown (2010), currently being rebuilt.Katy Fentress/Flickr, CC BY-NC-SA
The GoDown Arts Centre was established in 2003. Previously a large compound of repurposed warehouses (“godowns”) in Nairobi’s industrial area, right now it’s a construction site as it morphs into an iconic cultural hub. GoDown 2.0 is a multipurpose vision that works at different scales, like a fractal. There will be a large, welcoming facade leading into a semi-public section for music and dance, with artist studios at the heart. Plus galleries, library, museum, auditorium, offices, hotel, a restaurant, conference facilities and parking.
Its rebuild is a great example of how artists create public space: in phases. It follows a radical “design-with-people” approach, starting with years of input from all directions to reconsider the building and its relationship to the city.
This ground-up ethos of horizontality, the first key principle, also shapes its signature event, an annual public arts festival called Nai Ni Who? (Who is Nairobi?). Local residents are the curators, and the everyday city is the artwork. Participants are taken around neighbourhoods on foot to experience the good, the bad, and the possibilities. These grounded insights also inform ongoing engagements GoDown has with policymakers about the shape of a future Nairobi.
2. ANO Institute – Accra, Ghana
ANO Institute’s Mobile Museum in Accra.Kim Gurney
ANO, established in 2002, repurposed a former workshop for car repairs into a gallery, after starting life in a public park. On the other side of the road, opposite the gallery, stood its office, residency space and growing library.
Most intriguingly, a striking rectilinear structure was positioned alongside. This Mobile Museum mimics the trading kiosks that line every street. Many are also shapeshifters: kindergarten by day, church by night, for example.
ANO’s empty museum, collapsible and see-through, went on a countrywide adventure in 2018 and 2019, asking people to imagine its contents, and later revisited with the results. It signalled a larger and ongoing effort, Future Museum, to find a more relevant exhibition form that’s alive to the fluid way culture is threaded here into everyday life.
ANO demonstrates the second principle of performativity – that is, not only saying things with art but doing things too. More recently, it rebuilt on a new site in central Accra, designed by 87-year-old Ophelia Akiwumi, entirely from raffia palm in a focus on indigenous knowledge systems.
3. Townhouse Gallery – Cairo, Egypt
Townhouse Gallery in 2019, exhibiting paintings by Imane Ibrahim.Kim Gurney
I visited Townhouse just after it reclaimed its inner-city premises following a partial physical collapse. But this turned out to be a false restart. It closed for good not long after, citing a complex brew of factors that ended 21 years of various battles and resurrections. That it survived so long – from 1998 until 2019 – is remarkable for an offspace.
Part of the reason was its solidarity networks, including with neighbourhood communities – mostly mechanic shops and other artisanal trades who even helped Townhouse rebuild. In its heyday, Townhouse comprised an art gallery, library, theatre and performance venue, and notably hatched other spaces.
The latest rose like a phoenix from its ashes – Access Art Space, which reanimates the same physical space with visual art exhibitions. The legacy of Townhouse is the third principle of elasticity – responding nimbly to constant flux but also being able to refuse impossible conditions with “the right no” (a necessary response in certain situations).
4. ZOMA Museum – Addis Ababa, Ethiopia
One of Zoma Museum’s buildings crafted by local artisans using time-honoured building techniques.Kim Gurney
ZOMA Museum has also lived many lives. Starting small, its roots were in a three-day public arts festival called Giziawi #1 (Temporary). It comprised performances and exhibitions across the city but focused on Meskel Square, a key public space.
Zoma Contemporary Art Centre grew out of that in 2002, followed in 2019 by Zoma Museum when its co-founders bought a plot of polluted land. Its rehabilitation into an ecological haven has become a case study in sustainable architecture.
Zoma is built by local artisans from mud and straw using indigenous technologies going back centuries. Yet its elegant buildings look futuristic. Zoma is all about the fourth principle of convergence – the past, present and future all happening at once. It’s also about doing multiple things, like running Zoma School, an inherited kindergarten. The land is part of the curriculum.
Just a year after it opened, Zoma spawned yet another life, an offshoot in a newly opened park blending nature with culture and recreation.
5. Nafasi Art Space – Dar es Salaam, Tanzania
The classroom at Nafasi’s self-built art school in Dar es Salaam.Kim Gurney
Nafasi is Swahili for opportunity or chance, which fittingly describes the workings of Nafasi Art Space, established in 2008 – that is, second chance. This fifth and final principle of artistic thinking means giving materials, people and situations another go.
A good example of this is Nafasi’s new art school, built using repurposed shipping containers, like the rest of its premises – artist studios, a spacious gallery and performance arena. In the 2022 academy cohort, a general practice lawyer and an accountant were learning alongside artists, with a biologist at the helm.
Nafasi Art Academy cites the city’s biggest local market, Kariakoo, as design reference, particularly its distinctive elevated canopy and swirling stairwell. The curriculum also takes local context as a starting point, structured in themes to answer community-led questions. Its key function, like all the other offspaces, is storytelling. And the story it tells best is about institution-building as art.
– 5 indie art spaces in African cities worth knowing more about – https://theconversation.com/5-indie-art-spaces-in-african-cities-worth-knowing-more-about-258009
Source: People’s Republic of China in Russian – People’s Republic of China in Russian –
Source: People’s Republic of China – State Council News
NEW DELHI, June 15 (Xinhua) — Seven people, including two children, a pilot and four male passengers, were killed when a private helicopter crashed in India’s northern Uttarakhand state early Sunday, a senior state government official said.
The helicopter, owned by private company Aryan Aviation, was flying from Kedarnath, a famous Hindu pilgrimage site, to Guptkashi district.
Kedarnath-Guptkashi is a 7km stretch of jungle. Television footage shows smoke billowing from the wreckage of a crashed helicopter.
Spokesman Vinay Shankar Pandey said: “As per initial reports and eyewitness accounts, there is no hope that anyone survived the crash.”
He added that teams from the National Disaster Response Force and the state disaster response force had been dispatched to the crash site. -0-
Port Moresby (Agenzia Fides) – The canonization of Peter To Rot, the first Saint of Papua New Guinea, represents “a moment of joy and pride for all missionaries” in Oceania, as it confirms that “their sacrifice, commitment, and dedication have borne and continue to bear fruit.” This was stated to Fides by Father Christian Sieland, National Director of the Pontifical Mission Societies (PMS) in Papua New Guinea, following the official announcement of the canonization date of Peter To Rot, the first Saint of Papua New Guinea (see Fides, 31/3/2025).Peter To Rot, a layman and catechist, died in prison in 1945 after being arrested by the Japanese who had occupied the island during the Second World War – in 1945. His figure, says the director of the PMS, “can be an inspiration for the universal Church, because he profoundly embodied the teachings of Christ.” The PMS director also describes how the country’s Catholic communities are preparing spiritually to experience this moment of faith. In particular, he emphasizes the value for catechists – a key figure in transmitting the faith in Papua – of seeing one of their own recognized as a saint: “Without catechists, Papua could not be considered a Christian nation today,” he states.How is the Catholic community experiencing this announcement?The Catholic community is experiencing this announcement with great joy and excitement. For many years the faithful in Papua New Guinea have been praying for the canonization of Blessed Peter To Rot. In countries like Italy, Poland or Spain people regularly experience the canonization of one of their fellow countryman or woman and over time this news no longer arouses the same enthusiasm. However, for our country PNG, a very young Christian nation, the canonization of Blessed Peter ToRot is a historic moment because he is our first local saint. Even for the entire Pacific Region Blessed Peter ToRot has become a hero of faith and a role model whose life and virtues have become the source of inspiration for many generations. So we are all looking forward with great joy and excitement to the canonization of our first local saint.What does the canonization of To Rot mean for the missionaries on the island?The canonization of Blessed Peter ToRot is also a great moment of joy for all our missionaries. In less than 150 years, from the pioneer missionaries to the current ones that are still active today, the missionaries have followed Christ’s great commission to go out into the world and make disciples of all nations, baptizing them in the name of the Father, the Son and of the Holy Spirit, and above all instructing our people to observe the teachings of Christ. Blessed Peter ToRot was martyred less than 50-60 after the Gospel was announced for the first time to his Tolai people. His exemplary life as a Christian student, who even considered priesthood, and later his life as a catechist and his commitment to his wife and family in a polygamous society have shown that the sacrifice and dedication of the early missionaries to not only sow the Word but also to form the people to be responsible, conscientious, and virtuous Christians really bore good fruits in the lives of many people. The most outstanding example of such a responsible, conscientious and virtuous man was Blessed Peter ToRot, who embraced the Gospel values and wanted the Light of the Gospel to penetrate and transform his culture, the lives and the hearts of his own people.The canonization of Blessed Peter ToRot is a moment of joy and pride for all our missionaries because it is a proof, that their sacrifice, commitment and dedication has paid off. His canonization means that they did something right. Today PNG is over 90% Christian, even though roughly 1/3 of the percentage is Catholic. We wouldn’t regard ourselves today as a Christian nation, if it was not for the foundational work done by our missionaries.How will the preparations for the ceremony actually take place?Preparations for the ceremony will take place in different ways, depending on the different regions. The most vibrant and joyful celebrations will certainly take place in Rabaul, the home diocese of Blessed Peter ToRot. Now that we know the date of canonization, announced yesterday by Pope Leo XIV we are beginning to arrange programs. In my own parish, we will invite all our catechists from 10 so-called outstations to come to our principal parish church, and we will celebrate together by reflecting on the life of Blessed Peter ToRot, enjoy a common meal together and watch the canonization mass live on TV. The feast of Blessed Peter ToRot which falls on July 7th, will be celebrated by some communities, while others will postpone and combine that feast with the Jubilee of Catechists from September 26th to 28th.What does the Church of Papua New Guinea think about the fact that its first Saint is a catechist?I am not sure what the Church of PNG thinks about its first Saint being a catechist, and not a priest, Bishop or religious. But the general perception is that this is the best thing that could have happened to our church, that a layman and catechist will be proclaimed the first saint our young nation. Our church is first of all a church that has been built and spread thanks to the sacrifice of pioneer catechists, who walked and worked side by side with the first missionaries in the 1890s. Apart from being translators, they were not only catechists teaching catechesis but also teaching basic and general knowledge to a people that never had any written culture. So teaching the letters and the alphabet to a people coming from an oral culture was not an easy task. Often catechists were trained and sent ahead to unknown and unexplored territories to prepare the people for the arrival of the missionaries. Many of those young men remained in the mission territories, were adopted into the tribes, got married and had children, and most of them never returned to the birth places again. Moreover, many of our indigenous priests come from the families of catechists.So to make it short, the canonization of Blessed Peter ToRot, a laymen and catechist, is providential, and reflects also the origin and nature of our local church, which was built upon the sweat and sacrifice of catechists, who were and who remain today indispensable co-workers of all priests throughout our country. Without my 14 catechist, I wouldn’t be able to take care of my large parish composed of 10 communities. I rely on their presence and cooperation in their outstations.Similarly, Peter ToRot became the shepherd of his flock, when all the priests and religious of his time were put in prison camps by the Japanese. He stepped up the be the beacon of faith, hope and love during a time when everyone else was afraid to be a witness of faith. So I am pretty sure, that all our people, religious and laypeople, are happy and proud of the fact, that a catechist will become our first Saint.What can the story of To Rot teach the universal Church?I think Peter ToRot’s story can be an inspiration for the universal Church. Because he embodied the teachings of Christ. He followed Christ, denied himself, took up his cross and lost his life for Christ’s sake. His life and martyrdom is reflected particularly in a passage from the Gospel of Luke, where Peter ToRot had to fight against certain members of his own family, and against his own culture and tradition, even to the point of giving up his life for the sake of Christ. Thus, he was a true disciple of Christ. His story teaches us to have the faith and the courage to stand up in the face of evil and fight against the culture of death that surrounds us today in so many ways. His life teaches us that we should not be afraid of what can kill the body but the soul. (F.B.) (Agenzia Fides, 14/6/2025)
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Port Moresby (Agenzia Fides) – The canonization of Peter To Rot, the first Saint of Papua New Guinea, represents “a moment of joy and pride for all missionaries” in Oceania, as it confirms that “their sacrifice, commitment, and dedication have borne and continue to bear fruit.” This was stated to Fides by Father Christian Sieland, National Director of the Pontifical Mission Societies (PMS) in Papua New Guinea, following the official announcement of the canonization date of Peter To Rot, the first Saint of Papua New Guinea (see Fides, 31/3/2025).Peter To Rot, a layman and catechist, died in prison in 1945 after being arrested by the Japanese who had occupied the island during the Second World War – in 1945. His figure, says the director of the PMS, “can be an inspiration for the universal Church, because he profoundly embodied the teachings of Christ.” The PMS director also describes how the country’s Catholic communities are preparing spiritually to experience this moment of faith. In particular, he emphasizes the value for catechists – a key figure in transmitting the faith in Papua – of seeing one of their own recognized as a saint: “Without catechists, Papua could not be considered a Christian nation today,” he states.How is the Catholic community experiencing this announcement?The Catholic community is experiencing this announcement with great joy and excitement. For many years the faithful in Papua New Guinea have been praying for the canonization of Blessed Peter To Rot. In countries like Italy, Poland or Spain people regularly experience the canonization of one of their fellow countryman or woman and over time this news no longer arouses the same enthusiasm. However, for our country PNG, a very young Christian nation, the canonization of Blessed Peter ToRot is a historic moment because he is our first local saint. Even for the entire Pacific Region Blessed Peter ToRot has become a hero of faith and a role model whose life and virtues have become the source of inspiration for many generations. So we are all looking forward with great joy and excitement to the canonization of our first local saint.What does the canonization of To Rot mean for the missionaries on the island?The canonization of Blessed Peter ToRot is also a great moment of joy for all our missionaries. In less than 150 years, from the pioneer missionaries to the current ones that are still active today, the missionaries have followed Christ’s great commission to go out into the world and make disciples of all nations, baptizing them in the name of the Father, the Son and of the Holy Spirit, and above all instructing our people to observe the teachings of Christ. Blessed Peter ToRot was martyred less than 50-60 after the Gospel was announced for the first time to his Tolai people. His exemplary life as a Christian student, who even considered priesthood, and later his life as a catechist and his commitment to his wife and family in a polygamous society have shown that the sacrifice and dedication of the early missionaries to not only sow the Word but also to form the people to be responsible, conscientious, and virtuous Christians really bore good fruits in the lives of many people. The most outstanding example of such a responsible, conscientious and virtuous man was Blessed Peter ToRot, who embraced the Gospel values and wanted the Light of the Gospel to penetrate and transform his culture, the lives and the hearts of his own people.The canonization of Blessed Peter ToRot is a moment of joy and pride for all our missionaries because it is a proof, that their sacrifice, commitment and dedication has paid off. His canonization means that they did something right. Today PNG is over 90% Christian, even though roughly 1/3 of the percentage is Catholic. We wouldn’t regard ourselves today as a Christian nation, if it was not for the foundational work done by our missionaries.How will the preparations for the ceremony actually take place?Preparations for the ceremony will take place in different ways, depending on the different regions. The most vibrant and joyful celebrations will certainly take place in Rabaul, the home diocese of Blessed Peter ToRot. Now that we know the date of canonization, announced yesterday by Pope Leo XIV we are beginning to arrange programs. In my own parish, we will invite all our catechists from 10 so-called outstations to come to our principal parish church, and we will celebrate together by reflecting on the life of Blessed Peter ToRot, enjoy a common meal together and watch the canonization mass live on TV. The feast of Blessed Peter ToRot which falls on July 7th, will be celebrated by some communities, while others will postpone and combine that feast with the Jubilee of Catechists from September 26th to 28th.What does the Church of Papua New Guinea think about the fact that its first Saint is a catechist?I am not sure what the Church of PNG thinks about its first Saint being a catechist, and not a priest, Bishop or religious. But the general perception is that this is the best thing that could have happened to our church, that a layman and catechist will be proclaimed the first saint our young nation. Our church is first of all a church that has been built and spread thanks to the sacrifice of pioneer catechists, who walked and worked side by side with the first missionaries in the 1890s. Apart from being translators, they were not only catechists teaching catechesis but also teaching basic and general knowledge to a people that never had any written culture. So teaching the letters and the alphabet to a people coming from an oral culture was not an easy task. Often catechists were trained and sent ahead to unknown and unexplored territories to prepare the people for the arrival of the missionaries. Many of those young men remained in the mission territories, were adopted into the tribes, got married and had children, and most of them never returned to the birth places again. Moreover, many of our indigenous priests come from the families of catechists.So to make it short, the canonization of Blessed Peter ToRot, a laymen and catechist, is providential, and reflects also the origin and nature of our local church, which was built upon the sweat and sacrifice of catechists, who were and who remain today indispensable co-workers of all priests throughout our country. Without my 14 catechist, I wouldn’t be able to take care of my large parish composed of 10 communities. I rely on their presence and cooperation in their outstations.Similarly, Peter ToRot became the shepherd of his flock, when all the priests and religious of his time were put in prison camps by the Japanese. He stepped up the be the beacon of faith, hope and love during a time when everyone else was afraid to be a witness of faith. So I am pretty sure, that all our people, religious and laypeople, are happy and proud of the fact, that a catechist will become our first Saint.What can the story of To Rot teach the universal Church?I think Peter ToRot’s story can be an inspiration for the universal Church. Because he embodied the teachings of Christ. He followed Christ, denied himself, took up his cross and lost his life for Christ’s sake. His life and martyrdom is reflected particularly in a passage from the Gospel of Luke, where Peter ToRot had to fight against certain members of his own family, and against his own culture and tradition, even to the point of giving up his life for the sake of Christ. Thus, he was a true disciple of Christ. His story teaches us to have the faith and the courage to stand up in the face of evil and fight against the culture of death that surrounds us today in so many ways. His life teaches us that we should not be afraid of what can kill the body but the soul. (F.B.) (Agenzia Fides, 14/6/2025)
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arlier today, Governor Kathy Hochul participated in the 2025 Buffalo Juneteenth Parade.
B-ROLL of the Governor greeting parade goers is available to stream on YouTube here and TV quality video is available here (h.264, mp4).
VIDEO: The event is available to stream on YouTube here and TV quality video is available here (h.264, mp4).
AUDIO: The Governor’s remarks are available in audio form here.
PHOTOS: The Governor’s Flickr page will post photos of the event here.
A rush transcript of the Governor’s remarks is available below:
Happy Juneteenth everyone. So great to be back in my wonderful hometown of Buffalo, New York. Let’s give it up for Buffalo.
For 160 years, we’ve been acknowledging the liberation from enslaved peoples who had to wait two more years than the rest of the nation for their freedom from President Lincoln after the Emancipation Proclamation. But I ask you here today, what does freedom look like in this country in 2025, all these years later?
Are people still free to live where they want and get the best education for their kids and get the jobs they want? No, there are still institutional barriers to that freedom, and that’s why we stand up against an oppressive government in Washington, and all across our country people are having No Kings parades and events and celebrations.
Today, I’m proud to be here in Buffalo with the real king and queen of our parade. Please stand up. You honor them and no other kings. Frank Merriweather is our Grand Marshall. Let’s give a round of applause to Frank Merriweather, our great Grand Marshall. All the way from New York City, we have the one and only great Attorney General Tish James. Our mayor, Chris Scanlon is here. Let’s give it up for the Mayor. And still doing the people’s work in Albany, but came here for this special event, the Majority Leader of the New York State Assembly, Crystal Peoples-Stokes for an amazing job. Give it up for our Senator, Sean Ryan, has joined us. Senator April Baskin is here. Reverend Dennis Mull, our pastor.
Listen, my friends, today, we celebrate, but we’ll not lose in our hearts and our minds — our 10 brothers and sisters, we lost just three horrible years ago. I remember marching this parade just a few weeks after that blood bath that captivated the world, and they saw what happened when we saw racism and hatred come to a full force right here in our Tops. But just a few weeks later, we stood together, didn’t we?
We stood together and we were strong, and we stood up with this sense of resilience that it defined the people of our country and this nation and this city for 160 years of liberation, and that resilience — that defiant spirit goes on when we are under attack today. So onward and upward, we fight in the names of the ancestors.
Flying high over Buckingham Palace, the Royal Air Force had the pleasure of parading a selection of RAF aircraft to celebrate the Official Birthday of His Majesty King Charles III.
At 13:00 twenty-nine aircraft took to the skies above the crowds on The Mall and over Buckingham Palace, watched over by Their Majesties’ The King and Queen, alongside other members of the Royal family.
The stunning formation was led by four Chinook helicopters from No 18 & 27 Squadrons of RAF Odiham, following the King’s Birthday Parade (Trooping the Colour).
The aircraft came from nine different RAF stations, many of whom flew in the VE80 celebrations in May this year.
It is an enormous privilege to be part of His Majesty The King’s Birthday celebrations, where the Flypast is an opportunity for the Royal Air Force to honour His Majesty The King, our Commander-in-Chief, on the occasion of his Official Birthday.
This year, the flypast will comprise twenty-nine aircraft, including the Battle of Britain Memorial Flight, rotary wing assets from the Joint Aviation Command, training aircraft from No.22 Group and front-line aircraft from across No.1 Group representing the Air Mobility, Combat Air and ISTAR Forces; as always the flypast will conclude with the iconic Red Arrows.”
Air Vice-Marshal Jackson, Air Officer Commanding 1 Gp
The aircraft, whose main purpose is to secure our skies and protect our citizens at home and abroad have a broad range of uses. These include training, air transport, lift capabilities, air-to-air refuelling, maritime, humanitarian missions, and fast jet combat.
It is a great honour to be part of an event that will bolster our national pride, and to be part of something much greater than myself. My role will include coordinating with civil air traffic and assisting the safe passage of all the aircraft back to their bases.”
Wing Commander Andrew Watson, a Typhoon pilot and Officer Commanding 12 Squadron had the task of overseeing the whole flypast. The planning for the whole event has been meticulous over many months. The culmination is the spectacle that was seen by millions of people worldwide.
It is a huge personal honour being Mission Commander and coordinating such an impressive array of aircraft fit for His Majesty The King’s Birthday. I cannot be more impressed by the focus and professionalism of both air and ground crew in bringing this spectacle to life.”
The flypast is also thought to be the first time anywhere in the world that a national aerobatic squadron has switched to both a Sustainable Aviation Fuel (SAF) blend for propulsion and a renewable biofuel – known as Hydrotreated Vegetable Oil (HVO). This is a premium quality fuel, with a chemical structure almost identical to the regular diesel traditionally used by the aerobatic team for its vapour trails.
In addition to reducing its carbon footprint, the move demonstrates the RAF’s commitment to new technology as well as becoming more energy secure and less reliant on fossil fuels.
The event culminated in a spectacular show of red, white and blue from the pilots of the Royal Air Force Aerobatic Team, the Red Arrows.
It is a privilege to be a member of the Red Arrows. To me, the Red Arrows are an icon of the United Kingdom – so knowing that you had a key role to play in them bringing joy and excitement to thousands of people as they fly over the Mall is something I am incredibly proud of.
As head of all engineering and logistics on the team, I am even more proud to lead the amazing and diverse team of over one hundred ‘Blues’ that not only make major flypasts happen, but work tirelessly for twelve months a year, every year, to deliver a colourful and dynamic aerobatic show.
Working with the smoke generation system is the most unique part of the job. The vibrant vapour that we generate is what sets the team apart and so to be the first team in the world to move to a fully sustainable option is really exciting.”
Squadron Leader King Snr Engineering Officer, RAF Aerobatic Team
The aircraft of the Armed Forces have a long and proud history of taking part in this occasion, with the first King’s Birthday Flypast taking place in 1913 and most recently formed part of Their Majesties’ Coronation in 2023 and Her Majesty Queen Elizabeth II’s Platinum Jubilee in 2022.
The flypast has much poignancy for one of the Chinook pilots, Master Aircrew (MACr) Ruffles. The King’s Birthday Flypast was one of MACr Ruffles’ last flights as he leaves the RAF after forty years’ service and nine thousand hours flying with helicopters.
Being part of the King’s Birthday Flypast after forty years of service especially on the 80th anniversary of VE Day is an honour I’ll carry with me for many years to come. It’s been a test of resilience, teamwork and dedication. But through it all, the bond with my fellow crew members, the sense of purpose and the pride in serving at such a high level has made every moment worthwhile.”
Master Aircrew Ruffles 27 Squadron, Chinooks
The King’s Birthday Flypast concluded Trooping the Colour which took place on Horse Guards Parade, a ceremony dating back to the reign of King Charles II, becoming an annual event in 1760. Over 1,400 officers and soldiers form the parade, together with two hundred horses; over four hundred musicians from ten bands and Corps of Drums marched and played in unison.
Source: People’s Republic of China in Russian – People’s Republic of China in Russian –
Source: People’s Republic of China – State Council News
JERUSALEM, June 14 (Xinhua) — Three Israelis were killed and 172 wounded in rocket attacks from Iran on Friday night and Saturday morning, Israeli state-run Kan TV reported.
According to the channel, the two victims, 73-year-old Israel Aloni and 60-year-old Eti Cohen Angel, were killed in a rocket attack on the central city of Rishon LeZion on Saturday. The attack left 27 people injured and several homes severely damaged.
Earlier on Friday evening, another woman was killed in an Iranian strike on a Tel Aviv neighborhood.
Of the injured, one person is in serious condition, 15 were moderately injured, and the rest were lightly injured. According to the Israel Defense Forces (IDF), seven of the wounded are soldiers, all of whom were lightly injured.
Iran fired hundreds of rockets in five barrages, IDF says. –0–
Unlike the Palestinian message, the Israeli message is not global, but very much a localised cry for help — get us out of Gaza.
This is not your typical video. The event itself might be similar to numerous other events in Gaza — a fighter emerging from a tunnel, placing a bomb under an Israeli Merkava tank, and returning to his tunnel before a massive explosion takes place.
This is what is called an operation from zero distance. But the video, this time, is different, as it was not released by the Al-Qassam Brigades or any other group.
There is no foreboding music in the background, no slick edits, no red triangles. The reason? The video was released by the Israeli army itself.
This raises many questions, including why the Israeli army would report the bravery of a Palestinian fighter and the successful blowing up of the pride and joy of the Israeli military — the Merkava.
The answer might lie in the sense of despair in the Israeli military, an army that knows well that it has lost the war or, at best, is unable to clinch victory, even after it laid Gaza to waste and exterminated nearly 10 percent of its 2.3 million population (between the killed, wounded, and missing).
This sentiment is now very well-known among Israelis, as Israeli media, which initially touted the idea of “total victory”, is now the one promoting a version of Israel’s own total defeat.
On verge of ‘collective suicide’ Writing in the Israeli newspaper Maariv, retired Major-General Itzhak Brik said that Israel was on the verge of “collective suicide” and that the army has effectively been defeated by Hamas in Gaza.
“With a political and military echelon of this type, there is no need for external enemies; they will bring disaster upon us in their stupidity,” he warned, adding:
“We may soon reach a point of no return, and the only thing left for us to do is pray to our God to come to our aid, and then we will all become messiahs who pray for miracles.”
General Brik can no longer be accused of being the detached former soldier who is horribly misreading the situation on the ground. Even those on the ground are expressing the exact same sentiment.
مقاوم فلسطيني خرج فجأة من بين الأنقاض، وثبّت عبوة ناسفة على دبابة إسرائيلية من مسافة صفر، ثم عاد إلى مخبئه قبل أن تنفجر .
On Tuesday, June 4, the Israeli newspaper Yedioth Ahronoth quoted an Israeli infantry soldier who expressed a feeling of brokenness after returning to fighting in Gaza, stating that “everyone is exhausted and uncertain”.
The Israeli soldier reportedly added that he feelt there was no appreciation for the lives of soldiers fighting in Gaza and that they had moved from offence to defence, noting that the soldiers “doubt the objectives of the war”.
Dominant global narrative Many in the pro-Palestine circle, which now represents the dominant global narrative on the war, are celebrating the bravery of the young men in the video and, by extension, the bravery of Gaza, deeply wounded but still fighting — in fact, winning.
But there is more to the story than this. The fact that a tank belonging to the 401st Brigade would be blown up in such a way, under the watchful eye of Israeli drones, which could only report the event without being able to change it, is telling us something.
But unlike the Palestinian message, the Israeli message is not global, but very much a localised cry for help — get us out of Gaza.
Whether Israeli politicians, lead among them the master of political survival, Israeli Prime Minister Benjamin Netanyahu, will listen or not, that is a completely different question.
Republished with permission from The Palestine Chronicle.
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Source: Africa Press Organisation – English (2) – Report:
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Finnish Minister for Foreign Affairs Elina Valtonen will meet Prime Cabinet Secretary of Kenya Musalia Mudavadi, Minister of Foreign Affairs of Benin Olushegun Adjadi Bakari, Minister of Foreign Affairs of Costa Rica Arnoldo André Tinoco and Vice Minister for Foreign Affairs of Thailand Russ Jalichandra in connection with the Kultaranta Talks on 16–17 June.
At the Kultaranta presidential summer residence, the ministers, together with Foreign Minister Valtonen, will engage in a panel discussion entitled “Accumulation of Shocks at the Global Level – What the West Should Understand” on 16 June. They will discuss regional and international developments that challenge the rules-based international order.
“With many transformations taking place in the world, I am pleased that we will have views from different continents at Kultaranta. We have several shared interests despite the long distances between us,” says Foreign Minister Elina Valtonen.
In their bilateral meetings, the ministers will discuss, among other topics, bilateral relations, topical regional and multilateral issues and economic and trade cooperation.
The Finnish Broadcasting Company (YLE) will broadcast the Kultaranta Talks live on Yle TV1 and Yle Areena.
More information about the Kultaranta Talks: Press release by the Office of the President of the Republic of Finland
– on behalf of Ministry of Foreign Affairs of Finland.