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‘A woman is not a baby-making machine’: a brief history of South Korea’s 4B movement – and why it’s making waves in America

<div class="theconversation-article-body"> <a href="https://theconversation.com/profiles/ming-gao-1496188">Ming Gao</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> In South Korea, a growing number of young women are rejecting societal expectations of marriage, motherhood and heterosexual relationships, known as the “4B Movement” or the “4 Nos”. The “B” is a homophone for the Korean word bi (비/非), meaning “no”, representing the movement’s four principles: bihon (no marriage), bichulsan (no childbirth), biyeonae (no dating) and bisekseu (no sex). By refusing to marry, have children, engage in romance, or participate in sexual relationships with men, 4B feminists seek to redefine their lives outside the confines of traditional gender roles. In the wake of the reelection of Donald Trump, there has been <a href="https://www.abc.net.au/news/2024-11-10/donald-trump-win-4b-movement-male-supremacists-make-threats/104575732">increased interest</a> in the 4B movement from women in the United States. But what is the 4B Movement, where did it come from, and how is it reshaping the feminist landscape in South Korea and beyond? <h2>Challenges facing young women</h2> The 4B Movement reflects <a href="https://www.khan.co.kr/national/national-general/article/202004140938001">a broader dissatisfaction</a> among young South Korean women who face instability of housing, digital sexual violence, economic disparities and cultural pressures. It emerged in the mid- to late-2010s, following a surge of interest in feminism in South Korea, and spread primarily through women’s online communities. The roots of the 4B Movement lie in South Korea’s rapid economic transformation and the subsequent challenges it posed for younger generations of the 2000s. For young women, economic insecurity is compounded by systemic gender inequality. South Korea <a href="https://www.straitstimes.com/asia/east-asia/south-korea-s-gender-pay-gap-worst-in-oecd">consistently ranks</a> worst in the OECD for the gender wage gap, and social mobility remains limited. Against this backdrop, traditional life paths – marriage, childbearing and homemaking – have become less appealing. Living an alternative life without men emerged as a radical strategy for young digital feminists to challenge the rigid patriarchy in South Korea. The <a href="https://www.khan.co.kr/national/national-general/article/202405172212001">senseless killing</a> in 2016 of a woman in a train station toilet by a man in Seoul shocked the nation and fuelled the movement. Online platforms became spaces where women could share their frustrations, critique patriarchal norms and organise protests. During this period communities like radical feminist online groups gained traction. Among these was the <a href="https://www.bbc.com/korean/news-44329328">Tal-Corset</a> (escape the corset) movement, which encouraged women to reject societal beauty standards by foregoing makeup, cosmetic surgery and restrictive clothing. The 4B Movement built on this momentum, targeting not only beauty standards but the very institutions that sustain patriarchy. It collectively challenges the notion that women’s value lies in their ability to support men and sustain the family unit. <h2>‘A woman is not a baby-making machine’</h2> The birth rate in South Korea ranks among the <a href="https://worldpopulationreview.com/country-rankings/birth-rate-by-country">lowest in the world</a>. The government has long viewed this as a national crisis. Policies such as subsidised housing for newlyweds and tax incentives for families have sought to encourage marriage and childbearing. In 2016, the government launched a national <a href="https://www.womennews.co.kr/news/articleView.html?idxno=248514">pink birth map</a> visualising the number of women of reproductive age in each district. It sparked outrage. Women criticised it as reducing them to reproductive tools, proclaiming, “<a href="https://www.nocutnews.co.kr/news/4713565">my womb is not national property</a>” and “<a href="https://www.youtube.com/watch?v=6FsEWD1bi3E">a woman is not a baby-making machine</a>”. For many 4B feminists, these policies represent a stark example of how the state prioritises population growth over women’s autonomy. In response, the movement frames its rejection of marriage and motherhood as an act of political resistance. As one <a href="https://www.womennews.co.kr/news/articleView.html?idxno=111598">protest slogan</a> declared: “End population policies! Stop blaming women”. <h2>Living on their own terms</h2> Despite its growing influence, the 4B Movement faces significant challenges. The radical principles have sparked backlash, with critics labelling participants as selfish or anti-social. Swearing off men as a form of protest against patriarchal structures and traditional marital norms is sometimes (mis)interpreted as implicitly favouring <a href="https://brunch.co.kr/brunchbook/radsview2">lesbianism</a>, given its stance against heterosexual relationships. The movement has also attracted negative political attention. <a href="https://www.khan.co.kr/national/national-general/article/202004140938001">Lee Seung-cheon</a>, a 58-year-old Democratic Party candidate, pledged to introduce “measures to reject the 4B Movement” as part of his policy campaign in 2020. Yet 4B feminists remain steadfast in their vision of a future where women can live on their own terms. Their rejection of traditional life paths is not a retreat into isolation but an attempt to create new ways of being free from patriarchal constraints. As one participant noted, rejecting marriage allows women to envision futures beyond societal deadlines like “<a href="https://brunch.co.kr/@404homealone/34">a woman’s age has an expiration date</a>”. <h2>An international movement</h2> The 4B Movement’s radical critique of patriarchy has resonated internationally. 4B Movement ideas are starting to strike a chord in the US. The movement’s core principles align with broader feminist critiques of patriarchy and capitalism, which have intensified in response to political developments such as Trump’s rhetoric and debates over reproductive rights. In the US, Trump’s presidency (and now his return) has been a flashpoint for feminist activism. Policies restricting access to abortion, coupled with an increase in conservative rhetoric around women’s rights, have galvanised movements that resist patriarchal structures. For American feminists, the 4B Movement offers a framework for resistance that goes beyond economic precarity. It provides a roadmap for rejecting political conflicts, focusing on reclaiming agency by prioritising autonomy over their own bodies and rights. 6B4T is inspired by the 4B Movement and has gained particular attention <a href="https://weibo.com/1263977197/KaFZGjoG4">in China</a>. This version incorporates additional principles, including rejecting consumerism and fostering mutual aid among unmarried women. The spread of 4B ideas across Asia and beyond highlights the universality of feminist struggles. As the movement continues to evolve, its impact extends beyond South Korea, sparking conversations about gender, autonomy and the future of feminism. Whether embraced or contested, the 4B Movement forces society to confront uncomfortable truths about the cost of sustaining patriarchy – and perhaps the possibilities of living without it. <hr /> Correction: 6B4T is inspired by the 4B movement and gained attention in China; it did not originate in China.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/243355/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ming-gao-1496188">Ming Gao</a>, Research Scholar, Gender and Women's History Research Centre, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/a-woman-is-not-a-baby-making-machine-a-brief-history-of-south-koreas-4b-movement-and-why-its-making-waves-in-america-243355">original article</a>. </div>

Relationships

2024 Wildlife Photographer of the Year revealed

The finalists of the 2024 Wildlife Photographer of the Year competition have been revealed, with the talented photographers capturing the magic of the animal kingdom. The competition, run by the Natural History Museum, saw its largest number of entries yet, with 59,228 entries from 117 countries and territories. Shane Gross, a Canadian photojournalist, was the overall winner of Wildlife Photographer of the Year for his captivating image capturing the "magical underwater world of western toad tadpoles." Kathy Moran, Chair of the Jury and Editor said: "The jury was captivated by the mix of light, energy and connectivity between the environment and tadpoles. We were equally excited by the addition of a new species to the Wildlife Photographer of the Year archive." A few other winners included a photo of a "curious" leopard seal looking into the camera, a sleeping baby monkey, and a "wrestle" between an anaconda and caiman. Dr Doug Gurr, Director of the Natural History Museum said: "Wildlife Photographer of the Year's longevity is a testament to the vital importance and growing appreciation of our natural world." "We are delighted to feature such inspiring images in this year's portfolio - these are photographs that not only encourage further wildlife conservation efforts, but that spark the creation of real advocates for our planet on a global scale." <p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; background-color: #ffffff;">Take a look at some of this year's best entries below. <p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; background-color: #ffffff;">Images: Wildlife Photographer of the Year <p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; background-color: #ffffff;">

International Travel

Making art is a uniquely human act, and one that provides a wellspring of health benefits

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/girija-kaimal-1486183">Girija Kaimal</a>, <a href="https://theconversation.com/institutions/drexel-university-1074">Drexel University</a> When you think about the word “art,” what comes to mind? A child’s artwork pinned to the fridge? A favorite artist whose work always inspires? Abstract art that is hard to understand? Each of these assumes that making art is something that other people do, such as children or “those with talent.” However, as I explain in my book “<a href="https://global.oup.com/academic/product/the-expressive-instinct-9780197646229?q=the%20expressive%20instinct&lang=en&cc=ca">The Expressive Instinct</a>,” art is intrinsic to human evolution and history. Just as sports or workouts exercise the body, creating art exercises the imagination and is essential to mental as well as physical well-being. I am a <a href="https://scholar.google.com/citations?user=C8R2XOYAAAAJ&hl=en">professor of art therapy</a> who studies how creative self-expression affects physical and emotional health. In our clinical research studies, my colleagues and I are finding that any form of creative self-expression – including drawing, painting, fiber arts, woodworking or photography – can <a href="https://doi.org/10.1080/08322473.2017.1375827">reduce stress</a>, improve mood and increase self-confidence. As a sickly child who needed to stay home from school a lot, I found that making art helped me cope. Today, creating art is my sanctuary. I use it as a sounding board to better understand myself and a way to recharge and learn from the challenges of life. <h2>The uniquely human attribute of creativity</h2> Although everyone has their own concept of what defines art, one thing is universally true: Creativity is a defining feature of the human species. How so? Well, human brains are not computers processing data. They are biological prediction machines that perceive the environment through memories and the senses, with the capacity to <a href="https://doi.org/10.3389/fnhum.2010.00025">use that information to imagine</a> plausible future scenarios. These inherent predictive and imaginative capacities are the wellspring of humanity’s abilities to survive and thrive – because self-expression is a safety valve that helps us cope with uncertainty. No one truly knows the future; they must live each day not sure of what will happen tomorrow. Art can help us all practice this imaginative muscle in a useful way. In our study examining brain activity while using virtual reality tools to create 3-D digital artwork, my team demonstrated that <a href="https://doi.org/10.1080/07421656.2021.1957341">creative expression is a natural state of being</a>. The brain naturally uses fewer cognitive resources to be expressive and creative, compared with the <a href="https://doi.org/10.1080/07421656.2021.1957341">brain power needed to do a rote task</a> that requires conscious effort. Seemingly ordinary everyday activities can provide opportunities to tap into one’s natural creativity and imagination: whipping up a meal from leftovers, figuring out an alternate route to work, dancing a little jig in response to hearing a song, or planting and tending a garden. We have repeatedly found in our studies that even a single session of real and honest self-expression can improve self-confidence and <a href="https://doi.org/10.1177/1534735420912835">reduce feelings of stress</a>, <a href="https://doi.org/10.1016/j.ejon.2019.08.006">anxiety and burnout</a>. This is partly because <a href="https://doi.org/10.1016/j.aip.2017.05.004">creativity activates reward pathways</a> in the brain. Using our hands and bodies to express ourselves activates dopamine pathways and helps us feel good. Dopamine is a neural messenger that is associated with feeling a <a href="https://doi.org/10.1016%2Fj.ajpath.2015.09.023">sense of hope, accomplishment or reward</a>. Our brains are wired to secrete <a href="https://theconversation.com/why-does-experiencing-flow-feel-so-good-a-communication-scientist-explains-173505">feel-good hormones whenever we move</a>, create something or engage in any type of expressive activity. Tapping into the creative resources within is <a href="https://theconversation.com/drawing-making-music-and-writing-poetry-can-support-healing-and-bring-more-humanity-to-health-care-in-us-hospitals-204684">one of the most underrated seeds of well-being</a> in the world. By comparison, bottling up or <a href="https://www.scientificamerican.com/article/why-the-secrets-you-keep-are-hurting-you/">denying these feelings can cause distress</a>, anxiety and fear because we have not processed and expressed them. This is probably one of the reasons why every community around the world has its own creative and expressive practices. Even our ancestors in Indigenous communities all around the world intuitively knew that <a href="https://doi.org/10.1016/j.aip.2021.101879">self-expression was essential</a> to emotional health and social connection. Being unable to share our lives, <a href="https://www.scientificamerican.com/article/why-the-secrets-you-keep-are-hurting-you/">keeping secrets</a> and feeling isolated and lonely tend <a href="https://doi.org/10.1016/j.neubiorev.2020.02.002">to worsen our health</a>. To our brains, social isolation feels like a chronic disease because it interprets this loneliness and inability to express as a threat to survival. Since creative expression can engage the senses, it can also be a body workout: a sensual as well as emotional and cognitive experience. Being active in expression – be it art, music, dance, drama, writing, culinary arts or working with nature – imparts a sense of confidence and hope that <a href="https://global.oup.com/academic/product/the-expressive-instinct-9780197646229?q=the%20expressive%20instinct&lang=en&cc=ca">challenges can be navigated and overcome</a>. <h2>The role of art therapy</h2> Given the integral role of art in our lives, it makes sense that making art can help people manage transitions, adversity and trauma, such as the stresses of puberty, the death of a loved one or <a href="https://doi.org/10.1016/j.ejon.2019.08.006">experiencing a serious illness</a>. According to a global study, 1 in 2 people will experience a <a href="https://doi.org/10.1016/S2215-0366(23)00193-1">mental-health-related challenge in their lifetime</a>, whether from life’s challenges, genetic predispositions or a combination of the two. This is where art therapy can come in. Art therapy is <a href="https://arttherapy.org/about-art-therapy/">a regulated mental health profession</a> in which clinical psychotherapists with extensive clinical training offer psychotherapy to patients with diagnosed mental health needs. The origins of art therapy go back to <a href="https://doi.org/10.1136/bmjopen-2017-021448">attempts to treat soldiers struggling with post-traumatic stress</a> during the 20th century’s two world wars. Today there is evidence that traumatic experiences tend to be stored as <a href="http://orcid.org/0000-0002-7316-0473">sounds, images and physical sensations</a> in the brain. When someone <a href="https://doi.org/10.1001/jama.2019.20825">lacks the words</a> to process these experiences through traditional talk therapy, art therapy can provide an indirect way to express and externalize those feelings and memories. <figure><iframe src="https://www.youtube.com/embed/e-IiUcUVAwk?wmode=transparent&start=3" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>The process of making art can help people process feelings that they aren’t able to put into words.</figcaption></figure> One of art therapy’s unique strengths is that it provides nonverbal ways of communicating, processing and eventually managing the symptoms of post-traumatic stress disorder, or PTSD. In fact, in a recent study, my team has found that a personal history of trauma is related to <a href="https://doi.org/10.3389/fpsyg.2024.1337927">how people react to evocative images</a>. Images of distress and pain resonate with us when we have known similar kinds of distress ourselves. This implies that our life stories make us sensitized to distress in others and even personalize it more. Creative self-expression is especially relevant in coping with trauma because it provides an outlet through which a person <a href="https://doi.org/10.1177/1534735420912835">can regain a sense of agency</a> and control. <h2>How to bring creativity into daily life</h2> For those new to exploring art as a creative pursuit or for well-being reasons, engaging in creative activities begins with letting go of unrealistic expectations. Being creative isn’t about becoming a famous artist or even a mediocre one. It is about allowing ourselves to flex the creative muscle that we all have and enjoying all the sensory and emotional aspects of imagining. Next, think about activities that made you feel free to explore when you were a child. Did you like singing, playing in the outdoors, dancing, making up pretend plays, or writing little tales? Allow yourself to indulge in any and all of these creative pursuits that made you feel relaxed and joyful. A <a href="https://doi.org/10.1016/j.aip.2021.101879">cultural tradition</a>, tinkering with electronics, making a gift for someone or simply paying attention to everyday beauty – any of these can be a creative activity. And just like any muscle, the more you exercise it, the stronger it becomes. Over time, you will notice yourself getting more confident and adventurous in your creative practices. Whatever it is, make time for this creative pursuit every week – which is possibly the hardest step of them all. If it seems “unimportant” compared with the demands of daily life, such as work or family, try thinking of it as another form of sustenance. Remember that creativity is just as critical to human health as <a href="https://theconversation.com/helping-children-eat-healthier-foods-may-begin-with-getting-parents-to-do-the-same-research-suggests-225157">eating nutritious meals</a> or <a href="https://theconversation.com/yoga-modern-research-shows-a-variety-of-benefits-to-both-body-and-mind-from-the-ancient-practice-197662">getting exercise</a> and <a href="https://theconversation.com/whats-the-best-diet-for-healthy-sleep-a-nutritional-epidemiologist-explains-what-food-choices-will-help-you-get-more-restful-zs-219955">good rest</a>. So as the Latin saying goes: “Plene vivere.” Live fully.  <a href="https://theconversation.com/profiles/girija-kaimal-1486183">Girija Kaimal</a>, Professor of Art Therapy Research, <a href="https://theconversation.com/institutions/drexel-university-1074">Drexel University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/making-art-is-a-uniquely-human-act-and-one-that-provides-a-wellspring-of-health-benefits-219091">original article</a>. </div>

Mind

How you can get the official Australian portraits of The King and Queen

Royal fans nationwide can now request a special keepsake online for free. All Australians are entitled to their very own free portrait of King Charles and Queen Camilla. The way one can obtain the monarchy keepsake is through sending an email to their local federal MP requesting one. The initiative comes under the constituents' request program, which allows registered Australian voters to receive their own printed portrait of the royals. Official portraits of the King and Queen were provided to the Australian Government by Buckingham Palace in July and are available for public access. Photos available include a photo of the royal couple standing together, and seperate ones of the monarch and her majesty posing alone. In the photos the King and Queen both donned royal blue outfits and their Commonwealth Insignia, with the King wearing The Sovereign's Badge of the Order of Australia and the Queen wearing the Wattle Brooch. The portraits were taken by royal photographer Millie Pilkington in Buckingham Palace's White Drawing Room in June. The digital images can be downloaded for free from the Department of the Prime Minister and Cabinet <a href="https://www.pmc.gov.au/government/official-australian-portraits-king-and-queen" target="_blank" rel="noopener">website</a> for private use. Those who want a physical copy can request printed versions through their Federal Member of the House of Representatives or Senator in their state or territory via email. The government-funded program, introduced in the Parliamentary Entitles Act 1990, is available for Australian citizens only. Image: Department of the Prime Minister and Cabinet/ Millie Pilkington

Art

"Laughably bad": New sculpture of Queen Elizabeth and Prince Philip divides opinion

A newly unveiled bronze sculpture of the late Queen Elizabeth II and Prince Philip has received somewhat mixed reviews from the public, with many criticising the piece for looking "nothing like" them. The artwork was unveiled at Antrim Castle Gardens in Northern Ireland on Friday, and was commissioned by Antrim and Newtownabbey Borough Council, which said the piece “captures Her Majesty in a dignified pose, reflecting her grace, steadfastness and lifelong dedication to public service”. It also depicts two of her famous corgis at her feet and her husband, Philip standing behind her with his hands behind his back. While the local council told CNN that the bronze statue of the Queen "has been warmly received by most who have seen it in person," many have ridiculed the statue for looking nothing like them. One user wrote on X that it was "laughably bad", adding: "It doesn't even look an iota like her, does it? Am I blind, or is that just nothing like the Queen? Surely they pay a fortune for these commissioned pieces - is there no requirement that there actually be a likeness?" <blockquote class="twitter-tweet"> It doesn't even look an iota like her, does it? Am I blind, or is that just nothing like the Queen? Surely they pay a fortune for these commissioned pieces - is there no requirement that there actually be a likeness? Why is everything so shit, now? — Dr Dani Sulikowski (@DrDaniS) <a href="https://twitter.com/DrDaniS/status/1832347891433927015?ref_src=twsrc%5Etfw">September 7, 2024</a></blockquote> Another user on X wrote: “It is awful...It looks nothing like the Queen or the Prince.. Terrible..Dreadful..Melt it down and start again”. One person commented on the council's announcement of the artwork that while it was "beautiful" the statue didn't "look like our late queen or represent how she always dressed". "Even the corgi is confused," another user wrote. “Would you know this was the late Queen if I didn't tell you?" another wrote on X. Following the wave of criticism, the council acknowledged that at "art can sometimes spark diverse opinions" but said that it "was particularly pleased with how the (Elizabeth) sculpture complements its surroundings, standing adjacent to the statue of Prince Philip, Duke of Edinburgh, and accompanied by two lovingly crafted corgis." Images: Antrim and Newtownabbey Borough Council

Art

Fans react to band's history-making reunion

Music fans around the world have rejoiced as legendary rock band Oasis announced their highly-anticipated reunion tour. The band, known for their 1990s hits Wonderwall and Champagne Supernova, disbanded in 2009 after founding members and brothers Liam and Noel Gallagher had a falling out. Since then, fans have been begging the musicians to abandon their solo side projects and reunite the band, who were responsible for many number one hits in the late 90s and early 2000s. On Tuesday, those prayers were answered as the band announced they would be reuniting for 14 shows around the UK and Ireland next year. The band will be playing in Cardiff in Wales, Scotland's capital of Edinburgh, and Dublin in Ireland, while also playing four shows at London's Wembley Stadium as well as four shows in their hometown of Manchester. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/reel/C_KgvakNTN7/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/C_KgvakNTN7/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Oasis (@oasis)</a> </div> </blockquote> “This is it, this is happening,” they confirmed, much to the delight of fans. "The stars have aligned. The great wait is over." The announcement of the tour sent music fans into overdrive, with their tour announcement post on Instagram raking up almost 2 million likes in under 24 hours. Fans, music critics and celebrities were quick to comment on the news, while many media outlets assessed that tickets for the concerts were certain to be some of the most sought after tickets in live music history. While many fans shared their excitement, a lot of social media was quickly awash with people suggesting the tour could be at risk considering Noel and Liam’s tumultuous relationship. “Surely anyone who buys an Oasis ticket for any night apart from the opening night is taking a bit of a risk,” remarked one, with a second adding: “Even opening night is a risk!” “Assume the gig isn’t happening until it starts, and even then keep your fingers crossed,” teased another. The Gallagher brothers have been embroiled in a fiery sibling rivalry ever since their rise to global fame in the 90s, with their falling out coming to a head the night before a concert in Paris in 2009, when Noel announcing he was quitting the band for good. “It is with some sadness and great relief … I quit Oasis tonight,” he said in a statement at the time. “People will write and say what they like, but I simply could not go on working with Liam a day longer.” Image credits: Instagram/JM Enternational/Shutterstock Editorial

Music

Young woman praised for "speaking the truth" about Australia's history

A young Aussie woman has gone viral on TikTok after sharing the "hard truths" about the country's history. The unidentified woman was quizzed on facts about her home country by content creator Surgen TV, who stopped her while she was walking down a street in London. She nailed a series of "true or false" questions, and when asked to share something that most people don't know about Australia, her "eloquent" left many Aussies proud. While she initially shared some facts about the "Great Emu War" - which occurred in 1932, when soldiers were armed with machine guns in WA to battle huge flocks of emus in a bid to stop them destroying crops - it was the second fact she shared that got people's attention. “The Indigenous population of Australia actually only makes up 3 per cent of the total population, that’s because of colonisation and ‘The Stolen Generation’,” she shared. She then went on to explain that it referred to a period in Australian history where Aboriginal children were removed from their families through government policies. “British and European colonisers wanted to ‘breed out’ the Indigenous culture, and basically would start trying to make mixed-race babies so they could eventually wean out the Indigenous population,” she explained. “It was a very cruel time in Australia, a very bad part of our history," she added, referencing the shameful historic event that occurred between 1910 and the 1970s and also affected Torres Strait Islander families. <div class="embed" style="box-sizing: inherit; margin: 0px; padding: 0px; border: 0px; font-size: 16px; vertical-align: baseline; color: #323338; font-family: Figtree, Roboto, 'Noto Sans Hebrew', 'Noto Kufi Arabic', 'Noto Sans JP', sans-serif; background-color: #ffffff; outline: none !important;"><iframe class="embedly-embed" style="box-sizing: inherit; margin: 0px; padding: 0px; border-width: 0px; border-style: initial; vertical-align: baseline; width: 567px; max-width: 100%; outline: none !important;" title="tiktok embed" src="https://cdn.embedly.com/widgets/media.html?src=https%3A%2F%2Fwww.tiktok.com%2Fembed%2Fv2%2F7403055715738275105&display_name=tiktok&url=https%3A%2F%2Fwww.tiktok.com%2F%40surgentv%2Fvideo%2F7403055715738275105&image=https%3A%2F%2Fp16-sign-useast2a.tiktokcdn.com%2Fobj%2Ftos-useast2a-p-0037-euttp%2F264c1403859149ada045f8a67b39f02d_1723658241%3Flk3s%3Db59d6b55%26x-expires%3D1724155200%26x-signature%3DYT6AZq2dtbZnpwrrXok7hry4Yps%253D&key=5b465a7e134d4f09b4e6901220de11f0&type=text%2Fhtml&schema=tiktok" width="340" height="700" frameborder="0" scrolling="no" allowfullscreen="allowfullscreen"></iframe></div> Many were quick to praise the woman, with First Nations people applauding her for “talking about our history in such a respectful way and with a caring tone”. “Indigenous Australian here, we love sis and appreciate her and her voice,” one commented. “Well done. For speaking the truth,” another shared. "Using her voice right," a third wrote. “I can’t completely describe how relieved I am to hear this nuanced response from a young Australian,” added another. “Well said young lady, well put ... you make me proud to be an Australian,” added another. Others were impressed by how "articulate" she was, with some Aussies admitting they'd never even heard of the Emu War. “Am I the only one who just got schooled on the Emu War," wrote one. “She’s beautiful, smart, and respectful,” added another. The video has gained almost 800,000 views since it was shared on Saturday, with over 81,000 likes. Images: TikTok

International Travel

It may be macabre, but dark tourism helps us learn from the worst of human history

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/dr-neil-robinson-1312179">Dr Neil Robinson</a>, <a href="https://theconversation.com/institutions/university-of-salford-878">University of Salford</a> Dark tourism has become a much more well-covered pasttime in recent years, in which a macabre fascination lead tourists to travel to various places not served by Thomas Cook: the sites of battles and genocides, war cemeteries, prisons, and even <a href="http://www.theatlantic.com/international/archive/2014/07/the-rise-of-dark-tourism/374432/">current warzones such as Syria</a>. The 20th century alone has provided such a <a href="http://www.therichest.com/expensive-lifestyle/location/10-great-places-to-visit-for-dark-tourism/">long list of places</a> at which catastrophes or great loss of life and suffering has occurred. Sites visited range from the spot from which JFK was assassinated, to prisons such as Alcatraz in San Francisco, through to battlefields of the World Wars, or the vestiges of genocides such at Auschwitz in Poland or Tuol Sleng in Phnom Penh, Cambodia. It’s not everybody’s cup of tea, but we shouldn’t condemn those for whom this is an interest. Dark tourism appears to be a manifestation of our media-rich society through which information found online may persuade us to see historical sites in person. But its origins can be traced back much further than the fascination with death and disasters of the 19th and 20th century. In the 11th century, people and pilgrims often visited places with religious significance such as Jerusalem, where the location of Christ’s crucifixion is a popular attraction; tourists visited Gettysburg, the site of the bloodiest battle of the American Civil War in 1863; and in more recent centuries, the Grand Tour offered an opportunity for the wealthy to experience Europe, with sites such as the classical ruins of the Colosseum in Rome – which in the name of entertainment saw execution, torture and death – one of the must-see attractions. Today, in parallel with the growth in popularity of dark tourism is the enormous growth of social media and the 24-hour news economy. The ease of access to such blanket coverage through the web, Facebook and Twitter has increased people’s awareness of, and fascination for, these historical sites of war, conflict and catastrophe. For example, the last decade has brought a surge in visitor numbers to <a href="https://theconversation.com/from-fiction-to-gallows-humour-how-chernobyl-survivors-are-still-coping-with-trauma-57923">Chernobyl</a>, where guides take visitors around the abandoned city of Pripyat (radiation levels permitting) which has been deserted since the nuclear power plant explosion on April 26, 1986. The 30th anniversary this year has in itself <a href="http://www.dailymail.co.uk/travel/travel_news/article-3526271/Chernobyl-tourists-pose-photos-eerie-sites.html">added to interest in visiting</a> the overgrown and crumbling city. As with tourism of any kind, this greater footfall brings benefits. In this case, not just the economic boost but also as a tool of education and even conflict resolution. For example, the <a href="http://www.belfasttours.com/package/belfast-political-mural-tour">taxi tours of Belfast’s murals</a>, which document Northern Ireland’s Troubles, offer visitors a way to understand the history and provide the communities involved a means to reflect and move on from the conflict. This model is <a href="http://www.h-net.org/reviews/showpdf.php?id=25852">viewed with interest</a> and hope by moderates on both sides of the Arab-Israeli divide searching for a peaceful solution for the long term. The tours of <a href="http://whc.unesco.org/en/list/916">Robin Island prison</a> in South Africa, where Nelson Mandela spent 18 years incarcerated among many others, starkly present how those imprisoned by a corrupt and discriminatory political regime can later engage in peace and reconciliation. The <a href="http://www.bruisedpassports.com/africa/5-reasons-you-must-go-for-a-township-tour-in-south-africa">Soweto township tours</a> in Johannesburg have acted in part as a means through which generations of South Africans can better understand their country’s dark past and help to establish truth and reconciliation for the future. Dark tourism should not in my opinion by viewed as unethical, repugnant or even a self-indulgent activity. Certainly some dark tourists may engage in their pursuits for all the wrong reasons, seeing death and destruction as a commodity to be consumed with little thought for those who caught up in its wake. But others visit such sites to pay their respects, to better understand the magnitude of death and destruction, and to inform the outside world of the details of terrible events – even in some case offering to help. These are positive effects that may come from so much pain and suffering. We should strive to better understand the origins of the terrible events of human history to be more able to prevent us repeating them. In this regard, that more people visit sites associated with dark tourism and learn about them should be seen as a positive.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/60966/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/dr-neil-robinson-1312179">Dr Neil Robinson</a>, Lecturer in Business, <a href="https://theconversation.com/institutions/university-of-salford-878">University of Salford</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/it-may-be-macabre-but-dark-tourism-helps-us-learn-from-the-worst-of-human-history-60966">original article</a>. </div>

Travel Trouble

Attempted assassination of Trump: The long history of violence against U.S. presidents

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/thomas-klassen-1171638">Thomas Klassen</a>, <a href="https://theconversation.com/institutions/york-university-canada-1610">York University, Canada</a> Political assassinations in the United States have a long and disturbing history. The <a href="https://apnews.com/article/trump-vp-vance-rubio-7c7ba6b99b5f38d2d840ed95b2fdc3e5">attempted assassination of Donald Trump</a>, who narrowly escaped death when a bullet grazed his right ear while he was speaking at a campaign rally in Pennsylvania on Saturday, highlights the danger of those seeking votes in a country whose constitution guarantees citizens the right to bear arms. Trump joins a not-so-exclusive club of U.S. presidents, former presidents and presidential candidates who have been the target of bullets. Of the 45 people who have served as president, four have been <a href="https://abcnews.go.com/US/wireStory/us-presidents-assassinated-targeted-presidential-candidates-111920908">assassinated while in office</a>. Given the near mythic status of U.S. presidents, and the nation’s superpower role, political assassinations strike at the very heart of the American psyche. <a href="https://www.loc.gov/collections/abraham-lincoln-papers/articles-and-essays/assassination-of-president-abraham-lincoln/">Abraham Lincoln</a>’s killing in 1865 and that of <a href="https://theconversation.com/jfk-assassination-60-years-on-seven-experts-on-what-to-watch-see-and-read-to-understand-the-event-and-its-consequences-216203">John F. Kennedy</a> in 1963 are key moments in the history of the United States. <a href="https://www.history.com/news/the-assassination-of-president-james-a-garfield">James Garfield</a> (1881) and <a href="https://www.history.com/news/the-assassination-of-president-william-mckinley">William McKinley</a> (1901) are less remembered, but their deaths nonetheless rocked the nation at the time. <h2>Secret Service provides protection</h2> It was after McKinley’s assassination that the U.S. Secret Service was given <a href="https://www.secretservice.gov/about/history/150-years#:%7E:text">the job of providing full-time protection to presidents</a>. The last American president to be shot was Ronald Reagan, <a href="https://www.reaganlibrary.gov/permanent-exhibits/assassination-attempt">who was seriously wounded and required emergency surgery in 1981</a>. Reagan was leaving a Washington hotel after giving a speech when gunman John Hinckley Jr. fired shots from a .22-calibre pistol. One of the bullets ricocheted off the president’s limousine and hit him under the left armpit. Reagan spent 12 days in hospital before returning to the White House. Other presidents have been shot at, but luckily, not injured. In 1933, <a href="http://www.fdrlibraryvirtualtour.org/page03-06.asp">a gunman fired five shots at the car of then President-Elect Franklin D. Roosevelt</a>. Roosevelt wasn’t hit but the mayor of Chicago, Anton Cermak, who was speaking to Roosevelt after the newly elected president had made some brief remarks to the public, was injured and <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7297642/">died 19 days later</a>. <h2>Two attempts in one month</h2> In September of 1975, President Gerald Ford survived <a href="https://www.fordlibrarymuseum.gov/avproj/assassinations.asp">two separate assassination attempts — both by women</a>. The first came on Sept. 5 when Lynette (Squeaky) Fromme, a follower of cult leader Charles Manson, tried to shoot Ford as he was walking through a park in Sacramento, Calif., but her gun misfired and didn’t go off. On Sept. 22, Sara Jane Moore, a woman with ties to left-wing radical groups, got one shot off at Ford as he left a hotel in San Francisco but it missed the president. Presidential candidates have not been exempt from assassination attempts, including most notably Senator <a href="https://www.npr.org/2023/06/05/1179430014/robert-kennedy-rfk-assassination-anniversary">Robert F. Kennedy</a> killed in 1968 and <a href="https://www.wsfa.com/2024/07/14/son-late-alabama-gov-george-wallace-reacts-trump-rally-shooting/">George Wallace</a> shot and left paralyzed in 1972. In 1912, former president Theodore Roosevelt <a href="https://blogs.loc.gov/headlinesandheroes/2019/07/the-pocket-items-that-saved-the-life-of-theodore-roosevelt/">was hit in the chest by a .38-calibre bullet</a> as he was campaigning to regain the White House. But most of the impact of the bullet was absorbed by objects in the chest pocket of Roosevelt’s jacket. Even though he had been shot, Roosevelt went on to make a campaign speech with the bullet still in his chest. <h2>The violence of 1968</h2> Other figures with significant — if unelected — political power have also had their lives cut short by gunfire, most notably <a href="https://theconversation.com/mlks-vision-matters-today-for-the-43-million-americans-living-in-poverty-92380">Martin Luther King Jr.</a> in 1968, just a few months before Bobby Kennedy’s death. In a country with <a href="https://www.washingtonpost.com/news/wonk/wp/2018/06/19/there-are-more-guns-than-people-in-the-united-states-according-to-a-new-study-of-global-firearm-ownership/">more guns than people</a>, and with firearms easily available, it is not surprising that invariably shootings are the preferred means of killing or attempting to kill political office holders. Like Trump, most assassination attempts occur when candidates and politicians are in public spaces with crowds of people nearby. There is a long history of politicians insisting, against the advice of their security advisers, to “press the flesh” in events that jeopardize their safety. Trump was extraordinarily fortunate to escape with only minor injuries.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/234630/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/thomas-klassen-1171638">Thomas Klassen</a>, Professor, School of Public Policy and Administration, <a href="https://theconversation.com/institutions/york-university-canada-1610">York University, Canada</a> Image credits: Xinhua News Agency/Shutterstock Editorial This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/attempted-assassination-of-trump-the-long-history-of-violence-against-u-s-presidents-234630">original article</a>. </div>

Legal

Still fab after 60 years: how The Beatles’ A Hard Day’s Night made pop cinema history

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/alison-blair-223267">Alison Blair</a>, <a href="https://theconversation.com/institutions/university-of-otago-1304">University of Otago</a> I first saw A Hard Day’s Night at a film festival over 20 years ago, at the insistence of my mum. By then, it was already decades old, but I remember being enthralled by its high-spirited energy. A Beatles fan, mum had introduced me to the band’s records in my childhood. At home, we listened to Please Please Me, the band’s 1963 single, and the Rubber Soul album from 1965, which I loved. Television regularly showed old black-and-white scenes of Beatlemania that, to a ten-year-old in the neon-lit 1980s, seemed like ancient history. But then, I’d never seen a full-length Beatles film. I had no idea what I was in for. When the lights went down at Dunedin’s Regent Theatre, the opening chord of the film’s title song announced its intentions: an explosion of youthful vitality, rhythmic visuals, comical high jinks and the electrifying thrill of Beatlemania in 1964. This time, it didn’t seem ancient at all. Since that first viewing, I’ve returned to A Hard Day’s Night again and again. I now show it to my students as a historically significant example of pop music film making – visually inventive cinema, emblematic of a fresh era in youth culture, popular music and fandom. <h2>Beatlemania on celluloid</h2> A musical comedy depicting a chaotic 36 hours in the life of the Beatles, A Hard Day’s Night has now reached its 60th anniversary. Directed by <a href="https://www.imdb.com/name/nm0504513/">Richard Lester</a>, the film premiered in London on July 6 1964, with its first public screening a day later (incidentally, also Ringo Starr’s birthday), and the <a href="https://www.discogs.com/master/24003-The-Beatles-A-Hard-Days-Night">album of the same name</a> released on July 10. The band’s popularity was by then reaching dizzying heights of hysteria, all reflected in the film. The Beatles are chased by hordes of fans, take a train trip, appear on TV, run from the police in a Keystone Cops-style sequence, and play a televised concert in front of screaming real-life Beatles fans. Side one of the album provides the soundtrack, and the film inspired pop music film and video from then on, from the <a href="https://www.imdb.com/title/tt0060010/">Monkees TV series</a> (1966–68) to the Spice Girls’ <a href="https://www.imdb.com/title/tt0120185/">Spice World</a> (1997) and music videos as we know them today. <h2>The original music video</h2> Postwar teen culture and consumerism had been on the rise since the 1950s. In 1960s Britain, youth music TV programmes, notably <a href="https://www.imdb.com/title/tt0196287/">Ready Steady Go!</a> (1963–66), meant pop music now had a developing visual culture. The youthful zest and vitality of ‘60s London was reflected in the pop-cultural sensibility, modern satirical humour and crisp visual impact of A Hard Day’s Night. Influenced by <a href="https://nofilmschool.com/french-new-wave-cinema">French New Wave</a> film making, and particularly the early 1960s work of <a href="https://www.imdb.com/name/nm0000419/">Jean-Luc Godard</a>, A Hard Day’s Night employs <a href="https://indiefilmhustle.com/cinema-verite/">cinéma vérité</a>-style hand-held cinematography, brisk jump cuts, unusual framing and dynamic angles, high-spirited action, and a self-referential nonchalance. The film also breaks the “fourth wall”, with characters directly addressing the audience in closeup, and reveals the apparatus of the visual performance of music: cameras and TV monitors are all part of the frame. Cutting the shots to the beat of the music – as in the Can’t Buy Me Love sequence – lends a visual rhythm that would later become the norm in music video editing. Lester developed this technique further in the second Beatles film, <a href="https://www.imdb.com/title/tt0059260/">Help!</a> (1965). The closing sequence of A Hard Day’s Night is possibly the film’s most dynamic: photographic images of the band edited to the beat in the style of stop-motion animation. Sixty years on, it still feels fresh, especially as so much contemporary film making remains hidebound by formulaic Hollywood rules. <figure class="align-center "><img src="https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=453&fit=crop&dpr=1 600w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=453&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=453&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=569&fit=crop&dpr=1 754w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=569&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/604790/original/file-20240704-17-ov77mn.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=569&fit=crop&dpr=3 2262w" alt="A Hard Day's Night movie poster" /><figcaption>A new pop aesthetic: original film poster for A Hard Day’s Night. Getty Images</figcaption></figure> <h2>Slapstick and class awareness</h2> As with much popular culture from the past, the humour in A Hard Day’s Night doesn’t always doesn’t land the way it would have in 1964. And yet, there are moments that seem surprisingly modern in their razor-sharp irony. In particular, the band’s Liverpudlian working-class-lad jibes and chaotic energy contrast brilliantly with the film’s upper-class characters. Actor Victor Spinetti’s comically over-anxious TV director, constantly hand-wringing over the boys’ rebelliousness, underscores the era-defining change the Beatles represented. Corporate pop-culture consumerism is also satirised. John Lennon “snorts” from a Coca-Cola bottle, a moment so knowingly silly it registers as more contemporary than it really is. George Harrison deflects a journalist’s banal questions with scathingly witty answers, and cuts a fashion company down to size by describing their shirt designs as “grotesque”. And there is Paul McCartney’s running joke that his grandfather – played by Wilfred Brambell from groundbreaking sitcom <a href="https://www.imdb.com/title/tt0057785/">Steptoe and Son</a> (1962–74) – is “very clean”. Even the film’s old-fashioned visual slapstick still holds up in 2024. Showing the film to this year’s students, I didn’t expect quite as much laughter when Ringo’s attempts to be chivalrous result in a fall-down-a-hole mishap. In 2022, the <a href="https://www.criterion.com/">Criterion Collection</a> released a high-resolution restoration of the film, so today A Hard Day’s Night can be seen in all its fresh, black-and-white, youthful vigour. Happy 60th, A Hard Day’s Night. And happy 84th, Ringo. Both still as lively and energetic as ever.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/228598/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/alison-blair-223267">Alison Blair</a>, Teaching Fellow in Music, <a href="https://theconversation.com/institutions/university-of-otago-1304">University of Otago</a> Image credits: THA/Shutterstock Editorial This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/still-fab-after-60-years-how-the-beatles-a-hard-days-night-made-pop-cinema-history-228598">original article</a>. </div>

Movies

Drawings by teen Queen Victoria to go up for auction

A set of 19th century drawings made by a teenage Queen Victoria will be put up for sale at the Old Master, British and European Pictures auction in Roseberys, London next week. A few of the sketches were made when the royal - who reigned from 1837 until her death in 1901 - was still a princess and just 14 years old. Dated July 1833, the drawings depict a knight, a woman, and a veiled woman on a horseback. The fourth drawing was made a year after she ascended the throne, and depicted a woman sitting with a crown and sash, similar to herself, with the inscription: "by Her Majesty." Charlotte Russell, Head of Sales at the auction house, said: "These slightly early drawings show that maybe she was still learning a lot, that she was still honing her craft." "She was very curious and keen as an artist," Russell told CNN. Roseberys set an estimated sale price of £1,500 to £2,500 ($AU2853 to $4755) for the album with the four sketches, as well as works by other artists. Russel added that the album was likely assembled by Augusta Hayter, daughter-in-law of George Hayter, who was the Queen's court painter and painted her coronation portrait. The album also features royal ephemera, including an invitation to the coronation of King George IV at Westminster Abbey in 1821. "I'm interested to see how it performs," Russell said. Queen Victoria was very passionate about art, receiving her first drawing lesson at just eight years old. She went on to be tutored by renowned artists like Edwin Landseer, William Leighton Leitch and Franz Xaver Winterhalter. "She is known to have experimented quite a lot with different subjects," Russel said, adding that Victoria would make "little sketches of costumes of people in the areas" where she travelled. Images: Roseberys Fine Art Auctioneers & Valuers via CNN/ Shutterstock

Art

71-year-old makes beauty pageant history

A 71-year-old woman has made history by becoming the oldest person to ever compete at a prestigious beauty pageant. Marissa Teijo never wanted to give up on her dream of competing in the Miss Texas USA pageant as she got older, and in the 2024 competition, she made her dreams a reality. Teijo says the experience was "incredible", even though she wasn't crowned the winner. The 71-year-old documented her pageant journey on Instagram to inspire others to never give up on their own dreams. Explaining her decision to sign up to the pageant on social media, she says, "I am delighted to be a part of this incredible new experience as a contestant in the Miss Texas USA pageant." "In doing so, I hope to inspire women to strive to be their best physical and mental self and believe there is beauty at any age." Teijo spoke of her initial "misgivings" before entering the pageant, saying, "I began to realise I could do it and inspire older ladies and young ones too that there is beauty at any age if you lead a healthy and active lifestyle. So, that became my goal instead of just striving to win." "Overall, I believe my goal in entering the pageant was achieved, and I can truly say it was an amazing fairytale experience, one that I never ever dreamed I would be experiencing." "I would like to also add that fitness, especially weightlifting, and being strong are the ultimate goals. Looking beautiful is secondary because fitness and healthy living are the best defenses against aging," Teijo added. Image credits: Instagram

Beauty & Style

Who really was Mona Lisa? More than 500 years on, there’s good reason to think we got it wrong

<div class="theconversation-article-body"> <a href="https://theconversation.com/profiles/darius-von-guttner-sporzynski-112147">Darius von Guttner Sporzynski</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> In the pantheon of Renaissance art, Leonardo da Vinci’s Mona Lisa stands as an unrivalled icon. This half-length portrait is more than just an artistic masterpiece; it embodies the allure of an era marked by unparalleled cultural flourishing. Yet, beneath the surface of the Mona Lisa’s elusive smile lies a debate that touches the very essence of the Renaissance, its politics and the role of women in history. <h2>A mystery woman</h2> The intrigue of the Mona Lisa, also known as <a href="https://archiv.ub.uni-heidelberg.de/artdok/4207/1/Zoellner_Leonardos_portrait_of_Mona_Lisa_1993.pdf">La Gioconda</a>, isn’t solely due to Leonardo’s revolutionary painting techniques. It’s also because the identity of the subject is unconfirmed to this day. More than half a millennium since it was first painted, the real identity of the Mona Lisa remains one of art’s greatest mysteries, intriguing scholars and enthusiasts alike. The painting has traditionally been associated with Lisa Gherardini, the wife of Florentine silk merchant Francesco del Giocondo. But another compelling theory suggests a different sitter: Isabella of Aragon. Isabella of Aragon was born into the illustrious House of Aragon in Naples, in 1470. She was a princess who was deeply entwined in the political and cultural fabric of the Renaissance. Her 1490 marriage to Gian Galeazzo Sforza, Duke of Milan, positioned Isabella at the heart of Italian politics. And this role was both complicated and elevated by the ambitions and machinations of Ludovico Sforza (also called Ludovico il Moro), her husband’s uncle and usurper of the Milanese dukedom. <h2>Scholarly perspectives</h2> The theory that Isabella is the real Mona Lisa is supported by a combination of stylistic analyses, historical connections and reinterpretations of Leonardo’s intent as an artist. In his <a href="https://www.bookstellyouwhy.com/pages/books/51791/robert-payne/leonardo-1st-edition-1st-printing">biography of Leonardo</a>, author Robert Payne points to <a href="https://emuseum.hydecollection.org/objects/94/study-of-the-mona-lisa?ctx=760b87fd-efbf-4468-b579-42f98e9712d2&idx=0">preliminary studies</a> by the artist that bear a striking resemblances to Isabella around age 20. Payne suggests Leonardo captured Isabella <a href="https://emuseum.hydecollection.org/objects/94/study-of-the-mona-lisa?ctx=760b87fd-efbf-4468-b579-42f98e9712d2&idx=0">across different life stages</a>, including during widowhood, as depicted in the Mona Lisa. US artist Lillian F. Schwartz’s <a href="https://www.sciencedirect.com/science/article/pii/0097849395000317">1988 study</a> used x-rays to reveal an initial sketch of a woman hidden beneath Leonardo’s painting. This sketch was then painted over with Leonardo’s own likeness. Schwartz believes the woman in the sketch is Isabella, because of its similarity with a cartoon Leonardo made of the princess. She proposes the work was made by integrating specific features of the initial model with Leonardo’s own features. This hypothesis is further supported by art historians Jerzy Kulski and <a href="https://www.youtube.com/watch?v=owjJWxcnKrE">Maike Vogt-Luerssen</a>. According to Vogt-Luerssen’s <a href="https://www.kleio.org/de/buecher/wer-ist-mona-lisa/">detailed analysis</a> of the Mona Lisa, the symbols of the Sforza house and the depiction of mourning garb both align with Isabella’s known life circumstances. They suggest the Mona Lisa isn’t a commissioned portrait, but a nuanced representation of a woman’s journey through triumph and tragedy. Similarly, Kulski highlights the <a href="https://www.academia.edu/40147186/The_Mona_Lisa_Portrait_Leonardos_Personal_and_Political_Tribute_to_Isabella_Aragon_Sforza_the_Duchess_of_Milan">portrait’s heraldic designs</a>, which would be atypical for a silk merchant’s wife. He, too, suggests the painting shows Isabella mourning her late husband. The Mona Lisa’s enigmatic expression also captures Isabella’s self-described state post-1500 of being “<a href="https://onlinelibrary.wiley.com/doi/full/10.1111/1468-0424.12683">alone in misfortune</a>”. Contrary to representing a wealthy, recently married woman, the portrait exudes the aura of a virtuous widow. Late professor of art history <a href="https://brill.com/display/book/edcoll/9789004304130/B9789004304130_014.xml?language=en">Joanna Woods-Marsden</a> suggested the Mona Lisa transcends traditional portraiture and embodies Leonardo’s ideal, rather than being a straightforward commission. This perspective frames the work as a deeply personal project for Leonardo, possibly signifying a special connection between him and Isabella. Leonardo’s reluctance to part with the work also indicates a deeper, personal investment in it. <h2>Beyond the canvas</h2> The theory that Isabella of Aragon could be the true Mona Lisa is a profound reevaluation of the painting’s context, opening up new avenues through which to appreciate the work. It elevates Isabella from a figure overshadowed by the men in her life, to a woman of courage and complexity who deserves recognition in her own right. Through her strategic marriage and political savvy, <a href="https://www.scopus.com/record/display.uri?eid=2-s2.0-85147429412&origin=resultslist">Isabella played a crucial role in the alliances and conflicts</a> that defined the Italian Renaissance. By possibly choosing her as his subject, Leonardo immortalised her and also made a profound statement on the complexity and agency of women in a male-dominated society. The ongoing debate over Mona Lisa’s identity underscores this work’s significance as a cultural and historical artefact. It also invites us to reflect on the roles of women in the Renaissance and challenge common narratives that minimise them. In this light, it becomes a legacy of the women who shaped the Renaissance.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/220666/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/darius-von-guttner-sporzynski-112147">Darius von Guttner Sporzynski</a>, Historian, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Image credits: Xinhua News Agency/Shutterstock Editorial This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/who-really-was-mona-lisa-more-than-500-years-on-theres-good-reason-to-think-we-got-it-wrong-220666">original article</a>. </div>

Art

"Looks nothing like her": Kate Middleton portrait ridiculed

A painted portrait of Kate Middleton has gone viral for all the wrong reasons, after royal fans everywhere claimed the artwork "looks nothing like" the Princess of Wales. The image, created by artist Hannah Uzor, appeared on the front cover of UK magazine Tatler, as the artist recreated Middleton's appearance at a banquet held in South Africa in 2022. The Princess wore a white beaded Jenny Packham gown, and also donned her famous tiara, the Lover’s Knot, which was previously worn by Princess Diana. Uzor explained that in creating the artwork, she was inspired by the composure and bravery demonstrated by the royal mum-of-three in her emotional cancer diagnosis video in March. “A moment of dealing with something difficult, speaking from the heart, having the courage to tackle it head-on,” she explained in awe. However, many royal fans slated the artist on social media, simply asking, “are you kidding me?”. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/C7Qy93EtBeT/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/C7Qy93EtBeT/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Tatler (@tatlermagazine)</a> </div> </blockquote> “This is just plain weird, looks nothing like her,” one person commented. “What have they done to her face,” asked another. A third agreed: “Doesn’t look like Catherine at all. If she wasn’t wearing that dress I’d have no clue as to who it’s meant to be.” “Are you kidding me? … You must be joking,” scorned someone else. Others slated the artwork by saying they believed it looked “like it was created by a child”. “It’s absolutely dreadful and should never have seen the light of day, let alone appear on the cover,” agreed another. Hannah Uzor defended her artwork, saying she had to draw on other sources as she was not able to meet the Princess directly to create her portrait. She said, “When you can’t meet the sitter in person, you have to look at everything you can find and piece together the subtle human moments revealed in different photographs: do they have a particular way of standing or holding their head or hands? Do they have a recurrent gesture?" “[Kate] has really risen up to her role – she was born for this. She carries herself with such dignity, elegance and grace." Image credits: Tatler Magazine / Chris Jackson/WPA Pool/Shutterstock Editorial

Art

How to write creative non-fiction history

Discovering an old photo album from the 1920s, celebrated author and adjunct professor Paul Ashton embarked on a journey to turn historical research into engaging creative non-fiction, blending meticulous evidence with captivating storytelling. Here he shares he insights on the fascinating process. One afternoon my elderly father and niece came to my home for lunch. On their way they had seen something on a council clean up. ‘We thought you might be interested in this,’ said my father handing me a small, brown photo album. I was. The album contained around 100 undated black and white photographs. It became apparent quickly that this was the record of a road trip done in the 1920s or 1930s. A boy, two women and a man had gone on a trip from Sydney up through New England, to Tamworth then to Brisbane and back to Sydney. Shadows in some of the images indicate that they were taken by the man and at least one of the women. The album provided the basis for my first children’s book, Palmer’s Mystery Hikes. One photograph stood out for me. Hundreds of people were gathered somewhere in the bush. In the far left-hand corner in the background was an elevated table covered with a large white tablecloth. With a magnifying glass I could just make out ‘Palmers [something] Hike’. In 1932 Palmer’s men and boys’ department store, in Park Street in Sydney, had established a hiking club to promote the sale of hiking apparel. You bought a ‘mystery’ ticket from New South Wales Railways with which Palmer had an arrangement; turned up at Central Station on Sunday morning; and were taken to a mystery destination. From there you did a ten-mile hike to another station and were then trained back to Sydney. There were five hikes. The third one to the Hawkesbury River attracted over 8,000 people. Turning historical research into believable fiction or creative non-fiction has certain demands. How do you strike a balance between historical research and evidence and the narrative form? This is a big question and will ultimately depend on many things, including the availability of primary and secondary sources and the nature of the particular narrative. But perhaps the most important question is: how do writers use the past to give their work historical dimensions and insights? For me, the most critical element is context. And it’s the thing most missing in much historically based fictional literature. Evoking people, places and periods involves understandings of things such as continuity and change over time, historical process – like colonisation and suburbanisation – ideologies and superstitions. Where appropriate, these should form subtle backgrounds to the narrative. Fiction and creative non-fiction as historical modes of presenting history should also show – not tell. My edited collection, If It’s not True It Should Be (Halstead Press), explores writing history using fictional techniques. As Peter Stanley has written in that book, ‘those who seek to illuminate the past through the imaginative recreation of historical fiction … [are] motivated by the fundamental conviction that what links the fidelity of the historian and the imagination of the historical novelist is that the work of both should be offered and read as if it were true.’ ABOUT THE AUTHOR Paul Ashton is adjunct professor and co-founder of the Australian Centre for Public History at the University of Technology Sydney and adjunct professor at the University of Canberra and Macquarie University. He has authored, co-authored, edited and co-edited over 40 books and is editor of the journal Public History Review. His series of creative non-fiction children’s histories – Accidental Histories – is being published by Halstead Press. Images: Supplied

Books

Royal artist reveals King Charles' reaction to official portrait

Jonathan Yeo, who is known for his portraits of royal family members, has revealed the King and Queen's reaction to the most recent <a href="https://www.oversixty.com.au/entertainment/art/king-charles-unveils-first-post-coronation-portrait" target="_blank" rel="noopener">portrait of King Charles</a> which made headlines. The portrait, which was done in four sittings from 2020, featured the King in his crimson Welsh Guards uniform, with a butterfly hovering above his shoulder. "People don't know their own faces, so it's much more useful to see the reaction of someone who knows that person well because they know in a split second if you've captured them," he told The Times. "Sometimes they'll say it, but more often you see it in their face – amazement, pleasure or recognition." He recalled how during his and Charles' final sitting in November, Camilla told him: "Yes, you've got him," with a look of recognition across her face. Yeo also revealed that the King saw the portrait when it was half completed and despite the surprise at the intense colour, he smiled at the painting and said: "It is remarkable how it has turned out." The artist said that the King and Queen were prepared for the mixed reactions from the public. "They knew what to expect," he told the publication, before revealing that the King appeared in good health despite his recent cancer diagnosis. "[Our last sitting] was before his diagnosis. He didn't look remotely ill to me, and he looked amazingly well on Tuesday." "We already had a bit of a rapport and that definitely makes it easier," Yeo said of the painting process. "He was really relaxed and I think it helped that he is interested in the process. We spent a lot of time talking about art and artists, as well as the environment." Image: Aaron Chown-PA/POOL supplied by Splash News/ Shutterstock Editorial

Art

Can you control your image? Gina Rinehart, King Charles and ‘moral portraits'

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/roger-benjamin-119535">Roger Benjamin</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> “She’s no oil painting”. Those were the unkind words of a colleague commenting on the subject of Vincent Namatjira’s acrylic painting, Gina. Every one of the prominent Australians and cultural heroes in Namatjira’s ensemble <a href="https://theconversation.com/vincent-namatjiras-paintbrush-is-his-weapon-with-an-infectious-energy-and-wry-humour-nothing-is-off-limits-217361">Australia in Colour</a> (2021) is subject to his trademark distortions. When the painter gets to work interpreting the press photographs that his main source, resemblance is always stretched. No one comes out unscathed: Tony Abbott looks just as scary as Angus Young from AC/DC; a grimacing Queen Elizabeth as grisly as a roaring Cathy Freeman. Indeed, in the <a href="https://thamesandhudson.com.au/product/vincent-namatjira/">2023 volume on Namatjira</a> there are no fewer than four paintings of Gina Rinehart – and they look like four different people. Do we expect a portrait to be a moral <a href="https://en.wikipedia.org/wiki/Physiognomy">physiognomy</a>, the ancient pseudoscience that assumes the way someone has lived their life shapes their features and appearance? Roman emperors were shown to be ideal types: the heroic portrait. Who knows what these men actually looked like? In the case of King Charles III, whose <a href="https://www.bbc.com/news/entertainment-arts-68981200">new portrait</a> by Jonathon Yeo was unveiled this week, we can compare his likeness to the myriad photographic and filmic images. Newspaper caricature, <a href="https://firstamendmentmuseum.org/exhibits/virtual-exhibits/art-politics-300-years-of-political-cartoons/political-cartoons-part-1-1720-1800/">popular since the 1700s</a>, works hard to point out imperfections, posit animal likenesses, and exaggerate specific facial features to satirise public figures. Namatjira brushes with caricature even when depicting himself. <h2>Can you control your image?</h2> I think Rinehart should be flattered to be one of Namatjira’s favourites. The wits in the twittersphere have in the past 24 hours shown several more of his Ginas, and it turns out there are also at least half a dozen colour portraits of her by other artists. They range from <a href="https://scottmarsh.com.au/products/mothers-milk">Scottie Marsh’s mural</a> on a Sydney wall of a matronly Rinehart giving the breast to infant Barnaby Joyce (with apologies to Raphael), to Xavier Ghazi’s demonic hard-hatted Gina <a href="https://citynews.com.au/2023/bald-archy-prize-heading-for-immortality/">giving Australians the finger</a> – it’s in newspaper caricature mode, his entry in the Bald Archies competition for 2023. Although Rinehart has reportedly called for Namatjira’s painting to be taken down, the initiative <a href="https://www.theage.com.au/culture/art-and-design/gold-medallist-led-campaign-to-take-down-gina-rinehart-portrait-20240516-p5je1y.html">apparently comes</a> from members of the Australian swimming team and their former coach (Rinehart is that sport’s major private sponsor). I suspect their discomfort comes from reading Namatjira’s Gina as a moral portrait; that is, ugliness of appearance projects an ugly spirit (whereas for them she is the epitome of generosity). It’s an interesting idea that the fresh-faced teenage daughter of Lang Hancock in <a href="https://www.smh.com.au/entertainment/tv-and-radio/abcs-australian-story-focuses-on-gina-rineharts-bond-with-father-lang-hancock-20150706-gi6h1f.html">old news photos</a> has changed not just because times takes beauty away (as we all know), but because of the impact of things she inherited from her father: not just the extreme wealth and the jawline, but the conservative views, and the ways she has used her money and power. Her control of vast tracts of (unceded) grazing land across western and central Australia give reason to reflect on what Western Aranda man Namatjira might think of her. <h2>And yet what about commissions?</h2> When can a sitter control their portrait image? Only when they commission the work. Art history has plenty of cases in which a sitter has rejected their portrait. Monet in the 1860s painted his brother Leon, who so disliked the canvas he locked it in an attic, from which it emerged 150 years later. Portrait paintings have had to be altered, payment refused, or be paid for then destroyed. The commissioned portrait, it’s assumed, must flatter the sitter or at least offer a fair and non-judgemental likeness. The British royal family has historically been very forgiving about portraits, and has the sophistication to know it is futile to protest a likeness. Doing so invokes the perverse “<a href="https://en.wikipedia.org/wiki/Streisand_effect">Streisand effect</a>”, as we see happening with Namatjira’s Gina. There are dozens of depictions of Elizabeth II and Charles III in Namatjira’s pantheon – including one of the late queen alongside Rinehart in Australia in Colour. Namatjira has a family link to Elizabeth and Prince Philip, who met Albert Namatjira (the painter’s great grandfather) on their 1954 tour of Australia. But no one is asking for Queen Bess to be removed from the National Gallery of Australia. As a mark of noblesse oblige, King Charles has accepted the newly unveiled commissioned portrait of himself by Jonathon Yeo. It is an absolute shocker, and he should have sent it back. The King, de-aged by 20 years, looks pleasantly out at us from a floor-to-ceiling fog of strawberry- and cerise-coloured paint that covers his dress uniform. The joke, of course, is that the red colouration can be read as a reference to “<a href="https://time.com/6226657/crown-charles-camilla-tampongate/">tampongate</a>”, the product of an infamous case of tabloid phone-hacking in 1993. It’s a case of a portrait generating an unintended consequence – just as Namatjira surely did not expect to provoke international headlines today with his Gina, whom he’s been depicting for years. Fittingly, wise heads have rejected calls for the gallery to remove the canvas, starting with director Nick Mitzevich’s <a href="https://amp.smh.com.au/culture/art-and-design/portrait-gina-rinehart-doesn-t-want-you-to-see-mogul-demands-national-gallery-remove-her-image-20240513-p5jd59.html">measured statement</a>, seconded by the National Association for the Visual Arts whose <a href="https://visualarts.net.au/news-opinion/2024/nava-defends-vincent-namatjiras-artistic-freedom-amid-demands-removal-nga/">press release</a> insists on freedom of expression. Finally, late yesterday, Namatjira, resisting myriad calls for interviews, issued a statement in the pithy mode of his book texts. Let him have the last word: <blockquote> I paint people who are wealthy, powerful, or significant – people who have had an influence on this country, and on me personally, whether directly or indirectly, whether for good or for bad. Some people might not like it, other people might find it funny, but I hope people look beneath the surface and see the serious side too.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/230297/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> </blockquote> <a href="https://theconversation.com/profiles/roger-benjamin-119535">Roger Benjamin</a>, Professor in Art History, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> Image credits: X (Twitter) This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/can-you-control-your-image-gina-rinehart-king-charles-and-moral-portraits-230297">original article</a>. </div>

Art

5 reasons art therapy is great for your mental health as you age

We know how important it is to look after our <a style="color: blue;" href="https://www.betterhealth.vic.gov.au/health/servicesandsupport/healthy-and-active-ageing">physical health</a> as we age, but our mental health is equally important. <a style="color: blue;" href="https://aifs.gov.au/resources/short-articles/normalising-mental-illness-older-adults-barrier-care">Studies have shown</a> that besides the immediate impact on wellbeing, older people with untreated mental ill health are at risk of poorer overall health, increased hospital admissions, and an earlier transition into aged care. Art therapy is an excellent way to boost our mental wellbeing. In a nutshell, this type of therapy is when visual art, such as drawing, sculpting, or collage, is used in a <a style="color: blue;" href="https://www.rtor.org/2018/07/10/benefits-of-art-therapy/">therapeutic context</a>. And don’t be put off if you haven’t picked up a paintbrush since you were a kid. Art therapy is not about creating works of beauty but about the process. It’s a completely <a style="color: blue;" href="https://cata.org.au/faqs-myth-busters/#:~:text=The%20focus%20of%20Creative%20Art,%2C%20growth%20and%20self%2Dawareness.&text=Reality%3A%20Creative%20Art%20Therapy%20does,to%20affect%20change%20and%20growth.">judgement free zone</a>! Emotional release: Growing up, many of us were never taught that it was okay to express how we’re feeling, especially emotions like anger and sadness. In that way, art therapy can be ideal us older folks who often feel stuck when it comes to expressing ourselves. Art therapy provides the opportunity to express our <a style="color: blue;" href="https://creativityintherapy.com/2017/06/expressing-emotions-creativity-6-step-art-process/">inner experiences</a> in a visual way. Through the act of creation, we can release pent-up feelings, reduce stress, and experience emotional release. Another challenging emotion that art therapy can help with is grief. As we age, we are more likely to experience the <a style="color: blue;" href="https://www.nari.net.au/the-impact-of-prolonged-grief-in-older-people">loss of a loved one</a> and we don’t get ‘used to it’. The hole it leaves in our hearts is just as dark. Through <a style="color: blue;" href="https://www.vivianpaans.com.au/blog/healing-through-art-how-art-therapy-can-help-with-grief-and-wellbeing">creating art</a> we can explore the feelings of grief and sadness in a safe, judgement-free space. It can also foster a sense of self-compassion and when we have more compassion for ourselves, it becomes easier to accept our emotions. Stress relief: <a style="color: blue;" href="https://www.sane.org/information-and-resources/facts-and-guides/facts-mental-health-issues">Anxiety, depression, and past traumas</a> can heavily impact on our daily lives. Risk factors over our lifespans may change but they don’t magically disappear once we hit a certain age. Illness, grief, financial stress, social isolation, and life transitions such as menopause can all be <a style="color: blue;" href="https://www.healthdirect.gov.au/older-people-and-mental-health">contributing factors</a> of poor mental health for older adults. Creating art can ease symptoms as we refocus on what we’re creating and move thoughts away from overthinking and worry. Creating art releases <a style="color: blue;" href="https://www.rtor.org/2018/07/10/benefits-of-art-therapy/">dopamine,</a> the chemical responsible for allowing us to feel pleasure and satisfaction. This further reduces bothersome symptoms of anxiety and depression. Also, participating in art therapy leads to a more creative brain. A creative brain is better equipped to create stress-relieving techniques for other areas of our lives. Through creating art, we draw the fears that are inside our minds. This takes them out of our heads and places them away from us, helping us feel more in control. Recovering from <a style="color: blue;" href="https://www.interrelate.org.au/news-media/blogs/november-2021/how-art-can-heal-trauma">trauma</a> can be a lifelong process for many, and it’s important for someone dealing with it to find tools that will help this process. Art therapy can be one of those as it can give a sense of agency and self-understanding through the ability to express feelings symbolically. This can give <a style="color: blue;" href="https://anzacata.org/About-CAT">new perspectives</a> of ourselves and our worldview which is essential in the recovery process. It can also help connect with deeply stored emotions and help process them. Self-discovery: When we are younger we are often so busy working, socialising, and raising a family many of us never get a chance to take the time out for <a style="color: blue;" href="https://www.visionpsychology.com/starting-the-process-of-self-discovery/">self-discovery</a>. Self-discovery is important in our lives as it gives us a clearer sense of purpose and direction in life. In turn, this leads to making better decisions that lead to our overall happiness. Some of us see our kids leave home and suddenly we’re left wondering, who am I when I don’t have a family to care for? Creating art can help us acknowledge and recognise feelings that have been suppressed in our subconscious. Through learning to use different techniques of art our minds open up to thinking more freely. Self-discovery comes from both the finished product we create as well as the process of making it. Self-esteem: As we age, it’s easy to look in the mirror and struggle to recognise the person we see. Our bodies are changing, and it can often feel like society doesn’t value us as much as when we were young. It can be a major shift in the way we view ourselves and lead to poor self-esteem. Art therapy teaches us how to use a variety of media to create something new. We can develop talents and see strengths as we master new materials and see the completion of projects. This sense of accomplishment can be a big leg up to our <a style="color: blue;" href="https://artbusinessnews.com/2022/01/benefits-of-art-therapy/">self-esteem.</a> A sense of community: <a style="color: blue;" href="https://likefamily.com.au/blog/what-is-loneliness-and-how-does-it-affect-someone/">Loneliness</a> is a big contributor to poor mental health. <a style="color: blue;" href="https://www.psychiatrist.com/news/study-why-older-people-feel-so-lonely/">Studies</a> show two groups of people are most at risk: young adults and older people. With factors at our age such as children leaving home, not working as much or at all, living alone, and chronic illness, it’s easy to see how loneliness can creep into our lives. Group art therapy is a wonderful way to connect with others. We share a space with those who have similar interests, and it gives us a sense of belonging. For those who can't make a session in person due to distance or illness, some therapists offer <a style="color: blue;" href="https://www.artandplaytherapytraining.com.au/art_therapy">online group art therapy</a>. You don’t need to see an art therapist to get the mental health benefits of creating art. But the advantage of that is they have the skills to work out what best suits your needs. They’ll also work with you through any tough emotions that may arise from your art therapy. So maybe it’s time to hide those new coloured pencils from the little ones, crack them open, and enjoy them yourself! If you’d like to find out more about art therapy sessions, the links below are helpful. They offer online, in person and group sessions. <a style="color: blue;" href="https://www.zevaarttherapy.com/" target="_blank" rel="noopener">https://www.zevaarttherapy.com/</a> <a style="color: blue;" href="https://www.alliedarttherapy.com.au/" target="_blank" rel="noopener">https://www.alliedarttherapy.com.au/</a> <a style="color: blue;" href="https://www.solacecreativetherapies.com.au/" target="_blank" rel="noopener">https://www.solacecreativetherapies.com.au/</a> <a style="color: blue;" href="https://cata.org.au/programs-ndis/online-creative-art-therapy/" target="_blank" rel="noopener">https://cata.org.au/programs-ndis/online-creative-art-therapy/</a> And for some more ideas on dabbling in art therapy on your own (or with a friend), check out Shelley Klammer’s amazing resources. She is US-based but has some online workshops that are also amazing: <a style="color: blue;" href="https://www.expressiveartworkshops.com/expressive-art-resources/100-art-therapy-exercises/" target="_blank" rel="noopener">https://www.expressiveartworkshops.com/expressive-art-resources/100-art-therapy-exercises/</a> Article written by Kylie Carberry Image: Shutterstock

Mind

Royal photographers weigh in on photo editing fiasco

Royal photographers, brothers Zak and Samir Hussein have opened up about the realities of altering royal images - including what is and isn't allowed. "It's pretty clear what we're allowed to do – we're allowed to basically use darkroom techniques," Samir - who has also taken official portraits of members of the royal family - told 9Honey. He then explained what darkroom techniques entail: "So what photographers in the days when they were shooting film used to do in the dark rooms. "We're pretty limited in what we can do, it's sort of a basic crop, maybe a bit of colour correcting and that's how we edit our photos basically. "Sometimes you look at picture and you think 'Oh, if I crop it like this, it will stand out more, this will be more impactful'. So it's usually, if I'm honest, when looking back at the picture that's taken, that's the first thing I look at – how can this be cropped to make it have the impact that it should really." Zak, who has taken many photos of Prince Harry and Meghan as well as other royal family members agreed and said that the photographers do their best to get the shot right to reduce the need for editing. "You try and get it right first time around when you're taking the picture," he told 9Honey. "Ideally, you don't want to have to do too much to the picture but yeah, it's very basic what we do. "I think cropping is really important because you're trying to find the best version of that picture, so if it means cropping in tighter to make it a nice portrait or keeping it wider to show more in what's going on in the event. "It's pretty basic what we do to the picture because it's all about when you take the picture, you're looking through the viewfinder [and] that's when you want to get it right." The topic of re-touching royal photos sensationally <a href="https://www.oversixty.com.au/lifestyle/family-pets/princess-kate-sensationally-speaks-out-over-photo-fiasco" target="_blank" rel="noopener">made headlines</a> over a manipulated image posted by Kate Middleton, and has now made its way back into the spotlight following the launch of the <a href="https://www.oversixty.com.au/entertainment/art/incredible-treasure-trove-of-unseen-royal-images" target="_blank" rel="noopener">new exhibition</a> at The King's Gallery exhibition in the Buckingham Palace. The exhibition which runs until October 6 has noted darkroom techniques including cropping and framing out backgrounds or brightening up levels in a few of the negatives, including one label that read: "retouching is an essential part of photography. "Analogue retouching can occur at three stages: Modifying the negative, Manipulating the image during printing, direct retouching on the final print." Image: 9Honey/ Royal Collection Trust / © His Majesty King Charles III 2024.

Art

Gina Rinehart demands for National Gallery to remove her portrait

Gina Rinehart has demanded that her portriat be removed from the National Gallery of Australia in Canberra because she doesn't like it. The portrait of Australia's richest woman appears alongside many others, including Queen Elizabeth and former Prime Minister Julia Gillard, in an exhibition by acclaimed Archibald Prize-winning Indigenous artist Vincent Namatjira. Namatjira's works are known for having cartoon-like qualities, as he often paints famous figures as caricatures. <a title="www.smh.com.au" href="https://www.smh.com.au/culture/art-and-design/portrait-gina-rinehart-doesn-t-want-you-to-see-mogul-demands-national-gallery-remove-her-image-20240513-p5jd59.html">Nine Newspapers </a>have the National Gallery of Australia (NGA) have been flooded with a dozen complaints about the portrait of Rinehart, including some from athletes she sponsors through her company Hancock Prospecting. <blockquote class="twitter-tweet"> Australia’s richest person, Gina Rinehart, has demanded the National Gallery of Australia remove a portrait of her from an exhibition by Archibald Prize-winning Indigenous artist Vincent Namatjira. THAT’S A GOOD REASON TO SHARE THE PORTRAIT WIDELY. <a href="https://t.co/pYoMh6vQcW">pic.twitter.com/pYoMh6vQcW</a> — Maurie Mulheron (@maurie_mulheron) <a href="https://twitter.com/maurie_mulheron/status/1790621641502036239?ref_src=twsrc%5Etfw">May 15, 2024</a></blockquote> One complaint allegedly accused the NGA of “doing the bidding of the Chinese Communist Party” with the portrait of Ms Rinehart. On the NGA website, Ms Rinehart is listed as a “friend” of the gallery, as she historically has donated up to $9999. The NGA has refused to take the painting down, and the artwork will be on display until July 21st. “Since 1973, when the National Gallery acquired Jackson Pollack’s Blue Poles, there has been a dynamic discussion on the artistic merits of works in the national collection, and/or on display at the gallery,” the NGA said in a statement. “We present works of art to the Australian public to inspire people to explore, experience and learn about art.” In response to the demand to have the painting removed, Namatjira released a statement saying, “I paint the world as I see it. People don’t have to like my paintings, but I hope they take the time to look and think, ‘why has this Aboriginal bloke painted these powerful people? What is he trying to say?’" "I paint people who are wealthy, powerful, or significant – people who have had an influence on this country, and on me personally, whether directly or indirectly, whether for good or for bad. Some people might not like it, other people might find it funny, but I hope people look beneath the surface and see the serious side too.” Image credits: Getty Images / X (Twitter)

Art

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