Arnis, also known as kali or eskrima/escrima, is the national martial art of the Philippines. The three are roughly interchangeable umbrella terms for the traditional martial arts of the Philippines ("Filipino Martial Arts", or FMA), which emphasize weapon-based fighting with sticks, knives, bladed weapons, and various improvised weapons, as well as "open hand" techniques without weapons.

There have been campaigns for arnis to be nominated in the UNESCO Intangible Cultural Heritage Lists, along with other Philippine martial arts. As of 2018, UNESCO has inscribed nine martial-arts–related intangible heritages.

Name
Arnis comes from arnés, the Old Spanish for "armour" (harness is an archaic English term from same root). It is said to derive from the armour costumes used in traditional Moro-moro stage plays, where actors fought mock battles with wooden swords. Arnes is also an archaic Spanish term for weapon, used as early as 1712.

Eskrima (also spelled escrima) is a derived from the Spanish word for fencing, esgrima. Their cognate in French is escrime and is related to the English term 'skirmish'.

The name kali is most likely derived from the pre-Hispanic Filipino term for blades and fencing, kalis (Spanish spelling: "calis"), documented by Ferdinand Magellan's expedition chronicler Antonio Pigafetta during their journey through the Visayas and in old Spanish to Filipino Mother Tongue dictionaries and vocabulary books dating from 1612 to the late 1800s, such as in Vocabulario de Lengua Tagala by Fr. Pedro de San Buenaventura. The term calis in various forms was present in these old Spanish documents in Ilocano, Ibanag (calli-t; pronounced as kal-lî), Kapampangan, Tagalog, Bicolano (caris), Waray (caris), Hiligaynon, Cebuano (calix, baladao – "kalis balaraw/dagger" and cales), and Moro-Maguindanao in Mindanao (calis – the kris, weapon). In some of these dictionaries, the term calis refers to a sword or knife kris or keris, while in others it refers to both swords and knives and their usage as well as a form of esgrima stick fighting.  While Mirafuente posits that the original term was kali and that the letter "S" was added later, the late Grandmaster Remy Presas suggests that the "S" was dropped in modern times and became presently more known as kali in FMA circles.

There exist numerous similar terms of reference for martial arts such as kalirongan, kaliradman, and pagkalikali. These may be the origin of the term kali or they may have evolved from it.

In their book Cebuano Eskrima: Beyond the Myth however, Dr. Ned Nepangue and Celestino Macachor contend that the term kali in reference to Filipino martial arts did not exist until the Buenaventura Mirafuente wrote in the preface of the first known published book on arnis, Mga Karunungan sa Larong Arnis by Placido Yambao, the term kali as the native mother fighting art of the Philippine islands.

Practitioners of the arts are called arnisador (male, plural arnisadores) and arnisadora (female, plural arnisadoras) for those who call theirs arnis, eskrimador (male, plural eskrimadores) or eskrimadora (female, plural eskrimadoras) for those who call their art eskrima, and kalista or mangangali for those who practise kali.

It is also known as estoque (Spanish for rapier), estocada (Spanish for thrust or stab) and garrote (Spanish for club). In Luzon it may go by the name of arnis de mano or arnes de mano.

The indigenous martial art that the Spanish encountered in 1610 was not yet called "eskrima" at that time. During those times, this martial art was known as paccalicali-t (pronounced as pakkali-kalî) to the Ibanags, didya  (later changed to kabaroan) to the Ilokanos, sitbatan or kalirongan to Pangasinenses, sinawali ("to weave") to the Kapampangans, calis or pananandata ("use of weapons") to the Tagalogs, pagaradman to the Ilonggos and kaliradman to the Cebuanos. Kuntaw and Silat are separate martial arts that are also practiced in the Philippine archipelago.

Historical accounts

Origins

As arnis was an art usually practised by the poor or commoner class (as opposed to nobility or warrior classes), most practitioners lacked the scholarly education to create any kind of written record. While the same can be said of many martial arts, this is especially true for arnis because almost all of its history is anecdotal, oral or promotional. The origin of arnis can be traced back to native "Pintados" or then "Tintadus" fighting techniques during conflicts among the various Prehispanic Filipino tribes or kingdoms, though the current form has Spanish influence from old fencing which originated in Spain in the 15th century. It has other influences as well, as settlers and traders travelling through the Malay Archipelago brought the influence of silat as well as Chinese and Indian martial arts. Some of the population still practise localized Chinese fighting methods known as kuntaw.

It has also been theorized that the Filipino art of arnis may have roots in India and came to the Philippines via people who traveled through Indonesia and Malaysia to the Philippine islands. Silambam, a stick/staff-based ancient martial art of India influenced many martial arts in Asia like silat. As such, arnis may share ancestry with these systems – some arnis moves are similar to the short stick (kali or kaji) and other weapon based fighting styles of Silambam.

When the Spaniards first arrived in the Philippines, they already observed weapons-based martial arts practised by the natives, which may or may not be related to present-day Arnis. The earliest written records of Filipino culture and life, including martial arts, come from the first Spanish explorers. Some early expeditions fought native tribesmen armed with sticks and knives. In 1521, Ferdinand Magellan was killed in Cebu at the Battle of Mactan by the forces of Datu Lapulapu, the chief of Mactan. Some Arnisadors hold that Lapulapu's men killed Magellan in a sword-fight, though historical evidence proves otherwise. The only eyewitness account of the battle by chronicler, Antonio Pigafetta, tells that Magellan was stabbed in the face and the arm with spears and overwhelmed by multiple warriors who hacked and stabbed at him:

The natives continued to pursue us, and picking up the same spear four or six times, hurled it at us again and again. Recognizing the captain, so many turned upon him that they knocked his helmet off his head twice, but he always stood firmly like a good knight, together with some others. Thus did we fight for more than one hour, refusing to retire farther. An Indian hurled a bamboo spear into the captain's face, but the latter immediately killed him with his lance, which he left in the Indian's body. Then, trying to lay hand on sword, he could draw it out but halfway, because he had been wounded in the arm with a bamboo spear. When the natives saw that, they all hurled themselves upon him. One of them wounded him on the left leg with a large cutlass, which resembles a scimitar, only being larger. That caused the captain to fall face downward, when immediately they rushed upon him with iron and bamboo spears and with their cutlasses, until they killed our mirror, our light, our comfort, and our true guide. When they wounded him, he turned back many times to see whether we were all in the boats. Thereupon, beholding him dead, we, wounded, retreated, as best we could, to the boats, which were already pulling off.

Due to the conflict-ridden nature of the Philippine archipelago, where port-kingdoms (Kedatuans, Rajahnates and Sultanates) were often at war with one another or raiding each other, warriors were forged in the many wars in the islands, thus during the precolonial era, the geographical area acquired a reputation for its capable mercenaries, which were soon employed all across South, Southeast and East Asia. Lucoes (warriors from Luzon) aided the Burmese king in his invasion of Siam in 1547 AD. At the same time, Lusung warriors fought alongside the Siamese king and faced the same elephant army of the Burmese king in the defense of the Siamese capital at Ayuthaya.
The former sultan of Malacca decided to retake his city from the Portuguese with a fleet of ships from Lusung in 1525 AD. Lucoes influence even manifested in East Asia at Japan where Lucoes sailors initially guided Portuguese ships to the Shogunate and even South Asia in Sri Lanka where Lungshanoid pottery from Luzon were found in burials there.

Pinto noted that there were a number of them in the Islamic fleets that went to battle with the Portuguese in the Philippines during the 16th century. The Sultan of Aceh as well as Suleiman, the Ottoman Commander who was brother of the Viceroy of Cairo, gave one of them (Sapetu Diraja) the task of ruling and holding Aru (northeast Sumatra) in 1540. Pinto also says one was named leader of the Malays remaining in the Moluccas Islands after the Portuguese conquest in 1511. Pigafetta notes that one of them was in command of the Brunei fleet in 1521. One famous Lucoes is Regimo de Raja, who was appointed by the Portuguese at Malacca as Temenggung (Jawi: تمڠݢوڠ ) or Supreme Governor and Chief General. The Luzones were so commercially and militarily influential that the Portuguese soldier Joao de Barros considered them, "the most warlike and valiant of these parts."

Opinions differ on the degree to which Spanish rule in the Philippines affected Arnis. The fact that a large number of techniques and the names of the arts themselves (arnis/arnes, eskrima/esgrima, garrote, estoque, etc.) have Spanish names suggest an influence. Some argue though that Spanish names in the martial art simply reflect the fact that Spanish was the lingua franca of the Philippines until the early 20th century, and that actual Spanish martial influence was limited.

What is certain is that the Spaniards brought with them and used their bladed weapon arts (including the system of Destreza developed by Carranza) when they started colonizing the archipelago in the 16th century. What is also known is that the Spaniards recruited soldiers from Mexico and Peru and sent them to fortify the Philippines and they had also trained mercenaries and warriors from local people like the Pangasinenses, Kapampangans, Tagalogs, Ilonggos, Cebuanos and Warays to pacify regions and put down revolts. Of the Kapampangans, Fray Casimiro Díaz relates in 1718:

Los primeros que se decidieron á experimentar fortuna fueron los pampangos, nación la más belicosa y noble de estas Islas, y cercana á Manila. Y era lo peor hallarse ejercitada en el arte militar en nuestras escuelas en los presidios de Ternate, Zamboanga, Joló, Caraga y otras partes, donde se conoció bien su valor; pero este necesita del abrigo del nuestro, y así decían que un español y tres pampangos, valían por cuatro españoles.

The first who decided to experiment with their fortune (revolt) were the Pampangos, the most warlike and prominent people of these islands, and close to Manila. And it was all the worse because these people had been trained in the military art in our own schools in the presidios (fortified outposts) of Ternate, Zamboanga, Jolo, Caraga and other places where their valor was well known; but this needs the help of ours, and so they say that a Spaniard plus three Pampangos equal four Spaniards.

Logic dictates that these native warriors and foreign soldiers would have passed on to very close friends and family members these newly learned skills to augment already existing and effective local ones. They would have also shared tactics and techniques with each other when placed in the same military group and fighting on the same side in foreign regions such as Formosa, Mindanao, the Moluccas and the Marianas.

One of the more prominent features of Arnis that point to possible Spanish influence is the Espada y Daga (Spanish for "sword and dagger") method, a term also used in Spanish fencing. Filipino espada y daga differs somewhat from European rapier and dagger techniques; the stances are different as weapons used in Arnis are typically shorter than European swords. According to Grandmaster Federico Lazo† (1938–2010), unlike in European historical fencing, there is no lunging in the Northern Ilocano Kabaroan style of Arnis – it is more of an evasive art. On the other hand, it is present in some Visayan styles documented by FMA researchers Celestino Macachor and Ned Nepangue such as Yasay Sable Estocada from Bago. Having done comparative studies, Kalis Ilustrisimo archivist Romeo Macapagal also estimates that 40% of the blade-oriented style of Antonio "Tatang" Ilustrisimo† (1904–1997) descends from European styles, brought by the Spanish.

After the Spanish colonized the Philippines, a decree was set that prohibited civilians from carrying full-sized swords (such as the Kris and the Kampilan). Despite this, the practitioners found ways to maintain and keep the arts alive, using sticks made out of rattan rather than swords, as well as small knives wielded like swords. Some of the arts were passed down from one generation to the other. Sometimes the art took the form choreographed dances such as the Sakuting stick dance or during mock battles at Moro-moro (Moros y Cristianos) stage plays. Also as a result, a unique and complex stick-based technique evolved in the Visayas and Luzon regions. The southern Mindanao retains almost exclusively blade-oriented techniques, as the Spaniards and Americans never fully conquered the southern parts of this island.

Although Arnis combines native fighting techniques with old Spanish fencing and other influences, a degree of systematization was achieved over time, resulting in a distinguishable Philippine martial art. With time, a system for the teaching of the basics also evolved. However, with the exception of a few older and more established systems, it was previously common to pass the art from generation to generation in an informal approach. This has made attempts to trace the lineage of a practitioner difficult. For example, aside from learning from their family members like his uncle Regino Ilustrisimo, Antonio Ilustrisimo seemed to have learned to fight while sailing around the Philippines, while his cousin and student Floro Villabrille claimed to have been also taught by a blind Moro princess in the mountains; a claim later refuted by the older Ilustrisimo. Both have since died.

Modern history

The Philippines has what is known as a blade culture. Unlike in the West where Medieval and Renaissance combative and self-defense blade arts have gone almost extinct (having devolved into sport fencing with the advent of firearms), blade fighting in the Philippines is a living art. Local folk in the Philippines are much more likely to carry knives than guns. They are commonly carried as tools by farmers, used by street vendors to prepare coconuts, pineapples, watermelons, other fruits and meats, and balisongs are cheap to procure in the streets as well as being easily concealed. In fact, in some areas in the countryside, carrying a farming knife like the itak or bolo was a sign that one was making a living because of the nature of work in those areas. In the country of Palau, the local term for Filipino is chad ra oles, which literally means "people of the knife" because of Filipinos' reputation for carrying knives and using them in fights.

Asia-Pacific and the Americas

Soldiers and mercenaries trained in the Philippines which were recruited by France which was then in an alliance with Spain, had fought in Cambodia and Vietnam justified by defending newly converted Catholic populations from persecutions and had assisted France in establishing French Cochinchina centered in Saigon. Also in Asia, at China, during the Taiping Rebellion, Filipinos who were described as Manilamen and were 'Reputed to be brave and fierce fighters' and 'were plentiful in Shanghai and always eager for action' were employed by the Foreign forces as mercenaries to successfully quell the Taiping Rebellion. In the opposite side of the world at the Americas, descendants of Filipinos were active in the Anti-Imperialist Wars in the Americas. Filipinos living in Louisiana at the independent settlement of Saint Malo were recruited to be soldiers commanded by Jean Lafitte in the defense of New Orleans during the War of 1812 against a Britain attempting to reconquer a rebel America. "Manilamen" recruited from San Blas together with the Argentinian of French descent, Hypolite Bouchard, joined other nationalities living nearby such as Frenchmen, Mexicans and Americans in the assault of Spanish California during the Argentinian War of Independence.
Mexicans of Filipino descent being led by Filipino-Mexican General Isidoro Montes de Oca assisted Vicente Guerrero in the Mexican war of independence against Spain. Isidoro Montes de Oca was a celebrated war hero famous for the battle action of the Treasury of Tamo, in Michoacán on September 15, 1818, in which the opposing forces numbered four times greater, yet they were totally destroyed.

Philippine Revolution

Contrary to the view of some modern historians that it was only guns that won the Philippine revolutionaries against the Spaniards, blades also played a large part.

During the 1898 Battle of Manila, a report from The Cincinnati Enquirer went:

... The Philippine native, like all the kindred Malay races, cannot do any fighting as a rule except at close quarters, slashing with his heavy knife. The weapon is called machete, or bolo, or kampilan, or parang, or kris. The plan of action is the same – to rush in unexpectedly and hack about swiftly, without the slightest attempt at self-preservation.

The Mauser rifle, too, in hard work is found to be a mistake. It has a case of five cartridges, which have to be all used before any others can be inserted. That is, to say, if a soldier has occasion to fire three cartridges he must go on and waste the other two, or else leave himself to meet a possible sudden rush with only two rounds in his rifle. Perhaps it may be the fault of the men, or their misfortune in being undrilled, but they are often knifed while in the act of reloading their rifles. Whatever be the explanation there is something wrong in troops with rifles and bayonets being driven steadily back by natives armed with knives. The insurgents have some guns, but most of the wounded Spanish soldiers seen in the streets have knife wounds.

Philippine–American War

Americans were first exposed to Arnis during the Philippine–American War in events such as the Balangiga massacre where most of an American company was hacked to death or seriously injured by bolo-wielding guerillas in Balangiga, Eastern Samar – and in battles in Mindanao, where an American serviceman was decapitated by a Moro warrior even after he emptied his .38 Long Colt caliber revolver into his opponent. That and similar events led to the request and the development of the Colt M1911 pistol and the .45 ACP cartridge by Col. John T. Thompson, Louis La Garde and John Browning which had more stopping power.

World War II
During World War II, many Filipinos fought the Japanese hand to hand with their blades as guerilla fighters or as military units under the USAFFE like the Bolo Battalion (now known as the Tabak Division).

Some of the grandmasters who are known to have used their skills in World War II are Antonio Ilustrisimo, Benjamin Luna-Lema, Leo Giron, Teodoro "Doring" Saavedra,  brothers Eulogio and Cacoy Cañete, Timoteo "Timor" Maranga, Sr, Jesus Bayas and Balbino Tortal Bonganciso.

Spread

The arts had no traditional belting or grading systems as they were taught informally. It was said that to proclaim a student a "master" was considered ridiculous and a virtual death warrant as the individual would become challenged left and right to potentially lethal duels by other Arnisadores looking to make names for themselves. Belt ranking was a recent addition adopted from Japanese arts such as karate and judo, which had become more popular with Filipinos. They were added to give structure to the systems, and to be able to compete for the attention of students.

With regards to its spread outside the Philippines, Arnis was brought to Hawaii and California as far back as the 1920s by Filipino migrant workers. Its teaching was kept strictly within Filipino communities until the late 1960s when masters such as Angel Cabales began teaching it to others. Even then, instructors teaching Arnis in the 1960s and 70s were often reprimanded by their elders for publicly teaching a part of their culture that had been preserved through secrecy. The spread of Arnis was helped in Australia through brothers Jeff and Chris Traish, Richard Marlin and Terry Lim (founder of Loong Fu Pai martial arts academy) who also holds a 4th Dan in International Philippine Martial Arts Federation.

In recent years, there has been increased interest in Arnis for its usefulness when defending against knives in street encounters. As a result, many systems of Arnis have been modified in varying degrees to make them more marketable to a worldwide audience. Usually this involves increased emphasis on locking, controls, and disarms, focusing mainly on aspects of self-defense. However, most styles follow the philosophy that the best defense is a good offense. Modern training methods tend to de-emphasize careful footwork and low stances, stressing the learning of techniques in favor of more direct (and often lethal) tactics designed to instantly end an encounter.

In the Philippines, the spread is more significant due to the efforts of Richardson "Richard" Gialogo and Aniano "Jon" Lota, Jr. through the Department of Education (DepEd) Task Force on School Sports (TFSS). Arnis was first introduced in 1969 to some public and private school teachers when Remy Presas taught his personal style of Arnis which he called "Modern Arnis". He taught his own style to the students of the National College of Physical Education (NCPE) when he was given the chance to teach there. The style "Modern Arnis" is not synonymous with the concept of modern or contemporary Arnis, where it has become a full blown sport embraced by the Department of Education, although there are some similarities. There was no formal program for Arnis from the 1970s to 1980s. Although some schools taught Arnis, these were not official nor prescribed.

The earliest historical record was the DECS Memorandum No. 294 Series of 1995 which entailed the Arnis Development Program Phase I. This was a joint effort of the Department of Education, Culture and Sports or DECS and the Office of then Senator Orlando "Orly" Mercado who awarded a budget from his pork barrel for the implementation of a national Arnis program. The Office of Senator Mercado was given the authority to designate the Arnis instructors for the said program.

The next stage was the Arnis Development Program Phase II. It was just a continuation of Phase I through DECS Memorandum No. 302 series of 1997. The same group conducted the seminars; known as the Arnis Association International (AAI). The Arnis instructors designated by Senator Mercado were informally called the "Mercado boys". They were Mr. Jeremias V. Dela Cruz, Rodel Dagooc and others who were direct students of Mr. Remy Presas of the Modern Arnis style. In this memorandum, there were two seminars conducted: October 6–11, 1997 in Baguio City and November 10–15, 1997 in General Santos City. The Arnis Module Development however did not push through.
It was also during this time when the first Arnis instructional video was developed by the Bureau of Physical Education and School Sports (BPESS) entitled "Dynamic Arnis". This video featured the Gialogo Brothers: Richardson and Ryan Gialogo, direct students of Jeremias V. Dela Cruz.

However, the national Arnis program of Senator Orly Mercado and DECS died a natural death. It was only after nine years that Arnis found its way back into the Department of Education (formerly known as Department of Education, Culture and Sports or DECS). On February 5, 2004, the Task Force on School Sports (TFSS) of the Department of Education (DepEd), the new agency after the defunct BPESS, met with the National Sports Association (NSA) for Arnis in a Senate hearing. The Head of the TFSS was National Coordinator Mr. Feliciano N. Toledo II, considered the "Father of Arnis" in the Department of Education.  He met with the top NSA officials at that time; however, nothing happened.

It was only in 2006 when the Task Force on School Sports had a new program for Arnis. The "National Training of Trainors in Arnis and Dance Sports", sponsored by the Task Force on School Sports, Department of Education (DepEd), was held at Teacher's Camp, Baguio City on March 13–17, 2006 and was conducted by two top-caliber figures in the Arnis community: Mr. Aniano Lota, Jr. and Mr. Richardson Gialogo, then Secretary-General and vice-president respectively of the National Sports Association for Arnis. And this was the start of the modern, contemporary and prevailing Arnis in the Department of Education.

In just two months, Arnis became part of the Palarong Pambansa (National Games) as a demonstration sport. The 2006 Palarong Pambansa was held in Naga City, Bicol Region with nine out of the seventeen regions of the Philippines participating. National, regional and provincial Arnis Seminars were conducted by the tandem of Mr. Aniano Lota, Jr. and Mr. Richardson Gialogo from 2006 to 2007 in coordination with the TFSS National Coordinator, Mr. Feliciano "Len" Toledo, and with the financial and logistical backing of the Department of Education. In 2007, Arnis was already a regular event in the Palarong Pambansa with all seventeen regions participating. Five weight divisions in the Full-contact Event and four categories in the Anyo (Forms) Event were played and became part of the official medal tally of the participants. This was held in Coronadal in Mindanao.

Arnis Seminars were continued in national, regional and provincial levels. These were all conducted by the tandem of Mr. Aniano Lota, Jr. and Mr. Richardson Gialogo, now both Arnis Consultants and official Lecturers of the Task Force on School Sports of the Department of Education. In 2008, Arnis was played in the Palarong Pambansa and again, with all seventeen regions participating. All nine events were played. This was held in Puerto Princesa City, Palawan.

Aside from Sports Officiating and Accreditation seminars, coaching and skill training seminars continued in national, regional and provincial levels. Requests from cities and even districts were also welcomed. The "evangelization" of Arnis was continued and both Gialogo and Lota were careful not to teach their personal styles. Both taught in "generic" form and focused on the rules of sports as promulgated by the Department of Education.

In 2009, Secondary Girls (High School Girls) were finally included in Palarong Pambansa and again, all seventeen regions participated. From the original five member teams, the number doubled with the inclusion of the girls. The medal tally also doubled from nine to eighteen. The 2009 Palarong Pambansa was held in Tacloban, Leyte in the Visayas.

In 2009, the "Writeshop of the Revision of the Physical Fitness Test and the Development of Learning Competencies in Arnis and Archery" was held in Teacher's Camp, Baguio City in October 5–8, 2009. Phase I of the National Curriculum for Arnis was finished and the curriculum writers were Mr. Richardson Gialogo and Mr. Aniano Lota, Jr.

The 2010 Palarong Pambansa was held in Tarlac, In Luzon. Again, both secondary boys and girls competed in the eighteen categories. It was here that the Department of Education Arnis Association Philippines or DEAAP had its first national elections.

In the 2011 Palarong Pambansa, elementary students joined.

Duels
One of the most important practices in classical Arnis was dueling, without any form of protection. The matches were preceded by cock-fighting and could be held in any open space, sometimes in a specially constructed enclosure. Arnisadores believe this tradition pre-dates the colonial period, pointing to similar practices of kickboxing matches in mainland Indochina as evidence. Spanish records tell of such dueling areas where cock-fights took place. The founders of most of the popular Arnis systems were famous duelists and legends circulate about how many opponents they killed. In rural areas throughout the Philippines today, modern Arnis matches are still held in dueling arenas. In bigger cities, recreations of duels are sometimes held at parks by local Arnis training-halls. These demonstrations are not choreographed beforehand but neither are they full-contact competitions.

In modern times, public dueling with blades has been deemed illegal in the Philippines due to high potential of severe injury or death. Dueling with live sticks and minimal protection still occurs during barrio fiestas in some towns such as in Paete in Laguna.

Organization
There are two main types of Arnis practised as a sport. The most common system used internationally is that of the WEKAF (World Eskrima Kali Arnis Federation), established 1989. The earlier Arnis Philippines (ARPI) system, established in 1986, was most prominently used during the 2005 Southeast Asian Games.

Weapons

Arnis students start their instruction by learning to fight with weapons, and only advance to empty-hand training once the stick and knife techniques have been sufficiently mastered. This is in contrast to most other well-known Asian martial arts but it is justified by the principle that bare-handed moves are acquired naturally through the same exercises as the weapon techniques, making muscle memory an important aspect of the teaching. It is also based on the obvious fact that an armed person who is trained has the advantage over a trained unarmed person, and serves to condition students to fight against armed assailants. Most systems of Arnis apply a single set of techniques for the stick, knife, and empty hands, a concept sometimes referred to as motion grouping. Since the weapon is seen as simply an extension of the body, the same angles and footwork are used either with or without a weapon. The reason for this is probably historical, because tribal warriors went into battle armed and only resorted to bare-handed fighting after losing their weapons.
Many systems begin training with two weapons, either a pair of sticks or a stick and a wooden knife. These styles emphasise keeping both hands full and never moving them in the same direction, and trains practitioners to become ambidextrous. For example, one stick may strike the head while the other hits the arm. Such training develops the ability to use both limbs independently, a valuable skill, even when working with a single weapon.

A core concept and distinct feature of Filipino martial arts is the Live Hand. Even when as a practitioner wields only one weapon, the extra hand is used to control, trap or disarm an opponent's weapon and to aid in blocking, joint locking and manipulation of the opponent or other simultaneous motions such as bicep destruction with the live hand.

Baston

The most basic and common weapon in Arnis is the baston or yantok. They are typically constructed from rattan, an inexpensive stem from a type of Southeast Asian vine. Hard and durable yet lightweight, it shreds only under the worst abuse and does not splinter like wood, making it a safer training tool. This aspect makes it useful in defense against blades. Kamagong (ironwood or ebony) and bahi (heart of the palm) are sometimes used after being charred and hardened. These hardwoods are generally not used for sparring, however, as they are dense enough to cause serious injury, but traditional sparring does not include weapon to body contact. The participants are skilled enough to parry and counterstrike, showing respect in not intentionally hitting the training partner. In modern times, many Arnis practitioners have also come to wear head and hand protection while sparring with rattan sticks, or otherwise use padded bastons. Some modern schools also use sticks made out of aluminium or other metals, or modern high-impact plastics.

Impact weapons
Baston, olisi, yantok: stick ranging from twenty-four to twenty-eight inches long
Largo mano yantok: longer stick ranging from twenty-eight to thirty-six inches
Dulo y dulo: short stick about four to seven inches in length, held in the palm of the hand
Bankaw: six-foot pole. Staves can be used to practise sword techniques
Wooden dagger measuring
Panangga: shield
Improvised weapons: Wood planks, steel pipes, umbrellas, flashlights, rolled-up magazines/ newspapers, books, cellular phones, tennis rackets, butt of billiards cue, bottles, coffee mugs, chair legs, tree branches or twigs, etc.

Edged weapons

Baraw is a Cebuano term used in eskrima that means knife or dagger. The term Baraw is more commonly used on the Cebu Island in the Visayan region whereas other islands and regions more commonly use the term Daga but both terms are often interchangeable within the Filipino martial arts community.

The terms Baraw and Daga can be used either as Solo Baraw or Solo Daga associated with single knife fighting and defense systems, Doble Baraw or Doble Daga associated with the double knife fighting systems or even with a combination of long and short weapons e.g. stick and dagger fighting systems Olisi Baraw or sword and dagger fighting systems Espada y Daga.

Daga/Cuchillo (Spanish for dagger and knife) or Baraw/ Pisaw: daggers or knives of different shapes and sizes
Balisong: butterfly knife or fan knife from Barrio, Balisong in Batangas province; the handle is two-piece and attaches to a swivel that folds to enclose the blade when shut
Karambit: claw-shaped Indonesian blade held by inserting the finger into a hole at the top of the handle
Bolo: a knife/sword similar to a machete
Pinuti: a type of sword from Cebu blade shaped similar to a Sundang but elongated
Iták or sundáng: a farm or house hold bladed implement; its blade has a pronounced belly, chisel ground edge with the handle angled down
Barong: wide flat leaf-shaped blade commonly used by Muslim Filipino ethnic groups such as the Tausug, Sama-Bajau and the Yakan.
Binakoko: long blade named after a porgy fish
Dinahong palay: has a very narrow blade shape similar to a rice leaf
Kalis: Larger, thicker Filipino kris
Kampilan: fork-tipped sword, popular in the southern Philippines
Sibat: spear
Improvised weapons: Icepicks, box cutters, screwdrivers, scissors, broken bottles, pens, car keys (using the push knife grip)

Flexible weapons
Sarong: a length of fabric wrapped around the waist
Ekut: handkerchief
Tabak-toyok: chained sticks/ flail or nunchaku
Latigo (Spanish for whip): consisting of a handle between , and a lash composed of a braided thong  long. The "fall" at the end of the lash is a single piece of leather  in length.
Improvised weapons: Belt, bandana, handkerchiefs, shirts, towels/socks with hard soap bars/rocks, ropes, power cables, etc.

Rank and grading system
The practitioners must conform to criteria based on the number of years of training and level of proficiency in technical skills. Practitioners are screened by the rank promotion committee to determine their rank in the grading system.

Technical aspects

Ranges
Most systems recognize that the technical nature of combat changes drastically as the distance between opponents changes, and generally classify the ranges into at least three categories. Each range has its characteristic techniques and footwork. Of course, some systems place more emphasis on certain ranges than others, but almost all recognize that being able to work in and control any range is essential. The Balintawak style for example, uses long-, medium- and short-range fighting techniques, but focuses on the short-range.

To control the range, and for numerous other purposes, good footwork is essential. Most eskrima systems explain their footwork in terms of triangles: normally when moving in any direction two feet occupy two corners of the triangle and the step is to the third corner such that no leg crosses the other at any time. The shape and size of the triangle must be adapted to the particular situation. The style of footwork and the standing position vary greatly from school to school and from practitioner to practitioner. For a very traditional school, conscious of battlefield necessities, stances are usually very low, often with one knee on the ground, and footwork is complex, involving many careful cross-steps to allow practitioners to cope with multiple opponents. The Villabrille and San Miguel styles are usually taught in this way. Systems that have been adapted to duels or sporting matches generally employ simpler footwork, focusing on a single opponent. North American schools tend to use much more upright stances, as this puts less stress on the legs, but there are some exceptions.

Many systems, including the Inosanto/Lacosta system of escrima/kali recognize and teach 3 basic ranges: long range (largo), medium range (medio) and short range (corto). The long range is typically defined as being able to hit the opponents lead/weapon hand with your weapon/stick only. Medium range is where you are able to strike the opponent's body/head with your weapon/stick while also checking/monitoring the opponent's lead hand with your rear/live hand. And the short range is when you can strike the opponent's body/head with your rear/live hand or being able to strike the opponent's head/body with the hilt/punyo end of the weapon/stick. Some styles or systems may also define a closer range for elbows to the head or body, or grappling.

Strikes
Many Filipino systems focus on defending against and/or reacting to angles of attack rather than particular strikes. The theory behind this is that virtually all types of hand-to-hand attacks (barehanded or with a weapon) hit or reach a combatant via these angles of attack and the reasoning is that it is more efficient to learn to defend against different angles of attack rather than learn to defend against particular styles, particular techniques or particular weapons. For instance, the technique for defending against an attack angle that comes overhead from the right is very similar whether the attacker uses bare fists, a knife, a sword or a spear.

Older styles gave each angle a name, but more recent systems tend to simply number them. Many systems have twelve standard angles, though some have as few as 5, and others as many as 72. Although the exact angles, the order they are numbered in (numerado), and the way the player executes moves vary from system to system, most are based upon Filipino cosmology. These standard angles describe exercises. To aid memorization, player often practise a standard series of strikes from these angles, called an abecedario (Spanish for "alphabet"). These are beginner strikes or the "ABC's" of Arnis.

While most systems do incorporate a numbering system for the angles of attack, not all use the same numbering system, so always get clarification before training in a new system or style. Additionally, while the angles are numbered for ease of discussion, the numbers do not generally define how the attack is thrown. That is to say, usually (excluding thrusts) a #1 angle, means an attack that starts on the right side of the practitioner and comes down at about a 45° from right to left. But, it does not matter whether this is done with the right or left hand (forehand or backhand) or if the hit continues through the target or returns back along the same line.

Some angles of attack and some strikes have characteristic names:
 San Miguel – a forehand strike with the right hand, moving from the striker's right shoulder toward their left hip. It is named after Saint Michael the Archangel, who is often shown in traditional icons as holding a flaming, divine sword at this angle. This is the most natural strike for most untrained people. It is commonly referred to as "angle #1" in systems where striking angles are numbered for training purposes, because it is presumed the most probable angle of attack.
 Sinawalì – the double-stick weaving movement most associated with Arnis, it is named for woven coconut or palm leaves called sawalì that are used as walls of nipa huts. It is commonly seen in double-stick continuous attack-parry partner demonstrations.
 Redonda – a continuous, circular downward-striking, double-stick twirling technique. It whips in a circle to return to its point of origin. This is especially useful when using sticks rather than swords; it enables extremely fast strikes, but needs constant practice.
 Lobtik or Laptik – a through hit (forehand or backhand) where the weapon/stick swings through the target, coming from one side of the practitioners body and ending on the other side. Note: many systems do not allow the elbow to cross center (centerline) even though the stick or weapon is.
 Witik – a returning hit (forehand or backhand) in which the strike "bounces" off the target and comes back or returns to the same side as it started.
 Abanico – from the Spanish for "fan", it is done by flicking the wrist 180° in a fan-shaped motion. This kind of strike can be very quick and arrive from unexpected angles. This motion is often done in secession hitting targets from opposite sides creating a nearly 360° arc. And can be done in front of the practitioner or over the head.
 Pilantík – executed by whipping the stick around the wrist over the head in a motion similar to the abanico, but in alternating 360° strikes. It is most useful when fighters are in grappling range and cannot create enough space for normal strikes.
 Hakbáng – From the Filipino for "step" or "pace", it is a general term for footwork. For example, hakbáng paiwás is pivoting footwork, while hakbáng tátsulók is triangular footwork.
 Puño – Spanish for "fist", "hilt", or "handle". It uses the butt of a weapon, and often targets a nerve point or soft spot on the opponent. In skilled hands, the puño strike can be used to break bones.

Many Arnis techniques have Spanish names, because Spanish was the lingua franca spoken during colonial times among the natives, who spoke over 170 languages across 7,600 islands.

Arnis techniques are generally based on the assumption that both student and opponent are very highly trained and well prepared. Thus, Arnis tends to favour extreme caution, always considering the possibility of a failed technique or an unexpected knife. On the other hand, the practitioner is assumed to be capable of quick, precise strikes.

The general principle is that an opponent's ability to attack should be destroyed rather than trying to injure and convince them to stop. Many strikes are therefore aimed at the hands and arms, hoping to break the hand holding the weapon, or cut the nerves and tendons controlling it (the concept of "defanging the snake"). Strike to the eyes and legs are also important. This is summed up in a popular mnemonic: "Stick seeks bone, blade seeks flesh".

Mano Mano
Mano Mano is the empty-hand component of Filipino martial arts, particularly Arnis. The term translates as "hands" or "hand-[to]-hand" and comes from the Spanish mano ("hand"). It is also known as suntukan or panununtukan in Luzon and pangamot in the Visayas, as well as De Cadena, Cadena de Mano or Arnis de Mano in some FMA systems. American colonists referred to it as "combat judo" or "Filipino boxing".

Mano mano moves include kicking, punching, locking, throwing, and dumog (grappling). Filipino martial artists regard empty hands as another weapon, and all movements of Mano Mano are directly based on weapon techniques. In Arnis, weapons are seen as extensions of the body, so training with weapons naturally leads to proficiency in bare-handed combat. For this reason, Mano Mano is often taught in higher grades after weapons training has been mastered, as advanced students are expected to be able to apply experience with weapons to unarmed fighting. This not always the case though, as some systems of Arnis start with (and at times only consist of) empty hands fighting.

Some notable masters of Mano Mano include:
 Cacoy Canete
 Richard Bustillo
 Antonio Illustrisimo
 Venancio "Anciong" Bacon
 Rey Galang
 Edgar Sulite
 Danny Guba
 [(Yuli Romo)]
 Francisco Guilledo
 Ceferino Garcia
 Gabriel Elorde

Kicking
Paninipa, Pagsipa, Pananadiyak, Pagtadiyak, and Sikaran (all terms for "kicking" in various regions, dialects and styles) are components of eskrima that focus on knees, tripping, low-line kicks, and stomps. Pananjakman is also a term used in Filipino-American-developed and Western FMA systems, usually referring to the system from the Lucky Lucaylucay, Floro Villabrille and Dan Inosanto blend lineage. Except for the distinct style of Sikaran from the Baras area of the province of Rizal, which also uses high kicks, kicking as a separate art is never taught by itself in the Philippines, and this practice is only done in the West with Pananjakman. Pananjakman is usually taught together with Panantukan.

Paninipa can be regarded as the study of leg muscles and bones and how they are connected, with the goal of either inflicting pain or outright breaking or dislocating the bones. Most striking techniques involve applying pressure to bend the target areas in unnatural ways so as to injure or break them. Such pressure may be delivered in the form of a heel smash, a toe kick, a stomp, or a knee. Targets include the groin, thighs, knees, shins, ankles, feet and toes. The upper body is used only for defensive maneuvers, making pananadiyak ideal for when combatants are engaged in a clinch. When used effectively, the strikes can bring an opponent to the ground or otherwise end an altercation by making them too weak to stand.

Fundamental techniques include kicking or smashing the ankle to force it either towards or away from the opposite foot (severe supination or pronation, respectively), heel-stomping the top of the foot where it meets the lower leg so as to break or crush the numerous bones or otherwise disrupt the opponent's balance, and smashing the opponents knee from the side to break the knee (with severe supination and pronation as the desired result).

Drills

Several classes of exercises, such as sombrada, contrada, sinawali, hubud-lubud and sequidas, initially presented to the public as a set of organized drills by the Inosanto school, are expressly designed to allow partners to move quickly and experiment with variations while remaining safe. For example, in a sumbrada drill, one partner feeds an attack, which the other counters, flowing into a counterattack, which is then countered, flowing into a counterattack, and so on. The hubud-lubud or hubad-lubad from Doce Pares is frequently used as a type of "generator" drill, where one is forced to act and think fast. Initially, students learn a specific series of attacks, counters, and counter-attacks. As they advance they can add minor variations, change the footwork, or switch to completely different attacks; eventually the exercise becomes almost completely free-form. Palakaw, from the Balintawak style, are un-choreographed and random defensive and offensive moves.  Palakaw in Cebuano means a walk-through or rehearsing the different strike angles and defenses. It may be known as corridas, or striking without any order or pattern. Disarms, take-downs, and other techniques usually break the flow of such a drill, but they are usually initiated from such a sequence of movements to force the student to adapt to a variety of situations. A common practice is to begin a drill with each student armed with two weapons. Once the drill is flowing, if a student sees an opportunity to disarm their opponent, they do, but the drill continues until both students are empty-handed. Some drills use only a single weapon per pair, and the partners take turns disarming each other. Seguidas drills, taken from the San Miguel system, are sets of hitting and movement patterns usually involving stick and dagger.

Rhythm, while an essential part of eskrima drills, is emphasized more in the United States and Europe, where a regular beat serves a guide for students to follow. To ensure safety, participants perform most drills at a constant pace, which they increase as they progress. The rhythm, together with the southern Filipino attire of a vest and sashed pants, is commonly mistaken for some sort of tradition when practising eskrima in the Philippines – perhaps incorrectly derived from traditional rhythm-based dances or an attempt to add a sense of ethnicity. Eskrima is usually practised in the Philippines without a rhythm, off-beat or out of rhythm. The diversity of Filipino martial arts means that there is no officially established standard uniform in eskrima.

The live hand
The live hand (or alive hand) is the opposite hand of the practitioner that does not contain the main weapon. The heavy usage of the live hand is an important concept and distinguishing hallmark of eskrima. Even (or especially) when empty, the live hand can be used as a companion weapon by eskrima practitioners. As opposed to most weapon systems like fencing where the off-hand is hidden and not used to prevent it from being hit, eskrima actively uses the live hand for trapping, locking, supporting weapon blocks, checking, disarming, striking and controlling the opponent.

The usage of the live hand is one of the most evident examples of how Eskrima's method of starting with weapons training leads to effective empty hand techniques. Because of Doble Baston (double weapons) or Espada y Daga (sword and parrying dagger) ambidextrous weapon muscle memory conditioning, Eskrima practitioners find it easy to use the off-hand actively once they transition from using it with a weapon to an empty hand.

Doble baston
Doble baston, and less frequently doble olisi, are common names for a group of techniques involving two sticks. The art is more commonly known around the world as Sinawali meaning "to weave". The term Sinawali is taken from a matting called sawali that is commonly used in the tribal Nipa Huts. It is made up of woven pieces of palm leaf and used for both flooring and walls.

This technique requires the user to use both left and right weapons in an equal manner; many co-ordination drills are used to help the practitioner become more ambidextrous. It is the section of the art that is taught mainly at the intermediate levels and above and is considered one of the most important areas of learning in the art.

Sinawali

Sinawali refers to the activity of "weaving", as applied Eskrima with reference to a set of two-person, two-weapon exercises. The term comes from "Sawali", the woven material that typically forms the walls of nipa huts.

Sinawali exercises provide eskrima practitioners with basic skills and motions relevant to a mode of two-weapon blocking and response method called Doblete. Sinawali training is often introduced to novices to help them develop certain fundamental skills – including: body positioning and distance relative to an opponent, rotation of the body and the proper turning radius, recognition of one's center of gravity, eye–hand coordination, target perception and recognition, increased ambidexterity, recognition and performance of rhythmic structures for upper body movement, and muscular developments important to the art, especially, the wrist and forearm regions. It helps teach the novice eskrimador proper positioning while swinging a weapon.

Cross-training

The Chinese and Malay communities of the Philippines have practiced eskrima together with Kuntaw and Silat for centuries, so much so that many North Americans mistakenly believe silat to have originated in the Philippines.

Some of the modern styles, particularly doce pares and Modern Arnis contain some elements of Japanese Martial Arts such as joint locks, throws, blocks, strikes, and groundwork, taken from: Jujutsu, Judo, Aikido and Karate as some of the founders obtained black belt Dan grades in some of these systems. Some eskrima styles are complementary with Chinese Wing Chun because of the nervous system conditioning and body mechanics when striking, twirling or swinging sticks.

In Western countries, it is common to practice eskrima in conjunction with other martial arts, particularly Wing Chun, Jeet Kune Do and silat. As a result, there is some confusion between styles, systems, and lineage, because some people cross-train without giving due credit to the founders or principles of their arts. For example, American Kenpo and Kajukenbo cross-training traces back to the interactions between Chinese, Japanese and Filipino immigrants in territorial/pre-statehood Hawaii, and to a lesser extent in other parts of the United States.  In the United States the cross-training between eskrima and Jeet Kune Do Concepts as headed by Dan Inosanto of the Inosanto Academy in Marina del Rey, California, goes according to the maxim "Absorb what is useful, reject what is useless".

Proponents of such training say the arts are very similar in many aspects and complement each other well. It has become marketable to offer eskrima classes in other traditional Asian martial arts studios in America but some practitioners of other eskrima styles often dismiss these lessons as debased versions of original training methods.

Notable styles and practitioners

In popular culture

See also
 Arnis in the Philippines
 Filipino martial arts
 Doce Pares
 Balintawak Eskrima
 Modern Arnis
 Pekiti-Tirsia Kali
 Suntukan
 Sikaran
 Kinamutay
 Yaw-Yan
 Juego del palo
 Silat

References

External links

 The Arnis Philippines organization website
 IKAEF – International Kali Arnis Eskrima Federation
 Eskrima-Arnis, Martial Arts of the Philippines

National symbols of the Philippines
Philippine martial arts
Stick-fighting
Swordsmanship

Arnis


It is likely that several thousands of people are trafficked in Yemen every year, often to Saudi Arabia.

Background
Yemen is a country of origin for children, mostly boys, trafficked for forced begging, forced unskilled labor, or forced street vending.

Yemeni children are trafficked across the northern border into Saudi Arabia, or to the Yemeni cities of Aden and Sana'a for forced work, primarily as beggars.

Unconfirmed estimates suggest that 10 Yemeni children are trafficked into Saudi Arabia per day, according to the Ministry of Social Affairs and Labor. Some of these children may be sexually exploited in transit or once they arrive in Saudi Arabia.

To a lesser extent, Yemen is also a source country for women and girls trafficked internally, possibly to Saudi Arabia for the purpose of commercial sexual exploitation, as well as a possible destination country for women from Ethiopia, Eritrea, Somalia and the Philippines.

Yemeni girls are trafficked within the country for commercial sexual exploitation; one study by ILO-IPEC indicates that girls (as young as 15 years) are exploited for commercial sex in hotels, casinos and bars in the governorates of Mahweet, Aden and Taiz.

In addition, street children are vulnerable to commercial sexual exploitation.

Many of those trafficked are also migrating from the "Horn of Africa", paying hundreds of dollars to traffickers to facilitate their journey as they traverse the waters via small boats, that are often crammed so tight that some suffer suffocation.  Those who make it to the shores of Yemen are often held hostage for ransom, and some are continuously traded and sold to other gangs.

The number of migrants Yemen was receiving reached a peak in 2012 reaching over 100,000 that year alone.  Since there has been a decline being attributed to current conflict in the region with Saudi Arabia.

The Government of Yemen does not fully comply with the minimum standards for the elimination of trafficking; however, it is making significant efforts to do so. Yemen opened a shelter for child victims in Sana'a, and continued to provide protection and reintegration services to victims repatriated from Saudi Arabia.
Nonetheless, Yemen reported fewer trafficking convictions this year, and reported no significant efforts to address trafficking for commercial sexual exploitation.

Although Yemen has not expressed any specific plan to reduce the occurrence of human trafficking occurring within their borders causing some to believe that the numbers are inaccurate in order to display a false improvement for global perception.  For this reason, one of the greatest areas for opportunity to greatly reduce human trafficking in Yemen is more governance and enforcement within Yemen as well as their countries of origin.

The best chance to combat this horrific crime is getting all parties involved in the improvement.  Government corruption is also a major contributor to this where some profit monetarily from this fast growing transnational crime creating tens of billions of dollars annually.  Studies have also shown that having more women in government positions has an indirect positive effect on the reduction of occurrence.

Prosecution
The Government of Yemen did not improve its efforts to punish trafficking crimes over the reporting period. Article 248 of the penal code prescribes a 10-year prison sentence for anyone who "buys, sells or gives as a present, or deals in human beings; and anyone who brings into the country or exports from it a human being with the intent of taking advantage of him." This prescribed penalty is commensurate with that for other grave crimes, such as rape.

Article 161 of Yemen's Child Rights Law specifically criminalizes the prostitution of children. Despite the availability of these statutes, Yemen reported only 14 arrests and six convictions for child labor trafficking.

The government did not provide information, regarding the sentences assigned to the convicted traffickers.

The government did not report law enforcement efforts against trafficking for commercial sexual exploitation. Moreover, despite indications of government officials' complicity in trafficking, Yemen did not prosecute any officials for such complicity.

Protection
Yemen made limited progress in protecting victims of trafficking over the last year. In July 2007, the Yemeni government provided 80 female police officers with training on how to deal with trafficked children. It opened a shelter in Sana'a in February, to receive trafficked children returning from Saudi Arabia; this shelter has protected 10 boys since its opening.

The government also received 622 children in its reception center, during the reporting period, providing child victims repatriated from Saudi Arabia with social services, limited medical care and family reunion fication services.

Nonetheless, the government continues to lack protection services for victims of sex trafficking. The government did not employ procedures for proactively identifying victims of sex trafficking among high-risk groups; as a result, victims, including minors, were arrested and jailed for crimes committed as a result of being trafficked, such as prostitution.

The government may encourage child victims to assist in investigations against their traffickers, but it does not offer legal alternatives to remove countries, which face hardship or retribution.

Prevention
Yemen made modest progress in preventing trafficking in persons during the reporting period. The government produced an anti-trafficking public awareness campaign against child labor trafficking. In addition, the Ministry of Human Rights distributed brochures on the threat of child trafficking in cooperation with UNICEF, providing logistical support to this project.

The government, however, did not take any known measures during the reporting period to reduce the demand for commercial sex acts. The government also did not undertake any public awareness efforts targeting citizens that travel to known child sex tourism destinations abroad. Yemen has not ratified the 2000 UN TIP Protocol.

See also
Human rights in Yemen

References

External links
 Lost Childhood Documentary on Child Smuggling in Yemen

Yemen
Yemen
Human rights abuses in Yemen
Slavery in Yemen

Human trafficking in Yemen


Jacques-Philippe Caresme (1734 –96) was a French historical painter.

Life
Caresme was born in Paris in 1734. He was probably a pupil of Charles-Antoine Coypel, and was admitted into the Academy while still young, but expelled eight years later. In 1781, when a royalist, he composed an allegorical design in commemoration of the birth of the Dauphin, and in 1794, after he had become an ardent republican, he presented  the Commune of Paris with a drawing
representing Joseph Chalier, the tyrant of Lyons, going to execution: both of these were engraved. He also painted a large Nativity of the Virgin for Bayonne Cathedral.  He engraved, from his own designs, The Execution of the Marquis de Favras, February 19, 1790, and The Market-Women going to Versailles to compel the King to return to Paris, Oct. 5th, 1789.

He died in Paris in  1796.

References

Attribution:

18th-century French painters
French male painters
1734 births
1796 deaths
Painters from Paris
18th-century French male artists

Jacques-Philippe Caresme


The Crimson Petal and the White is a 2002 novel by Michel Faber set in Victorian England.

The title is from an 1847 poem by Alfred, Lord Tennyson entitled "Now Sleeps the Crimson Petal", the opening line of which is "Now sleeps the crimson petal, now the white." The novel is told from the perspective of all of the main characters, and the omniscient narrator occasionally addresses the reader directly. It has a meta-literary aspect, as Sugar is working on her own novel, Henry writes sermons, and Agnes keeps a diary.

Publication history
The first draft was written in 1980 using a typewriter, but Faber set the manuscript aside, feeling it was too dark. Over two decades later, Faber revisited his draft. After getting some story revisions and a more hopeful ending, the novel was published (by Canongate) in hardback in the UK in 2002, with a paperback edition following the next year. Canongate also published The Apple, a selection of short stories based on characters from The Crimson Petal and the White, in 2006.

Plot
The novel details the lives of two very opposite Victorian women, Agnes and Sugar, who revolve on the linchpin of William Rackham. He is the unwilling and somewhat bumbling heir to a perfume business, with moderate success and little self-awareness.

He marries the exquisitely doll-like Agnes, even though he barely knew her. Agnes, the consummate Victorian "female ideal" of naive and delicate femininity, has been kept completely in the dark on sexual matters. Her diaries express utter confusion over events like menstruation (which she believes is a demon who returns periodically to "bleed" her), pregnancy, sex, or childbirth: she does not even acknowledge her young daughter, Sophie, whom the household staff carefully keeps away from Agnes. Everyone treats Agnes as a mentally ill patient, and she is kept drugged and confined to her bedroom. Weekly visits from Dr. Curlew, who Agnes believes sexually assaults her during his "examinations" of her, keep her unbalanced. Outside of the house, few know of Agnes's madness (though knowledge of it spreads during the length of the story), as she generally presents herself as an inveterate hostess and socialite to the world during each season.

William soon becomes obsessed with a worldly young prostitute named Sugar, an unconventionally intelligent and strong-willed young woman who uses the affair with William to climb to a higher perch in the rigidly stratified class system of the time. William purchases Sugar from her madame (Sugar's own mother) and sets her up in a luxurious flat of her own, where he regularly visits her on his terms. Sugar has been a prostitute since the age of 13 and views sex as a living, not a pleasure, with no physical act too taboo. She is resentful of her reliance on William (and men in general) and indulges her fantasies about harming her and her fellow prostitute's clients in an explicitly gruesome novel of revenge erotica that she pens in her spare time as she works to maintain William's continued interest using both her body and her mind.

As William's fortunes climb with the help of Sugar's excellent business acumen, Agnes becomes increasingly eccentric (which the reader learns is due to a brain tumor but which those around her believe to be hysteria). William eventually moves Sugar into his household, hidden as a member of his staff. Sugar is designated as Sophie's governess and grows to genuinely love the girl as her own. All the while, Agnes's mind begins to spiral into hallucinations of angels, and William retreats to the man's world of his business dealings. Agnes catches sight of Sugar around the property and becomes convinced that Sugar is her angel come to take her to the Convent of Health.

The book culminates in William losing everything after having long neglected the needs of the two women. The day before Agnes is to be moved to an asylum on the orders of William, Sugar suggests to Agnes that she run away in search of the Convent of Health. This convinces Agnes that Sugar is indeed her angel, and Agnes runs off. A body is later found in the river Thames; William believes the body is Agnes, but Sugar has reason to believe it is not. After Agnes's supposed death, it is implied that William is considering courting another woman of his station rather than marrying Sugar. After Sugar discovers that she has become pregnant by William, she plans to end the pregnancy by falling down the stairs of the house. After going through with the plan, Dr. Curlew examines Sugar and discovers the pregnancy, reporting it to William. William dismisses Sugar from the household in a letter. Sugar, having grown fond of Sophie, takes Sophie with her when she leaves. The end, though left unclear, implies that William never finds Sophie, Sugar, or Agnes.

Other characters include Henry Rackham—William's pious older brother who obsessively wants but struggles to become a clergyman—and Emmeline Fox—Dr. Curlew's widowed daughter who works in the Rescue Society, which tries to reform prostitutes.

Reception
The novel was generally well received by critics, with one review calling it "supremely literary" and describing the quality of the writing as "dizzyingly accomplished".

In other media

In 2010, the BBC announced the production of a four-part drama based on the novel; viewing started in April 2011.  The adaptation's cast includes Romola Garai, Chris O'Dowd, Gillian Anderson, Richard E. Grant, Shirley Henderson, Amanda Hale, Mark Gatiss, Tom Georgeson and Liz White; it was adapted by Lucinda Coxon and directed by Marc Munden. The director of photography was Lol Crawley.

References

External links

2002 British novels
Novels about British prostitution
Canongate Books books

British novels adapted into television shows
Novels set in Victorian England

The Crimson Petal and the White


The Tea Party is an American populist political movement.  Most people say it is conservative and libertarian.

The Tea Party:
 has sponsored protests and supported political candidates since 2009,
 wants less government spending,
 is against taxation in varying degrees,
 wants to reduce the national debt and the federal budget deficit,
 wants a strict interpretation of the United States Constitution, not changing its meaning to fit modern ideas and advances.

The name "Tea Party" comes from the Boston Tea Party, a protest by colonists who objected to a British tax on tea in 1773.  They demonstrated by dumping British tea taken from docked ships into the harbor.  Some say that the  Tea in "Tea Party" also stands for "Taxed Enough Already".

The Tea Party movement has caucuses (groups) in the House of Representatives and the Senate of the United States.  Many of the members of the Tea Party caucus were first elected in the 2010 midterm elections.  Some of them had never held any public office before.

The Tea Party movement has no central leadership but is composed of a loose linking of national and local groups that decide their own platforms and agendas. The Tea Party movement has been cited as an example of grassroots political activity, although it has also been cited as an example of astroturfing.

The Tea Party's most famous national figures include Republican politicians such as Sarah Palin, Ron Paul, and Michele Bachmann. As of 2010, the Tea Party movement is not a national political party, but has endorsed Republican candidates.

A Gallup poll shows almost 80% of Tea Partiers say they are Republicans. Commentators, including Gallup Editor-in-Chief Frank Newport, have suggested that the movement is not a new political group but simply a rebranding of traditional Republican candidates and policies. An October 2010 Washington Post canvass of local Tea Party organizers found 87% saying "dissatisfaction with mainstream Republican Party leaders" was "an important factor in the support the group has received so far".  Though many are opposed to GOP leadership, they are even more opposed to President Obama.  Some members believe that President Obama was not born in the United States (despite a birth certificate showing he was born in Hawaii).

One of the main positions the Tea Party took was against the debt ceiling (the amount of money the U.S. is allowed to borrow).  Many voted against any raising of the debt ceiling.  Others demanded large spending cuts and a balanced budget amendment to the U.S. Constitution.

References

Republican Party (United States)

Tea Party movement


David Berman is an American actor and researcher mostly known for his work on  CSI: Crime Scene Investigation where he played Assistant Medical Examiner David "Super Dave" Phillips.

Behind the scenes, Berman co-founded Entertainment Research Consultants (ERC) with former CSI alum, Jon Wellner. ERC has worked on dozens of productions including CSI, CSI: Miami, Bones, The Blackist, Zoo, Dopesick, and Rizzoli & Isles.

As an actor, Berman has a recurring role as Dr. Ogden Maguire on the NBC drama, The Blacklist. Other acting credits include Desperate Housewives, Vanished, Daybreak, Bones and recurring roles on Drop Dead Diva and Heroes. Berman also appeared in the JD Salinger bio-pic, Rebel in the Rye with Nicholas Hoult.

Berman also hosted the National Geographic mini-series, Lost Faces of the Bible.

Filmography

References

External links

Place of birth missing (living people)
1973 births
Living people
American male film actors
American male television actors

David Berman (actor)


Eurybia is a Neotropical genus of metalmark butterflies found from Mexico to Bolivia.

Description
The body is very slender, the head small, the thorax long, the abdomen in both sexes bilaterally compressed, thin and pointed. The wings are entire, the hindwings with a round border, only in a somewhat deviating group the forewings are pointed falciformly at the apex. The ground colour is above dark brown, the border of the hindwing often with a ruddle-red tinge. Only in one case (Eurybia latifasciata (Hewitson, 1870) the wing is traversed by a broad white band (in a species flying together with just the same banded species of other genera (Mesosemia). The forewings mostly exhibit at the cell-end an eyespot or ringspot.
Head broad, forehead broad and flat, eyes of medium size, naked, slightly convex, palpi bent up in front of the face, not projecting, but often brightly coloured; second joint more than twice as long as the first one, the third a minute knob. Antennae very long, reaching about two thirds of the costa, thin, at the ends scarcely thickened. Thorax slender, legs short, the legs, on being stretched out, scarcely reach the anus; abdomen long and slim, mostly extending considerably beyond the anal angle. Wings broad, in the forewing the subcostal is five branched, the submedian bifurcated at the base, the cell broad, cuneiform, of different shapes, at the end sometimes more straightly cut off, sometimes angled laciniformly. The hindwings are sometimes slightly angled between the upper and middle radial-ends.

Species
Listed alphabetically:
Eurybia albiseriata Weymer, 1890
Eurybia caerulescens Druce, 1904 – bluish eurybia or Druce's underleaf
Eurybia carolina Godart, [1824]
Eurybia cyclopia Stichel, 1910 – fire-bordered eurybia
Eurybia dardus (Fabricius, 1787) – Dardus eurybia, Dardus underleaf
Eurybia donna C. & R. Felder, 1862
Eurybia elvina Stichel, 1910 – Elvina eurybia or blind eurybia
Eurybia franciscana C. & R. Felder, 1862
Eurybia halimede (Hübner, [1807]) – Halimede eurybia
Eurybia jemima Hewitson, 1869 – Jemima Eeurybia
Eurybia juturna C. & R. Felder, 1865
Eurybia latifasciata (Hewitson, 1870)
Eurybia lycisca Westwood, 1851 – blue-winged eurybia
Eurybia misellivestis Stichel, 1910
Eurybia molochina Stichel, 1910 – Molochina eurybia, Molochina underleaf
Eurybia nicaeus (Fabricius, 1775) – Nicaeus eurybia
Eurybia patrona Weymer, 1875 – great eurybia
Eurybia pergaea (Geyer, 1832)
Eurybia rubeolata Stichel, 1910 – rubeolata eurybia
Eurybia silaceana Stichel, 1924
Eurybia unxia Godman & Salvin, [1885] – Unxia eurybia or azure-winged eurybia

References

External links
Eurybia at tol

Riodininae
Riodinidae of South America
Butterfly genera
Taxa named by Johann Karl Wilhelm Illiger

Eurybia (butterfly)


Hegannahalli Narayana Shastry Ananth Kumar (22 July 1959 – 12 November 2018) was an Indian politician affiliated with Bharatiya Janata Party (BJP). He was the Minister of Chemicals and Fertilizers, Parliamentary Affairs of India from 2014 until his death in 2018. Ananth Kumar was an MP from South Bangalore 6 times, Minister of Chemicals and fertilizers from 26 May 2014, and Parliamentary affairs from 2016. He was a member of the Parliament for over two decades, having been elected to the Lok Sabha, the lower house, from Bangalore South, from 1996 until his death. He also served as Minister for Civil Aviation, Tourism, Sports, Urban Development, and Poverty Alleviation.

Early life
Ananth Kumar was born in a middle-class Brahmin family at Bangalore, Sheshadripuram, Karnataka, and moved to Hubli in 1979. His father, H. N. Narayan Shastry, was employed with the Indian Railways. His family settled in Hubli in 1979–80. His mother Smt Girija Shastry was a social worker associated with the Bharatiya Jana Sangh. She served as the deputy mayor of the Hubli-Dharwad Municipal Corporation between 1985 and 1986. Kumar completed his matriculation in Lamington School and pre-university course in science PC Jabin College in Hubli. He earned bachelor's degree in arts from Kadasiddeshwar Arts College, affiliated to the Karnatak University, and in Laws from JSS Law college, both in Hubli.

Kumar joined the Rashtriya Swayamsevak Sangh (RSS) in 1973 and took part in the movement started by Jayaprakash Narayan the following year. He was jailed in the Hubli sub-jail for a period of over 40 days during the emergency.

Politics
Ananth Kumar was a member of RSS' student wing, the Akhil Bharatiya Vidyarthi Parishad (ABVP). He was elected as the State Secretary of the ABVP. He later became its National Secretary in 1985. In 1987, he joined BJP and was nominated as the State President of Bharatiya Janata Yuva Morcha. He was then made National Secretary of the party in 1996.

Ananth Kumar was elected from Bangalore South Lok Sabha constituency to the 11th Lok Sabha in 1996. He was re-elected and was inducted into the Second Vajpayee ministry. In 1999, he was re-elected to a third consecutive term and became a cabinet minister in the National Democratic Alliance government. He handled various ministries like Tourism, Sports & Youth Affairs, Culture, Urban Development and Poverty Alleviation.

Ananth Kumar became the President of the Karnataka state unit of BJP in 2003. It became the single largest party in the Legislative Assembly and won the majority number of Lok Sabha seats in 2004 in Karnataka. In 2004, he was appointed National General Secretary of the BJP.

On 26 May 2014, Kumar was appointed Minister of Chemicals and Fertilizers in the cabinet of the current Indian Prime Minister Narendra Modi. In the 2016 reshuffle, he was given the additional charge of Parliamentary Affairs.

Lok Sabha electoral performance

Governance
When Ananth Kumar was minister of Chemicals and fertilizers, he worked to reduce the prices of coronary stents that would help heart patients to an average benefit of close to a lakh. As the minister for chemicals and fertilizers, Kumar implemented 100% mandatory neem-coating of urea, in a move that was expected to save  6,500 crore annually in government subsidy or about  10,000 in total, by stopping diversion for industrial usage, apart from additional benefit of slowing the release of nitrogen, thus reducing the overall consumption.

Ananth Kumar mandated price reduction by 69% on Knee Implants- from 1.5 to 2.5 lakh to the new price of 54,500. Under his guidance, number of Jan Aushadhi Kendras increased to over 4300 all over India (as on 1 November 2018) from 89 in May 2014. He launched Suvidha – Bio-degradable & environment friendly sanitary pads at just 2.50 per piece from 5 June 2018, on the occasion of International women's day (8 Mar 2018).

He launched an initiative to revive 6 closed fertilizer plants with over 48,000 cr investment, along with coal and oil & natural gas ministry.

Ananth Kumar signed an agreement for an International airport in Bangalore and took steps to improve the facilities in the HAL airport as the civil aviation minister in the Vajpayee government.

Ananth Kumar formulated a transport policy in which cities with more than 10 lakh people would have metros. He had worked for the approval of the Bengaluru Metro project by the Vajpayee cabinet.

Ananth Kumar, Sushma Swaraj, M Venkaiah Naidu, Arun Jaitley were called "Delhi-4" or "D4" under the leadership of veteran L.K Advani, as they were based in Delhi and took care of various responsibilities in the party.

He played his part in passing the GST (Goods and Services Tax) bill in July 2017. When NDA did not have a sufficient majority, Shri Ananth Kumar had convinced the other legislators regarding the importance of GST (Goods and Services Tax) to launch the bill.

In 1998 Shri Ananth Kumar launched www.raktadan.org/ and www.ananth.org. He became the first Indian MP to launch his own website to serve his constituency.

He was known as the Delhi Face of Karnataka. Whenever representatives from Karnataka from any party came to him in Delhi, he would contact the concerned officials and do everything he could to resolve their issues.

Personal life

Social work
He along with his wife, Tejaswini, founded Adamya Chetana Foundation, a nonprofit organisation for social service. It was setup in 1998 in memory of Girija Shastry, mother of Ananth Kumar. It supports underprivileged children with food in schools through the Midday Meal Scheme. About 2,00,000 meals are served daily.

He launched the initiative Green Bangalore 1:1 as part of his larger initiative Sasyagraha, to achieve 1 tree per human ratio, from the current 7 humans per tree as against the ideal 7 trees per human per research by IISc. EcoChetana initiative was to promote GreenLifeStyle in the state of Karnataka.

As part of Sansad Adarsh Gram Yojana (SAGY) Ananth Kumar had adopted the Ragihalli village.

He introduced Arogya Chetana Mediclaim group insurance facility for schoolchildren inaugurated by Dr APJ Abdul Kalam.

Death
On 12 November 2018 he died due to pancreatic cancer and complications. He was survived by his wife, Tejaswini, and his two daughters, Aishwarya and Vijeta.

References

External links

Official biographical sketch in Parliament of India website
 Official website of Ananth Kumar
  Adamya Chetana Trust

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1959 births
2018 deaths
Bharatiya Janata Party politicians from Karnataka
Lok Sabha members from Karnataka
India MPs 1996–1997
India MPs 1998–1999
India MPs 1999–2004
India MPs 2004–2009
India MPs 2009–2014
India MPs 2014–2019
Politicians from Bangalore
Kannada people
Indian Hindus
Karnatak University alumni
Narendra Modi ministry
Deaths from cancer in India
Indians imprisoned during the Emergency (India)
Culture Ministers of India
Civil aviation ministers of India
Tourism ministers of India
Members of the Cabinet of India

Ananth Kumar


Sir Laurence Rupert "Jim" McIntyre  (22 June 191221 November 1981) was an Australian public servant and diplomat.

Career
McIntyre joined the Department of External Affairs in 1940.

In September 1952, McIntyre was appointed Australian Commissioner for Malaya, having served as Acting Commissioner in the year before.

In November 1959, McIntyre's appointment as Australian Ambassador to Japan was announced. His term in Japan was extended to take in the 1964 Olympic Games in Tokyo.

He was President of the United Nations Security Council in October 1973, during the 1973 Arab–Israeli War and was lauded for capably handling the situation in the role.

Awards and honours
In 1953, McIntyre was made an Officer of the Order of the British Empire whilst he was Commissioner to Malaya in Singapore. He was promoted to a Commander of the Order in 1960 during his posting as Ambassador to Indonesia. In 1963, McIntyre was appointed a Knight Bachelor, whilst on posting as ambassador in Tokyo.

On Australia Day in 1979, McIntyre was made a Companion of the Order of Australia.

The McIntyre Bluffs in Antarctica are named in honour of McIntyre.

References

1912 births
1981 deaths
Australian Commanders of the Order of the British Empire
Australian Knights Bachelor
Companions of the Order of Australia
Ambassadors of Australia to Indonesia
Ambassadors of Australia to Japan
Permanent Representatives of Australia to the United Nations

Laurence McIntyre


Maharaja Raol Sir Takhtsinhji Jaswantsinhji  KIH  (6 January 185829 January 1896), was Maharaja of Bhavnagar, a Rajput chief of the Gohil clan, and ruler of Bhavnagar state in Kathiawar. He succeeded to the throne of Bhavnagar upon the death of his father, Jaswantsinhji, in 1870.

Life

Takhtsinhji attended the Delhi Durbar in 1877 and was granted a personal gun salute of 15 guns. During his minority studies, which ended on 5 April 1878, he was educated at the Rajkumar College, Rajkot being the first student. Afterward, he studied under an English officer, while the administration of the state was conducted jointly by Mr. E. H. Percival, a member of the Indian Civil Service, and Gaurishankar Udayshankar, C.S.I., one of the foremost native statesmen of India, who had served the state in various capacities since 1822.

At the age of twenty, Takhtsinhji found himself the ruler of a territory nearly  in size. His first public act was to sanction a railway connecting his territory with one of the main trunk lines, which was the first enterprise of its kind on the part of a raja in western (if not all) India. The amount of commerce, trade, economic and social development of the state that came in the wake of this railway confirmed Takhtsinhji as supporting a policy of progressive administration. Further educational establishments, hospitals, dispensaries, trunk roads, bridges, handsome edifices, and other public works projects followed.

Takhtsinhji was awarded the Empress of India Gold Medal in 1877, and knighted as a KCSI in 1881. In 1886, he inaugurated a system of constitutional rule, by placing several departments in the hands of four members of a council of state under his own presidency. This innovation—which had the support of the governor of Bombay, Lord Reay—provoked a virulent attack upon the chief, who brought his defamers to trial at the High Court of Bombay. The punishment of the ringleaders broke up a blackmailing system to which rajas were regularly exposed. The public spirit toward Takhtsinhji in freeing his brother chiefs from blackmail was widely acknowledged throughout India, as well as by the British authorities.

In 1886, he was promoted to GCSI, and five years later his hereditary title of Thakur was raised to that of Maharaja. In 1893 he took advantage of the opening of the Imperial Institute to visit England in order to pay personal homage to Queen Victoria, then sovereign of the British Empire. During that occasion, the University of Cambridge awarded him the degree of LL.D.

As the first pupil of Rajkumar College, Rajkot, Takhtsinhji became its greatest patron and benefactor following his accession to the throne of Bhavnagar. He was also a great benefactor to Gujarat College, Fergusson College, and the Wadhwan Girassia School, as well as several girls' and women's schools. He founded Samaldas Arts College in 1885, which he named after the later Diwan of State, Samaldas Mehta. During his reign, he undertook intensive developments, reformed the revenue department, erected water works and modern docks, extended medical relief, built a port, bridges, hospitals, and schools and worked to and modernize Bhavnagar. Celebrated as a "model ruler of a model state" during his own lifetime, the Maharaja died at the Moti Bagh Palace on 29 January 1896 at the age of 38. He was succeeded as Maharaja of Bhavnagar by his eldest son, Bhavsinhji II.

Titles
Over his life, Takhtsinhji was known by the following titles:
1858–1870: Maharajkumar Shri Takhtsinhji Jaswantsinhji Sahib Gohil, Yuvraj Sahib of Bhavnagar
1870–1877: His Highness Maharaj Raol Shri Takhtsinhji Jaswantsinhji Sahib, Maharaj Raol Thakore Sahib of Bhavnagar
1877–1881: His Highness Maharaj Raol Shri Takhtsinhji Jaswantsinhji Sahib, Maharaj Raol Thakore Sahib of Bhavnagar, KIH
1881–1886: His Highness Maharaj Raol Shri Sir Takhtsinhji Jaswantsinhji Sahib, Maharaj Raol Thakore Sahib of Bhavnagar, KCSI, KIH
1886–1891: His Highness Maharaj Raol Shri Sir Takhtsinhji Jaswantsinhji Sahib, Maharaj Raol Thakore Sahib of Bhavnagar, GCSI, KIH

Honors
During his lifetime, Takhtsinhji received the following honors:
Prince of Wales gold medal: 1875
Empress of India Gold Medal: 1877
Knight Grand Commander of the Order of the Star of India (GCSI): 1886  (KCSI: 1881)
Personal title of Maharaja: 1891

References

1858 births
1896 deaths
Knights Grand Commander of the Order of the Star of India
Maharajas of Bhavnagar
People from British India
Rajput monarchs
Bhavnagar district
Founders of Indian schools and colleges
Indian knights
19th-century Indian philanthropists

Takhtsinhji


The Jefferson Barracks Telephone Museum is located at 12 Hancock Ave in Lemay, St. Louis County, Missouri.  It is located within the 426-acre Jefferson Barracks Historic District which was added to the National Register of Historic Places in 1972.  The museum is housed in a restored 1896 building that is a 15-minute drive south of downtown Saint Louis Missouri.

Description
The building housing the Jefferson Barracks Telephone Museum was constructed as a two-story duplex that was built using Quartermaster Plan 115.  It was constructed by Richard Deutman and Son architects and is one of two remaining structures that was part of Officers' Row located on the north side of the former parade grounds.

The parade ground, central to the entire post, was the site of military drill and ritual.  The placement of quarters around the parade ground was a clear delineation of military rank, with officers on the northern perimeter.

In 1909, electricity was added to the duplexes and bathrooms were installed in 1925.  Sunrooms were added on the second floor and the first floor areas beneath each of the new rooms were enlarged in 1938.  The officers and their families moved out the duplexes in the mid-1940s.

Members of the Telecom Pioneers, a non-profit 501(c)(3) telephone company employee service organization, and their families and friends have spent over 66,500 hours in repairing and renovating the building.

History
Jefferson Barracks played a key role in westward movement, training and deploying troops to lead exploration of the west and to protect commerce and settlement along western trails.  It was from Jefferson Barracks that many of the country's significant western forts were established and supplied.  Architecturally, the district contains buildings dating from three major military building periods including 1850s era munitions buildings, the nationwide military post redevelopment campaign of the 1880s and 1890s using standardized quartermaster plans and buildings associated with military build-up in World War I and II.

During the Civil War, the post housed one of the nation's largest military hospitals, making critical advances in the treatment of wounded sent there from distant battlefields.  Among the "firsts" occurring here is the Barracks' initial mission as the U.S. Army's first basic training center, the organization of the First Dragoons (forerunners of the American cavalry), the first successful parachute jump from an airplane, and the operation of the first Army Air Corps Technical Training School.

The Barracks provided the first military escort to merchant trains on the Santa Fe Trail, sent exploratory and protective troops out on the Oregon Trail and served as a central depot sending both men and supplies to a major network of western forts active during the various Indian Wars.

Countless American military heroes served at the post over the years.  Early leaders Thomas Atkinson, Henry Leavenworth and Henry Dodge had already won fame in the War of 1812 before coming to Jefferson Barracks.  The post's size and military importance in the mid-19th century meant that most rising young West Pointers saw service there.  This provided a pool of experienced leadership from which came hundreds of Civil War generals on both sides of the conflict, including Ulysses S. Grant and Robert E. Lee.  Post commanders of later periods, Guy V. Henry, Walter Krueger and Walter C. Short took leading roles in the Spanish–American War and World War II.

Exhibits
Besides its extensive collection of telephones manufactured from the 1900s through the 2000s, the Jefferson Barracks Telephone Museum also contains a working Central Office Step Switch, military telephones from WWII through the Vietnam War, hundreds of pieces of telephone-related equipment and tools, a telephone pole complete with climbing equipment, hundreds of pieces of telephone-related memorabilia from the 1880s through the 2000s, a large variety of novelty telephones, a special portable switchboard set up when U.S. Presidents Carter, Ford, Nixon and Johnson were visiting St. Louis and a sculpture of Alexander Graham Bell and history of the invention of the telephone.

The self-guided, accessible museum has many hands-on, how-things-work displays.

The displays were created to inspire an interest in engineering and history.  Boy Scouts can utilize the museum to meet one of their Inventing and Engineering merit badge requirements. Guided tours are available for groups of 10 or more and should be scheduled at least two weeks before the tour.

References

External links
 Jefferson Barracks Telephone Museum

History museums in Missouri
Museums in St. Louis County, Missouri
Telecommunications museums in the United States
Telephone museums
Communications in Missouri
Industry museums in Missouri
Technology museums in the United States
Tourist attractions in St. Louis
1896 establishments in Missouri

Jefferson Barracks Telephone Museum


Phantom from Space is a 1953 independently made American black-and-white science fiction film produced and directed by W. Lee Wilder that stars Ted Cooper, Noreen Nash, Dick Sands, and Burt Wenland. The original screenplay was written by William Raynor and Myles Wilder. Working with most of the same crew, this was one of several early 1950s films made by Wilder and son Myles on a financing-for-distribution basis with United Artists and, on occasion, RKO Radio Pictures.

Plot
Federal Communications Commission (FCC) investigators arrive in the San Fernando Valley after what appears to be a flying saucer crash, causing massive interference with tele-radio transmissions. During their investigation, they receive eyewitness reports of what appears to be a man dressed in a bizarre outfit, which appears to be radioactive and thus a public threat.

Their investigation uncovers that the man is actually a humanoid creature from outer space, who is invisible without his spacesuit. They start a massive manhunt for the invisible, radioactive alien running loose.

The action culminates in Los Angeles where the invisible alien has been tracked. He becomes trapped inside the famous Griffith Observatory. A woman lab assistant discovers that he can be seen using ultraviolet light. The alien attempts to communicate by tapping out a code, but no one can understand it. Now breathing heavily because his breathing gas reserves are now running low, he is trapped high-up on the Griffith telescope's upper platform. Because he can no longer survive without his breathing gas, he falters and then falls to his death. His body briefly becomes visible before completely evaporating

Cast

Production and release
W. Lee Wilder formed a film production company in the early 1950s called Planet Filmplays for the purpose of producing and directing "quickie" low-budget science fiction films, with screenplays co-written with his son Miles.

Phantom from Space uses stock footage of radar rigs. Some of this stock footage would later reappear in Killers from Space (1954).

Phantom from Space opened on May 15, 1953.

Legend Films released a colorized version of the film.

Reception
Film historian and critic Glenn Erickson reviewed the film's DVD release. He wrote, "After a couple of uninspired potboilers in the late 1940s (The Pretender is actually a good movie), Wilder hit his groove of incompetence with this no-budget wonder concerning the saddest space invader on record ... Endless talky scenes alternate with the entire cast of 6 running back and forth in the old interior of the Griffith Planetarium. The poor invader is a bald Muscle Beach type in a radioactive space suit and a helmet that appears to be the same prop from  Robot Monster, somewhat altered."

References

Bibliography
Warren, Bill. Keep Watching The Skies, American Science Fiction Movies of the 50s, Vol I: 1950–1957. Jefferson, North Carolina: McFarland & Company, 1982. .

External links

1953 films
1950s science fiction films
Films directed by W. Lee Wilder
United Artists films
Films scored by William Lava
American black-and-white films
American science fiction films
1950s English-language films
1950s American films

Phantom from Space


Turbot is a large flatfish. It is a demersal fish which lives in marine or brackish waters. It is found in the North Atlantic, Baltic Sea and the Mediterranean Sea.

Turbot are fished for food, and have a delicate flavour. They are farmed in a number of countries, and are quite expensive in restaurants.

When caught, professional fishermen often make small cuts through the bone near the tailfin. This lets the blood out and keeps the meat white. Storing the Turbot upside down also helps in keeping the underside of the fish white.

Flatfish
Edible fish

Turbot


The Huis met de Kabouters (Dutch for "House with the Gnomes") is a 19th-century building in Amsterdam, so named because the facade is decorated with two figures of gnomes. The building has held rijksmonument status since 1984.

The house is at Ceintuurbaan 251-255 in the De Pijp district, near the Nieuwe Amstelbrug bridge across the river Amstel. The building is 27 metres in width, 13 metres in depth and 17 metres in height, and consists of three separate houses, each with a ground floor, three residential storeys and an attic storey. The building contains 12 separate apartments, seven of which are rented out and five of which are owned by the residents.

The richly ornate building dates to 1884. It was designed by A.C. Boerma in a mix of architectural styles. The building has Gothic Revival elements such as  lancet windows and gargoyles, Renaissance Revival elements such as  kruiskozijn windows (with a horizontal and vertical beam dividing them into four sections) and stone blocks, and Swiss chalet style elements such as abundant wood carving.

The facade is made of brick interspersed with sandstone elements, and features three wooden bay windows. The facade is decorated with a variety of ornaments, including gnomes, putti and eagles. The gnomes along the edge of the roof, each measuring two and half metres in height, appear to be tossing a ball back and forth. According to local legend, the ball switches hands from one gnome to the other at midnight daily or, in other versions, only on New Year's Eve or on the 29th of February in leap years. It is not known what the gnomes are meant to symbolize. According to one explanation, they represent two contractors who worked together on the building. Or they may represent the man who commissioned the building, as his last name was Van Ballegooijen ("Ballegooijen" literally means "ball toss").

References

Rijksmonuments in Amsterdam
Houses completed in 1884
Amsterdam-Zuid

Huis met de Kabouters