1/29/2024 0 Comments Gas mask artIn this book, Okumura shares the practices and psychology behind Wa and the Japanese health secrets that allow anyone, at any point in their life, to improve and sustain their health. “ Wa ” means harmony, a central tenet at the heart of the Japanese belief that living well requires achieving balance between four pillars of practice: Nourish, Move, Rest, and Socialize. She turned to her Japanese background to better understand self-care practices that contribute to living longer, happier, and more fulfilled lives. Growing up in the United States, wellness expert Kaki Okumura struggled to find methods for maintaining a healthy lifestyle without resorting to fad diets or extreme exercise routines. He is the author of more than a dozen books, including It Can Happen Here, Man or Monster?, The Justice Façade, and Why Did They Kill? Find him on Twitter Ohashi ’20 (writing as Kaki Okumura) Wa : The Art of Balance: Live Happier, Healthier and Longer the Japanese Way (Watkins Publishing, 2023) In a clear, engaging narrative style, Hinton asks: Can scholars who serve as expert witnesses effectively contribute to international atrocity crimes tribunals where the focus is on legal guilt as opposed to academic explanation? What does the answer to this question say more generally about academia and the public sphere? Hinton’s response to these questions about public scholarship are urgent and relevant to our modern world.Īlexander Laban Hinton is Distinguished Professor of Anthropology and Global Affairs, director of the Center for the Study of Genocide, and Human Rights UNESCO chair on Genocide Prevention at Rutgers University. After some deliberation, he decided that answering the call was as much a moral imperative as it was a professional obligation.Īnthropological Witness captures the events of that trial, including Hinton’s testimony and his direct exchange with Pol Pot’s notorious right-hand man, Nuon Chea, a genocide denier. For Hinton, who has spent decades conducting ethnographic research on the Khmer Rouge Tribunal and studying genocide and transitional justice more broadly, the invitation raised questions about the responsibilities of public scholars to address issues relating to truth, justice, social repair, and genocide. In March 2016, Alexander Laban Hinton was invited to serve as an expert witness at an international tribunal established to try senior Khmer Rouge leaders for crimes committed during the 1975–79 Cambodian genocide. In honor of Asian American/Pacific Islander Heritage Month, this edition of YJHTRT highlights AAPI authors and subjects.Īlexander Laban Hinton ’85, Anthropological Witness: Lessons from the Khmer Rouge Tribunal (Cornell University, 2022) The volumes, sent to us by alumni, are forwarded to Olin Library as donations to the University’s collection and made available to the Wesleyan community. He was appointed an official war artist from 1917-1919 and again in 1940-1943, painting portraits of sailors and airmen.In this continuing series, we review alumni books and offer a selection for those in search of knowledge, insight, and inspiration. He studied at St Paul’s Art School, the Lambeth School of Art and the City and Guilds School. ![]() Kennington was born in Chelsea, London, the son of a well-known portrait artist. These prints do not attempt to depict the horror and tragedy of war, as in most of his war art, Kennington instead champions the common soldier. He was wounded and discharged as unfit in 1915. Kennington was probably chosen for this subject as he had himself enlisted with the 13th (Kensington) Battalion London Regiment and fought on the Western Front, France, 1914-1915. Showing soldiers in training and at the Front, one journalist described these prints as capturing ‘the spirit of our new, young army’. ![]() Although set in a trench, the image does not capture the harsh, dirty conditions that the soldiers encountered there. The masks were to protect the soldiers from chemical attacks, such as mustard gas, which was used for the first time in the First World War. More soldiers are helped with theirs behind him. The soldier is practising putting on his gas mask. In each of Kennington’s images, a soldier dominates the foreground, contextualised by the scene behind him.
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