Which of the following best describes the main purpose of the Emancipation Proclamation issued by President Abraham Lincoln during the Civil War?

It declared all slaves in Confederate states to be free, signaling a shift toward abolition.

It allowed slavery to continue in all states to preserve the Union.

It immediately abolished slavery throughout the entire United States.

It granted voting rights to formerly enslaved people in the South.

Arrange the following key Reconstruction phases in logical order.

Presidential, Congressional, Reconstruction, Redemption

Which of the following were major causes leading to the American Civil War?

Differences in political power between Northern and Southern states

The introduction of the 13th Amendment

The 13th Amendment and the Abolition of Slavery - Starter Quiz

Analyze the impact of the 13th, 14th, 15th, 19th, 24th, and 26th amendments on participation of minority groups in the American political process.

Friday the 13th

TELSTAR the 13th - THE GAMES

The Benin Kingdom is located in the southern forest of West Africa (Modern Nigeria) and formed by the Edo people, flourished from the 13th to 19th century CE. The capital also is called Benin, it was the hub of a trade network exclusively controlled by the king or Oba and which included relations with Portuguese traders who sought gold and slaves. Benin went into decline during the 18th century. The Benin territory is a mixture of rainforest, dry forest, and mangrove swamp. The heartland was a circle around the capital, also called Benin, extending some 60 kilometers in all directions and was ruled directly by the king. THE OBA OF BENIN This is the traditional ruler and the custodian of the culture of the Edo people and all Edoid people. THE FOLLOWING ARE THE PAST OBAS OF BENIN KINGDOM AND YEAR OF REIGNING. 1. Pre – Imperial Benin (1200- 1440) Eweka 1 (1200 -1235), Uwakhuahen (1235 – 1243), Ehenmihen (1243 – 1255). 2. Imperial Benin ((1440 – 1897) Ewuare the Great (1440 – 1473), Olua (1473 -1480), Ozolua(1483 – 1504). 3. Post- Imperial Benin (1914- Present) Eweka II(1914 – 1933) Akenzua II (1933 – 1978) Erediauwa (1976 – 2016)

Do you call that a hat? In the past, clothes used to be very different. These clothes are worn at present while these clothes were worn in the past. In the 18th century, women wore such big dresses. Men used to wear high heels, too. They used the heels when they rode their horses. Trousers and jackets didn't have zips(拉链). Instead, there were buttons(纽扣) on clothes. In the 13th century, buttons were used. Zips weren't invented until 1893.

Southeast Asian architecture, buildings of Myanmar (Burma), Thailand, Laos, Cambodia, Vietnam, Malaysia, Singapore, Indonesia, and the Philippines. Most of Southeast Asia’s great temples were built by the 13th century. The Indian royal temple, which dominated Southeast Asian culture, typically stood on a terraced plinth, upon which towered shrines could multiply. Construction was ideally of stone but could be brick sculpted with stucco. Exteriors displayed carved rhythmic moldings and figures. In about 770 the Javanese Shailendra dynasty began its series of superb stonecut monuments, culminating in the huge Mahayana Buddhist Borobudur and the Hindu Lara Jonggrang (c. 900–930). About 800 the Cambodian king Jayavarman II built a brick mountain for a temple group. This plan was furthered when foundations were laid for Angkor, a scheme based on a grid of reservoirs and canals. Successive kings built more temple mountains there, culminating in Angkor Wat. Among Southeast Asia’s most impressive sites is the city of Pagan in Myanmar, with many brick and stucco Buddhist temples and stupas built 1056–1287. Burmese stupas (e.g., Shwe Dagon Pagoda) typically have a spreading, bell-shaped base topped by a dome and pointed spire. The many monasteries of Myanmar and Thailand, like those of Laos and Vietnam, have been repeatedly enlarged and rebuilt. The architecture of the modified Hinduism of Bali is vigorously fantastical, with gilt paint and coloured glass.

Translator: Joseph Geni Reviewer: Morton Bast Before March, 2011, I was a photographic retoucher based in New York City. We're pale, gray creatures. We hide in dark, windowless rooms, and generally avoid sunlight. We make skinny models skinnier, perfect skin more perfect, and the impossible possible, and we get criticized in the press all the time, but some of us are actually talented artists with years of experience and a real appreciation for images and photography. On March 11, 2011, I watched from home, as the rest of the world did, as the tragic events unfolded in Japan. Soon after, an organization I volunteer with, All Hands Volunteers, were on the ground, within days, working as part of the response efforts. I, along with hundreds of other volunteers, knew we couldn't just sit at home, so I decided to join them for three weeks. On May the 13th, I made my way to the town of Ōfunato. It's a small fishing town in Iwate Prefecture, about 50,000 people, one of the first that was hit by the wave. The waters here have been recorded at reaching over 24 meters in height, and traveled over two miles inland. As you can imagine, the town had been devastated. We pulled debris from canals and ditches. We cleaned schools. We de-mudded and gutted homes ready for renovation and rehabilitation. We cleared tons and tons of stinking, rotting fish carcasses from the local fish processing plant. We got dirty, and we loved it. For weeks, all the volunteers and locals alike had been finding similar things. They'd been finding photos and photo albums and cameras and SD cards. And everyone was doing the same. They were collecting them up, and handing them in to various places around the different towns for safekeeping. Now, it wasn't until this point that I realized that these photos were such a huge part of the personal loss these people had felt. As they had run from the wave, and for their lives, absolutely everything they had, everything had to be left behind. At the end of my first week there, I found myself helping out in an evacuation center in the town. I was helping clean the onsen, the communal onsen, the huge giant bathtubs. This happened to also be a place in the town where the evacuation center was collecting the photos. This is where people were handing them in, and I was honored that day that they actually trusted me to help them start hand-cleaning them. Now, it was emotional and it was inspiring, and I've always heard about thinking outside the box, but it wasn't until I had actually gotten outside of my box that something happened. As I looked through the photos, there were some were over a hundred years old, some still in the envelope from the processing lab, I couldn't help but think as a retoucher that I could fix that tear and mend that scratch, and I knew hundreds of people who could do the same. So that evening, I just reached out on Facebook and asked a few of them, and by morning the response had been so overwhelming and so positive, I knew we had to give it a go. So we started retouching photos. This was the very first. Not terribly damaged, but where the water had caused that discoloration on the girl's face had to be repaired with such accuracy and delicacy. Otherwise, that little girl isn't going to look like that little girl anymore, and surely that's as tragic as having the photo damaged. (Applause) Over time, more photos came in, thankfully, and more retouchers were needed, and so I reached out again on Facebook and LinkedIn, and within five days, 80 people wanted to help from 12 different countries. Within two weeks, I had 150 people wanting to join in. Within Japan, by July, we'd branched out to the neighboring town of Rikuzentakata, further north to a town called Yamada. Once a week, we would set up our scanning equipment in the temporary photo libraries that had been set up, where people were reclaiming their photos. The older ladies sometimes hadn't seen a scanner before, but within 10 minutes of them finding their lost photo, they could give it to us, have it scanned, uploaded to a cloud server, it would be downloaded by a gaijin, a stranger, somewhere on the other side of the globe, and it'd start being fixed. The time it took, however, to get it back is a completely different story, and it depended obviously on the damage involved. It could take an hour. It could take weeks. It could take months. The kimono in this shot pretty much had to be hand-drawn, or pieced together, picking out the remaining parts of color and detail that the water hadn't damaged. It was very time-consuming. Now, all these photos had been damaged by water, submerged in salt water, covered in bacteria, in sewage, sometimes even in oil, all of which over time is going to continue to damage them, so hand-cleaning them was a huge part of the project. We couldn't retouch the photo unless it was cleaned, dry and reclaimed. Now, we were lucky with our hand-cleaning. We had an amazing local woman who guided us. It's very easy to do more damage to those damaged photos. As my team leader Wynne once said, it's like doing a tattoo on someone. You don't get a chance to mess it up. The lady who brought us these photos was lucky, as far as the photos go. She had started hand-cleaning them herself and stopped when she realized she was doing more damage. She also had duplicates. Areas like her husband and her face, which otherwise would have been completely impossible to fix, we could just put them together in one good photo, and remake the whole photo. When she collected the photos from us, she shared a bit of her story with us. Her photos were found by her husband's colleagues at a local fire department in the debris a long way from where the home had once stood, and they'd recognized him. The day of the tsunami, he'd actually been in charge of making sure the tsunami gates were closed. He had to go towards the water as the sirens sounded. Her two little boys, not so little anymore, but her two boys were both at school, separate schools. One of them got caught up in the water. It took her a week to find them all again and find out that they had all survived. The day I gave her the photos also happened to be her youngest son's 14th birthday. For her, despite all of this, those photos were the perfect gift back to him, something he could look at again, something he remembered from before that wasn't still scarred from that day in March when absolutely everything else in his life had changed or been destroyed. After six months in Japan, 1,100 volunteers had passed through All Hands, hundreds of whom had helped us hand-clean over 135,000 photographs, the large majority — (Applause) — a large majority of which did actually find their home again, importantly. Over five hundred volunteers around the globe helped us get 90 families hundreds of photographs back, fully restored and retouched. During this time, we hadn't really spent more than about a thousand dollars in equipment and materials, most of which was printer inks. We take photos constantly. A photo is a reminder of someone or something, a place, a relationship, a loved one. They're our memory-keepers and our histories, the last thing we would grab and the first thing you'd go back to look for. That's all this project was about, about restoring those little bits of humanity, giving someone that connection back. When a photo like this can be returned to someone like this, it makes a huge difference in the lives of the person receiving it. The project's also made a big difference in the lives of the retouchers. For some of them, it's given them a connection to something bigger, giving something back, using their talents on something other than skinny models and perfect skin. I would like to conclude by reading an email I got from one of them, Cindy, the day I finally got back from Japan after six months. "As I worked, I couldn't help but think about the individuals and the stories represented in the images. One in particular, a photo of women of all ages, from grandmother to little girl, gathered around a baby, struck a chord, because a similar photo from my family, my grandmother and mother, myself, and newborn daughter, hangs on our wall. Across the globe, throughout the ages, our basic needs are just the same, aren't they?" Thank you. (Applause) (Applause)

Population growth is steadily slowing down. The 2020 Census of Population and Housing (CPH) recorded about 109 million Filipinos, almost nine (9) million more compared to the population recorded in 2015. The population increased at a rate of 1.6 from 2015- 2020 which is slower than the 1.7 annual growth rate between 2010–2015. Generally, as shown in Figure 1, the population growth rate has slowed down since the 1970’s. While this is considered a positive gain, the Philippines, however, is ranked 13th as the most populous around the world (UNDESA). It is also the second most populous country among members of the Association of Southeast Asian Nations (ASEAN). Moreover, it is observed that socioeconomic and regional disparities exist even if the population growth has dwindled. Figure 2. Trends in the total fertility rate, 1973 to 2022 Source: PSA, Various NDHS Filipino women have fewer children compared to past generations. The 2022 National Demographic and Health Survey showed a rapid decline in fertility, reaching replacement level total fertility rate (TFR) of 1.9 from 2.7 in 2017. The TFR has been on a decline since the 1980s, albeit, at a slower pace than what was experienced by most neighboring countries in East and Southeast Asia (Costello and Casterline, n.d.). These trends nevertheless have resulted in a change in age structure of the population. The proportion of children under five years old has declined, although there will still be many school- aged children in the next 15 years. The working age population (15-64) is expected to increase along with the older population 65 and over. In 2010, the proportion of 65 years old and over reached 4.3%. This increased to 5.4% in 2020. The increase in the number of the working age population is the outcome of a long period of population growth. A demographic bonus or dividend is expected to occur once population growth starts to slow down. The maximum utilization of these human resources provides a potential for higher productivity and contributes to economic growth.

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