text:
Talk:Siberia

Culturally and ethnically European
What the f- does this mean? There is no homogenous European culture or ethnicity, people on the European side of Russia share a lot of genetic continuum/admixture and cultural influence descending from the people in Siberia. Not to mention a lot of native Siberians were absorbed into the settler and later migrant populations..

Transliteration
This discussion was moved from User talk:Cantus: Please continue this section at Talk:Transliteration of Russian into English page

Hi, Cantus! I am a little stumped with what "Sibír'" means. It surely isn't a transliteration, and you do not mention what language this is in. Can you satisfy my curiosity, please? Also, why did you remove the accent mark from the Russian version?--Ëzhiki 15:42, Jul 26, 2004 (UTC)

 * Hi. Yes, it is a transliteration. It is not in any particular language. I removed the accent from the cyrillic text and placed it in the transliteration instead, as the Russian original does not carry such accent mark. --Cantus 19:17, Jul 26, 2004 (UTC)

 * Russian original spelling never includes an accent mark, with three notable exceptions: dictionaries, encyclopedia definitions, and texts for little kids or learners of the language. As for putting an accent mark on transliterated version of the word, it is quite a novelty to me.  May I ask which system of transliteration uses this convention?
 * The variant I originally put into the article conforms to the rules of transliteration from Russian into English, which have been used throughout the English part of Wikipedia. If you need links to the articles that use this particular system, I will gladly provide them to you.--Ëzhiki 19:49, Jul 26, 2004 (UTC)

OK, now please tell me what was wrong with the Transliteration of Russian into English link that you kindly removed from the article's intro?--Ëzhiki 22:33, Aug 4, 2004 (UTC)
 * Dear Cantus—I will have to revert you change unless you explain what the reason for removal was. So far it looks like minor vandalism (removing info without explanation).  If you have a reason—I am more than willing to hear what it is.  Thanks.--Ëzhiki (erinaceus europeaus) 14:34, Aug 6, 2004 (UTC)

Will you please stop removing bits and pieces from this article? Or at least try to explain why you are doing it.--Ëzhiki (erinaceus europeaus) 22:15, Aug 10, 2004 (UTC)

 * The manual of style you are referring to has nothing on transliteration placement. The Naming conventions guidelines indicate the following:
 * Convention: Name your pages in English and place the native transliteration on the first line of the article unless the native form is more commonly used in English than the English form.
 * As you see, it says nothing about not needing a clarification that the variant given is a transliteration and it says nothing about Cyrillic(comma)(space)Transliteration layout. Plus, the transliteration variant of Sibir '  instead of Sibir can technically be used, but it does contradict with the transliteration guidelines used across the vast majority of other Russia-related articles.  I would assume you would understand that contradiction since you are so zealous in following the guidelines.  Now, would you please revert your changes or further explain why I am wrong.  Thank you.--Ëzhiki (erinaceus europeaus) 14:47, Aug 11, 2004 (UTC)
 * Would you please reply?--Ëzhiki (erinaceus europeaus) 13:43, Aug 16, 2004 (UTC)

I'm aiming for consistency here. You would have to change ALL pages with cyrilic text in it. They're all in this same format. Stop this, Ëzhiki. --Cantus 02:59, Aug 21, 2004 (UTC)
 * Consistensy, eh? Well, how about consistenly explaining people what the heck "Sibir" stand for?  Unless one knows Russian, it is impossible to figure out that it is a transliteration.  Plus, I am more than willing to change ALL pages with cyrillic text in it.  That has been exactly my goal, as a matter of fact, and that's what I am working on most of the time.  Could actually use a little help there, not just blatant meaningless opposition I've encountered so far from your side.  So please, please, please, do not just ignore this discussion again.  Deal?--Ëzhiki (erinaceus europeaus) 04:10, Aug 21, 2004 (UTC)

 * It is pretty OBVIOUS a text in ITALICS following a different alphabet is going to be a transliteration. People have more common sense than you do. --Cantus 21:04, Aug 23, 2004 (UTC)

 * How's that OBVIOUS? I am not going to go into the weird "Sibír'" notation you used to insist on, but since you are so much into consistency, would you at least mind to remove the trailing apostrophe to bring the transliteration in accordance to the standards which are most commonly used around here?  Then, we can discuss the matters of OBVIOUS, hopefully through more civilized ways than reverting each other (surveys and mediation are two options we still have not tried; then, there is arbitration, which you already have experience with).  And, while we are at it, do you mind not starting throwing personal insults around?--Ëzhiki (erinaceus europeaus) 22:15, Aug 23, 2004 (UTC)

 * The apostrophe is necessary because this is a proper transliteration, and not an anglicized transliteration, which is what is used normally across an article. The proper transliteration is only given once. --Cantus 00:04, Aug 24, 2004 (UTC)

 * The proper transliteration would be a transliteration of a Russian word into a generic format using the Latin alphabet; it would not be specific to the English language at all. That kind of transliteration, unsurprisingly, is used on the Russian Wikipedia.  This, however, is an English Wikipedia, so the standards of transliteration of Russian into English (and NOT to a generic form, and NOT to some other language) must be followed.  While systems that use apostrophe for a soft sign do indeed exist (for Russian-English transliteration), they are not widely used across this particular fine encyclopedia.  If you are aiming for consistency (and I sure hope you do), then the most commonly used standards should be used.  I hope this clarifies matters a little bit.  Please, respond.--Ëzhiki (erinaceus europeaus) 02:14, Aug 24, 2004 (UTC)

I second the position of User:Ezhiki on this issue. There is no way to imitate Russian palatalization in English. Similar problems exist in opposite direction. E.g., in Russian, both 'v' and 'w' are rendered by Ve (Cyrillic), but no one tears his hairs off his head to invent a way to distinguish them despite the fact that 'v' and 'w' sometimes bring semantic diference not less important than "Р" vs. "РЬ" (e.g., cover<-> cower).
 * If you have a chance to look into the Apostrophe article, you will note that its usage depends on the language, and it is already confusing with latin-alphabetic non-English words. Not to say that in a closely related Belarussian language the meaning of apostrophe is exactly opposite: removal of palatalization. To my memories, the usage of apostrophe for russian words started from the word "Rus" introduced by "fighters against Russian imperialism".
 * Let's recall the purpose of transliteration here: (1) to show an idea of Russian spelling (not pronounciation) for users without Cyrillic fonts (2) to enable searches. Usage of apostrophe is useless for web searches:  and  gives exactly the same numer of hits in google.

My suggestion is to forget the apostrophe but for certain "special" cases, such as Rus' goremychnaya. Mikkalai 03:16, 24 Aug 2004 (UTC)

On the other hand, there is Library of Congress Slavic Transliteration and three other commonly used ones. I am wondering why no one took troubles to report these here.

My brief searh shows it is common to use prime for soft sign and double prime for hard sign.

Mikkalai 21:45, 25 Aug 2004 (UTC)

 * Hmm, I thought that was not needing discussion, as I thought both of you were either Russian or were very familiar with the language. I am surprised you people didn't know about the widespread use of primes in cyrillic transliteration. --Cantus 22:32, Aug 25, 2004 (UTC)
 * See Talk:Transliteration of Russian into English for more surprises. Mikkalai 23:44, 25 Aug 2004 (UTC)

I am wondering why this discussion is here and not at the Transliteration of Russian into English page. I am copying it there. Mikkalai 21:58, 25 Aug 2004 (UTC)

Please continue this section at Talk:Transliteration of Russian into English page
 * Well, good luck with luring Cantus to continue discussion. It is my understanding that this guy (gal?) would not discuss anything until thoroughly pissed off.  Anyway, I'll post comments there tomorrow.  Thanks.--Ëzhiki (erinaceus europeaus) 01:33, Aug 26, 2004 (UTC)

Merge proposal (2)
I propose merging North Asia into Siberia. Siberia and North Asia are the same region, Siberia is just another name for North Asia and vice versa. Many Wikipedia articles use the term "Siberia" in their title to refer to North Asia. All of the sections in this article use the same territorial definition as the North Asia article does, it is most apparent in the geography and history sections. Since "Siberia" is the common name, it will be the page that is kept. Merge per WP:DUP. – Treetoes023 (talk) 19:33, 18 November 2023 (UTC)

 * Pinging contributers of previous merge discussion. – Treetoes023 (talk) 19:41, 18 November 2023 (UTC)
 * Neutral Both articles, on second inspection, look similar, but there might be some differences. WP:OVERLAP might be a valid reason instead. IPs are people too 🇺🇸🦅 19:53, 18 November 2023 (UTC)
 * Extremely strong oppose And it's a complete waste of time for me to explain why. 🤦♀ AuroraANovaUma (talk) 01:22, 12 April 2024 (UTC)
 * Don't expect your "extremely strong" oppose to be weighted more than other votes when you can't even bother to provide any rationale... JM (talk) 23:06, 12 April 2024 (UTC)
 * Ok. Regardless i see no reason why this should be done. AuroraANovaUma (talk) 22:15, 13 April 2024 (UTC)

 * Oppose The Ural region and Russian Far East are sometimes considered separate from Siberia, and it would cause issues in listings of the regions of Asia where the other regions are called West Asia, Central Asia, South Asia, Southeast Asia and East Asia. Vesperius (talk) 12:00, 22 November 2023 (UTC)
 * The Siberian Federal District is not the same as the region of Siberia.
 * It would not cause issues when listing the regions of Asia, we can use this code:.
 * – Treetoes023 (talk) 18:11, 22 November 2023 (UTC)
 * – Treetoes023 (talk) 18:11, 22 November 2023 (UTC)

 * Existing content appears to be redundant, with Siberia seeming a more developed version of North Asia. If there is scope for different articles, it's not apparent from the current setup. CMD (talk) 05:48, 23 November 2023 (UTC)

 * STRONG OPPOSE No one knows what will happen in the future. Russia may break up, Siberia may become its own country or it may become several new countries, who knows? On the other hand, North Asia will always be North Asia, just like Africa will always be Africa, they are not going to suddenly disappear without a trace.
 * Furthermore, in political geography, North Asia = Siberia, but in physical geography, Siberia actually includes Northern Kazakhstan too (see West Siberian Plain). In cultural geography, North Asia also includes Mongolia and Inner Mongolia. Saying North Asia and Siberia are exactly the same thing is just wrong. James Ker-Lindsay (talk) 01:04, 2 December 2023 (UTC)
 * I tend to agree with @James Ker-Lindsay and generally oppose the merge. W9793 (talk) 01:58, 2 December 2023 (UTC)
 * Fair enough in the abstract (although the definition of Asia has changed throughout time) but this argument is entirely absent in the actual content under discussion. Could it be written into one of the articles with some sources? CMD (talk) 02:19, 2 December 2023 (UTC)
 * look at the map and the pages. right now, they are defined as being exactly the same and even reference this fact in their respective articles in their leads. also, your first paragraph is a severe case of WP:CRYSTAL; your grandmother may get wheels and she'd be a bike, who knows? JM (talk) 17:43, 2 December 2023 (UTC)
 * I mean if something is gonna happen we're gonna be there to edit it. TheTwiceler (talk) 15:45, 21 February 2024 (UTC)
 * Support in their current forms in which they are defined as being the exact same thing right now and seemingly considered interchangeable. I stumbled into the identicality, and may have proposed this myself had it not been already proposed. It's a lot easier to just merge the articles, we shouldn't wait around for someone to MAYBE change the North Asia article to something more broad than Siberia. Just merge them. JM (talk) 17:46, 2 December 2023 (UTC)
 * Support there is nothing separating the two articles. 's appeal to WP:CRYSTALBALL isn't helpful. WP describes things as they are and were, not as they might be. As it stands, North Asia and Siberia are interchangeable. Mongolia is generally regarded as either East or Central Asian, and the existence of an area of Kazakhstan which is considered part of Siberia is already mentioned at that article. At it stands, they are duplicate articles. AirshipJungleman29 (talk) 19:11, 2 December 2023 (UTC)
 * I was taught that Mongolia is a part of North Asia.
 * Link: https://library.scotch.wa.edu.au/Year6GeographyADiverseandConnectedWorld/northernasia 2001:8003:9100:2C01:110B:5058:3F5A:723B (talk) 23:56, 3 December 2023 (UTC)
 * Well that's not what Wikipedia says, right now these two articles cover the same thing. If you feel that the North Asia article should be changed to include Mongolia, go ahead and edit it, making sure the consensus of reliable sources is that Mongolia is part of it. JM (talk) 23:59, 3 December 2023 (UTC)
 * What I want to point out is that geography has no universially agreed standard. Mongolia can be either a part of North Asia, East Asia or Central Asia. Afghanistan can be either a part of Central Asia, South Asia or West Asia. East Timor can be either a part of Asia or Oceania etc. 2001:8003:9100:2C01:110B:5058:3F5A:723B (talk) 00:04, 4 December 2023 (UTC)
 * Oppose If we can have South Asia and the Indian subcontinent coexist, why can't North Asia and Siberia coexist too? 2001:8003:9100:2C01:110B:5058:3F5A:723B (talk) 23:48, 3 December 2023 (UTC)
 * It took me a few seconds to see that the maps of those pages cover different overlapping areas. Looking further its clear that South Asia is about human geography, politics, history, society, and culture, while Indian subcontinent is about geology and physical geography. So already I can tell that it's not at all a good analogy to North Asia and Siberia. But you can propose a merge of those too. No one here said they should be separate either. JM (talk) 23:53, 3 December 2023 (UTC)
 * I mean we could do the same here, make North Asia an article about history, culture and geopolitics, make Siberia an article about physical geography and geology etc. 2001:8003:9100:2C01:110B:5058:3F5A:723B (talk) 00:00, 4 December 2023 (UTC)
 * Given that it would take time and energy that people are unlikely to commit to, the best way forward is to simply merge the articles to immediately solve this problem, and then if someone wants to, they can create a new North Asia article and carry out your plan. Merging these articles does NOT mean there can never ever be a North Asia article. JM (talk) 00:06, 4 December 2023 (UTC)
 * Wouldn't keeping these two articles separate an easier task than merging them? Just delete the irrelevant parts and keep both articles. If we merge these articles, chances are some information will be lost. 2001:8003:9100:2C01:110B:5058:3F5A:723B (talk) 00:23, 4 December 2023 (UTC)
 * This was the original page image for Siberia before someone changed it, which defined the Federal District (red), geographical Siberia (orange) and the parts generally considered North Asian but not Siberian (yellow), but someone changed the page image: https://commons.wikimedia.org/wiki/File:Siberia-FederalSubjects.svg. Perhaps we can change it back to that image to help clear up the differences between Siberia and North Asia? Vesperius (talk) 13:23, 8 December 2023 (UTC)
 * The image was changed because it does not match the common definition of Siberia or the content of this article. I oppose re-adding this image to the article (at least as the main image) because it does not match the common definition of Siberia. If we have to resort to uncommon definitions to justify these articles being separate, they should not be separate. – Treetoes023 (talk) 14:16, 8 December 2023 (UTC)
 * They should be separate articles. Siberia is generally considered larger than North Asia. Siberia includes North Kazakhstan and Outer Manchuria. North Kazakhstan is a part of Central Asia. Outer Manchuria, from a historical point of view, should be considered a part of East Asia while the rest of the Russian Far East can be considered a part of Northeast Asia. 2001:8003:9100:2C01:D015:BF4E:5E4C:B752 (talk) 03:02, 10 December 2023 (UTC)
 * Once again feel free to find a consensus of RS that show that to be the case and then use them to change the articles. But right now, with the info we have, they are the exact same. JM (talk) 01:20, 11 December 2023 (UTC)
 * Support. As physical-geographical entities, Siberia and Northern Asia are one and the same. And how the administrative authorities are now permanently shredding the region or what the political future of the region will be is not important for this discussion and decision. DayakSibiriak (talk) 14:36, 13 December 2023 (UTC)
 * Oppose Keep both articles separate please. Siberia is a region of Russia, North Asia is a region of Asia. There is a fundamental difference between these terms. 203.46.37.2 (talk) 04:04, 27 December 2023 (UTC)
 * Yet the articles cover the same topics. Meaning they should be merged anyway. Unless someone wants to spend time differentiating them. Feel free. JM (talk) 22:25, 2 January 2024 (UTC)
 * Well the Russian region I think the IP is referring to is a different topic, it is at Siberian Federal District. CMD (talk) 03:30, 3 January 2024 (UTC)
 * Huge Oppose Those people who proposed merging North Asia into Siberia is trying to eliminate the idea that North Asia is a subregion of Asia as Russia is generally considered a European country. 2001:8003:9100:2C01:181A:D10A:9C8F:2922 (talk) 03:07, 6 January 2024 (UTC)
 * Read the first sentence of Russia. Also, you're not assuming good faith. JM (talk) 16:20, 6 January 2024 (UTC)
 * Strong Oppose - Per all above  Abo Yemen ✉  09:29, 3 February 2024 (UTC)
 * Oppose per arguments above. Skitash (talk) 12:36, 10 February 2024 (UTC)
 * Strong support, but name the merged article as "North Asia"; in other words merge Siberia into North Asia instead of vice versa. The term "North Asia" not only applies to Siberia but also other regions like the Russian Far East, Mongolia, and parts of Kazakhstan. Plus, it's a fairly common name. TheTwiceler (talk) 15:41, 21 February 2024 (UTC)
 * Strong Oppose As per above. 120.21.126.164 (talk) 08:32, 22 February 2024 (UTC)
 * Oppose It is worse than merging Siberia into North Asia. I reckon the best practice would be keep both articles, define North Asia as a geopolitical region and Siberia as a phyiographical region and rewrite both articles with different focuses. 103.228.188.122 (talk) 05:59, 8 March 2024 (UTC)
 * Please provide sources making that distinction which can be used for these rewrites. CMD (talk) 12:40, 14 March 2024 (UTC)
 * Huge Oppose As per arguments above. 121.120.71.41 (talk) 20:20, 7 May 2024 (UTC)
 * OPPOSE Per all above. 120.21.17.201 (talk) 01:49, 10 May 2024 (UTC)
 * Oppose Shouldn't even be discussed. Both articles should be retained. 218.189.35.206 (talk) 09:46, 13 May 2024 (UTC)
 * Strong Oppose - North Asia is not Siberia. You should never have made another merge request after your first failed one. Wheatley2 (talk) 16:43, 13 May 2024 (UTC)
 * Agreed. 121.120.71.41 (talk) 17:58, 13 May 2024 (UTC)
 * Oppose North Asia is the world's largest continental subregion. It deserves to have its own article. Siberia is just a physiographical term similar like the Indian Subcontinent (which co-exists with South Asia). 2001:8003:9100:2C01:2876:7DAF:7894:543 (talk) 06:36, 21 May 2024 (UTC)
 * OPPOSE Per above. 58.152.51.59 (talk) 01:08, 18 July 2024 (UTC)

✅ Merge done  Rah ' io ' 1234  09:14, 19 May 2024 (UTC)
 * Have you considered any arguments given? I see more "oppose" votes. Vanyka-slovanyka (talk) 21:07, 19 May 2024 (UTC)
 * Is there any way we could report this guy? It was such a controversial move. 2001:8003:9100:2C01:2876:7DAF:7894:543 (talk) 06:28, 21 May 2024 (UTC)

 * See Talk:North Asia. Викидим (talk) 07:20, 31 May 2024 (UTC)

Don’t merge
Don’t merge and stop spamming this should be merged to North Asia. 173.71.199.102 (talk) 01:21, 27 December 2023 (UTC)
 * Why merged to North Asia? Siberia is a region of Russia, North Asia is a region of Asia. There is a fundamental difference between these terms. 203.46.37.2 (talk) 04:04, 27 December 2023 (UTC)
 * Keep merge proposal discussion in the merge proposal section. JM (talk) 22:25, 2 January 2024 (UTC)

Scientific discoveries in Siberia
Siberian Ice Caves

The ice accumulation and the coldness in the Siberian region have caused various types of cavities underground. Siberian ice caves have been able to form due to Siberia's high altitude and extremely cold climate conditions. The annual average temperature for the ice caves range from -4.0 to -0.6 celsius, annual average temperature for altitude is 44.7 celsius, and for more than 200 days the temperature is mostly in the negative. There have been more than 120 ice caves that have been discovered in Siberia. Most of the ice caves are discovered in Altai, Kuznetsky Alatau, Western and Eastern Sayan, Irkutsk amphitheater, and Zabaikal’e and Primori’e. Only some of them are found in the Prilenskoe Plateau and in the Valley of Aldan. Ice caves help with preserving Siberian long history. The speleological movement in Siberia was formed due to the discoveries of the many ice caves in the twentieth century. A lot of scientific research groups were formed to study ice caverns. Ice deposits have a huge amount of information about environment and climate conservation. The scientific data that was discovered from the ice caves were used to study the climate variations and precipitation fluctuations over the years. However, due to climate change the ice degradation became a problem in Siberia as it started to melt in the Northern Hemisphere. This makes it harder to preserve the untouched paleoenvironmental information stored. 1

Human DNA founded in the Siberian Cave

Scientists discovered a thumbnail size pendent that was found in the Denisova cave at the Altai mountains. The size of the pendant was roughly 0.79 inches, it was made out of a pierced deer tooth with a hole in it to wear it around the neck. The teeth have a porous surface which makes them trap DNA through skin or sweat or anything that comes in contact with it. Using modern tools scientists were able to separate the DNA without damaging the tooth and preserving it. It would require more research to discover where the DNA came from, but the researchers were able to find that the DNA belonged to a Siberian woman from 19,000 to 25,000 years ago. The teeth belonged to the deer species of elk also known as the wapiti. The DNA of the woman was discovered from the place where she lived after at least 25,000 years.2

Cave lion cub founded in Arctic Siberia

Cave lion cub was found frozen in the Siberian Arctic in the sleeping position. The cub’s golden fur was covered with mud and untouched. The cub’s organ, skin, teeth and soft tissue were all intact. Scientists say that the cub died 28,000 years ago but her claws are still very sharp to prick one’s finger. The cave lion was nicknamed as Sparta and was one of two lion cubs that used to roam around the northern hemisphere. They were found by hunters in 2017 and 2018 just 15 meters apart which made people think that those two lion cubs were related. However, according to the study, they had an age difference of 15,000 years. The cause of the death is not clear but there was damage to the skull, dislocation or ribs and skeletons were found. Scientists believe that this lion cub was the best preserved Ice again animal ever found due to its intact skin, organs and tissue.3

3500 years old bear discovered

The female bear was found by the reindeer hunter out of the permafrost on Bolshoy Lyakhovsky Island part of the new Siberian archipelago region in 2020. The exact location of where the bear was found was east of Bolshoy Etherican River. The extreme temperature helped in preserving the bear's soft tissue and its remains for 3,460 years. The bear is 1.55 meters tall and weighs around 78 kg. When the scientists cut through the bear, the pink tissue and yellow fat of the bear was clearly visible. They also sawed through the bear skull to get the brain out. According to the genetic analysis, this bear is not any different from the modern bear found in the northeast of Russia. The cause of death was the spinal cord injury and the bear was around 2-3 years old. However, it's not clear how the bear was able to get to the isolated island but its remains even after a long time was able to tell a lot about it. 4

Charioteer remains discovered

A 3000 year old grave of a person described as a charioteer because of the fixed metal attachment around the waist was found by archaeologists in Siberia. The fixed metal attachment was used for a belt so the charioteer can tie their reins to their waist. For a long time scientists were not sure of the use of the metal attachments. About 3000 years ago, Lugav culture had a tradition of burying people with bronze knives, bronze jewelry and unique belt parts. The discoveries of the human remains helped archaeologists understand better about Lugav culture.5

Ice Age wolf

Furry head of the ice age wolf was discovered from the Siberian permafrost by the scientists. Scientists reported based on the tests that the wolf belongs to an ancient subspecies that lived at the same time period as the mammoths and then they both went extinct. The wolf size was 25% bigger than the modern wolf today and it was an adult wolf. Wolf had no fur or tissues but it still had its brain, ears and tongue intact.6

Climate change in Siberia

Siberian is known to contain permafrost that could also be used in a similar manner to ice caves for scientific discoveries. The research has revealed that speleothem growth showed the melting permafrost conditions. During the Marine Isotopic Stage, the climate got a little warmer than usual, causing a lot of permafrost to melt. Since Siberian permafrost stores a lot of carbon, melting would release a lot of carbon dioxide and methane to the environment. Scientists are using the permafrost activities in the past to predict what could potentially happen in the future as during the Marine Isotopic Stage a lot of permafrost melted and caused a negative impact on the environment.7

46,000 years old worm brought to life

A female microscopic roundworm that has been deep stuck in Siberian permafrost for 36,000 years has been discovered. When the scientist brought it back to life, the worm started to have babies through parthenogenesis Parthenogenesis which is asexual reproduction and doesn't require a mate. The worm can spend thousands of years in a cryptobiosis state that can last for infinity. In that state, all metabolic processes shutdown in the worm. After reading the worm's genome sequences scientists were not able to find its species.8 https://link.springer.com/article/10.1007/s12665-019-8116-4 https://www.livescience.com/archaeology/25000-year-old-human-dna-discovered-on-paleolithic-pendant-from-siberian-cave#:~:text=Best%20telescopes-,25%2C000%2Dyear%2Dold%20human%20DNA%20discovered%20on,Paleolithic%20pendant%20from%20Siberian%20cave&text=Scientists%20used%20a%20new%2C%20noninvasive,found%20on%20the%20prehistoric%20artifact. https://www.cnn.com/2021/08/05/world/frozen-cave-lion-cubs-siberia-scn/index.html https://www.reuters.com/lifestyle/science/scientists-dissect-3500-year-old-bear-discovered-siberian-permafrost-2023-02-23/ https://www.livescience.com/archaeology/3000-year-old-untouched-burial-of-charioteer-discovered-in-siberia https://apnews.com/article/3bb50cb589b7474ca7367992c47766f6 https://www.science.org/doi/pdf/10.1126/science.1228729?casa_token=sggXV1V_pOIAAAAA:k5C2vtUVzx1vK-L83FLhn1WEelXeN9UBK6vKiihinmndkxZQGwJTzT076j3S31PNwPGq6TDMZvFFKPQ https://www.businessinsider.com/forty-six-thousand-year-old-worm-found-siberian-permafrost-brought-back-to-life-2023-7 Waftab (talk) 07:07, 17 May 2024 (UTC)

title: Talk:Siberia


text:
Local Government Act 1985

The Local Government Act 1985 (c. 51) is an Act of Parliament in the United Kingdom. Its main effect was to abolish the six county councils of the metropolitan counties that had been set up in 1974, 11 years earlier, by the Local Government Act 1972, along with the Greater London Council that had been established in 1965. In their place many single purpose authorities known collectively as 'joint authorities' were established for fire service, police and passenger transport. An ad hoc education authority was established for Inner London and a planning authority for Greater London. The legislation permitted councils to form 'joint arrangements' for waste disposal and other services that they wished to provide together. Time-limited residuary bodies were created to dispose of the assets of the former authorities.

Background
Following the victory of the Conservative Party at the 1979 general election, Margaret Thatcher's government were involved in a series of high-profile disputes with the GLC and Metropolitan County Councils. All of the authorities were controlled by, or came under the control of the opposition Labour Party during Thatcher's first term. The Conservative manifesto for the 1983 general election pledged their abolition, describing the councils as "a wasteful and unnecessary tier of government". Having won a landslide victory in the 1983 General Election, the government published a white paper in October of that year, Streamlining the cities. Its proposals formed the basis of the Local Government Bill.

Provisions
The core provision, section 1, stated that "the Greater London Council; and the metropolitan county councils" shall cease to exist. It came into effect on 1 April 1986, with some powers being devolved to the metropolitan boroughs themselves and London boroughs and others to joint authorities (such as for fire or police purposes) consisting of members of each of the metropolitan district councils within each county. At the time of the Act, one third of the population of England were living in Greater London and the metropolitan counties.

Time-limited residuary bodies were created to handle the disposal of the councils' assets. Part III of the Act also set up the Inner London Education Authority, which had previously been a committee of the GLC responsible for education in Inner London, as a directly elected body. This was to remain in existence for only three years.

The Local Government Act 1972 allowed councils to voluntarily form joint committees to provide services together and the Local Government Act 1985 extended this principle by directing local authorities to form some shared arrangements whilst permitting them to form others as they wished.

Local authorities abolished by Part I
Six metropolitan county councils were abolished and the local authority of Greater London.
 * Greater London Council
 * Greater Manchester County Council
 * Merseyside County Council
 * South Yorkshire County Council
 * Tyne and Wear County Council
 * West Midlands County Council
 * West Yorkshire County Council

Joint committees established by Part II

 * Joint planning committee for Greater London
 * Greater Manchester Trading Standards Joint Committee
 * Merseyside County Trading Standards Joint Committee
 * South Yorkshire Trading Standards Joint Committee
 * Tyne and Wear Trading Standards Joint Committee
 * West Midlands Trading Standards Joint Committee
 * West Yorkshire Trading Standards Joint Committee

Joint arrangements established by Part II

 * East London Waste Authority
 * Greater Manchester Waste Disposal Authority
 * Merseyside Waste Disposal Authority
 * North London Waste Authority
 * Western Riverside Waste Authority
 * West London Waste Authority

Ad hoc authorities established by Part III

 * Inner London Education Authority

Note: The outer London borough councils and metropolitan district councils were already education authorities.

Joint authorities established by Part IV
A number of single purpose authorities were established, collectively known as joint authorities in the legislation.

 * Fire and civil defence authorities
 * Greater Manchester Fire and Civil Defence Authority
 * London Fire and Civil Defence Authority
 * Merseyside Fire and Civil Defence Authority
 * South Yorkshire Fire and Civil Defence Authority
 * Tyne and Wear Fire and Civil Defence Authority
 * West Midlands Fire and Civil Defence Authority
 * West Yorkshire Fire and Civil Defence Authority

 * Passenger transport authorities
 * Greater Manchester Passenger Transport Authority
 * Merseyside Passenger Transport Authority
 * South Yorkshire Passenger Transport Authority
 * Tyne and Wear Passenger Transport Authority
 * West Midlands Passenger Transport Authority
 * West Yorkshire Passenger Transport Authority

Note: London Regional Transport was established separately by the London Regional Transport Act 1984.

 * Police authorities
 * Greater Manchester Police Authority
 * Merseyside Police Authority
 * Northumbria Police Authority
 * South Yorkshire Police Authority
 * West Midlands Police Authority
 * West Yorkshire Police Authority

Note: The Metropolitan Police was under the control of the Home Office and unaffected by the legislation.

Ad hoc bodies established by Part V

 * London Boroughs Grants Committee

Residuary bodies established by Part VII

 * Greater Manchester Residuary Body
 * London Residuary Body
 * Merseyside Residuary Body
 * South Yorkshire Residuary Body
 * Tyne and Wear Residuary Body
 * West Midlands Residuary Body
 * West Yorkshire Residuary Body

Ad hoc bodies established by Part IX

 * London Research Centre

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Local Government Act 1985


text:
Thomas Dinesen

Thomas Fasti Dinesen (9 August 1892 – 10 March 1979 ) was a Danish recipient of the Victoria Cross, the highest and most prestigious award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces. He was the younger brother of the author Karen Blixen (who used the pen name Isak Dinesen).

Details
He was born in an affluent and landed (but bourgeois rather than aristocratic) family in Rungsted, Denmark. Following the outbreak of the First World War, Dinesen attempted to enlist in the British, French, and United States armies, before finally being accepted by the Canadian Corps in 1917. He enlisted in the 236th Battalion (New Brunswick Kilties), CEF before transferring to the 42nd Battalion, Canadian Expeditionary Force: the Royal Highlander Regiment, known as the Black Watch of Canada. The MacLean Kilties were the 236th Canadian Battalion, recruited in Nova Scotia. It reached England in 1917 and was broken up for reinforcements.

During the Battle of Amiens he was 26 years old, and a private in the 42nd Quebec Regiment (Royal Highlanders of Canada) Battalion, Canadian Expeditionary Force when, on 12 August 1918 at Parvillers, France, he displayed conspicuous bravery when, five times in succession, he rushed forward alone against entrenched enemy troops and put hostile guns out of action. He was credited with killing 12 of the enemy using both bayonet and grenade, and with inspiring his comrades at a very critical stage of the action.

For this action, Dinesen was awarded the Victoria Cross (VC). He also received the French Croix de guerre. His name appears on the List of Canadian Victoria Cross recipients.

He was commissioned and later achieved the rank of lieutenant.

On 7 August 1918, whilst waiting to go into action, Dinesen wrote of his night in Gentelles Wood: 'All day long we rested in this pleasant spot – we even had permission to make a little fire here and there under a thickly branched tree and do a bit of cooking. The regular meals are good and plentiful, of course, but we never miss a chance of eating unlimited quantities of extra food. The last tin of baked beans was opened – there's no reason to go into battle with a haversack heavier than was absolutely necessary! We washed and shaved carefully in order to look our best before Fritz ... Our equipment was inspected for the last time: Gas-masks, rifles, ammunition, shaving kit, iron rations – everything was OK. Some of us were presented with an extra gift – mine was a big and heavy bag containing a dozen or so Mills bombs! Just before sunset we had to fall in for a final parade. Then supper – and at 10pm we were again fighting our way through the throng on the Amiens–Roye road.'

Thomas's sister, the famous Danish author Karen (whom he, and most of their Danish friends, called "Tanne"), later wrote that her brother's bravery, and the recognition from the British Crown, in some measure saved her own reputation in the community of British colonials among whom she lived in British East Africa. According to Blixen, she had inadvertently alienated many of her neighbors by helping to buy horses for a German officer she met on board ship while sailing to Kenya for the first time. Only months later this officer, General Paul Emil von Lettow-Vorbeck, was named commander of the German forces in East Africa, and waged an effective campaign against Blixen's English neighbors. Blixen commented that the suspicion and resentment this aroused in her fellow colonists only subsided after her brother won the VC.

Life after the war

In 1918, Thomas Dinesen moved to British East Africa to help his sister manage her coffee farm in the Ngong hills southwest of Nairobi. He was his mercurial sister's most reliable confidant. He designed and largely built the farm's coffee-roasting plant (which later burned down). Early in 1923, Thomas left the colonial life and returned to Denmark.

In his later years he took up writing, and wrote a number of books in Danish. The best known is Tanne, about his famous sister. In 1929 he published the book No man's land: En dansker med canadierne ved vestfronten. It was translated into English in 1930 under the title Merry Hell!: A Dane with the Canadians. The book describes his troublesome way to the Western Front as well as the events that won him the VC.

He died in 1979. He is buried in Hørsholm Churchyard, Hørsholm, Denmark. His VC and other medals are held in the Lord Ashcroft VC collection in the Imperial War Museum.

title: Thomas Dinesen


text:
Lineville

Lineville can refer to a place in the United States:

 * Lineville, Alabama
 * Lineville, Iowa
 * South Lineville, Missouri

title: Lineville


text:
Little Canada (term)

Little Canada (French: le petit Canada) is a name for any of the various communities where French Canadians congregated upon emigrating to the United States, in particular New England, in the 19th and early 20th centuries. A variant of Canadian French known as New England French is still spoken in parts of New England.

History
Some early emigrants relocated to the United States because they had chosen to side with the Americans during the American Revolution. Parish archives of Old St. Joseph's Church in Philadelphia record trips made by Jesuit Father Ferdinand Steinmeyer (Father Farmer) to the Revolutionary War depot near Fishkill, New York, where he baptized over a dozen children of French-Canadian and Acadian parents. Most of the men were members of the 1st Canadian Regiment of the Continental Army, recruited in 1775 by James Livingston in anticipation of an invasion of northeastern Quebec. As the expedition failed, they, their families, and the American militias were driven out of Canada.

Approximately 900,000 French-Canadians emigrated to the United States in the period of 1840-1930 as part of the Quebec diaspora. The vast majority of these francophones settled in the six New England states: Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island and Vermont, as well as northern New York state.

Emigrants moved to states close to Quebec, particularly those bordering the province, because of their generally impoverished condition and lack of jobs as a result of a poor economy over-reliant on agriculture. In the 19th century, the United States was one of the most industrialised and prosperous nations on earth. The emigrants left behind a traditional rural society to enter an industrial world. Centers of the New England textile and other manufacturing industries such as Lowell, Massachusetts; Gardner, Massachusetts; Holyoke, Massachusetts; Manchester, New Hampshire; Lewiston, Maine; and Woonsocket, Rhode Island were major destinations for Quebec laborers.

French Canadians from other provinces often moved elsewhere: those from Ontario typically emigrated to Illinois and Michigan, while those from Manitoba and other Western provinces usually emigrated to Minnesota and Wisconsin. Minneapolis and Saint Paul, Minnesota, boasted a large French Canadian community in 1900.

One of the more famous "Little Canadas" was the West Side of Manchester, New Hampshire, a city with a large French-speaking population due to the recruitment of laborers in Quebec to work in the textile mills in the 19th and 20th centuries. "La Caisse Populaire Ste. Marie", or St. Mary's Bank, located in Manchester's Little Canada, was the first credit union chartered in the United States, specifically founded to serve the French Canadian population. The credit union, or "people's bank" ("la caisse populaire") was a financial institution pioneered in Quebec by Quebecers who had difficulty obtaining credit from banks controlled by anglophone Canadians.

The most noted resident of Manchester's "petit Canada" was Grace Metalious, author of the best-selling novel Peyton Place. Metalious denied her French Canadian heritage and mostly lived in non-French Canadian neighborhoods in Manchester, due to her mother's desire to avoid prejudice. During World War II, Metalious eventually had to live in Little Canada after her husband went off to war due to a housing shortage.

In contrast, novelist Robert Cormier of Leominster, Massachusetts, highlighted the culture of fictitious but representative Little Canadas in New England in many of his works, notably "Frenchtown Summer."

Revlon founder Charles Revson, of Russian-Jewish extraction, grew up in a cold-water tenement in Manchester's Little Canada.

Other prominent Little Canadas were found in Lowell, Massachusetts, the home of novelist Jack Kerouac, and Lewiston, Maine. Another notable Franco-American community sprang up in Fall River in southeastern Massachusetts. As a result, a number of cultural and charitable organizations, such as the Franco-American Civic League, the Club Richelieu, La Fédération Catholique Franco-Américaine de Fall River, and L'Association Culturelle Française de Fall River, were founded to foster French language and culture within the Franco-American community.

Today, New England French (essentially a variety of Canadian French) is spoken in parts of New England, in particular Maine.

title: Little Canada (term)


text:
User:Lazarus666

Yes, I realize that the Wiki is not Xanadu.

Interesting Stuff

 * Major system
 * Assignment problem

Extension of proposed solutions to Riemann's embedding problem to include Ramsey theory, graph coloring of selected degenerate hypergeometries, with applications to linguistics and human behaviour.

title: User:Lazarus666


text:
Black Arts Movement

The Black Arts Movement (BAM) was an African American-led art movement that was active during the 1960s and 1970s. Through activism and art, BAM created new cultural institutions and conveyed a message of black pride. The movement expanded from the incredible accomplishments of artists of the Harlem Renaissance.

Famously referred to by Larry Neal as the "aesthetic and spiritual sister of Black Power", BAM applied these same political ideas to art and literature. and artists found new inspiration in their African heritage as a way to present the black experience in America. Artists like Aaron Douglas, Hale Woodruff, and Meta Vaux Warrick Fuller pioneered the movement with a distinctly modernist aesthetic. This style influenced the proliferation of African American art during the twentieth century.

The poet and playwright Amiri Baraka is widely recognized as the founder of BAM. In 1965, he established the Black Arts Repertory Theatre School (BART/S) in Harlem. Baraka's example inspired many others to create organizations across the United States. While many of these organizations were short-lived, their work has had a lasting influence. Some still exist, including the National Black Theatre, founded by Barabara Ann Teer in Harlem, New York.

Background
African Americans had always made valuable artistic contributions to American culture. However, due to brutalities of slavery and the systemic racism of Jim Crow, these contributions often went unrecognized. Despite continued oppression, African-American artists continued to create literature and art that would reflect their experiences. A high-point for these artists was the Harlem Renaissance—a literary era that spotlighted black people.

Harlem Renaissance
There are many parallels that can be made between the Harlem Renaissance and the Black Arts Movement. The link is so strong, in fact, that some scholars refer to the Black Arts Movement era as the Second Renaissance. One sees this connection clearly when reading Langston Hughes's The Negro Artist and the Racial Mountain (1926). Hughes's seminal essay advocates that black writers resist external attempts to control their art, arguing instead that the "truly great" black artist will be the one who can fully embrace and freely express his blackness.

Yet, the Harlem Renaissance lacked many of the radical political stances that defined BAM. Inevitably, the Renaissance, and many of its ideas, failed to survive the Great Depression.

Civil Rights Movement
During the Civil Rights era, activists paid more and more attention to the political uses of art. The contemporary work of those like James Baldwin and Chester Himes would show the possibility of creating a new 'black aesthetic'. A number of art groups were established during this period, such as the Umbra Poets and the Spiral Arts Alliance, which can be seen as precursors to BAM.

Art was seen as a way to decompress from the upheaval of the civil rights era by, for example, the ceramicist Marva Lee Pitchford-Jolly, the maker of 'Story Pots'.

Civil Rights activists were also interested in creating black-owned media outlets, establishing journals (such as Freedomways, Black Dialogue, The Liberator, The Black Scholar and Soul Book) and publishing houses (such as Dudley Randall's Broadside Press and Third World Press.) It was through these channels that BAM would eventually spread its art, literature, and political messages.

Developments
The beginnings of the Black Arts Movement may be traced to 1965, when Amiri Baraka, at that time still known as Leroi Jones, moved uptown to establish the Black Arts Repertory Theatre/School (BARTS) following the assassination of Malcolm X. Rooted in the Nation of Islam, the Black Power movement and the Civil Rights Movement, the Black Arts Movement grew out of a changing political and cultural climate in which Black artists attempted to create politically engaged work that explored the African American cultural and historical experience. Black artists and intellectuals such as Baraka made it their project to reject older political, cultural, and artistic traditions.

Although the success of sit-ins and public demonstrations of the Black student movement in the 1960s may have "inspired black intellectuals, artists, and political activists to form politicized cultural groups", many Black Arts activists rejected the non-militant integrational ideologies of the Civil Rights Movement and instead favored those of the Black Liberation Struggle, which emphasized "self-determination through self-reliance and Black control of significant businesses, organization, agencies, and institutions." According to the Academy of American Poets, "African American artists within the movement sought to create politically engaged work that explored the African American cultural and historical experience." The importance that the movement placed on Black autonomy is apparent through the creation of institutions such as the Black Arts Repertoire Theatre School (BARTS), created in the spring of 1964 by Baraka and other Black artists. The opening of BARTS in New York City often overshadow the growth of other radical Black Arts groups and institutions all over the United States. In fact, transgressional and international networks, those of various Left and nationalist (and Left nationalist) groups and their supports, existed far before the movement gained popularity. Although the creation of BARTS did indeed catalyze the spread of other Black Arts institutions and the Black Arts movement across the nation, it was not solely responsible for the growth of the movement.

Although the Black Arts Movement was a time filled with black success and artistic progress, the movement also faced social and racial ridicule. The leaders and artists involved called for Black Art to define itself and speak for itself from the security of its own institutions. For many of the contemporaries the idea that somehow black people could express themselves through institutions of their own creation and with ideas whose validity was confirmed by their own interests and measures was absurd.

While it is easy to assume that the movement began solely in the Northeast, it actually started out as "separate and distinct local initiatives across a wide geographic area", eventually coming together to form the broader national movement. New York City is often referred to as the "birthplace" of the Black Arts Movement, because it was home to many revolutionary Black artists and activists. However, the geographical diversity of the movement opposes the misconception that New York (and Harlem, especially) was the primary site of the movement.

In its beginning states, the movement came together largely through printed media. Journals such as Liberator, The Crusader, and Freedomways created "a national community in which ideology and aesthetics were debated and a wide range of approaches to African-American artistic style and subject displayed." These publications tied communities outside of large Black Arts centers to the movement and gave the general black public access to these sometimes exclusive circles.

As a literary movement, Black Arts had its roots in groups such as the Umbra Workshop. Umbra (1962) was a collective of young Black writers based in Manhattan's Lower East Side; major members were writers Steve Cannon, Tom Dent, Al Haynes, David Henderson, Calvin C. Hernton, Joe Johnson, Norman Pritchard, Lennox Raphael, Ishmael Reed, Lorenzo Thomas, James Thompson, Askia M. Touré (Roland Snellings; also a visual artist), Brenda Walcott, and musician-writer Archie Shepp. Touré, a major shaper of "cultural nationalism", directly influenced Jones. Along with Umbra writer Charles Patterson and Charles's brother, William Patterson, Touré joined Jones, Steve Young, and others at BARTS.

Umbra, which produced Umbra Magazine, was the first post-civil rights Black literary group to make an impact as radical in the sense of establishing their own voice distinct from, and sometimes at odds with, the prevailing white literary establishment. The attempt to merge a black-oriented activist thrust with a primarily artistic orientation produced a classic split in Umbra between those who wanted to be activists and those who thought of themselves as primarily writers, though to some extent all members shared both views. Black writers have always had to face the issue of whether their work was primarily political or aesthetic. Moreover, Umbra itself had evolved out of similar circumstances: in 1960 a Black nationalist literary organization, On Guard for Freedom, had been founded on the Lower East Side by Calvin Hicks. Its members included Nannie and Walter Bowe, Harold Cruse (who was then working on The Crisis of the Negro Intellectual, 1967), Tom Dent, Rosa Guy, Joe Johnson, LeRoi Jones, and Sarah E. Wright, and others. On Guard was active in a famous protest at the United Nations of the American-sponsored Bay of Pigs Cuban invasion and was active in support of the Congolese liberation leader Patrice Lumumba. From On Guard, Dent, Johnson, and Walcott along with Hernton, Henderson, and Touré established Umbra.

In 1967, the Visual Arts Workshop of the Organization of Black American Culture, composed of several artists such as Jeff Donaldson, William Walker, and more, painted the Wall of Respect which was a mural that represented the Black Arts Movement; what it stood for and who it was celebrating. The mural commemorated several important black figures such as Martin Luther King Jr. and Malcolm X, along with artists such as Aretha Franklin and Gwendolyn Brooks, etc. It was a renowned symbol of the movement, placed in Chicago, that represented black culture and creativity, and was met with a lot of attention, support, and respect from the black community. It was a symbolic and important representation of the Black Arts Movement, as it directly celebrated and acknowledged the iconic figures of the Black community through art, emphasizing the importance of art for the community. Furthermore, it left a legacy and served as a beacon for the Black community, promoting Black consciousness and helping many Black people to learn and recognize their worth. In the eight years following the installation of the mural, over 1,500 murals were painted in black neighborhoods across the country, and by 1975, over 200 were painted in Chicago. It brought the community together symbolically, and literally, as rival gangs even declared the location of the mural to be neutral ground, supporting the artists and the movement.

In 1968, renowned Black theorist Barbara Ann Teer founded the National Black Theatre, located in Harlem, New York. Teer was an American writer, producer, teacher, actress and social visionary. Teer was an important black female intellectual, artist, and activist who contributed to the Black Arts Movement. Her theater was one of the first revenue generating Black theaters in the US. Teer's art was politically and socially conscious and like many other contributors to the BAM, embraced African aesthetics, and rejected traditional theatrical notions of time and space. Teer's revolutionary and ritualistic dramas and plays blurred the lines between performers and audience, "encouraging all to use the performance event itself as an opportunity to bring about social change."

Authors
Another formation of black writers at that time was the Harlem Writers Guild, led by John O. Killens, which included Maya Angelou, Jean Carey Bond, Rosa Guy, and Sarah Wright among others. But the Harlem Writers Guild focused on prose, primarily fiction, which did not have the mass appeal of poetry performed in the dynamic vernacular of the time. Poems could be built around anthems, chants, and political slogans, and thereby used in organizing work, which was not generally the case with novels and short stories. Moreover, the poets could and did publish themselves, whereas greater resources were needed to publish fiction. That Umbra was primarily poetry- and performance-oriented established a significant and classic characteristic of the movement's aesthetics. When Umbra split up, some members, led by Askia Touré and Al Haynes, moved to Harlem in late 1964 and formed the nationalist-oriented Uptown Writers Movement, which included poets Yusef Rahman, Keorapetse "Willie" Kgositsile from South Africa, and Larry Neal. Accompanied by young "New Music" musicians, they performed poetry all over Harlem. Members of this group joined LeRoi Jones in founding BARTS.

Jones's move to Harlem was short-lived. In December 1965 he returned to his home, Newark (N.J.), and left BARTS in serious disarray. BARTS failed but the Black Arts center concept was irrepressible, mainly because the Black Arts movement was so closely aligned with the then-burgeoning Black Power movement. The mid-to-late 1960s was a period of intense revolutionary ferment. Beginning in 1964, rebellions in Harlem and Rochester, New York, initiated four years of long hot summers. Watts, Detroit, Newark, Cleveland, and many other cities went up in flames, culminating in nationwide explosions of resentment and anger following the April 1968 assassination of Martin Luther King Jr.

Nathan Hare, author of The Black Anglo-Saxons (1965), was the founder of 1960s Black Studies. Expelled from Howard University, Hare moved to San Francisco State University, where the battle to establish a Black Studies department was waged during a five-month strike during the 1968–69 school year. As with the establishment of Black Arts, which included a range of forces, there was broad activity in the Bay Area around Black Studies, including efforts led by poet and professor Sarah Webster Fabio at Merrit College.

The initial thrust of Black Arts ideological development came from the Revolutionary Action Movement (RAM), a national organization with a strong presence in New York City. Both Touré and Neal were members of RAM. After RAM, the major ideological force shaping the Black Arts movement was the US (as opposed to "them") organization led by Maulana Karenga. Also ideologically important was Elijah Muhammad's Chicago-based Nation of Islam. These three formations provided both style and conceptual direction for Black Arts artists, including those who were not members of these or any other political organization. Although the Black Arts Movement is often considered a New York-based movement, two of its three major forces were located outside New York City.

Locations
As the movement matured, the two major locations of Black Arts' ideological leadership, particularly for literary work, were California's Bay Area because of the Journal of Black Poetry and The Black Scholar, and the Chicago–Detroit axis because of Negro Digest/Black World and Third World Press in Chicago, and Broadside Press and Naomi Long Madgett's Lotus Press in Detroit. The only major Black Arts literary publications to come out of New York were the short-lived (six issues between 1969 and 1972) Black Theatre magazine, published by the New Lafayette Theatre, and Black Dialogue, which had actually started in San Francisco (1964–1968) and relocated to New York (1969–1972).

Although the journals and writing of the movement greatly characterized its success, the movement placed a great deal of importance on collective oral and performance art. Public collective performances drew a lot of attention to the movement, and it was often easier to get an immediate response from a collective poetry reading, short play, or street performance than it was from individual performances.

The people involved in the Black Arts Movement used the arts as a way to liberate themselves. The movement served as a catalyst for many different ideas and cultures to come alive. This was a chance for African Americans to express themselves in a way that most would not have expected.

In 1967, LeRoi Jones visited Karenga in Los Angeles and became an advocate of Karenga's philosophy of Kawaida. Kawaida, which produced the "Nguzo Saba" (seven principles), Kwanzaa, and an emphasis on African names, was a multifaceted, categorized activist philosophy. Jones also met Bobby Seale and Eldridge Cleaver and worked with a number of the founding members of the Black Panthers. Additionally, Askia Touré was a visiting professor at San Francisco State and was to become a leading (and long-lasting) poet as well as, arguably, the most influential poet-professor in the Black Arts movement. Playwright Ed Bullins and poet Marvin X had established Black Arts West, and Dingane Joe Goncalves had founded the Journal of Black Poetry (1966). This grouping of Ed Bullins, Dingane Joe Goncalves, LeRoi Jones, Sonia Sanchez, Askia M. Touré, and Marvin X became a major nucleus of Black Arts leadership.

As the movement grew, ideological conflicts arose and eventually became too great for the movement to continue to exist as a large, coherent collective.

The Black Aesthetic
Although The Black Aesthetic was first coined by Larry Neal in 1968, across all the discourse, The Black Aesthetic has no overall real definition agreed by all Black Aesthetic theorists. It is loosely defined, without any real consensus besides that the theorists of The Black Aesthetic agree that "art should be used to galvanize the black masses to revolt against their white capitalist oppressors". Pollard also argues in her critique of the Black Arts Movement that The Black Aesthetic "celebrated the African origins of the Black community, championed black urban culture, critiqued Western aesthetics, and encouraged the production and reception of black arts by black people". In The Black Arts Movement by Larry Neal, where the Black Arts Movement is discussed as "aesthetic and spiritual sister of the Black Power concept", The Black Aesthetic is described by Neal as being the merge of the ideologies of Black Power with the artistic values of African expression. Larry Neal attests:"'When we speak of a 'Black aesthetic' several things are meant. First, we assume that there is already in existence the basis for such an aesthetic. Essentially, it consists of an African-American cultural tradition. But this aesthetic is finally, by implication, broader than that tradition. It encompasses most of the usable elements of the Third World culture. The motive behind the Black aesthetic is the destruction of the white thing, the destruction of white ideas, and white ways of looking at the world.'"The Black Aesthetic also refers to ideologies and perspectives of art that center on Black culture and life. This Black Aesthetic encouraged the idea of Black separatism, and in trying to facilitate this, hoped to further strengthen black ideals, solidarity, and creativity.

In The Black Aesthetic (1971), Addison Gayle argues that Black artists should work exclusively on uplifting their identity while refusing to appease white folks. The Black Aesthetic work as a "corrective", where black people are not supposed to desire the "ranks of Norman Mailer or a William Styron". Black people are encouraged by Black artists that take their own Black identity, reshaping and redefining themselves for themselves by themselves via art as a medium. Hoyt Fuller defines The Black Aesthetic "in terms of the cultural experiences and tendencies expressed in artist' work" while another meaning of The Black Aesthetic comes from Ron Karenga, who argues for three main characteristics to The Black Aesthetic and Black art itself: functional, collective, and committing. Karenga says, "Black Art must expose the enemy, praise the people, and support the revolution". The notion "art for art's sake" is killed in the process, binding the Black Aesthetic to the revolutionary struggle, a struggle that is the reasoning behind reclaiming Black art in order to return to African culture and tradition for Black people. Under Karenga's definition of The Black Aesthetic, art that does not fight for the Black Revolution is not considered as art at all, needed the vital context of social issues as well as an artistic value.

Among these definitions, the central theme that is the underlying connection of the Black Arts, Black Aesthetic, and Black Power movements is then this: the idea of group identity, which is defined by Black artists of organizations as well as their objectives.

The narrowed view of The Black Aesthetic, often described as Marxist by critics, brought upon conflicts of the Black Aesthetic and Black Arts Movement as a whole in areas that drove the focus of African culture; In The Black Arts Movement and Its Critics, David Lionel Smith argues in saying "The Black Aesthetic", one suggests a single principle, closed and prescriptive in which just really sustains the oppressiveness of defining race in one single identity. The search of finding the true "blackness" of Black people through art by the term creates obstacles in achieving a refocus and return to African culture. Smith compares the statement "The Black Aesthetic" to "Black Aesthetics", the latter leaving multiple, open, descriptive possibilities. The Black Aesthetic, particularly Karenga's definition, has also received additional critiques; Ishmael Reed, author of Neo-HooDoo Manifesto, argues for artistic freedom, ultimately against Karenga's idea of the Black Aesthetic, which Reed finds limiting and something he cannot ever sympathize to. The example Reed brings up is if a Black artist wants to paint black guerrillas, that is okay, but if the Black artist "does so only deference to Ron Karenga, something's wrong". The focus of blackness in context of maleness was another critique raised with the Black Aesthetic. Pollard argues that the art made with the artistic and social values of the Black Aesthetic emphasizes on the male talent of blackness, and it is uncertain whether the movement only includes women as an afterthought.

As there begins a change in the Black population, Trey Ellis points out other flaws in his essay The New Black Aesthetic. Blackness in terms of cultural background can no longer be denied in order to appease or please white or black people. From mulattos to a "post-bourgeois movement driven by a second generation of middle class", blackness is not a singular identity as the phrase "The Black Aesthetic" forces it to be but rather multifaceted and vast.

BAM also turned to the religious tradition of voodoo in defining black aesthetics. James Baldwin was critical of both the black church and Nation of Islam. He argued that Christianity had only been forced on black people to rationalize and justify slavery and colonization. Nation of Islam failed in its strong mission to separate itself and black people from white people, said Baldwin, especially looking at their culture of expensive suits and cars all the while demonizing white people. Voodoo then became an alternative to Christianity and Islam for BAM. The historical tradition of voodoo among enslaved Africans had been forgotten in favor of assimilation to the white, Christian identity. The turn to voodoo is therefore regardes as a pan-African reclaiming of the roots. The approximation to voodoo is maybe most clear in the poetry collection "Hoodoo Hollerin Bebop Ghosts" by Larry Neal and the novels "Neo-Hoo-Doo Manifesto" and "Mumbo Jumbo" by Ishmael Reed.

Black Art
Amiri Baraka's poem "Black Art" serves as one of his more controversial, poetically profound supplements to the Black Arts Movement. In this piece, Baraka merges politics with art, criticizing poems that are not useful to or adequately representative of the Black struggle. First published in 1966, a period particularly known for the Civil Rights Movement, the political aspect of this piece underscores the need for a concrete and artistic approach to the realistic nature involving racism and injustice. Serving as the recognized artistic component to and having roots in the Civil Rights Movement, the Black Arts Movement aims to grant a political voice to black artists (including poets, dramatists, writers, musicians, etc.). Playing a vital role in this movement, Baraka calls out what he considers to be unproductive and assimilatory actions shown by political leaders during the Civil Rights Movement. He describes prominent Black leaders as being "on the steps of the white house...kneeling between the sheriff's thighs negotiating coolly for his people." Baraka also presents issues of euro-centric mentality, by referring to Elizabeth Taylor as a prototypical model in a society that influences perceptions of beauty, emphasizing its influence on individuals of white and black ancestry. Baraka aims his message toward the Black community, with the purpose of coalescing African Americans into a unified movement, devoid of white influences. "Black Art" serves as a medium for expression meant to strengthen that solidarity and creativity, in terms of the Black Aesthetic. Baraka believes poems should "shoot...come at you, love what you are" and not succumb to mainstream desires.

He ties this approach into the emergence of hip-hop, which he paints as a movement that presents "live words...and live flesh and coursing blood." Baraka's cathartic structure and aggressive tone are comparable to the beginnings of hip-hop music, which created controversy in the realm of mainstream acceptance, because of its "authentic, un-distilled, unmediated forms of contemporary black urban music." Baraka believes that integration inherently takes away from the legitimacy of having a Black identity and Aesthetic in an anti-Black world. Through pure and unapologetic blackness, and with the absence of white influences, Baraka believes a black world can be achieved. Though hip-hop has been serving as a recognized salient musical form of the Black Aesthetic, a history of unproductive integration is seen across the spectrum of music, beginning with the emergence of a newly formed narrative in mainstream appeal in the 1950s. Much of Baraka's cynical disillusionment with unproductive integration can be drawn from the 1950s, a period of rock and roll, in which "record labels actively sought to have white artists "cover" songs that were popular on the rhythm-and-blues charts" originally performed by African-American artists. The problematic nature of unproductive integration is also exemplified by Run-DMC, an American hip-hop group founded in 1981, who became widely accepted after a calculated collaboration with the rock group Aerosmith on a remake of the latter's "Walk This Way" took place in 1986, evidently appealing to young white audiences. Hip-hop emerged as an evolving genre of music that continuously challenged mainstream acceptance, most notably with the development of rap in the 1990s. A significant and modern example of this is Ice Cube, a well-known American rapper, songwriter, and actor, who introduced subgenre of hip-hop known as "gangsta rap", merged social consciousness and political expression with music. With the 1960s serving as a more blatantly racist period of time, Baraka notes the revolutionary nature of hip-hop, grounded in the unmodified expression through art. This method of expression in music parallels significantly with Baraka's ideals presented in "Black Art", focusing on poetry that is also productively and politically driven.

The Revolutionary Theatre
"The Revolutionary Theatre" is a 1965 essay by Baraka that was an important contribution to the Black Arts Movement, discussing the need for change through literature and theater arts. He says: "We will scream and cry, murder, run through the streets in agony, if it means some soul will be moved, moved to actual life understanding of what the world is, and what it ought to be." Baraka wrote his poetry, drama, fiction and essays in a way that would shock and awaken audiences to the political concerns of black Americans, which says much about what he was doing with this essay. It also did not seem coincidental to him that Malcolm X and John F. Kennedy had been assassinated within a few years because Baraka believed that every voice of change in America had been murdered, which led to the writing that would come out of the Black Arts Movement.

In his essay, Baraka says: "The Revolutionary Theatre is shaped by the world, and moves to reshape the world, using as its force the natural force and perpetual vibrations of the mind in the world. We are history and desire, what we are, and what any experience can make us."

With his thought-provoking ideals and references to a euro-centric society, he imposes the notion that black Americans should stray from a white aesthetic in order to find a black identity. In his essay, he says: "The popular white man's theatre like the popular white man's novel shows tired white lives, and the problems of eating white sugar, or else it herds bigcaboosed blondes onto huge stages in rhinestones and makes believe they are dancing or singing." This, having much to do with a white aesthetic, further proves what was popular in society and even what society had as an example of what everyone should aspire to be, like the "bigcaboosed blondes" that went "onto huge stages in rhinestones". Furthermore, these blondes made believe they were "dancing and singing" which Baraka seems to be implying that white people dancing is not what dancing is supposed to be at all. These allusions bring forth the question of where black Americans fit in the public eye. Baraka says: "We are preaching virtue and feeling, and a natural sense of the self in the world. All men live in the world, and the world ought to be a place for them to live." Baraka's essay challenges the idea that there is no space in politics or in society for black Americans to make a difference through different art forms that consist of, but are not limited to, poetry, song, dance, and art.

Effects on society
According to the Academy of American Poets, "many writers—Native Americans, Latinos/as, gays and lesbians, and younger generations of African Americans have acknowledged their debt to the Black Arts Movement." The movement lasted for about a decade, through the mid-1960s and into the 1970s. This was a period of controversy and change in the world of literature. One major change came through in the portrayal of new ethnic voices in the United States. English-language literature, prior to the Black Arts Movement, was dominated by white authors.

African Americans became a greater presence not only in the field of literature but in all areas of the arts. Theater groups, poetry performances, music and dance were central to the movement. Through different forms of media, African Americans were able to educate others about the expression of cultural differences and viewpoints. In particular, black poetry readings allowed African Americans to use vernacular dialogues. This was shown in the Harlem Writers Guild, which included black writers such as Maya Angelou and Rosa Guy. These performances were used to express political slogans and as a tool for organization. Theater performances also were used to convey community issues and organizations. The theaters, as well as cultural centers, were based throughout America and were used for community meetings, study groups and film screenings. Newspapers were a major tool in spreading the Black Arts Movement. In 1964, Black Dialogue was published, making it the first major Arts movement publication.

The Black Arts Movement, although short, is essential to the history of the United States. It spurred political activism and use of speech throughout every African-American community. It allowed African Americans the chance to express their voices in the mass media as well as become involved in communities.

It can be argued that "the Black Arts movement produced some of the most exciting poetry, drama, dance, music, visual art, and fiction of the post-World War II United States" and that many important "post-Black artists" such as Toni Morrison, Ntozake Shange, Alice Walker, and August Wilson were shaped by the movement.

The Black Arts Movement also provided incentives for public funding of the arts and increased public support of various arts initiatives.

Legacy
The movement has been seen as one of the most important times in African-American literature. It inspired black people to establish their own publishing houses, magazines, journals and art institutions. It led to the creation of African-American Studies programs within universities. Some claim that the movement was triggered by the assassination of Malcolm X, but its roots predate that event. Among the well-known writers who were involved with the movement are Nikki Giovanni, Sonia Sanchez, Maya Angelou, Hoyt W. Fuller, and Rosa Guy. Although not strictly part of the Movement, other notable African American writers such as Toni Morrison, Jay Wright, and Ishmael Reed share some of its artistic and thematic concerns. Although Reed is neither a movement apologist nor advocate, he said:

"I think what Black Arts did was inspire a whole lot of Black people to write. Moreover, there would be no multiculturalism movement without Black Arts. Latinos, Asian Americans, and others all say they began writing as a result of the example of the 1960s. Blacks gave the example that you don't have to assimilate. You could do your own thing, get into your own background, your own history, your own tradition and your own culture. I think the challenge is for cultural sovereignty and Black Arts struck a blow for that."

BAM influenced the world of literature with the portrayal of different ethnic voices. Before the movement, the literary canon lacked diversity, and the ability to express ideas from the point of view of racial and ethnic minorities, which was not valued by the mainstream at the time. BAM also spurred experimentalism in Black letters.

Influence
Theater groups, poetry performances, music and dance were centered on this movement, and therefore African Americans gained social and historical recognition in the area of literature and arts. Due to the agency and credibility given, African Americans were also able to educate others through different types of expressions and media outlets about cultural differences. The most common form of teaching was through poetry reading. African-American performances were used for their own political advertisement, organization, and community issues. The Black Arts Movement was spread by the use of newspaper advertisements. The first major arts movement publication was in 1964."'No one was more competent in [the] combination of the experimental and the vernacular than Amiri Baraka, whose volume Black Magic Poetry 1961–1967 (1969) is one of the finest products of the African-American creative energies of the 1960s.'"

Notable individuals

 * Amiri Baraka (formerly LeRoi Jones)
 * Larry Neal
 * Nikki Giovanni
 * Maya Angelou
 * Gwendolyn Brooks
 * Haki R. Madhubuti (formerly Don Lee)
 * Sun Ra
 * Audre Lorde
 * James Baldwin
 * Hoyt W. Fuller
 * Ishmael Reed
 * Rosa Guy
 * Dudley Randall
 * Ed Bullins
 * David Henderson
 * Henry Dumas
 * Sonia Sanchez
 * Faith Ringgold
 * Ming Smith
 * Betye Saar
 * Cheryl Clarke
 * John Henrik Clarke
 * Jayne Cortez
 * Don Evans
 * Mari Evans
 * Sarah Webster Fabio
 * Wanda Coleman
 * Barbara Ann Teer
 * Askia M. Touré
 * Marvin X
 * Ossie Davis
 * June Jordan
 * Sarah E. Wright
 * Amina Baraka (formerly Sylvia Robinson)
 * Ellis Haizlip
 * David Hammons

Notable organisations

 * AfriCOBRA
 * Black Academy of Arts and Letters
 * Black Artists Group
 * Black Arts Repertory Theatre School
 * Black Dialogue
 * Black Emergency Cultural Coalition
 * Broadside Press
 * Freedomways
 * Harlem Writers Guild
 * National Black Theatre
 * Negro Digest
 * Organization of Black American Culture
 * Soul Book
 * Soul!
 * The Black Scholar
 * The Crusader
 * The Liberator
 * Uptown Writers Movement
 * Where We At

title: Black Arts Movement


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Jørgen Jensen (soldier)

Jørgen Christian Jensen (15 January 1891 – 31 May 1922) was a Danish-born Australian recipient of the Victoria Cross, the highest award for gallantry in battle that could be awarded to a member of the Australian armed forces. Jensen emigrated to Australia in 1909, becoming a British subject at Adelaide, South Australia, in 1914. A sailor and labourer before World War I, he enlisted in the Australian Imperial Force (AIF) in March 1915, serving with the 10th Battalion during the latter stages of the Gallipoli campaign. After the Australian force withdrew to Egypt, Jensen was transferred to the newly formed 50th Battalion, and sailed for France with the unit in June 1916. On the Western Front, he was wounded during the battalion's first serious action, the Battle of Mouquet Farm in August, and only returned to his unit in late January 1917. On 2 April, his battalion attacked the Hindenburg Outpost Line at Noreuil, where his actions leading to the capture of over fifty German soldiers resulted in the award of the Victoria Cross.

In June 1917, the 50th Battalion was involved in the Battle of Messines; the following month, Jensen, now a corporal, was posted to a training unit in the United Kingdom. He returned to his battalion in October, and was promoted to temporary sergeant in November. In March 1918, the German spring offensive was launched, and Jensen fought with his battalion at Dernancourt and Villers-Bretonneux. Shortly after the fighting at Villers-Bretonneux, Jensen was on patrol when he received a severe head wound, and was evacuated to the United Kingdom, then repatriated to Australia, where he was discharged in Adelaide at the end of the war. He worked as a marine store dealer and married in 1921, but died the following year, having never fully recovered from his war wounds.

Early life
Jørgen Christian Jensen was born on 15 January 1891 in Løgstør, Denmark, the son of Jørgen Christian Jensen and Christiane Sørensen, who was apparently also known as Jensen. Sørensen was a single mother who worked in agriculture. The younger Jensen's early life was difficult, but he was a good student, and entered the fishing industry. In 1908, aged 17, he travelled to the United Kingdom before emigrating to Australia. He sailed to Melbourne in March 1909, then moved to Morgan, South Australia, and later Port Pirie, working respectively as a sailor on river steamers on the Murray River, and as a labourer. He was naturalised as a British subject in Adelaide on 7 September 1914.

World War I
On 23 March 1915, Jensen enlisted as a private in the Australian Imperial Force (AIF) for service in World War I; he was allotted to the 6th reinforcements to the 10th Battalion. His reinforcement draft embarked on HMAT Borda at Outer Harbor on 23 June, and joined the battalion at Gallipoli, Turkey, on 4 August. By the time Jensen arrived, nearly half of the battalion had been evacuated sick with dysentery. For the remainder of the Gallipoli campaign, the 10th Battalion rotated through various positions in the line defending the beachhead until withdrawn to Lemnos in November. Jensen remained with his unit throughout, except for a week in September–October that he spent in hospital. The battalion embarked for Egypt in late November and spent the next four months training and assisting in the defence of the Suez Canal. While in Egypt, the battalion was split into two, one half forming the nucleus of the new 50th Battalion, which was part of the 13th Brigade, 4th Division. In April 1916, Jensen and several other 10th Battalion men were transferred to the 50th Battalion; later that month Jensen was charged for not being in his tent at tattoo. On 5 June the battalion embarked for France, arriving in Marseilles six days later. The unit then entrained for the Western Front, entering the trenches for the first time on 28 June near Fleurbaix.

The 50th Battalion saw its first serious action during the Battle of Mouquet Farm in mid-August 1916. During the battle, the 50th Battalion suffered 414 casualties, largely from the heavy German artillery bombardment. On 14 August, Jensen was hit in the left shoulder by a piece of shrapnel. He was evacuated to the UK and admitted to Graylingwell War Hospital in Chichester, West Sussex. While in the UK, he was charged with more disciplinary infractions in September, December and January, on one occasion being sentenced to 28 days field punishment for missing the troop train to return to France, and on another serving 12 days detention for being absent without leave. He did not rejoin his unit until 28 January 1917.

The 50th Battalion continued to rotate through front line, support and reserve positions, and underwent training in rear areas. The battalion was also involved in pursuing the Germans as they withdrew to the Hindenburg Line of fortifications. On 2 April, the 13th Brigade attacked the Hindenburg Outpost Line at Noreuil. The attack consisted of the 51st Battalion attacking the village from the north, and the 50th Battalion from the south. During this assault, which was preceded by a weak artillery barrage, the 50th Battalion suffered extraordinary difficulties, and the centre company, to which Jensen belonged, was forced to detach a party of men equipped with a large number of hand grenades (then known as bombs) to deal with a strongly barricaded German post that was holding out between their company and the one on their right. Jensen was a member of this party. His actions during the reduction of this post resulted in a recommendation for the Victoria Cross, the highest award for gallantry in battle that could be awarded to a member of the Australian armed forces at that time. He was assisted in his actions by Private William Quinlan O'Connor and four others. The recommendation read: "At Noreuil on 2nd April 1917, this man took charge of five men and attacked a barricade behind which were 40/50 Germans with a machine gun. One of his men shot down the German gunner. Jensen who is a Dane, then rushed the whole post singlehanded and threw a bomb in. He had still a bomb in one hand and taking another from his pocket he drew the pin with his teeth. Threatening them with two bombs, he called on them in German to surrender and bluffed them that they were surrounded by Australians. The enemy dropped their rifles and gave in. Jensen then sent a German to tell another enemy party who were fighting our Stokes Gun to surrender and they too gave in. A different party of our men then saw these Germans for the first time and began firing on them. At considerable risk, Jensen stood up on the barricade, waved his helmet, and sent the German prisoners back to our line under an escort of lightly wounded men."

During the assault on Noreuil, Jensen also freed Australian prisoners, and assisted in the "mopping-up" of German resistance in the village itself when he captured a German officer or non-commissioned officer, who pointed out which building the fire was coming from. The 50th Battalion suffered 360 casualties, including 95 dead, and captured 70 Germans, nearly all of whom were taken by Jensen and his party. O'Connor was awarded the Distinguished Conduct Medal for his part in capturing the German post. On 4 April, Jensen was promoted to lance corporal. His award of the Victoria Cross appeared in The London Gazette on 8 June, by which time the 50th Battalion was involved in the Battle of Messines, suffering 149 casualties. After being relieved, the battalion continued its rotation through front line, support and reserve positions. In July 1917, Jensen was temporarily promoted to corporal and transferred to the 13th Training Battalion at Codford in the UK as an instructor. While there, he was entertained by Danish residents of Kingston upon Hull. He was invested with his VC by King George V at Buckingham Palace on 21 July. After another disciplinary infringement, he returned to France, rejoining his battalion on 6 October. He was temporarily promoted to sergeant in early November, and the battalion spent the winter of 1917–18 rotating through the front line. In late March 1918, the battalion left its rest area and, along with many other Australian units, was quickly deployed to meet the German spring offensive south of the River Ancre. On 5 April, the battalion took up positions at Dernancourt and there contributed to the defeat of the "largest German attack mounted against Australian troops during the war" during the Second Battle of Dernancourt.

The fighting at Dernancourt was followed by a move to the Villers-Bretonneux sector, where, on 25 April, the battalion took part in the Second Battle of Villers-Bretonneux that drove the Germans from that village, at a cost to the battalion of 254 casualties. On 5 May, Jensen was on patrol near Villers-Bretonneux when he was shot in the head. Severely wounded, he was admitted to hospital in France, and on 18 May was evacuated to the UK, where he was admitted to the Richmond Military Hospital in Surrey.

Jensen reverted to the rank of corporal on being evacuated. Following two weeks' leave, he was repatriated to Australia, along with nine other Victoria Cross recipients, in August 1918 to take part in a recruiting campaign on the invitation of Prime Minister Billy Hughes. He disembarked in Adelaide on 11 October, and was discharged from the AIF on 2 December. He was assessed to be partially disabled, and received a small pension. For his service during the war, as well as his Victoria Cross he was issued the 1914–15 Star, British War Medal and Victory Medal.

Post-war
After his discharge, Jensen worked for a short time as a barman in Truro, then as a marine store dealer in Adelaide. He married Katy Herman ( Arthur), a divorcée, at the Adelaide Registry Office on 13 July 1921. Their marriage was heavily affected by his wartime experiences. In April 1922, a photograph of Jensen and his horse-drawn cart, with "J. C. Jensen V.C." painted on the side, was published on the front page of The Sunday Times newspaper in Sydney; the caption noted that he employed several men in his business. On 28 May, Jensen was admitted to the Adelaide Hospital, and died of congestion of the lungs three days later, aged 31. He had never fully recovered from the wounds he had received during the war.

On 2 June, Jensen's casket was carried on a horse-drawn gun carriage to the West Terrace Cemetery, followed by hundreds of former members of the 50th Battalion, and he was buried with full military honours in the AIF section of the cemetery. It was reported as "one of the most impressive funerals which have passed through the gates of the West Terrace Cemetery", and "probably one of the largest military funerals ever held in Adelaide". The pastor at the service said that Jensen was, "modest always... ever ready to enlarge on the bravery of others, without touching on his own accomplishments".

Jensen's medal set, including his Victoria Cross, was donated by a family member to the Australian War Memorial in 1987 at a ceremony attended by Queen Margrethe II of Denmark, and is displayed in the Hall of Valour of the memorial. In 2006, a memorial to Jensen was unveiled in Løgstør by the Australian ambassador to Denmark, and a book about him was published in Denmark in the same year. Each year, wreaths are placed at the memorial in memory of Jensen, and in 2014 a wreath was placed by the Australian ambassador, Damien Miller.

title: Jørgen Jensen (soldier)