Tag Archives: Vietnam War

Global Scavenger Hunt, Leg 2: Ho Chi Minh City, Vietnam: Traditions Survive in Modern City, as Does Reckoning with Past

Much of the visit to Cu Chi Tunnels is interactive; a girl gets to feel what it is like to hide underground © Karen Rubin/goingplacesfarandnear.com

by Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Saigon is the second leg of nine during a 23-day, around-the-world Global Scavenger Hunt, “A Blind Date with the World,” where we don’t know where we are going until we are given 4-hour notice. Under the Global Scavenger Hunt rules, you are not allowed to use a phone or computer for information or reservations, hire a private guide, or even use a taxi for more than 2 scavenges at a time, since the object is to force you to interact with locals. Though we were not officially competing for “World’s Best Travelers,” my teammate, Margo (who I only met on this trip) and I basically followed the rules in Vancouver and during our first day in Vietnam, but we had to deviate on the second day.

It is shortly before 4 pm in Ho Chi Minh City (Saigon), Vietnam, by the time we have received our book of scavenges from Bill Chalmers, the Global Scavenger Hunt ringmaster (as he likes to be called), who has ranked Vietnam a “Par 3” in difficulty (on a scale of 1-6), strategized what scavenges we will undertake, and after a swim in the hotel’s pool (so hot even the pool was like a bathtub), we head out of the Majestic Hotel, a five-star historic property, toward Ben Thank Market, one of the scavenges on the list.

Built in 1870 by the French who colonized Vietnam for 100 years, it is where then and now, you can find locals and tourists alike, with row after row after row chock-a-block full of almost everything imaginable. (Be prepared to bargain aggressively; the shopkeepers are even more aggressive). I come away with a few things I can’t bear to pass up, when Margo realizes a second scavenge we can accomplish: tasting three separate fruits (there is heavy emphasis on “experience” scavenges that involve food, and Vietnam, Bill says, is one of the great food places in the world).

At bustling Ben Thank Market in Ho Chi Minh City, Vietnam, we see and taste fruits we had never seen before © Karen Rubin/goingplacesfarandnear.com

We find a fruit stand and sure enough, there are fruits I have never seen before, including one, called dragon fruit, which looks like it was divined by JK Rowling for Harry Potter; the others we sample: rambutan, mangosteen, longan. We are standing around these ladies, asking them to cut open the various fruits so we can sample them to complete the scavenge, taking the photos we need to document.

Dragon fruit, at Ben Thank Market in Ho Chi Minh City, Vietnam, seems like it was invented by JK Rowling for Hogwarts, © Karen Rubin/goingplacesfarandnear.com

Among the other scavenges on the list here in the market: to find a cobra in jar of alcohol; the tackiest souvenir in market; and a wet market (which befuddles most of us and turns out to be the meat market which is hosed down).

We ask locals for directions to our next stop: the Water Puppet Show of Vietnam at the Golden Dragon Water Puppet Theater. It seems walkable but we get lost along the way (technically we can’t use the GPS on the phone, but we aren’t competing – we still get lost) and are simply amazed at the rush and crush of mopeds (mainly) and cars in this city of 9 million where there are an estimated 7 million scooters, and the range of what people carry on them without a second thought. I literally stand in a traffic island to get the full view.

Traffic in Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com
There are an estimated 7 million scooters in Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com
Traffic, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

We are also amazed we are able to function having departed Vancouver, Canada, for Vietnam at 2 am for a 14-hour flight to Taipei, followed by an hour lag time before a 3-hour connection to Saigon. Time has become a very fluid, meta thing.

But we forge on (the secret to avoiding being taken down by jet lag is to stay up until bedtime). This is also on the scavenger list and as it turns out, we meet several other teams from our group.

Scene from Water Puppet Theater, a marvelous display of traditional Vietnamese culture at Golden Dragon Water Puppet Theatre, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

The performance proves fabulous and unexpected – the puppets actually emerge out of water; water is their platform. There is musical accompaniment on traditional instruments and the musicians also become the characters and narrators and sing. This is quite an outstanding cultural performance – the artistry and imaginativeness of the puppets (who swim, fish, plant rice which then grows, race boats, dance, catch frogs and do all sorts of things with incredible choreographed precision, is incredible.

The puppeteers of the Golden Dragon Water Puppet Theater take their bow, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

These seem to be folk stories, and the music is traditional. It doesn’t matter if you don’t understand Vietnamese. It confounds me how they do such precise choreography from the water (the puppeteers are behind a gauze curtain; controlling with bubble wands horizontally). The artistry is magnificent and the experience an utter delight. (Golden Dragon Water Puppet Theatre, 558 Ngyuyen Thi Minh Kahi Street, Dist.1, HCMC, www.goldendragonwaterpuppet.com).

View from Saigon Skydeck atop the Bitesco Financial Tower © Karen Rubin/goingplacesfarandnear.com

From there, we take a taxi to hit another scavenge, going to the Saigon Skydeck on the 49th floor of the Bitesco Financial Tower, which affords beautiful scenes of Saigon. From here, all you see is a very modern city. Many of the buildings below are decorated in colored lights. This is an example of modern Saigon that is rising. (Skydeck senior rate $5; some places have senor rates, others don’t, so ask)

View from the Majestic Hotel’s rooftop bar, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

Back at the Hotel Majestic, we go up to the 8th floor M Club, a delightful rooftop bar, where there is a band playing. The open-air views of the Saigon River and the skyline are just magnificent. Margo orders a “Majestic 1925” which is Bourbon, infused orange, sweet vermouth, Campari, orange bitter, orange zest, and smoked – the whole process done on a table brought to us, as a crowd gathers to watch the mixocologist light a torch to generate the smoke. Quite a scene.

Preparing the Majestic 1925 cocktail at the Majestic Hotel’s rooftop bar, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

Day 2 in Vietnam: Confronting the Horrors of War

Whereas my first afternoon and evening in Ho Chi Minh City was devoted to seeing the city as it is today – albeit dotted with centuries old buildings, markets and heritage – the second day is a somber, soul-searching journey back in time. Indeed, as I wander around the city, you don’t see any obvious scars of the Vietnam War.

One of the signature sights of a visit to Ho Chi Minh City is the Cu Chi Tunnels. My teammate Margo has already been there and doesn’t want to return, but I feel duty-bound to see it for myself.  I wake up early and go down to the hotel concierge to see if I can get on the 7:30 am half-day trip to the Cu Chi Tunnels.

The concierge calls the tour company and says there is room on the bus and that they pick up right at the hotel. I am off. (545,000 Dong, about $25, www.saigontourist.net, www.e-travelvietnam.com)

As we travel outside through the city, the guide points out sights and gives us a history of Vietnam, going back to the Chinese who came in the 1600s, the French who came later, the Vietnam War and the aftermath,  while hardly disguising resentment of the North Vietnamese who have flooded into the city since the war. Ho Chi Minh City has grown from a city of 2 million to 9 million today, with 7 million scooters (here, instead of Uber car, you summon a Grab scooter).

City Hall, Ho Chi Minh City, Vietnam, shows French colonial influence © Karen Rubin/goingplacesfarandnear.com

It’s an opportunity to see more of the city and soon we are in the countryside, traveling through small villages and farms where we see cemeteries, markets, houses, a few animals, rubber plantations. We see new agricultural techniques being used on farms and pass an agricultural research center. It is about an hour’s drive. 

A demonstration of rice paper making at Cu Chi Tunnels, Vietnam © Karen Rubin/goingplacesfarandnear.com

The Cu Chi Tunnels are an immense network of connecting tunnels located in the Củ Chi District of Ho Chi Minh City (Saigon), which the Viet Cong used to launch guerrilla warfare against the Americans during the Vietnam War. The site has over 120 km of underground tunnels with trapdoors, living areas, storage facilities, armory, hospitals, and command centers, and were used going back to 1948 against the French, and later against the Americans.

Cu Chi Tunnels, Vietnam © Karen Rubin/goingplacesfarandnear.com

The visit is profound, and though the script is written by the victors, is appropriate to represent the side that wanted to push out colonists (though in retrospect, I realized that there was no real mention of the fact that the South Vietnamese leadership didn’t want the Communist North Korean leadership to take over, either – nothing is simple, especially not in the world of geopolitics).

Cu Chi Tunnels, Vietnam © Karen Rubin/goingplacesfarandnear.com

You have to appreciate the commitment and courage and sacrifice of the Viet Cong in living the way they did – creating a virtually self-sufficient underground community, planting booby traps for the Americans, repurposing unexploded bombs into weapons and old tires into sandals, cooking only at night and channeling the smoke to come up in a different place (where it would look like morning steam, so not to give away the location of the tunnels).

We get to climb into a tunnel, and can go 20, 40, 60, 80 up to 160 meters, seeing just how tiny they were – you have to crouch all the way through and sometimes even crawl. It is hot, uncomfortable, you feel claustrophobic and it is a bit terrifying.

Our tour guide leads us through – he is incredibly kind and considerate. He gives special attention to the children who are visiting – grabs them when they want to go down into a tunnel where he fears there could be scorpions (he shows us carcasses), snakes or rats.

There is also a shooting range where you can shoot an AK 47 or M16 (extra charge), but the constant sound of gunfire gives you some sense of what the people were living through. There was a hospital, a sewing area where they would make uniforms, there is a trap door to escape. We see where they would have made sandals from old tires. We watch a woman demonstrate making rice paper; another at a sewing machine where she would be making uniforms, a rifle hung close by on the wall.

All of these things which we see above ground are recreated from what they would have looked like underground.

There were also constant bombings – B-52s could fly from the base in just two minutes time.

Scene from documentary film at Cu Chi Tunnels, Vietnam © Karen Rubin/goingplacesfarandnear.com

We get a sense of that in documentary-style films that are presented at the end. The film uses grainy black-and-white imagery with a narration that spoke of the commitment to save the Fatherland from US aggression, which basically depicts much of what we have visited in the tunnels, but as these places were used during the war. I must say that as gruesome as the film is, the only “propaganda” element is that it does not discuss the civil war between North and South Vietnam, only that the war was perpetrated by the Imperialist United States.

Scene from documentary film at Cu Chi Tunnels, Vietnam © Karen Rubin/goingplacesfarandnear.com

Many of the scenes show women and girls as soldiers. “They took unexploded bombs and turned them into their own weapons; they took from the Americans the new guns but never stopped using traditional weapons – the traps devised to hunt animals were used against the American enemy… Every person can be a hero. They had to live in poverty but wouldn’t retreat. A rifle in one hand, a plow in the other. Attacked in the morning, they farmed at night so they had enough food to win the war. The Americans wanted to turn Cu Chi into a dead zone, but they lived underground.”

But what we see in the film looks exactly like what was put on view here. We see people climbing through tunnels to the sound of gunfire.

“Male and female enrolled to kill enemy..Cu Chi guerrillas would rather die and become hero for killing Americans… never afraid of hardship to kill Americans. In hardship, they came together.”

Believe it or not, they actually make the experience as pleasant and as comfortable as possible, which somehow masks the terror of the place. Children smile and laugh as they get to descend through the camouflaged openings in the ground.

We leave the tunnels after spending about two hours here.

On the way back, the guide asks if we would like to make a detour to visit a factory, created by the government to employ people who were handicapped because of coming upon unexploded ordinance, or who had birth defects as a result of the chemical weapons used against the Vietnamese. Originally the factory, 27-7 HCMC.Co.Ltd, produced cigarettes, but today, Handicapped Handicrafts produce really beautiful handicrafts – mainly lacquered and inlaid items.

Working in Handicapped Handicrafts, a government-sponsored factory that employs people with disabilities Vietnam © Karen Rubin/goingplacesfarandnear.com
A visit to Handicapped Handicrafts, a government-sponsored factory that employs people with disabilities © Karen Rubin/goingplacesfarandnear.com
Vietnam © Karen Rubin/goingplacesfarandnear.com

After returning to Saigon, I go off to continue my theme – visiting the buildings that the French built, starting with the magnificent Post Office (where I wind up spending close to an hour choosing from a stunning array of post cards, buying stamps and writing the cards, the sweat streaming down my face and stinging my eyes so that a nice lady hands me a tissue). Then onto the Reunification Palace (which I thought was open until 5 but closed entrance at 4), so I go on to the War Remnants Museum.

Post Office, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com
Opera House, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com
Picking up kids from school, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com
Street artist, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

I have trouble following the map, so when I ask directions of a young man, he leads me through back alleys to the entrance of the museum, which I visit until it closes at 6 pm, because there is so much to see and take in.

War Remnants Museum, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

You should begin on the third level, which provides the “historic truths” (actually the background) for the Vietnam War, which more or less accurately presents the facts. On this level is a most fascinating exhibit that presents the work of the multinational brigade of war correspondents and photographers, along with a display of the dozens who were killed in the war.

Display of war correspondents killed covering Vietnam War, at War Remnants Museum, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

The photos are presented in an extraordinary way: showing the photo, then providing notes about the background, the context of the image, and the photographer. Here too, the language (which was probably produced by the news organizations that put on the exhibit), was accurate. Among them is the famous, Pulitzer-prize winning photo of “Napalm Girl” where, for the first time, I notice the soldiers walking along as this young girl is coming down the road in terror, their demeanor in such jarring contrast to these fleeing Vietnamese. The photos then and now are chilling, but today, they properly evoke shame and wonder why there has never been accountability for war crimes.

The impact of Agent Orange in graphic detail at War Remnants Museum, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

It only gets worse on the second level, where the atrocities committed during war are provided in the sense of artifacts, and details that could have, should have properly been used at war crimes trials. But none took place. Another exhibit documents the effects of Agent Orange.

The first floor, which should be visited last, addresses the Hanoi Hilton, the place where American prisoners of war, including Senator John McCain, were kept. Here, though, is where it can be said the propaganda offensive takes place – there are photos showing a female nurse bandaging an American’s head wounds, the caption noting how she had put down her gun in order to care for him. This exhibit brings things up to date, with the visits of President Clinton in 1994; in another section, it notes that Clinton’s visit brought the end of economic sanctions, and with the country’s shift to market economy, produced revitalization, as measured by the boom in mopeds.

But on the bottom floor, they show photos of Obama’s visit and most recently of Trump in Vietnam.

This floor also has an exhibit devoted to the peace movement in the US and around the world, with some famous incidents, such as the shooting of the Kent State four. There is a photo of John Kerry, who went on to be a Senator, Secretary of State and candidate for president,  testifying to Congress in his military uniform,  on the necessity of immediate and unilateral. “how do you ask a man to be the last man to dies in Vietnam? How do ask a man to be the last man to die for a mistake?

The photo that had such impact on focusing American public opinion against the Vietnam War, on display at War Remnants Museum, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

A special exhibition, “Finding Memories” attempts to recreate the struggle of the people of Hanoi and Haiphong to overcome the pain and loss of war. “It helps those who haven’t experienced wars to learn more through remarkable and humane wartime stories, especially the stories about American pilots in the ‘Hilton-HaNoi’. Finding Memories is an opportunity for Vietnamese people to develop greater pride for their victory – a 20th century miracle; for American pilots to recall a serene period of their lives; as well as for each and every visitor to understand the severe destruction and painfully grim nature of war, in order to call for all people to work together and dedicate our efforts to build a world of peace and love.”

A poster in the Peace Movement exhibit at War Remnants Museum, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

Outside are displays of captured American plane, tanks, and other items.

I look around for an American who might have served in Vietnam to get an impression, but did not find anyone, and saw a few Vietnamese (most of the visitors were Americans or Europeans), but only one or two who might have been alive during that time and wondered what they thought. Clearly the conclusion of the displays was in favor of reconciliation when just as easily, and using a heavier-handed propagandist language, could have stoked hatred. The exhibit is careful not to paint all Americans and not even all American soldiers as monsters but one photo caption is particularly telling: it shows an American hauling off an ethnic minority, noting “American troops sent to the battlefield by conscription knew nothing about Vietnam, thought the Cambodia people of ethnic minorities were living near Cambodia were collaborators for the enemy.”

I leave feeling that the experience is close to what you feel visiting a Holocaust Museum. And it is pain and remorse that is deserved.

City Hall, Ho Chi Minh City, Vietnam © Karen Rubin/goingplacesfarandnear.com

We meet at 8:30 pm to hand in our score sheets and share stories – one team got up at 5 am in order to get to the floating market; a team was able to get on the street market food tour, where they take you around by scooter (they only take 8 and it was closed out); another took a cooking class.

We get our notice of where we are going next:  be up at 6 am for 7 am bus to airport for 9:35 flight…. to Myanmar!

More information on travel to Vietnam at www.vietnam.travel.

The Global Scavenger Hunt is an annual travel program that has been operated for the past 15 years by Bill and Pamela Chalmers, GreatEscape Adventures, 310-281-7809, GlobalScavengerHunt.com.

See also:

Cities, Mountains, Boat and Beach: Letters Home from Honeymoon in Vietnam & Cambodia

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© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

New-York Historical Society Examines ‘Rebel Spirits: Robert F. Kennedy and Martin Luther King Jr.’

Juxtaposed portraits of Martin Luther King Jr. and Robert Kennedy, Schiller’s photo taken just days before RFK’s assassination, open the exhibit © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Martin Luther King Jr. and Robert Kennedy are tethered together in peoples’ minds, and not only because they both were assassinated within two months of each other in that fateful year of 1968. A new, remarkable exhibit that has just opened at the New-York Historical Society commemorates the 50th anniversary of those events, examines their conjoined legacy and makes some interesting discoveries: their lives had a kind of parallel trajectory, yet, they consciously steered separate courses, intersecting finally in death.

On view through May 20, 2018, Rebel Spirits: Robert F. Kennedy and Martin Luther King Jr. showcases 61 photographs and 30 documents and artifacts that reveal the relationship between these historic figures. The exhibit is based in part on The Promise and the Dream, written by Vanity Fair contributing editor and New York Times writer David Margolick and produced by Lawrence Schiller for National Geographic Publishers. Schiller, a photojournalist who covered many of the significant events throughout the 1960s, conceived of the project and collected 21,000 photographs, sifting them down to 3,000, then 2,000, and ultimately, over the course of just three days, laid out the photographs that are presented much like a 20-page photo essay in Life Magazine, where Schiller worked, would have produced.

Lawrence Schiller, a photojournalist since the 1960s, recalls a fateful day when he was 26 years old: “The elevator opened to reveal Oswald, who was only 24 years old. It shocked me that evil could be in such a person – a kid my age had caused this tragedy.” © Karen Rubin/goingplacesfarandnear.com

But in the course of gathering that material, an essential question arose: why were there so few photos of King and Kennedy together? The exhibit has just one where the two men were at the same event, with then-Vice President Lyndon Baines Johnson. Another instance where they would have been together was when King testified to a Senate Committee which included Robert Kennedy, in which he stated that the millions of dollars that were being sent to support the war in Vietnam should better be spent to revitalize America’s ghettoes (a photo is taken from behind King). Significantly, while Kennedy supported the idea of spending more in cities, he was forced for political reasons (like the fact that his brother, as President, dramatically escalated America’s role in Vietnam) to disassociate himself from King’s anti-Vietnam stance.

Margolick, who researched and wrote the book in a mere seven months time, started off with no pre-conceived notion, but wanted to come up with some original construct about these two lions of American history.

Indeed, if news is the first draft of history, books provide the room for reflection and context.

The big idea of the book and the exhibit is that “Robert Kennedy was a political person and Martin Luther King Jr. a spiritual person; they respected one another but there was a limit how closely they could ally,” Margolick said at the press opening of the exhibit.

The two men had reason to be wary of one another.

Robert Kennedy was at his core a politician from a political family; on top of that, his brother, as president, had made key decisions including significantly involving the US in war in Vietnam, and was skittish about making civil rights a key focus of his administration; as JFK’s Attorney General, Robert Kennedy had signed off on J. Edgar Hoover’s request to surveil King, whom Hoover was convinced was a Communist. But Kennedy also sent US Marshals to force school integration.

King, for his part, was a spiritual man for whom civil rights was not merely a political issue but a matter of everyday survival for millions of people who could be brutalized without repercussion under a Jim Crow regimen.

“They were initially wary of each other,” Margolick said. “There was an enormous chasm which gradually shrank, but did not entirely disappear.”

Bobby Kennedy on the cover of Time Magazine © Karen Rubin/ goingplacesfarandnear.com

 

“RFK felt MLK a liability, he couldn’t get close.” There was that special night, when Robert Kennedy, who made a concerted effort to embed himself into black communities when he realized he did not have more than a superficial understanding of issues, was in “black” Indianapolis for a campaign speech and gets notice that King has just been killed, and instead of rushing away, he spoke compassionately to the crowd. “That was a special night. Death was the only time Kennedy actually embraced [the idea] of King. Kennedy was dead two months later. There was no time to carry torch of MLK.

“But even in limited time, Kennedy was reluctant to embrace King. The Kennedys were politicians King was a spiritual man. Kennedy considers the political implications of everything. Part of the purpose of this book is to examine and correct the revisionist idea that were together – really was there was always space between them.”

They also came from completely different worlds: Kennedy chose to take up the fight; the fight chose King.

Over the course of researching the book, Margolick said, “my point of view was constantly evolving. I wanted it to be as original as it could. I looked at newspapers no one had; primary documents not examined before. I came to realize the most precious thing was to talk to dwindling supply of people who knew both men – very few knew both: Andrew Young, William Vanden Heuval and some behind scenes intermediaries.

Margolick realized that an excellent source would be the photographers who photographed both – including Harry Benson, Steve Shapiro – who could even describe how differently they interacted with crowds.

“Both men had a sense of their mortality – they knew they were doomed.” One of the photographers, he thinks it was Harry Benson, said that when King was in a crowd, he would look it over carefully, mindful of his safety. He never stayed in one place longer than he had to.”

But, he adds, “Robert Kennedy didn’t care. He had a premonition of death but approached it differently. He told his security force he didn’t want precautions. There were reporters who never left RFK’s side because they expected he would be assassinated and wanted to be there when it happened.”

David Margolick with the Time Magazine featuring Robert Kennedy on the cover © Karen Rubin/goingplacesfarandnear.com

Lawrence Schiller, who organized the project and curated the exhibit, was one of those photographers who helped document history beginning in the 1960s. He was assigned to Robert Kennedy and followed him for the last 40 days of his life. Schiller was at the Ambassador Hotel in Los Angeles the night that Robert Kennedy delivered his last speech, tried to hurry out by going through the kitchen, where he was met by Sirhan Sirhan who shot him dead. (The portrait that opens the exhibit was taken by Schiller on board Kennedy’s plane en route to California just days before the speech.)

He was just 26 years old working as a photojournalist on a fateful day in 1963 when he was summoned from Los Angeles to Dallas after President John F. Kennedy was shot. He was in the police station when, as it happened, the police were booking Lee Harvey Oswald.

“The elevator opened to reveal Oswald, who was only 24 years old. It shocked me that evil could be in such a person – a kid my age had caused this tragedy.”

Schiller, who has several photos in the exhibit, called upon many of the photographers he knew who are represented, but there are many which had not been published before.

The exhibit is laid out chronologically for the most part, but in some cases “emotionally chronologically”, as when a portrait of Robert Kennedy, photographed on Feb. 26, 1962, with a movie slate, is juxtaposed next to a police mug shot of King from Feb. 22, 1956, upon which someone had scrawled “DEAD 4-4-68”; and in a case with artifacts, the Time Magazine editions with each on the cover, is displayed. ”King’s ‘Man of the Year’ drove people crazy,” Schiller remarks.

Parallel lives: portrait of Robert Kennedy, photographed on Feb. 26, 1962, juxtaposed next to a police mug shot of King from Feb. 22, 1956, upon which someone had scrawled “DEAD 4-4-68” © Karen Rubin/goingplacesfarandnear.com

Asked which photo was the most impactful, Schiller points to one of a man with a broom, sweeping the blood from outside King’s hotel room in Memphis, a photo which he said had never been published; another shows the hotel room. Schiller says that people came in and collected vials of blood to keep as a memento.

The exhibit starts with Rosa Parks and ends in a field after Kennedy’s assassination, where people are holding a sign, “So long Bobby.” Several of the photos don’t feature King or Kennedy at all, but provide context: the KKK, US Marshals, Freedom Riders, the march after Medgar Evers was assassinated in June 1963, just five months before JFK was assassinated, in eerie similarity to the one-two King-Kennedy assassinations.

There is great intimacy of the experience – the photos, which were printed all at the same time in the same lab from negatives and then scanned –  are 8 x 10 and smaller, the room is compact, so you are close to the images, can easily read the captions and notes.

“The insight we came to early on emerged from the question: Why were there not more photos of the two together?” Margolick said. “The book tries to fill the gap, why there were no more photos of the two together. They kept apart. We are documenting, explaining the absence of something.”

One notable absence is a still photo of Robert F. Kennedy addressing a black audience in Indianapolis the night that King was killed, which in itself, says a lot.

“No one knew how important that speech by Kennedy would be, the night MLK was killed,” Margolick said. “The event that became so important was so scantily covered, there were just two still photographers there from local papers. It was only a 6-7 minute speech, but there is no film of the entire speech.” But it was at that point that Kennedy most fulsomely embraced King. (A portion of the video is displayed.) There’s a monument in Indianapolis commemorating the event.

Born Worlds Apart

Martin Luther King Jr. (January 15, 1929 – April 4, 1968) and Robert F. Kennedy (November 20, 1925 –June 6, 1968) were born worlds apart—culturally, geographically, racially, financially, and politically—but by the time they were killed within months of each another in 1968, their worlds had come together. As their concerns expanded beyond civil rights (King) and organized crime (Kennedy), their ties deepened to encompass shared interests in supporting the poor and opposing the war in Vietnam. This unprecedented exhibition explores the overlapping paths of their lives through images taken by some of the most renowned photojournalists of the era, including Bob Adelman, Danny Lyon, Henri Dauman, Jacques Lowe, Spider Martin, Steve Schapiro, Lawrence Schiller, and Paul Schutzer, alongside original correspondence, publications, and ephemera.

“The year 1968 rocked the nation in many ways, but it would be difficult to point to anything that shocked and sickened Americans more that year than the senseless and tragic deaths of Robert Kennedy and Martin Luther King Jr.,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society. “Fifty years later, the legacies of Kennedy and King still reverberate. This timely exhibition underscores the two men’s lasting impact on our nation while drawing attention to the ways in which their lives intersected. ”

Author David Margolick, Dr. Louise Mirrer, president and CEO of the New-York Historical Society, and Lawrence Schiller, photojournalist and curator of “Rebel Spirits: Robert F. Kennedy and Martin Luther King Jr.” © Karen Rubin/ goingplacesfarandnear.com

Exhibition highlights include images of King and his son looking at the charred remains of a cross the Ku Klux Klan burned outside his Atlanta home in 1960, King’s mug shot after being indicted for the 1956 Montgomery Bus Boycott, and Kennedy being swarmed by an adoring crowd during his 1968 presidential campaign. Also on view are posters reading “Honor King: End Racism!” and “I Am a Man” that were carried in a Memphis march led by widow Coretta Scott King and her children on April 8, 1968, as well as a black and white “Kennedy/King” button worn by a New Yorker in memory of the two slain leaders.

An adjunct display showcases the bronze sculpture of Martin Luther King Jr.―one of five existing casts created by Harlem Renaissance artist Charles Alston (1907– 1997), on loan from the Community Church of New York.
Rebel Spirits is based in part on The Promise and the Dream, written by David Margolick and produced by Lawrence Schiller for National Geographic Publishers. The exhibition was curated by Lawrence Schiller, Cristian Panaite, and Marilyn Kushner. It was produced by Wiener Schiller Productions, Inc. in association with Susan Bloom International with support from Getty Images, The Jacques Lowe Estate, and Steve Schapiro.

Published by National Geographic and written by  David Margolick, The Promise and the Dream: The Interrupted Lives of Robert F. Kennedy and Martin Luther King Jr. features an introduction by historian Douglas Brinkley. The book is available at the NYHistory Store.

Several public programs will provide further insights into the exhibition and its time period. On March 6, eminent legal experts survey the evolution of the U.S. Supreme Court’s interpretations of the 14th Amendment—in commemoration of its 150th anniversary—and civil rights throughout American history, highlighting landmark cases such as Brown v. Board of Education. On April 23, scholar Randall Kennedy discusses the Supreme Court and Martin Luther King Jr. On May 21, journalist Chris Matthews sits down to explore the rebel spirit of Robert Kennedy.

Vietnam War

The New-York Historical Society has a variety of fascinating exhibits, some short term and some ongoing.

The Vietnam War: 1945 – 1975, on view through April 22, 2018, is particularly timely in conjunction with the “Rebel Spirits.” © Karen Rubin/ goingplacesfarandnear.com

The Vietnam War: 1945 – 1975  on view through April 22, 2018 is particularly timely in conjunction with the “Rebel Spirits.” Featuring interpretive displays, digital media, artwork, artifacts, photographs, and documents, the exhibit provides an enlightening account of the causes, progression, and impact of the war. Spanning the duration of U.S. involvement in Indochina, the narrative incorporates perspectives covering both the home and the war fronts. Displays touch upon the Cold War, the draft, military campaigns initiated by both sides, the growth of the antiwar movement, the role of the president, and the loss of political consensus. The exhibition explores themes of patriotism, duty, and citizenship. Key objects include a troopship berthing unit, interactive murals, vibrant antiwar posters, artwork by Vietnam vets, a Viet Cong bicycle, the Pentagon Papers, and news and film clips.

Gallery of Tiffany Lamps

Step into the Gallery of Tiffany Lamps, a permanent exhibit which is the centerpiece of a newly designed fourth floor, and you are aglow in light and beauty. The exhibit features more than 100 illuminated Tiffany lamps from N-YHS’s  spectacular collection displayed within a dramatically lit jewel-like two-story space (the glass staircase is exquisite).

Step into the Gallery of Tiffany Lamps, a permanent exhibit which is the centerpiece of a newly designed fourth floor, and you are aglow in light and beauty. © Karen Rubin/goingplacesfarandnear.com

The presentation is breathtaking, and so insightful: it was only in the last decade that it was learned through a series of letters that some of Tiffany’s most famous and prized lamps, featuring nature imagery like wisteria, dragonflies, spider webs, were designed by Clara Driscoll, who headed the Women’s Glass Cutting Department of some 45-55 young  women (mainly 16-17 year olds who would work until they went off to be engaged).

It was only in the last decade that it was learned through a series of letters that some of Tiffany’s most famous and prized lamps were designed by Clara Driscoll who headed the Women’s Glass Cutting Department of some 50 young women © Karen Rubin/goingplacesfarandnear.comThe collection comes from Dr. Egon Neustadt. an Austrian immigrant enamored with all things American, who purchased his first Tiffany lamp in 1935 for $12.50 (by then, Tiffany Lamps were no longer in favor, the company closed, Tiffany went bankrupt in 1932 and died in 1933) and went on to amass the largest and most comprehensive Tiffany lamp collection ever assembled. The docent explained that he bequeathed half his collection to the N-YHS and half to the Queens Museum. She points out what would have been the most valuable lamps: the wisteria would have sold for $450; the cobweb for $500, at a time when you could buy a brand new car for that amount. On the mezzanine level, you not only can look down onto the lighted lampshades, but can try your hand at designing your own.

Learn how Tiffany Lamps were made at the New-York Historical Society’s Gallery of Tiffany Lamps © Karen Rubin/goingplacesfarandnear.com

The redesigned fourth floor also offers exhibitions and interactive media that explore American history. Themed displays in the North Gallery present a variety of topics—such as slavery, war, infrastructure, childhood, recreation, and 9/11—offering unexpected and surprising perspectives on collection highlights. Touchscreens and interactive kiosks allow visitors to explore American history and engage with objects like never before. When I visit, a docent is discussing the Industrial Revolution with high school students.

Women’s Rights & Social Activism

 A new Center for Women’s History enables visitors to discover hidden connections among exceptional and unknown women who left their mark on New York and the nation with the multimedia digital installation, Women’s Voices, and through rotating exhibitions in the Joyce B. Cowin Women’s History Gallery. Objects from the Billie Jean King Archive are also on view. 

Celebrating the centennial of women’s right to vote in New York and on view in the Joyce B. Cowin Women’s History Gallery, Hotbed brings to life the neighborhood’s bohemian scene and energetic activist spirit © Karen Rubin/ goingplacesfarandnear.com

Hotbed, a special exhibit on view through March 25, 2018, is about Greenwich Village in the early 20th century, when it was a hotbed of political activism and social change—where men and women joined forces across the boundaries of class and race to fight for a better world. At the heart of the downtown radicals’ crusade lay women’s rights: to control their own bodies, to do meaningful work, and above all, to vote. Celebrating the centennial of women’s right to vote in New York and on view in the Joyce B. Cowin Women’s History Gallery, Hotbed features immersive installations and more than 100 artifacts and images—drawn from New-York Historical’s archives and several private collections—that bring to life the neighborhood’s bohemian scene and energetic activist spirit.

Collecting the Women’s Marches, on view through June 3, 2018, documents  January 21, 2017, when hundreds of thousands rallied at the Women’s March on Washington for diverse issues including women’s rights, racial equality, and the environment. Counting more than 500 sister marches across the United States, it was the largest single-day protest in the nation’s history. As part of its History Responds program, the New-York Historical Society collected a range of artifacts, including signs, sashes, pussyhats, and colorful props, to document the moment. One year later, Collecting the Women’s Marches highlights some of the political and visual themes that emerged, as well as the efforts of individuals and groups that worked behind the scenes. An adjunct display of protest clothing by Olek (Agata Oleksiak), an artist who works in crochet, and Brick x Brick, a public art performance group, is also on view. It is odd to have an exhibit of a major historic event so recent, and to actually have been there.

New York through the Lens of George Kalinsky on view through June 3, 2018 is an amazing photo exhibition of some of New York’s most iconic cultural moments over the past 50 years as captured by George Kalinsky. Serving as Madison Square Garden’s official photographer, Kalinsky has turned truly memorable moments―sporting events, legendary performances, and notable occasions―into lasting images that have defined the city. Among the quintessential photographs on view are Pope John Paul II hoisting a seven-year-old child onto the Popemobile in Madison Square Garden, Bill Bradley celebrating a New York Knicks victory, Sloane Stephens winning the 2017 US Open, and Jesse Orosco falling to his knees on the mound as the Mets won the 1986 World Series.

Collector’s Choice: Highlights from the Permanent Collection, ongoing: Since 1804, the New-York Historical Society has been welcoming to its collection some of the most esteemed artworks of the modern world. Collector’s Choice: Highlights from the Permanent Collection showcases a selection of paintings that reflect the individual tastes of several New York City collectors who donated their holdings to New-York Historical. Joining Picasso’s Le Tricorne ballet curtain are featured American and European masterpieces spanning the 14th through the 21st centuries from Luman Reed, Thomas Jefferson Bryan, and Robert L. Stuart, including colonial portraits of children, marine and maritime subjects, and an installation showcasing recently collected contemporary works.

Picasso’s Le Tricorne ballet curtain is part of the New-York Historical Society’s permanent collection © Karen Rubin/goingplacesfarandnear.com

Hours: Tuesday – Thursday: 10 am – 6 pm; Friday: 10 am – 8 pm; Saturday: 10 am – 6 pm; Sunday: 11 am – 5 pm  Admission: Adults: $21; Teachers and Seniors: $16; Students: $13; Children (5–13): $6;  Children (4 and under): Free. The museum has a pay-as-you-wish policy on Fridays from 6-8 pm.

Check the website for special events and lecture.

New-York Historical Society, 170 Central Park West (at 77th Street), New York, NY 10024, www.nyhistory.org, (212) 873-3400. 

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