[Q]: The following article contains an answer for the question: Who was said to have coordinated the protests? , can you please find it?   Demonstrations began on the evening of 5 July with a protest in the Grand Bazaar, a prominent tourist site, and crowd reportedly gathering at the People's Square area. The demonstration began peacefully, and official and eyewitness accounts reported that it involved about 1,000 Uyghurs; the WUC said approximately 10,000 protesters took part.On 6 July, XUAR chairman Nur Bekri presented an official timeline of the previous day's events, according to which more than 200 demonstrators gathered in People's Square in Ürümqi at about 5 p.m. local time, and about 70 of their leaders were detained. Later, a crowd gathered in the mostly Uyghur areas of South Jiefang Road, Erdaoqiao, and Shanxi Alley; by 7:30 p.m., more than one thousand were gathered in front of a hospital in Shanxi Alley. At about 7:40 p.m., more than 300 people blocked the roads in the Renmin Road and Nanmen area. According to Bekri, rioters began to smash buses at 8:18 p.m., after police "controlled and dispersed" the crowd.How the demonstrations became violent is unclear. Some say the police used excessive force against the protesters; the World Uyghur Congress quickly issued press releases saying that the police had used deadly force and killed "scores" of protesters. Kadeer has alleged that there were agents provocateurs among the crowds. Others claim that the protesters initiated the violence; for example, an Uyghur eyewitness cited by The New York Times said protesters began throwing rocks at the police. The government's official line was that the violence was not only initiated by the protesters, but also had been premeditated and coordinated by Uyghur separatists abroad. The local public security bureau said it found evidence that many Uyghurs had travelled from other cities to gather for the riot, and that they had begun preparing weapons two or three days before the riot.
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[A]: Uyghur separatists


[Q]: The following article contains an answer for the question: Which one of Sullivan's five movements was not known to have been used in any other work? , can you please find it?   A five-movement ballet occurred somewhere in Act II, staged by W. H. Payne. A heading in the libretto, "Chorus and Ballet", attaches it to the last section of the finale but does not indicate how it figured in the plot. Most press accounts placed it at about this point, although some placed it slightly earlier in the act. At some performances, the ballet was performed in Act I, but it was certainly in Act II on opening night, and it seems finally to have settled there.In 1990, Roderick Spencer and Selwyn Tillett discovered the ballet from Act II of Thespis. Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, L'Île Enchantée. Another section was found in the material for his 1897 ballet, Victoria and Merrie England. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the harp visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra. Movements of appropriate length that made sense of these oddities were found in Sullivan's other ballets, and the reconstructed ballet has been recorded twice on CD. Sullivan tended to re-use his ballet music. Of the five movements that Tillett and Spencer identified, only one (the Waltz, No. 3) is not known to have been used in any other work. Three of the movements had previously been used in L'Île Enchantée. Two of those, and one other, were eventually re-used in Victoria and Merrie England. One was also used in his incidental music to Macbeth. Sullivan was asked in 1889 to supply a ballet for a French-language production of The Mikado in Brussels, which he duly did. Tillett suggests that the Thespis ballet was almost certainly the music...
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[A]: the Waltz, No. 3


[Q]: The following article contains an answer for the question: What is the modern name of the photograph by the commercial photographer that inspired an 1888 oil painting? , can you please find it?   Farsari and other 19th-century commercial photographers generally concentrated on two types of subject matter: the scenery of Japan and the "manners and customs" of its inhabitants. Such subjects, and the ways in which they were literally and figuratively framed, were chosen to appeal to foreign taste; and the reason for this, apart from the photographer's individual aesthetics, vision and preconceptions, had much to do with economics. Photographs were expensive to make and accordingly expensive to buy. In 1870s Japan, a portrait photograph usually cost half a ryō "per head", about a month's pay for an artisan. Given such pricing, few Japanese could afford photographs and a photographer's clientele was largely drawn from the foreign residents of the European and American enclaves: colonial administrators, missionaries, merchants and the military. By the early 1870s, tourists had joined their number. To appeal to this clientele, photographers often staged and contrived the scenes they photographed, particularly the portraits depicting "manners and customs".In 1885, Charles J. S. Makin used some of Farsari's views to illustrate his travel account Land of the Rising Sun, Being a Short Account of Japan and the Japanese. As photomechanical printing was still in its infancy, it was common for artists and illustrators to create works derived from photographs. For example, Charles Wirgman's numerous engravings for the Illustrated London News were made from views by Wirgman's friend and sometime partner Felice Beato. Occasionally the link between a work of art and its photographic source material was less overt: Louis-Jules Dumoulin's 1888 oil painting Boys' Festival from the Bluff, Yokohama [sic] (now called Carp Banners in Kyoto) draws heavily from Farsari's photograph Gionmachi, Kioto (now often called View of Shijō-dōri, Kyoto); although the painted image strongly resembles the photographic source, the location of the subject has been changed in the title. During the era of the collodion process, before the...
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[A]:
View of Shijō-dōri, Kyoto