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Nordens Ark

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Photo: Nordens Ark
Nordens Ark in western Sweden is dedicated to protecting and preserving endangered species.

Two of my grandchildren had a happy time this summer at a Swedish park that is dedicated to protecting and preserving endangered species. The children’s Swedish grandmother told me that the pony rides and other attractions draw families in to Nordens Ark and then get them interested in supporting the sustainability mission.

From the paark’s website: “Nordens Ark is a private non-profit foundation that works to ensure endangered animals have a future. We are engaged in conservation, rearing, research and training, as well as doing what we can to increase public awareness of biological diversity. Much of our work is done in the field, both in Sweden and overseas.

“We strive to strengthen populations of at-risk species by releasing individuals into the wild, and by improving the habitats in which they live. In Sweden, Nordens Ark has national responsibility for breeding and releasing, among others, the peregrine falcon, white-backed woodpecker, lesser white-fronted goose, green toad and several beetle species.

“Since the turn of the millennium hundreds of mammals and birds born at Nordens Ark have been released into nature, among them otters in Holland, European wildcats in Germany and lynxes in Poland. We have reinforced the Swedish peregrine falcon population with more than 175 individuals, and Sweden’s amphibian population with some 10,000 animals.”

More at the website, here. Sweden Tips lists the park in its survey of Sweden’s best zoos. If you want to visit Nordens Park, you can also find lots of enthusiastic comments at Trip Advisor, including “a fantastic place for a photographer” and a recommendation to come at feeding time.

Someone I know, 3-1/2, took a pony ride at Nordens Ark in Bohuslän, Sweden, this summer. The park encompasses more than [900 acres] and includes pastureland, woodland and animal facilities.
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Photo: Dolly Faibyshev for The New York Times
In a ceremony at the Abrons Arts Center in New York, Emily Johnson acknowledges the Lenape tribe, which inhabited Manhattan before Europeans arrived. The bonfire event is part of an initiative by artists called “land acknowledgment.”

It’s interesting to me that at the same time that nationalism and harsh attitudes about migration are sweeping the Western world, some very different movements are gaining traction. One is the increased acknowledgment in some English-speaking countries that Europeans were once interlopers, too.

Siobhan Burke writes at the New York Times about arts groups starting to pay attention to first residents.

“On an evening in early June, before the sun had gone down, a bonfire blazed outside Abrons Arts Center on the Lower East Side. Handmade quilts lined the steps of the outdoor amphitheater. Anyone walking down Grand Street could come in and take a seat. As a group of singers arranged themselves around a large cylindrical drum, the choreographer Emily Johnson stood up to speak a few careful, welcoming words.

“ ‘I’d like to acknowledge and pay my deep respect to Lenape people and elders and ancestors — past, present and future,’ she said. She gestured toward the ground and in the direction of the East River. ‘I acknowledge and offer deep gratitude to this Lenape land and water that supports us, as we’re gathered here right now together, and I invite you to join me in that acknowledgment, that respect and that gratitude.’

“In recognizing Manhattan’s original inhabitants — the Lenape (pronounced len-AH-pay) — and their ancestral homeland, Lenapehoking, Ms. Johnson was taking part in a ritual that, with her guidance, has become increasingly common at New York performing arts spaces in the past year.

“Routine at public gatherings in Australia, New Zealand and Canada, the custom of Indigenous land acknowledgment, or acknowledgment of country, has only recently started to gain traction in the United States outside of tribal nations. In New York City the practice is sporadic but growing, occasionally heard at high-profile cultural and educational institutions like the Whitney Museum of American Art and New York University. …

“Ms. Johnson, 42, a Native Alaskan artist of Yupik descent, has been the catalyst for much of that progress in the city’s dance scene. … Wherever she tours, she publicly honors — and engages with — the Indigenous people of that place.

“And behind the scenes she has been working to strengthen relationships between predominantly white institutions and Indigenous communities, to ensure that more Indigenous voices are heard at all organizational levels, from the artists onstage to the board of directors. That process, she said, begins with institutions recognizing where they are: on land taken from Indigenous peoples. …

“For the inexperienced, speaking an acknowledgment can be awkward at first. Hadrien Coumans, a co-founder of the Lenape Center, said false starts were to be expected. …

“While land acknowledgment might be a mere formality in some contexts, Mr. Coumans emphasized that he sees it as something much greater, an invitation to consider and appreciate where, really, you are standing.

“ ‘We’re part of a living being,’ he said. ‘Earth is a living entity, so in acknowledging land, what we’re really doing is acknowledging life. Not nationalism, not patriotism. Life.’ ”

More at the New York Times, here.

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Photo: The College Crusade Rhode Island
At Great Salt Pond, young students from Rhode Island cities learn how to make and tow plankton nets and test water quality.

There’s a lovely story at ecoRI News that I wanted to share with you. It makes me both happy and sad — happy that some underserved urban kids are getting an inspiring engagement with nature in the summer but sad that it’s unusual for them. The experiences are those that my own children and grandchildren have had almost every year of their lives, experiences that really should be accessible to all children.

Frank Carni writes, “Most of the teenagers arriving on Block Island this summer, at least those affiliated with The College Crusade of Rhode Island, are coming from communities covered in pavement. Many had never been on a boat before and most had never set foot on New Shoreham.

“The students are making a good first impression, with their observations, curiosity, and passion for the environment, despite living among more gray and black than green and blue. The island community has embraced the out-of-towners from Providence, Central Falls, Pawtucket, Woonsocket, and Cranston.

“ ‘We throw a lot at them and it’s amazing what they absorb,’ said Valerie Preler, program director for the Block Island Maritime Institute (BIMI).

‘I learn a lot by watching what they see and what they say.’

“For the past 10 years the BIMI’s Dolphin Program has worked with and learned from students from underserved communities from Rhode Island, New Jersey, and New York City. Last year BIMI partnered with Providence-based The College Crusade of Rhode Island, as Block Island hosted a group of students from the college-readiness and scholarship program for middle-school and high-school students in low-income urban school districts for a week of learning and fun. …

“The mission of The College Crusade is to increase high-school graduation, college and career readiness, and college completion for youth in Rhode Island’s low-income communities. The organization supports about 4,200 students in middle school, high school, and college annually. Students join the program in grade 6 and continue through the early years of college, if they attend a public college in Rhode Island. …

“They learn to problem solve, study ecology by exploring the Great Salt Pond, and discuss the island’s different levels of biodiversity.

“During their visit to the museum at the Block Island Historical Society the students learn how colonists deforested in the island in the 1660s, how the island’s swordfish population was depleted by overfishing, how the introduction of deer in the 1960s for hunting purposes has led to the island’s current overpopulation problem, and why there is less bird migration to the island — more people and a growing population of feral cats.

“ ‘It’s an eye-opening experience for these kids, and for some it’s life-changing,’ [Lauren Schechtman, director of middle-school operations for The College Crusade] said. ‘Our kids don’t normally have access to these type of educational resources.’

“This Block Island adventure, like The College Crusade program, is free to the students and their families. They stay in a house rented by The College Crusade, enjoy dinners with Block Island families, and some New Shoreham restaurants help feed the island’s young guests for free.

“Besides visiting the island’s Great Salt Pond, the students go bird banding with The Nature Conservancy, learn about the Block Island Wind Farm, take a night-sky walk, tour New Harbor on the island’s west side, and conduct a beach cleanup. They also enjoy kayaking and/or paddle boarding, a beach visit, and fishing by the Coast Guard Station.”

I hope they loved the whole experience. Great Salt Pond is an especially intriguing place, where just this past weekend John, with family and friends, went seining and pulled up some real treasures: three pipe fish, a baby flounder, shrimp, and many minnows. They threw them back for another day.

More at ecoRI News, here. Be sure to check the other photos, including the one of bird banding. Our family has many great memories of bird banding with the woman who would have taught the kids in the story.

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Photo: Fred Hatt
Mana Hashimoto is a New York City–based contemporary dancer and choreographer who, despite losing her eyesight, is determined to keep dancing and making dance.

We all have obstacles that rise up in our lives, but for some of us, the obstacles are exceptionally daunting. That was true for the dancer in this story, who made up her mind that her career would not be lost when her eyesight was lost.

Victoria Dombroski interviewed her for Backstage.

“Mana Hashimoto is a New York City-based contemporary dancer and choreographer whose career has spanned from her native Tokyo to many stages worldwide. She also happens to be blind. After losing her eyesight due to optic nerve atrophy, she was determined to keep dancing despite the unexpected obstacle. Since then, she has dedicated her life to merging blindness and dance, and to create artistic works through the use of her remaining senses.

How did losing your eyesight change your trajectory as a dancer?
I trained as a classic ballet dancer and it’s very common that when you take class, you have to check in the mirror to see how you look. It becomes a sort of obsession and trap, consciously or unconsciously. I think it was a relief that I no longer had to see myself in the mirror, but instead be in the moment and be with myself and accept who I am physically, emotionally, and spiritually.

Were there certain things you learned about yourself as a dancer after losing your sight?
“I learned how to accept who I am, [to] be free, and to observe myself internally. It changed my perspective of what beauty is. Visual information can be overwhelming and we are shown what beauty should be instead of who you should be. …

What advice do you have for blind dancers and dancers with disabilities?
“I’m still a work-in-progress as a human being, but if I could advise something: keep enjoying dance. If there are some challenges, you can take them as opportunities to make your dance original. Any challenge is a door we didn’t expect we could open. …

What would you like to see more of in the New York dance community?
“I think more accessibility and openness to have visually impaired participants for workshops and classes. Once we have the right access, dance is open to anybody’s needs. I would also like to see more verbal description for dance performances. Before my performances, I invite visually impaired audiences to feel the space; they can touch and feel the props and costumes. …

What advice do you have for dancers encountering major setbacks in their dance career?
Hold onto your hope. I think it’s very important to share your difficulties along with your dreams.”

More here.

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Blogger Humor

I love the self-deprecating humor of cartoons about blogging and am thinking that other bloggers might be amused by these. Let me know if you can’t read what they say.

After taking my cartoons off the fridge and photographing them, I got to wondering why people blog in the first place and decided to do a Google search on the phrase “why I blog.” Turns out, quite a few bloggers have posted on that very topic.

At Medium, Rybo Chen lists eight reasons for blogging: to build character and discipline, share thoughts and lessons learned, read more and learn more, have great conversations, become a better thinker, build healthy habits, and build a personal brand. Most of those sound reasonable to me — except that I have no interest in building my personal brand. What would I do with it once it got built?

Melissa at Patheos seems to be using her blog to help her work out the effects of an unusually restrictive childhood. Or, as she puts it, “This is my own little place to think and process stuff. I have found a voice through writing here.” She originally kept her writing from people she knew and considered shutting down when she was found out. I have noticed that the blogging motivations of several visitors to my site are similar to hers.

The blogs Pinch of Yum and Sally’s Baking Addiction have the same origins: the bloggers love sharing recipes. But it’s more than that. Sally says, “That isn’t the only reason why I blog. (It was certainly the reason why I started!) As the years pass and I learn more about blogging – and myself – I’ve grown to appreciate the many blessings that blogging brings to me both professionally and personally.” She lists eight things, including “healing,” which I found intriguing.

Lindsay at Pinch of Yum — a former 4th grade teacher and current full-time blogger who lives in Minnesota with husband Bjork — lists 10 reasons for loving what she does, including helping others start their own blog and sharing photography tips in a food photography eBook.

Lauren Hooker at Elle & Co. gives six reasons she blogs, including that it enables her to share her design work and attract clients.

My reasons for doing this blog have evolved — or perhaps I should say “have clarified” — over the 7-1/2 years I’ve been writing it. At first, the wish to help Suzanne sell jewelry was equal with the pleasure of blogging, which I had been doing at work already. Suzanne and Erik said that they knew I liked it and that having a blog tied to Luna & Stella‘s contemporary birthstone-jewelry business would be helpful.

I don’t think I’ve been all that helpful, but it’s true that one time a woman wrote Suzanne that she didn’t usually like to buy from online businesses that she didn’t know but was reassured after getting a sense of what Suzanne’s Mom was like.

What has been clarified is that I enjoy the routine of writing every day and I love not only reading the curious articles but editing them. After all, I worked for years as an editor because I liked editing. There’s real satisfaction in trying to find the points that are most likely to click with readers. I also like coming up with photos — my own or borrowed — and learning the technical stuff involved in placing them.

Getting to know my commenters is also a treat, but what’s surprising is that it is a pleasure that is somehow separate from the pleasure of writing the posts. I need to think more about how that works.

Since so many of you blog, too, I’d love to hear why you do it and under what circumstances you could see yourself giving it up. I myself expect to keep going as long as I have my wits about me.

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Photo: Jose F. Moreno / Inquirer Staff Photographer
In South Philadelphia, young Khmer women are earning to perform traditional Cambodian dance.

When one marginalized community taps into its roots and strengthens its identity, other ethnic groups may benefit, too. Consider this story about young Cambodian women in South Philadelphia and their how traditional dances are often performed for neighboring communities of color.

Bethany Ao reports at the Inquirer, “When Lanica Angpak started the organization Cambodian American Girls Empowering three years ago as a personal project, she visualized it as a safe space where young Cambodian women could talk about ‘taboo’ topics they didn’t feel comfortable discussing with their families.

“But when Angpak broached that idea with the women she was mentoring at the time, the group had an addendum: They wanted Angpak to teach them traditional Cambodian dance.

” ‘I was already teaching some of them,’ said Angpak, who learned how to dance from her mother. ‘But bringing it into this organization allowed us to build bridges through dance.’

“On a recent Sunday, the organization gathered at Bok Bar, a popular rooftop bar in South Philly with gorgeous views of the Philadelphia skyline, for a sunny afternoon workshop performance.

“The women slipped off their shoes and completed stretches that were harder than your average yoga pose. Eventually, they shifted into formation and performed a dance about a Cambodian celebration for young children. The dancers moved slowly, but their movements required just as much precision as ballet. Their mastery of balance was impressive, as was their flexibility. …

“Cambodian dance is a crucial part of storytelling in the country’s culture. It has existed for thousands of years and draws its roots from Indian mythology and religion. Every component of the dancer’s body is engaged during a performance, from their fingertips to their facial expressions. …

“The Philly area has the fourth largest Cambodian population in the United States — about 13,000, according to the most recent census — centered in South Philly. Angpak works closely with the Cambodian Association to help support the community here. Besides the performances, CAGE also holds dance workshops for females as young as 6 and as old as 72.

” ‘On average, we do about 14 performances a year, and we’ve already surpassed that number this year,’ Angpak said. ‘We prioritize public events.’ … The group particularly enjoys performing for organizations representing other communities of color.

“Angpak said dance is an alternative way of sharing between communities, an exchange of culture and art, of sorts. The organization charges on a sliding scale for performances. Workshops, including the one at Bok Bar next month, are free and open to the public.”

More at the Inquirer, here. And click here for my 2017 post about how Princess Norodom Buppha Devi, half-sister of Cambodia’s King, is working to reenergize the Royal Ballet of Cambodia. Perhaps some of these Philadelphia women and girls will get a chance to audition for that.

Photo: Jose F. Moreno / Inquirer Staff Photographer
A mother and daughter learn traditional Cambodian dance at the Bok Bar in South Philadelphia. Cambodian American Girls Empowering (CASE) helps women and girls preserve their heritage through traditional Cambodian dance.

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Photo: @coryt
American Refugee Committee, a nonprofit with Charity Navigator‘s highest rating, is one of a few organizations helping Myanmar’s persecuted Rohingya Muslims in Bangladesh camps.

With so many languages still in use, I have sometimes wondered how aid workers in refugee camps find people to translate languages that are rare.

Malaka Gharib reports about some of the challenges at National Public Radio (NPR).

“Imagine an aid worker in Bangladesh. Her mother tongue is Chittagonian. She’s trying to help a Rohingya refugee, whose language is similar to hers — but not 100 percent. The refugee tells her gaa-lamani biaram, ‘my body is falling apart.’ Would she know that phrase meant the refugee had diarrhea?

“That’s why a new glossary is being developed. And one of the 180 entries is that Rohingya phrase, indicating that a person is suffering from diarrhea.

“In June, a nonprofit group called Translators Without Borders, in partnership with Oxfam and UNICEF, created a special online glossary for humanitarians working in Rohingya camps in Bangladesh. The app, which aid workers can download on their mobile phones, includes terms with translations in five languages spoken in the camps: English, Bangla, Rohingya, Chittagonian and Burmese. …

“A November 2017 study from Internews, a nonprofit group that helps people in low-income settings access news and information, reported that almost two-thirds of the 570 Rohingya refugees surveyed at Cox’s Bazar [a Bangladesh camp] were unable to communicate with aid providers.

“That can be particularly dangerous when it comes to health care, says [Irene Scott, the program director for Translators Without Borders in Bangladesh]. … To create the glossary, Translators Without Borders assembled a focus group of aid workers and refugees to come up with ‘a dictionary list of terms they use at the camps every day and terms that field workers are having trouble trying to communicate,’ says Scott. Then they worked with members of the community and a staff sociolinguist to translate the words into the four languages. …

“Most of the words in this first iteration of the Bangladesh glossary focus on water, sanitation and hygiene. Over the past few months, the camps have faced acute water shortages, putting people at risk of waterborne diseases like cholera, bloody diarrhea, typhoid and hepatitis E. …

” ‘Chlorine tablet’ is an important word for aid workers to clearly translate, says Scott, because they’re asking refugees to put a foreign substance into their drinking water to make it safe to consume. ‘It’s hard to tell a traumatized community to put that tablet in water and drink it.’ …

There are a few unexpected words in the glossary — like ‘poem.’ Rohingya aid volunteers in the camps specifically asked for this word to be added.

” ‘Since Rohingya is an oral language, written communications like fliers or pamphlets [to convey important health information] may not be effective given the lack of a standardized script,’ says Krissy Welle, senior communications officer for Translators Without Borders.

“Rhyming conventions are a key way to transfer knowledge and historical facts in Rohingya culture, explains Eva Niederberger, Oxfam’s community engagement adviser in Cox’s Bazar, in a statement to NPR. So an aid worker might say something like, ‘Here’s a poem that will teach you how to protect yourself from certain diseases. …

” ‘When we talk about language with Rohingya women and men, they’re happy that someone is paying attention to something so crucially important to their cultural identity. For so long they’ve had their rights denied to them. It’s all about respect at the end of the day.’ ”

More at NPR, here.

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A town with public benches is a civilized kind of town. Benches and sidewalks. Sidewalks and benches. Benches where a dad can help a kid with a messy ice cream cone, where an older citizen can take a break from his daily constitutional, where a shopper can organize her armload of purchases.

I’m grateful to the town government, the independent library, the performing arts center, and — especially — the many businesses that pay to place and maintain benches in Concord. It’s the little things that make for quality of life.

Want to send me a photo of a public bench in your town? How about you, Arlington? Stockholm?

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The calendar says we have more days of summer to come, but for school children, it’s over. Also for me.

For a variety of reasons, it wasn’t my happiest summer, but one has to be grateful for the beauties all around. It certainly is my favorite season for taking pictures. In winter, after I’ve shot all the snow-covered fences and bent-over trees, the photographic opportunities are mostly versions of gray. I’m no Sally Mann, in love with black and white, although I want to get better at finding curious shadows in winter.

The photo collection below starts with the working harbor where one boards the boat to New Shoreham and continues into sights that caught my eye in late August: horse chestnuts, Dusty Miller holding down the fragile dunes, a house sign with a sailboat, a gallery sign with a scarecrow, and the famous Painted Rock. I was so happy to see that 2018 at last had a good piece of art on the rock, not to mention that it stayed up a whole day without getting sloppily spray-painted over. The local paper promised to print my picture of the octopus side and seek out the artist.

Finally, I give you a curious sunset rainbow on an oppressively hot and humid evening. The weather had really gotten me down when this rainbow showed up, so beautiful I felt like saying, Sorry, Sorry, because one needs to remind oneself when feeling down that one won’t always feel that way.

This rainbow was amazing in a couple ways. First of all, there wasn’t even any rain: The air was just loaded with moisture. Second, the sunset on the clouds seemed to spread out the rainbow into several times its true size.

You have to be grateful for these things when you see them.

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Before the rise of unions and child labor laws, it was common to see scenes like the one above showing a young girl working with dangerous textile machines in Lowell, Massachusetts.

The pendulum has swung too far away from workers. Just my view. There was a time that unions had built up power to the point of abuse. That’s not where we are now. We have all benefited from people banding together to fight deadly working conditions, end child labor, and negotiate a living wage.

Ideally, it would be corporate leaders themselves who recognized that everyone is better off when employees have a decent life. How likely are we to see such leaders today? Too many parents work two or three jobs while their children still don’t eat well without the free lunch at school. CEOs’ attitude: Not my problem.

But wait! There’s news.

Ben & Jerry’s leaders may be outliers. Of course, it took worker activism, but a good-faith effort led to positive results for all.

As John Dillon reports at Vermont Public Radio, “Some Vermont dairy workers say their wages and living conditions have improved, thanks to an agreement reached last year between the workers and Ben & Jerry’s, a division of global consumer products company Unilever.

“Times are tough on dairy farms around the country, with milk prices declining for the fourth year in a row. But 72 farms that supply Ben & Jerry’s earn a little more by agreeing to follow labor and housing standards.

“Enrique Balcazar is a former dairy farm worker and an activist with the group Migrant Justice who helped negotiate an agreement last year called Milk with Dignity. …

” ‘There are farmworkers in the state who, in collaboration with their farmers and with support from the Milk With Dignity Standards Council, are now receiving a day off every week when they previously didn’t have one, who are receiving wages to bring their wages up to the Vermont minimum wage,’ he says. …

“Farms enrolled in the Milk with Dignity program also commit to providing five annual paid sick days, five paid vacation days and to meet housing health and safety standards.

“Farmers get a premium for following these standards, but it’s not clear how much. …

” ‘Ben & Jerry’s is paying the premium because we recognize a lot of farmers will need some of the financial support to improve housing conditions or to make up for the vacation days that they’re going to provide workers,’ [Cheryl Pinto, manager of values-led sourcing at Ben & Jerry’s,] says. …

“The Milk with Dignity program covers all farmworkers whose farms are enrolled — and not just undocumented workers who work on many of Vermont’s dairy farms. … Migrant Justice says the program is a model for other dairy processors.”

How about you consider Ben & Jerry’s if you are buying ice cream or frozen yogurt for your Labor Day party? Cherries Garcia, Moo-phoria, anyone?

More at Vermont Public Radio, here.

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Photos: Lucy Sherriff/PRI
Neris Uriana, the Wayuu tribe’s first-ever female chieftain, stands in her garden. With her leadership and new water-saving techniques, the northern Colombia tribe is finally able to grow food year-round.

I’ve been reading articles by my friend Ann Tickner on Jane Addams, best known for founding Hull House in Chicago in the early 20th Century. Addams, an international peace activist who influenced the thinking of world leaders after WW I, was a more extraordinary woman than I realized in third grade, reading one of those little orange biographies in the school library. She was a model of all that women can be if they choose.

In South America, there’s another surprising example of female leadership that I just heard about. It’s in an indigenous tribe, where the women are making sure that the people achieve their potential while living in harmony with nature.

Global Post reporter Lucy Sherriff writes at Public Radio International (PRI), “For years, the Wayuu tribe in La Guajira, a remote area in northernmost Colombia, was run by a male chieftain. But 13 years ago, male elders decided to appoint a woman as its leader. After the success of being led by a female head, the community changed its governance traditions and now exclusively appoints women to lead.

“ ‘When I first started, I didn’t know anything,’ Neris Uriana, the tribe’s first-ever female chieftain, told PRI. ‘But over time, one learns how to lead, the required skills you need to be head of a community.’

“Neris Uriana was elected in 2005. She was already involved in providing support to the community’s mothers, and Jorge Uriana, along with other elders, believed she had the qualities needed to lead the tribe. It was a first for Wayuu communities in Albania, in La Guajira.

“ ‘We had had some problems with communicating with leaders of other tribes and in our own village,’ explained Jorge Uriana, who was the community leader until 2005 and is Neris Uriana’s husband.

“Jorge Uriana explained that traditionally, Wayuu men negotiate and resolve disputes but that some male leaders can come off as confrontational and even aggressive at times.

“ ‘Whereas women, when they speak, they address the human side. They tend to be more peace-loving and more humanitarian in their outlook.’ ”

Excuse me, I have to stop here and marvel: that is exactly why Jane Addams and her contemporaries in the peace movement are considered the founders of what is known today as feminist diplomacy.

Back to my story.

” ‘We wanted to turn the way things were on its head. We wanted women to use their way of dialogue to resolve our conflicts, and we wanted to transform our culture,’ [said Jorge Uriana].

“ ‘I realized I had a commitment and an obligation to my people,’ said Neris Uriana, who will lead for as long as she likes (or until someone else steps up). ‘I really trained myself in leadership, and now, I feel like I am able to really achieve great things.’

“Marta Pushiana is one of the many women who have become more involved in the tribe’s community since Neris Uriana’s appointment.

“ ‘Now, we have a female leader; more women are taking more responsibility in the tribe. Before, we always had to stay at home and look after the children and cook and clean,’ said Pushiana. ‘Now, the men share those responsibilities with us, so that women have the opportunity to work, to help build, to be involved in leadership. The whole dynamic in the tribe has changed for the better.’ …

“Although Wayuu tribes have traditionally treated women as equals to men and have a more matriarchal culture than other nonindigenous Colombians, few tribes are led by women, and even less — if any — have permanently pledged to only appoint women. …

“Since Neris Uriana took up her position, she has introduced a long-term agricultural initiative to help sustain her community, rather than continually living hand to mouth. Neris Uriana sought the help of outsiders to teach her and other women in the tribe about irrigation, crop cycles and land use, so they could have ample produce throughout the year. The women also use their ancestral knowledge of lunar cycles to plant food and strongly believe the can use their connection with the Earth to sustain themselves.”

Oh, my, I am in love with these people! Read more about them at PRI, here.

A woman from the Wayuu tribe who is part of the female chieftain’s food initiative waters the saplings. The initiative has been such a success that the tribe now produces surplus food and sells it to other communities.

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Photo: Pearl Mak/NPR
Girard Children’s Community Garden in Washington, D.C. was created on a vacant lot and is now a thriving community space for neighborhood kids.

Most of us know that spending time in nature makes us feel good, but many city children have few opportunities to find that out for themselves. A chain of community gardens in Washington, DC, provides anecdotal evidence that green space reduces stress, and now a controlled Philadelphia study gives more scientific proof that that is exactly what’s going on.

Rhitu Chatterjee reports at National Public Radio, “Growing up in Washington, D.C.’s Columbia Heights neighborhood, Rebecca Lemos-Otero says her first experience with nature came in her late teens when her mother started a community garden.

” ‘I was really surprised and quickly fell in love,’ she recalls. The garden was peaceful, and a ‘respite’ from the neighborhood, which had high crime rates, abandoned lots and buildings, she says.

“Inspired by that experience, years later, Lemos-Otero, 39, started City Blossoms, a local nonprofit that has about 15 children-focused community green spaces across Washington, D.C. She wanted to give kids from minority and low-income communities easy access to some greenery. …

” ‘Having access to a bit of nature, having a tree to read under, or, having a safe space like one of our gardens, definitely makes a huge difference on their stress levels,’ says Lemos-Otero. ‘The feedback that we’ve gotten from a lot of young people is that it makes them feel a little lighter.’

“Now a group of researchers from Philadelphia has published research that supports her experience. The study, published Friday in JAMA Network Open, found that having access to even small green spaces can reduce symptoms of depression for people who live near them, especially in low-income neighborhoods.

“Previous research has shown that green spaces are associated with better mental health, but this study is ‘innovative,’ says Rachel Morello-Frosch, a professor at the department of environmental science, policy and management at the University of California, Berkeley, who wasn’t involved in the research.

” ‘To my knowledge, this is the first intervention to test — like you would in a drug trial — by randomly allocating a treatment to see what you see,’ adds Morello-Frosch. Most previous studies to look into this have been mostly observational.

“Philadelphia was a good laboratory for exploring the impact of green space on mental health because it has many abandoned buildings and vacant lots, often cluttered with trash, says Eugenia South, an assistant professor at the Perelman School of Medicine at the University of Pennsylvania and an author of the study. …

“South and her colleagues wanted to see if the simple task of cleaning and greening these empty lots could have an impact on residents’ mental health and well-being. So, they randomly selected 541 vacant lots and divided them into three groups. They collaborated with the Pennsylvania Horticultural Society for the cleanup work.

“The lots in one group were left untouched — this was the control group. The Pennsylvania Horticultural Society cleaned up the lots in a second group, removing the trash. And for a third group, they cleaned up the trash and existing vegetation, and planted new grass and trees. The researchers called this third set the ‘vacant lot greening’ intervention.”

You can read what happened at National Public Radio, here.

Photo: Pearl Mak/NPR
Girard Children’s Community Garden will be celebrating 10 years this year. The garden signs are in both English and Spanish.

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Photo: Susan Meisalas/Magnum Photos
A deaf girl using Nicaraguan Sign Language at the Esquelitas de Bluefields, Managua, Nicaragua, 1999.

Lately, I’ve been impressed with the leadership of young people. I’ve told friends, “Wherever they lead, I’m going to follow.” One thing I like about young people is that they don’t know what’s impossible, so they just set about to do it.

In Nicaragua several decades ago, it was the youngest children who began to invent a language. The older children followed, and then, eventually, the adults.

Shoshi Parks has the story at Atlas Obscura, “Of all the changes within Nicaragua to come out of the overthrow of the Somoza regime by the Sandinistas in 1979, perhaps the least anticipated was the birth of a new language.

“Nicaraguan Sign Language is the only language spontaneously created, without the influence of other languages, to have been recorded from its birth. And though it came out of a period of civil strife, it was not political actors but deaf children who created the language’s unique vocabulary, grammar, and syntax.

“When the Sandinista National Liberation Front gained power, they embarked on what has been described as a ‘literacy crusade,’ developing programs to promote fluency in reading Spanish. One such initiative was opening the first public school for deaf education, the Melania Morales Special Education Center, in Managua’s Barrio San Judas. According to Ann Senghas, a professor of psychology at Barnard College who has studied NSL, it was the first time in the history of the country that deaf children were brought together in large numbers.

“These children, who ranged in age from four to 16, had no experience with sign language beyond the ‘home signs’ they used with family members to communicate broad concepts. American Sign Language, which has existed since the early 19th century, is used throughout the Americas and is often considered a ‘lingua franca’ among deaf people whose first sign language is a national or regional one. But the first Nicaraguan deaf school did not use ASL or any signs at all. Instead, they focused on teaching children to speak and lip-read Spanish. …

“The Sandinistas’ focus on Spanish literacy resulted in the immersion of deaf students in Spanish speaking and reading skills. But while the country’s deaf children were being taught Spanish inside the classroom, outside the classroom they were spontaneously developing their own method of signed communication. …

“All languages have grammar and syntax, but the first children at Managua’s deaf school had no model for how a language worked because they had been isolated from signed, spoken, and written language all their lives, notes [James Shepard-Kegl, co-director of the Nicaraguan Sign Language Project, which administers programs to empower the Nicaraguan deaf community through the use of sign language].

“When the children interacted, instead of adapting their signs to fit an existing language, they developed something unique. While the older students had more life experience, it was actually the younger kids that drove the language’s development. ‘As you get older, your language instincts tend to diminish,’ says Shepard-Kegl. ‘A lot of those older kids weren’t generating grammar the way little kids did. They copied the grammar the little kids generated.’ …

“The critical mass needed to spontaneously develop Nicaraguan Sign Language only occurred with the opening of Melania Morales. Within a few years, teachers and education officials recognized that something incredible was happening at the school.” More at Atlas Obscura, here.

Photo: Susan Meisalas/Magnum Photos
Deaf students using Nicaraguan sign language at the Esquelitas de Bluefields, Managua, Nicaragua, 1999.

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Photo: Narek Harutyunyan
Armenian shadow puppetry uses light and shadow to bring folklore to life. Going back to the 1300s, the art is being revived in a more child-oriented form today.

Throughout the centuries, people have used puppets to express ideas that would be hard to express directly. The oldest version of shadow puppetry in Armenia addressed religious and reproductive topics. In its revived form, shadow puppetry passes Armenian folklore to a new generation.

Allison Keyes reports at Smithsonian, “Behind a screen, puppets mounted on long, slim sticks dance and sway, twirling, backlit so that only their dark shadows appear, while puppeteers called Karagyoz players sing, provide sound effects and create voices for the characters. An interpreter translates, telling in English the Armenian stories like a libretto for an opera, so the audience will understand.

“The Armenian Shadow Puppet Theater, known as Karagyoz, was especially popular in the 18th century. But it has roots dating back to the 14th century, with shared sources in South Asia, the Middle East and North Africa.

“ ‘They are oldest in Egypt and the countries of Maghrib, Greece and the Ottoman Empire,’ explains Levon Abrahamian, an anthropologist and a curator of the 2018 Armenia program at the Smithsonian Folklife Festival. ‘Armenians were doing this in the Ottoman Empire because part of Armenia, Western Armenia, is now in Turkey.’

“Now, a new version of the Armenian Shadow Puppet Theater, called Ayrogi, is touring Armenia, staging modern performances reviving the traditions of the past. Ayrogi performed at this year’s Folklife Festival. … Some of the players travel by horseback, stopping to perform horse shows, songs, folk dances and shadow puppet shows.

“[Director Armen Kirakosyan says], ‘In Armenian theater, the puppets were colored in black, so it is a principle of shadow. The light comes from behind them in such a way that you have only shadows.’ Black and white, he says, has a far greater impact on the imagination, and the characters develop a much more menacing or hilarious presence in the minds of the viewers. …

“The stories Ayrogi tells now are for a general audience, and many are adapted for children. Modern shadow puppetry, Abrahamian says, is based on traditional folktales such as ”The Cat of Martiros.’ Martiros is a popular Armenian name meaning ‘martyr,’ and the theater company performs a series of tales about him.

“One story begins with a man who is content and free of troubles, says Kirakosyan in Armenian as Abrahamian translates. He laughs because the man’s life is about to get complicated.

“ ‘The man is complaining about this mouse, saying it is eating his shoes. . . People came and said, “We will help you,” giving him a cat. The cat solved the problem but created other problems, meowing, and the man says he can’t sleep. So the people say, “it is hungry, thirsty—give him milk!” But where would he get the milk? So they give him a cow to solve the problem. He had to have a field to have something for the cow to eat some grass. Lots of problems come, so they give him a wife! Now he has a lot of children, and when he is dying, he calls his eldest son, and tells him, “You can do anything you want, but never let a cat come to your house!” ‘ ”

More here.

Photo: Narek Harutyunyan
Armen Kirakosyan, director of the Ayrudzi horseback riding club and Ayrogi puppet theater, poses with shadow puppets.

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800px-savinien_de_cyrano_de_bergeracArt: Zacharie Heince (1611-1669)
The 19th Century Edmond Rostand comedy
Cyrano de Bergerac was recently performed in a New York prison that has unusual rehabilitation programs.

Sometimes when an article I want to share with you has its photos under lock and key, I look for alternative images on Google. It was interesting to see that modern renditions of the outsize nose on Cyrano de Bergerac are much more extreme than the one above. Today’s productions really go overboard trying to make the silver-tongued hero look as ugly as possible. A recent production in a prison also exaggerated the nose, which you can see if you click on the original article.

Jesse Wegman wrote about the show at the New York Times, “Cyrano de Bergerac will be eligible for parole in 2022. For the time being, he is a vision in Gallic effrontery, pinballing around the stage in the gymnasium at Fishkill Correctional Facility in Beacon, N.Y.

“The production of Edmond Rostand’s canonical 19th-century comedy, which enjoyed a well-attended two-day run early [in June], was the work of Rehabilitation Through the Arts, a 20-year-old organization that operates in prisons across New York State. The program introduces inmates to theater, dance, writing and other creative arts in the hope of teaching them life skills and improving their chances at success upon release. …

“When [inmates] proposed ‘Cyrano de Bergerac,’ the show’s director, Charlie Scatamacchia, was skeptical. ‘I thought, yeah, that’s not gonna happen,’ he said. ‘It’s got multiple scene changes, costume changes. It’s got sword fighting. I doubted my ability to direct them, and their ability to pick up these skills in the time we had. I’ve never been happier to be proved so wrong.’

“Behind the title character’s plastered-on proboscis and feathered chapeau is Rodney Spivey-Jones, a 35-year-old from Syracuse. Mr. Spivey-Jones, who had never acted before, first auditioned for the role of Le Bret, the play’s narrator. But Mr. Scatamacchia quickly realized that he was a good fit to play the lead — one of the most verbose roles in theater.

“Mr. Spivey-Jones is no stranger to addressing a crowd — he helped form an inmate debate team at another prison that beat a team from Harvard in 2015. Still, he had not given any thought to playing Cyrano and didn’t understand how big the role was until he kept getting called back to read for it. …

“When the show went up, Mr. Spivey-Jones realized that he had memorized not only his own lines but every other character’s as well — a handy trick when a castmate ran into trouble, and he could provide a cue on the spot. …

“A bigger obstacle than memorization, it turned out, was getting swords inside the prison. Corrections officials nixed various materials, like a hard plastic foil. … The cast of 13 men took the setbacks in stride, as people in prison learn to do with most things. Along with a professional actress, Kate Kenney, who played the role of Cyrano’s love interest, Roxane, the crew worked every week through the winter and spring to get the show into shape. …

“The program, which has about 400 alumni who were released from prison, is popular among both inmates and New York’s prison administrators, who have seen its philosophy pay off. Studies of prison-arts programs around the country, including R.T.A., have found that their participants are better behaved than other inmates, earned educational degrees earlier and in some cases are less likely to wind up back behind bars after release.”

It would be wrong to minimize the crimes these guys have committed or the pain they have caused their victims, but if there’s a way for offenders to become engaged with the world in more positive ways, that’s a good thing in my book.

And I love that play.

More at the New York Times, here.

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