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101817-Brush-Gallery-Vets-Ribbens-quilt

My former Minnesota boss, Ann Ribbens, has always quilted, even when her day job was something completely different. Her quilts have been in a number of shows and in a book published by Mary Ann’s company, Quarry: 1000 Quilt Inspirations, by Sandra Sider.

Recently, one of Ann’s quilts was accepted by the Brush Gallery in Lowell, Massachusetts, for an art exhibit honoring veterans. The show was diverse and included military artifacts, paintings, and photography. I thought Ann’s quilt was especially wonderful.

The quilt narrates the stories of three family members who served — one in the Boer War (lower left panel), one in World War II (upper left), and one in Vietnam (upper right). The fourth panel expresses her longing for peace and an end to all that veterans suffer in war and on their return from war.

I love the combination of gratitude and hope that these portraits represent, the war colors expressing the heat of battle and the cool blue expressing serenity.

The exhibit was presented in conjunction with Ironstone Farm of Andover, Massachusetts, which provides veterans who have experienced trauma and anxiety with a healing “equine encounter” one day a week for eight weeks. (“I never thought a horse could teach me so much about myself,” says one participant.)

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On September 20, Moby took part in #giveahome 2017 – a day of secret shows in homes around the world in solidarity with refugees. It was organized by Amnesty International and Sofar Sounds. Watch here, http://on.moby.com/2gUdSuL.

Many artistic people are sensitive to the struggles of the disenfranchised. That’s why as many as 1,000 musicians answered a call from Amnesty International to contribute their talents in support of refugees this past September.

Writes Amnesty, “Across more than 200 cities in 60 countries, musicians, artists, activists and local communities came together in a statement of support for the world’s refugees.

“Give a Home, a collaboration between Amnesty International and Sofar Sounds, saw living rooms across the globe play host to more than 300 special performances from some of the world’s leading musicians. …

“From the thousands of Rohingya currently fleeing Myanmar, to the desperate situation faced by those escaping conflicts in Syria and South Sudan, the world is in the grip of its worst refugee crisis since the Second World War. The global refugee population now stands at more than 22 million people.

“ ‘As the Secretary General I travel a lot and meet a lot of different people. But one person I have never met is a refugee who wanted to be a refugee. By definition, a refugee is a person fleeing a desperate situation of conflict or persecution. They are some of the most vulnerable people in the world,’ said Salil Shetty, Amnesty International’s Secretary General. …

“Of those 22.5 million, almost all are hosted outside the wealthiest nations, with just ten of the world’s 193 countries hosting more than half its refugees.

“ ‘While it’s a huge number, refugees represent only 0.3% of the world’s population. When we look at it that way, it seems crazy to me that we can’t find a home for all of them,’ said Salil Shetty. …

“Amnesty International’s research shows that four in five people around the world are open to welcoming refugees, while a recent attitudes survey by the World Economic Forum show that a huge 85% of young people in the US would welcome refugees.” More at Amnesty, here.

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Photo: Richard Lane/Basque Library, University of Nevada, Reno
A herder holds freshly baked bread. His sheep wagon was a camp on wheels with beds, a table, and a wood stove. In the early days, a team of horses pulled the wagons.

I was driving to Providence and listening to the radio when I heard a story about Basque men who emigrated to the American West years ago because they needed jobs and because Idaho, Nevada, and other states needed shepherds.

Although the Basques actually knew nothing about being shepherds, they persisted, and today significant Basque communities remain.

Kimberlee Kruesi writes at the Associated Press, “Idaho is home to one of the biggest concentrations of Basques in the United States. … Basques began settling in southwestern Idaho as early as the late 1800s, with many coming from the Basque region on the border of Spain and France to work as sheepherders in Idaho. Nearly 8,000 residents of the Gem State identify as Basque today. …

“The Basque Museum and Cultural Center is packed with exhibits that explore the lives of the first Basque sheepherders, including a sheep wagon and full-size sheepherder’s tent. …

“The Basque Market … has become famous for preparing large portions of paella, served with homemade baked bread every Wednesday and Friday right on the patio. …

At National Public Radio, the Kitchen Sisters reported on the life of Basques in Nevada.

“Francisco and Joaquin Lasarte came to America in 1964 from Basque country in northern Spain. Francisco Franco, the Spanish dictator who repressively ruled the country for nearly 40 years, made life miserable for the Basque people, suppressing their language, culture and possibilities.

“The result was a massive exodus, and the only way to come to the United States for many Basque was to contract as sheepherders. There was a shortage of shepherds in the American West. …

“Neither Lasarte brother had any sheepherding experience when they arrived in America.

” ‘You lonely, you by yourself,’ Francisco Lasarte said. ‘My God, you with 2,000 sheep and two dogs and you don’t know what to do, where to go.’

“The brothers were contracted for five years to this life. It was a sentence.

“Each brother had his own flock, and they rarely saw each other or anyone else for months on end. Mostly they ate lamb and bread cooked in a Dutch oven in a hole they dug in the ground. You can still find these holes up in the mountains of Idaho, Montana, Nevada and California.

” ‘You say Basque to a Westerner and you think sheepherder,’ said Mark Kurlansky, author of The Basque History of the World. “In Basque country very few people were shepherds.’ …

“William Douglass, former director of the Center for Basque Studies at the University of Nevada, Reno, describes this solitary life.

” ‘Teenagers were ripped up out of their communities back home, brought to a foreign land, with a foreign language, put up on top of a mountain … crying themselves to sleep at night during the first year on the range.’

“The Basques have a family-oriented, communal culture, gathering around big tables to eat, drink and sing. This solitary life in remote mountains ran against the grain.” More at NPR, here.

Photo: Kimberlee Kruesi/The Associated Press
The Basque Center displays both the United States flag and Basque flag in Boise, Idaho.

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Sundial

There is in a pocket park in Acton, Mass., a most unusual sundial. I discovered it quite by accident, tucked into a hill between a strip mall and a bank.

To tell the time on a sunny day, you must stand on a paving stone carved with the month of the year. Pillars, or columns, of varying heights indicate the hours. The first time I tried, in October, my shadow told me it was about 2 pm. In November, according to my shadow, I was there about noon.

I have Googled every phrase I can think of and have found nothing about either this park or the particular way of constructing a sundial. If anyone can enlighten me, I’d greatly appreciate it.

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There’s a website called “The Conversation” that reported recently on scientific research into how the words for color are used in different languages.

Ted Gibson and Bevil R. Conway wrote, “People with standard vision can see millions of distinct colors. But human language categorizes these into a small set of words. In an industrialized culture, most people get by with 11 color words: black, white, red, green, yellow, blue, brown, orange, pink, purple and gray. …

“Maybe if you’re an artist or an interior designer, you know specific meanings for as many as 50 or 100 different words for colors – like turquoise, amber, indigo or taupe. But this is still a tiny fraction of the colors that we can distinguish.

“Interestingly, the ways that languages categorize color vary widely. Nonindustrialized cultures typically have far fewer words for colors than industrialized cultures. … The Papua-New Guinean language Berinmo has only five, and the Bolivian Amazonian language Tsimane’ has only three words that everyone knows, corresponding to black, white and red.

“The goal of our project was to understand why cultures vary so much in their color word usage. …

“In English, it turns out that people can convey the warm colors – reds, oranges and yellows – more efficiently (with fewer guesses) than the cool colors – blues and greens. …

“We found that this generalization is true in every language in the entire World Color Survey (110 languages) and in three more that we did detailed experiments on: English, Spanish and Tsimane’. …

“Our idea is that maybe we introduce words into a language when there is something that we want to talk about. So perhaps this effect arises because objects – the things we want to talk about – tend to be warm-colored. …

“We mapped the colors in the images [of objects] onto our set of 80 colors across the color space. It turned out that indeed objects are more likely to be warm-colored, while backgrounds are cool-colored. …

“When you think about it, this doesn’t seem so surprising after all. Backgrounds are sky, water, grass, trees: all cool-colored. The objects that we want to talk about are warm-colored: people, animals, berries, fruits and so on. …

“[This] communication hypothesis helped identify a true cross-linguistic universal – warm colors are easier to communicate than cool ones – and it easily explains the cross-cultural differences in color terms. It also explains why color words often come into a language not as color words but as object or substance labels. For instance, ‘orange’ comes from the fruit; ‘red’ comes from Sanskrit for blood. In short, we label things that we want to talk about.”

More here. The article gets pretty technical, but after struggling last Tuesday to find warm and cool colors in a jumbled box for ESL students, I appreciate having confirmation that warm colors (red, orange, yellow) have fewer competing names than cool ones (blue, blue-green, violet, purple, aquamarine, turquoise …).

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Photo: Michael Desmond
Rumi Spice, which sells saffron from Afghanistan, makes a pitch on the TV show “Shark Tank.” It takes 150 Saffron Crocus flowers to make one gram of the coveted spice.

Most cooks know that the spice called saffron, essential for dishes like paella, is expensive. But much of what is available in the US is fake. That’s where some military veterans come in.

Catherine Clifford at CNBC has the story.

Rumi Spice appeared on ‘Shark Tank’ seeking a $250,000 investment for five percent equity. The three co-founders — Emily Miller, Kim Jung and Keith Alaniz — all served in the military in Afghanistan. They learned that the war-torn country is covered with the purple flowers that make saffron, one of the most expensive spices in the world. They also learned that Afghan saffron is some of the best quality saffron in the world. …

“To bring more business and more money to the farmers in Afghanistan, Rumi Spice built an infrastructure to sell saffron harvested in Afghanistan to consumers in the United States.

“Rumi Spice sells one gram of saffron for $18, one ounce for $140. ‘It’s so expensive because there is no automation, it all has to be hand processed,’ says Jung, who, along with Miller, is both a West Point and Harvard Business School graduate. …

” ‘I don’t think there is a political risk because we are operating with the farmers, we are giving them incentive to produce and we are giving them an incentive to protect their investment,’ said Alaniz [in answer to a question]. …

“[Dallas-based tech entrepreneur Mark] Cuban offered the entrepreneurs a $250,000 investment for 15 percent equity, more than three times what the founders were hoping to give away of their company for the cash. However, he insisted there is no room for negotiation.

“Cuban gave two reasons for making the deal, despite the problems other sharks see in the young company: He respects their work to empower Afghani farmers and he likes to work with veterans.

“The entrepreneurs accepted the deal. …

” ‘Striking a deal with Mark Cuban is a game changer, for the women in Afghanistan who work for us, for the farmers in Afghanistan,’ Miller said.”

More here. The CNBC story has beautiful pictures from Rumi Spice’s twitter feed, @rumi_spice. And the company’s blog is fascinating.

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Photo: Lemon42
Follow along at Vienna State Opera in any of six languages with the new subtitle system.

My husband and I use the subtitle feature for DVDs we get from Netflix, even when the movies are in English. We’re not hard of hearing, but it’s so easy to miss what people are saying — especially if the film is from England and the characters speak Mumblecore.

For the oddball plots of operas, subtitles can be even more important. Consider what the Vienna State Opera has done to keep patrons from too much confusion.

Elsabeth Parkinson reports at Limelight Magazine, “The Vienna State Opera has replaced its 16-year-old seat-back system with a new setup offering opera libretti in up to six languages …

“Since the opening of the company’s 2017/2018 earlier this month, subtitles are offered from suitably dimmed screens, in English, German, Italian, French, Russian and Japanese.

“A pre-performance information system provides such useful things to know as plot synopses, cast lists, and any general current news to do with the activities of the company. Audience members are able to view a list of frequently asked questions, or subscribe to the Vienna State Opera’s monthly newsletter. …

“Several other opera companies around the world have been diversifying their sub- and super-titling options in recent years. In New York, the Metropolitan Opera has been building on their custom-designed Met Titles system since 1995, and today it offers opera translations in English, Spanish, German and Italian. Opera Australia’s annual outdoor production Handa Opera on Sydney Harbour has allowed the audience to follow along in either English or Chinese since last year. …

“ ‘It’s extremely beneficial for [tourists] to be able to read the text in the language that they’re most comfortable with,’ [Opera Australia’s Artistic Director Lyndon Terracini] said. …

” ‘The trick is making it as unobtrusive as possible, so that you don’t detract from the performance and having it in the back of the seat is a fantastic solution to that.’ ”

Implementing such a system is more difficult when opera companies don’t own their home venues, of course.

“ ‘There are only a few companies in the world that have in-seat surtitles, and to the best of my knowledge they are only offered in venues which are controlled by those companies,’ [Victorian Opera’s Managing Director Andrew Snell] says.” More at Limelight, here.

Do you enjoy opera? I don’t go as often as I’d like. I do appreciate help with text. One of the reasons I thoroughly enjoyed Resurrection, which composer Tod Machover based on a story by Leo Tolstoy, was that it had supertitles. Of course, when you use words above the stage, you really can have only one language.

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Photo: Brian Morri
Pianist and scientist Elaine Chew makes music out of heartbeats to diagnose arrhythmia.

We’ve written before about how the arts can benefit your health through enjoyment and the exercise of different parts of your brain. Now music is being used diagnostically, to identify the kind of arrhythmia afflicting patients who experience an irregular heartbeat.

Angus McPherson at Australia’s Limelight Magazine has the story.

“The driving, spikey rhythm of Mars from Gustav Holst’s ‘The Planets’ is probably not the most comforting sound to hear through a stethoscope. A UK scientist, Elaine Chew is analysing the heartbeat patterns of people with arrhythmia – an irregular heartbeat – and turning them into classical music, in what she hopes may become an important diagnostic tool for doctors. …

“The project, which was presented at the British Science Festival in Brighton on September 8, takes electrocardiogram data and translates the information using music notation, which then becomes the basis for new compositions, which accurately reproduce the rhythms of the arrhythmic heartbeats. The performance of these compositions will allow doctors and other people who haven’t experienced arrhythmia themselves to gain a more visceral understanding of the condition.

“ ‘Once the heartbeat is represented in a musical score, it can be used to find patterns,’ Chew told the Daily Mail. ‘Right now they don’t relate them to musical patterns. It’s not part of doctors’ training. But it is part of every musician’s training. We notice timing.’

“ ‘The reason I came up with this idea is because I was an atrial fibrillation patient myself,’ Chew said in an article published on the Queen Mary University of London’s website. ‘I was about to have my ablation procedure, and when the senior registrar heard I worked in digital music, he told me about a quiz he had organised for his cardiology colleagues.

“ ‘He said he played different types of electronic music of varying tempos to them, and they had to guess the type of arrhythmia that the music most resembled,’ she explained. ‘And so that got me thinking. After my surgery, I requested my own ECG data from the consultant, and started my analysis.’

“Chew and her team have already created an Arrhythmia Suite, of music based on the rhythms of irregular heartbeats.”

More at Limelight, here.

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Photo: Birgit Krippner for the New York Times
Allan Tipene and his wife, Desiree Tipene, with their children and others in New Zealand. Ms. Tipene called “Moana” a “funny and beautiful” way for her children to connect with their culture.
 

The cartoon film Moana is playing a role in the push to preserve indigenous languages — one language in particular.

Charlotte Graham writes at the New York Times about the Moana translation being shown in New Zealand.

“The families lined up at the theater above a shopping mall here in New Zealand’s biggest city [for] a film unlike any they had ever seen — the Disney hit ‘Moana,’ translated into the indigenous language of New Zealand. …

“About 125,000 of New Zealand’s 4.7 million people speak the Maori language, or ‘te reo Māori,’ as it is widely rendered here. There are concerns that numbers are declining, putting it at risk of dying out. But with one in three Maori people in New Zealand younger than 15, experts said the chance for youth to see a wildly popular movie in their own words could turn the language’s fortunes around after more official efforts faltered. …

“ ‘Moana’ [is] the story of a Polynesian princess, Moana, on an adventure with her chicken, Heihei, and the demigod Maui …

“Many of those attending in Manukau, in southern Auckland, said they had never seen a film at the theater entirely in their language before.

“Several of the families there came from nearby Manurewa, a district usually in the news for unemployment, homelessness and poverty. Parents entering the theater said they relished the chance for their children to see themselves and their language reflected on the big screen, in a different kind of story that they hoped would instill pride in being Maori. …

“ ‘Language is the expression of a culture and a race of people,’ [Haami Piripi, a former head of the government body charged with the promotion of te reo Māori as a living language] said. ‘To retain your language is an emblem of survival through history. If you’ve still got your language now, you have the key to your culture.’ …

“Katarina Edmonds, a senior lecturer in Maori education at the University of Auckland, and one of three people who translated the film, said the team worked not only to find the exact equivalents of words in the Disney script, but also to remain true to the Maori language and tikanga, or cultural values.”

More at the New York Times, here.

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Photo: Andrea Pasquali
Chiara Vigo harvests byssus without harming the clam and uses the sea silk to weave special fabric “for outcasts, the poor, people in need.” She keeps this clam for educational purposes.

Have you heard of “sea silk”? I hadn’t either, until I saw this on Facebook. It’s stories like this (and friends’ photos) that keep me from throwing in the towel on Facebook.

Max Paradiso wrote for the BBC, “Silk is usually made from the cocoons spun by silkworms — but there is another, much rarer, cloth known as sea silk or byssus, which comes from a clam. Chiara Vigo is thought to be the only person left who can harvest it, spin it and make it shine like gold.

“Villagers stare as I knock on the door of Chiara Vigo’s studio, otherwise known as the Museum of Byssus, on the Sardinian island of Sant’Antioco. …

“Vigo is sitting in a far corner of the room surrounded by yarns and canvasses, holding hands with a young woman …

“Then she hums a song with her eyes closed and fixes the bracelet on the girl’s wrist. She reaches for the window and opens the shades to let the sunlight in and instantly the dark brown bracelet starts to gleam. …

“The bracelet is made of an ancient thread, known as byssus, which is mentioned on the Rosetta stone and said to have been found in the tombs of pharaohs.

“Some believe it was the cloth God told Moses to lay on the first altar. … It is extraordinarily light. …

“Every spring Vigo goes diving to cut the solidified saliva of a large clam, known in Latin as Pinna Nobilis.

“She does it early in the morning, to avoid attracting too much attention, and is accompanied by members of the Italian coastguard — this is a protected species. It takes 300 or 400 dives to gather 200g of material.

“Then she starts weaving it, but as the sign on the door says, it is not for sale.

” ‘It would be like commercialising the flight of an eagle,’ Vigo says. ‘The byssus is the soul of the sea. It is sacred.’

“She gives the fabric to people who come to her for help. …

” ‘I weave for outcasts, the poor, people in need.’

“A steady stream of [them] arrive throughout the day. If they bring a child’s christening dress, she will embroider it. …

“According to Gabriel Hagai, professor of Hebrew Codicology at the Ecole Pratique des Haute Etudes in Paris, Vigo is ‘the last remnant’ of a combination of Jewish and Phoenician religious practices that was once far more widespread in the Mediterranean.” More here.

Perhaps this is silly comment to make, given the religious associations of Viga’s silk, but I can’t help thinking about the magic thread in the Little Lulu comics of my childhood. One thread could make tubby Little Lulu a glamorous little girl, but it took a bolt of the magic cloth to turn Witch Hazel into a pretty woman.

Photo: Andrea Pasquali
The loom belonging to the last weaver of sea silk.

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We join John’s family or Suzanne’s family for Halloween on alternate years. This year, we were scheduled to hang out in John’s neighborhood, where a park at the end of the street bubbles over with festivity and John serves as the master of ceremonies for the costume fashion show.

Leading up to that event, I took pictures of the fun ways Halloween lovers decorated this year — noting, for example, the proliferation of giant spiders on houses and some upside-down zombies in an otherwise innocent-looking yard.

Suzanne’s family cut Jack O’Lantern designs using templates from the Internet. I’m posting the cute owl, but they also carved a crocodile, an octopus, and a cat.

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Today’s photos include two beauties that Sandra M. Kelly took at the Painted Rock in New Shoreham. I think the seal and mermaid are better than any work I saw on the Painted Rock this year, and I wish I could find out who the artist was. (NWG, if you know the painter, please let me know so I can give credit.)

The cow jumping over the Davis Square subway station has something to do with the bucolic history of City of Somerville. The mysterious door to nowhere is near my house, and I never get tired of taking pictures of it.

The next few photos are of the Sudbury and Concord rivers and include two shots of a popular canoe-rental business on the Sudbury. The antique metal pole in Wayland Square, Providence, is another mystery. Is it a lamppost? I’ve never seen it lit.

I felt compelled to post another picture of shadows, my favorite subject, plus food for thought from Ralph Waldo Emerson.

The field of pumpkins is at Verrill Farm.

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Photo: World Music
Harold López-Nussa, pianist and leader of the Harold López-Nussa Cuban jazz trio, which astonished the crowd at the Berklee Performance Center last night.

We have now seen the amazing Cuban jazz trio headed by Harold López-Nussa twice, and we still can hardly believe the pyrotechnics and joyfulness that explode from this young crew.

A documentary maker who is a part-time resident of New Shoreham had been to Cuba and, having gotten to know Harold, was determined to bring the trio to Rhode Island. It took a few years. We got to hear them last summer in the St Andrews parish hall.

Last night they played for an astonished crowd at Boston’s Berklee Performance Center as part of the World Music/Crash Arts series.

Here’s what the World Music website says: “Havana-based composer and pianist Harold López-Nussa travels smoothly through his classical, Cuban, and jazz inspirations to create an exceptional style of global jazz. His trio includes his younger brother, Ruy Adrián López-Nussa, a renowned musician in his own right, on percussion and Gaston Joya on bass.”

What is not conveyed by that description is the extraordinary virtuosity of each of the performers. Harold, yes, but also his younger brother the drummer, and his “brother of another mother,” the bass player.

The trio is like a fireworks display that you grin all the way through. In any one piece, they seem to be ending and you start cheering, when all of a sudden there is an explosive burst more astonishing even than the one you just heard — and you’re off to the races again.

Harold is the only one who speaks enough English to introduce the numbers, which he or his bass player or various Cuban greats composed. He likes to tell you about composing one long piece in his rattle-trap Polish car (in video below), which he says is so slow he has loads of time to think. A gentle, nostalgic piece was written for his late mother.

From Harold’s website: “López-Nussa was born into a musical family in Havana on July 13, 1983. Not only are his father and uncle – Ernán, a pianist – working musicians, but his late mother, Mayra Torres, was a highly regarded piano teacher.

“At the age of eight, López-Nussa began studying at the Manuel Saumell Elementary School of Music, then the Amadeo Roldán Conservatory and finally graduating with a degree in classical piano from the Instituto Superior de Artes (ISA). ‘I studied classical music and that’s all I did until I was 18,’ he says. Then came jazz.

“ ‘Jazz was scary. Improvisation was scary. That idea of not knowing what you are going to play…’ he says, his voice trailing off. “At school I learned the works of Bach, Mozart and Beethoven and then it was all very clear. That permanent risk in which jazz musicians find themselves in all the time was terrifying-of course, now I find myself in that risk all the time.’ ”

Last night, as Harold thanked all the people who helped the trio get to Boston, he said, “You wouldn’t believe what it takes to get out of Cuba to come here.” Here’s hoping it gets easier so they can reach all the audiences who will love them.

Check out the trio’s website here and this, the blurb for the World Music concert at Berklee.

Although the video doesn’t show the fireworks of the current trio, it nicely documents how Harold worked with an earlier group of collaborators. And it features the Polish car.

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Photo: Jonathan Wilson
ArtistYear Fellow Aqil Rogers explains to Harrity School students in West Philadelphia how to assemble a contact microphone from component parts.

Many people worry about the drastic cutbacks in arts programs in schools. Not that many people do something about it. Pat Zacks of Camera Werks, Providence, is one person who does, as you may recall from this post.

In Philadelphia, another great idea is moving beyond the piloting phase — a kind of AmeriCorps for arts in education.

Peter Dobrin writes at the Philadelphia Inquirer, “With major new funding from a federal agency in hand, a Philadelphia service group in the arts is going national.

“ArtistYear has been operating since 2014, placing a few recent college graduates into Philadelphia schools each year as teaching fellows. This year, the program will expand to 25 full-time fellows who will teach music, art, dance, creative writing, and media arts in low-income schools in Queens, N.Y., and Colorado’s Roaring Fork Valley, as well as Philadelphia.

“A big boost to the program comes through AmeriCorps, part of the Corporation for National and Community Service, which has awarded ArtistYear a three-year, $1.45 million grant and extended certain benefits to the teaching fellows. …

“The grant is a first for AmeriCorps. ‘This is the first time there’s been a program that allows artists to dedicate a year of service to their country,’ said AmeriCorps spokeswoman Samantha Jo Warfield, citing the innovative model as one criterion for the award.

“Service-year programs for college graduates are common — to build English-language curriculum in Tonga, or to work on food-justice issues in Milwaukee. But ArtistYear may be unique. Its leaders call it the ‘first organization dedicated to national service through the arts.’

“This school year in the Rego Park neighborhood of Queens, storyteller and improviser Jill M. Pullara will put to use skills she learned earning an MFA in writing from the Royal Central School of Speech and Drama in London. Will Brobston, a guitarist and composer armed with a master’s degree from the University of Denver, goes west to the Colorado towns of Glenwood Springs, Carbondale, and Basalt.

“In Philadelphia, Aqil Rogers, a metal sculptor and designer who grew up in Lansdowne, is teaching at Mastery Charter Harrity Upper School at 56th and Christian Streets.

“ ‘What I’ll be doing is helping them create a maker space,’ said Rogers, 22, a Drexel University graduate whose senior thesis was Empowering Underserved High-Schoolers to Engage in Design/Maker Education through Hip-Hop and DIY Electronics. ‘We’ll work our way to electronics, robotics, lots of different sewing techniques — anything that can be done with hands, I suppose, will be learned at some point. And a lot of design-thinking work, which I think is critical.’ …

“In choosing fellows, the group wants artists who see teaching not merely as a space filler, but as a calling. ‘What we’re looking for is what kind of work experience they have that makes them think they are ready for a year of service, and that they want this as a piece of their career,’ says ArtistYear chief program officer Christine Witkowski.”

Learn more about the program and how it aims to supplement (not replace) arts in schools that still have them, here.

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Photo: Akos Stiller for the New York Times
Vladimir Ledecky, the mayor of Spissky Hrhov, Slovakia, meets with Roma residents. The village has worked hard to better integrate Roma with the broader community.

The Roma, derided for centuries wherever they have traveled, have been seen as the ultimate “other.” But in this New York Times story, a village where they used to be unwelcome has made common cause with them — and prospered as a result.

Rick Lyman writes, “In a part of eastern Slovakia where other villages are withering, Spissky Hrhov shows signs of surprising prosperity. The houses are solid and well-tended. There is running water and electricity. A former distillery has been turned into an art space, its facade decorated with a colorful mosaic.

“But there is something even more striking about this place. About 350 of the 1,800 residents are Roma, a group commonly shunted aside, impoverished, undereducated and widely disparaged across Europe.

“ ‘Twenty years ago, this village nearly disappeared,’ said Vladimir Ledecky, 51, who has been mayor for 18 of those years.

“ ‘We were down to 700 residents, half of them Roma,’ he explained. ‘The problem for Slovak villages is that when the population becomes half Roma, the other half tends to move out.’

“That is when Mr. Ledecky decided to take what is still a novel and controversial approach to the Roma in his country — working to better integrate them with the community. …

“The situation for Roma has improved vastly in the village, said Petronela Kacova, 27, who lives in one of the Roma neighborhood’s newest apartment blocks with her husband and two young children. Until she got this new home, the family had to share one room in her mother-in-law’s house. Now, she said, relations are cordial between Roma and non-Roma residents, unlike in other nearby villages.

“ ‘The children know each other in school, so they play together,’ she said. ‘And we sometimes sit together, Slovaks and Roma, when we are at the pub.’ …

“ ‘There was nothing to do if people had no jobs,’ said the mayor, who is a former software engineer. ‘So, the only thing to do was to set up a village company, the only aim of which was to provide Roma with jobs. We didn’t want to have any profit.’

“The first product from the village company was pavement tiles for sidewalks. The business flourished. Then the village started its own construction company, for local infrastructure projects and to help local residents with home projects.

“ ‘We grew so fast and started making a profit, so we kept expanding,’ Mr. Ledecky said. …

“One by one, the former illegal Roma shanties were turned into legal brick homes and apartment blocks that the Roma either owned or rented. A new town hall was built. Wooden sculptures and colorful mosaics decorated the new town center. A village swimming pool was built with the profits from the businesses, and a new park is underway.

“ ‘The village has become so trendy, people are just coming,’ Mr. Ledecky said.

“One of the arguments Slovak mayors have made in refusing to upgrade Roma settlements is that doing so would only encourage more Roma to move in, exacerbating the problem. But that has not been the experience in Spissky Hrhov.

“For one thing, the village’s own Roma residents have proved vigilant about keeping out illegal shanties, eager to protect their own neighborhood and steady jobs.”

More at the New York Times, here.

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