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Like many of New England’s postindustrial cities struggling to reinvent themselves, Lowell has attracted a thriving artistic community to its old warehouses.

And as a magnet for generations of immigrants since the Merrimack and Concord rivers were harnessed to power cotton mills in the 19th century, the city has also attract a rich array of cuisines and cultures.

The late U.S. Senator Paul Tsongas helped to create a popular national park in Lowell. Today, others are building on the city’s arts reputation to attract tourists while strengthening ties among the various nationalities.

Yesterday I decided to check out one of the city’s newest festivals, “Creaticity.” Despite good weather, music, food, giant bubbles, and booths that featured artisans of many ethnicities, the event didn’t have anything like the attendance of the city’s 31-year-old folk festival. But you couldn’t expect that. It probably just needs time to get established.

Here are a few Lowell scenes to give you a taste. The last photo is an editorial comment on how challenging it can be to unlock all the inherent beauty of a city like Lowell.

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070314-james-hackettJames J. Hackett, storyteller and harness maker, Moate, Ireland, 1937-2017. Seen here visiting his Kelly cousins in Rhode Island.

The late James J. Hackett, quintessential Irish raconteur, did not have an easy life. But the joy he brought to people through his storytelling and kindness leads me to say he led the best kind of life.

I met James through his visits to his Kelly cousins in New Shoreham and wrote about him on the blog.

Turtle Bunbury, co-author with James Fennell of the Vanishing Ireland book series, interviewed James for volume 3, Recollections of Our Changing Times. He put these words on Facebook yesterday.

“Farewell, JJ Hackett (1937-2017), Harness Maker & Poet — Ballinakill, Moate, Co. Westmeath

“James Fennell and I are very sad to learn of the passing of James J Hackett last night, 14 September 2017. He was an absolute gentleman and an inspirational man who, perhaps more than anyone we encountered during the Vanishing Ireland project, personified the resilience and generosity of his generation. Here is his story from the third volume of the series, which we post as a tribute to JJ and as a salutation to his brother Michael.

‘There is no doubting that JJ Hackett is one of the more unusual farmers in the parish. He quotes Wordsworth while stoking the Stanley stove.[i] He has a pet crow who can recognise strangers. He is a fan of the philosopher Edmund Burke and he knows plenty about the Abbé Edgeworth from Longford who blessed King Louis XVI as he awaited his execution.[ii] He’s also written his own memoirs, ‘Days Gone By’, for which he is justly acclaimed across the county. His tales are thoughtful but upbeat and give considerable insight into the rough ride he’s had along the way.

‘ “I was born with a deformity,” he says. “My right hip was out and it’s still out. Nurse Brophy, the midwife, didn’t realise. There’s a poem about her. ‘Here comes Nurse Brophy on her new Raleigh bike, out by Mount Temple and home by the Pike’. I didn’t walk until I was seven years of age simply for the reason that I couldn’t walk.[iii] And to this day I do tire easily, especially walking behind a funeral. …

‘Calamity struck in early 1949, the very same dark winter’s night that his younger sister Margaret was born.

“We weren’t long home from school but a tree fell on top of me. It broke the collar-bone, the cranium and it done in the right knee. I was put in a wheelbarrow and taken to Mullingar Hospital, broken up. I never went back to school. I was in hospital for about a year and ten months and I couldn’t walk for about two years.” …

‘Daniel secured his son an apprenticeship as a harness maker with a saddlery and upholstery business in Moate.[xii] His co-workers were an unusual trio whom JJ refers to as “the three deaf mutes.” None of them could speak or hear. And one of them, John Casey from Limerick, was operating with a single eye. “He lost his left eye with a needle when he was making mattresses,” explains JJ. “That taught me to keep the face turned away when I made them. And yet he could turn a collar for a horse, a mule, a donkey or a jennet.”[xiii]

‘They were the elite of harness makers.” ’

For more text, some footnotes, and good photos, see Turtle Bunbury on Facebook. Or buy the book. I wish I had recorded James’s rich brogue. I can almost hear it in Turtle’s interview. Can you?

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Under gray skies or sunny skies, I never tire of the beauty of Rhode Island and Massachusetts. Most of the photos are mine, but three were courtesy of Bo Zhao, Suzanne, and my husband.

We start off with the boathouse that is near the Old Manse and the famed North Bridge in Concord. You can see that the grasses at Minuteman National Park are changing into autumn attire.

On a morning walk, I saw a happy little snake where the bike path meets Sleepy Hollow Cemetery. I think it was a garter snake.

The Kindness Garden was on Blackstone Boulevard in Providence. The last time I walked by, I saw that people had taken whatever they needed of kind words, and there were only a couple left.

The picture of the sidewalk poem in Cambridge was taken by Bo. I wrote about that initiative here.

The photo of the beautiful message on New Shoreham’s Painted Rock was taken by Suzanne. And my husband snapped the funny Help Wanted sign at Summer Shack. I sent it to my cabaret-artist pal Lynn, who wrote back

Another [clam] openin’
Another show
My hand is bleeding
Please stanch the flow
The tips are fine
But my nails don’t grow
Another openin’ of
Another show

The purple flower is called Blazing Star, and it’s native to New Shoreham.

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Photo: Janne Körkkö for the New York Times
A team from Vihti, Finland, competing in the country’s 20th annual Swamp Soccer World Championships. Their mascot, a badger doll, is the one in the cage.

Gotta love those Finns. They have possibly the best education system in the world and all those unusual contests like wife carrying and cellphone tossing. Long, dark winters must make for desperate ideas about how to have fun in summer.

Andrew Keh writes at the New York Times, “There’s something strange going on in Finland. Over the past few decades, as it has all but disappeared from the global sports stage, this humble Nordic nation has sort of lost its sports mind.

“More than 2,000 people ventured to the remote backwaters of central Finland recently for the 20th annual Swamp Soccer World Championships. If you and your spouse want to compete in the Wife Carrying World Championships, you must come to Finland. The Mobile Phone Throwing World Championships? Finland. The World Berry Picking Championship and the Air Guitar World Championships? Finland and Finland.

“ ‘We have some weird hobbies,’ said Paivi Kemppainen, 26, a staff member at the swamp soccer competition and master of the understatement.

“Just look at swamp soccer in Hyrynsalmi, a place where Jetta can achieve a small level of celebrity over the years. Jetta is a stuffed badger ensconced in a bird cage. She acts as a mascot of sorts for a team of 12 friends who make the seven-hour drive each year from Vihti, near Helsinki, for the competition. They bought the doll seven years ago from a junk store at a highway rest stop, and her fame around the swamp has grown ever since. A couple of years ago, she was interviewed by a local newspaper. …

“On Saturday morning … a bottle of vodka was being passed around (their preferred way, apparently, of warming up). It was about 10 o’clock. Soon it would be time for their first game of the day. They set Jetta aside and stripped off their outerwear, revealing skimpy blue wrestling singlets.

“Before they treaded into the mud, they were asked a question: Why?

“ ‘You can say you’re world champions of swamp soccer,’ said Matti Paulavaara, 34, one of the team members, after a contemplative pause. ‘How many can say that?’

“The genesis of swamp soccer was in 1998, when creative town officials in Hyrynsalmi cooked up a festival-like event that would make use of the area’s vast swamplands. Thirteen teams showed up for the first tournament. Since then, the competitive field has grown to about 200 teams. …

“People striding on seemingly firm ground would disappear suddenly into the soft earth, as if descending a stairway. Some tottered on their hands and knees, like babies. Others stood still, until they were waist-deep in muck. The scores were generally low. Many of the players were drunk. …

You play, you lose, you win — no one cares,’ said Sami Korhonen, 25, of Kajaani, who was playing in the tournament for the ninth time. ‘The whole game is so tough, you’re totally wiped out when you’re done.’ ”

More at the New York Times, here.

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Photo: Safira’s Journey
Safira, an Indonesian blogger, visits the Teletubbies village to learn about earthquake-resistant housing.

I like the WordPress blog Safira’s Journey, by a young woman from Indonesia. In a July post, she visits an unusual village and takes pictures.

“My sister needs to make a report about Teletubbies Village in Yogyakarta. So, she asks me to take her to the place as I’m more familiar with Yogyakarta. It’s one of unique village or kampong in Yogyakarta.

“It is made for replacing the public’s house which ruined because of the earthquake in 2006. It was big earthquake and the victims about 6.234 people. It’s occurred at 5.55 in the morning for 57 seconds with moment magnitude of 6,2.

“Teletubbies domes village is from Domes For The World Foundation. It’s unique house and it can resist the earthquake. My sisters interviewed the people who living in one of the domes. She said, it’s comfortable and people are happy to live there. The domes village is one of the memorial from the earthquake.

“They even have annual even to memorizing the earthquake. They make the Teletubbies figures as the icons as you can see from my pictures. Who is that in the costumes? LOL”

More photos at Safira’s Journey.

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Photo: Ferg Horn via Associated Press
Two rabbits sat on the back of sheep to avoid rising flood waters on a farm near Dunedin, New Zealand, in July.

As we have all seen recently, a silver lining to hurricane devastation is that people who otherwise would never meet reach out instinctively to help each other in the rising waters.

Here is a story of animals helping other animals, albeit unwittingly. It took place in New Zealand, before either Hurricane Harvey or Irma.

As Nick Perry reported at the Boston Globe, “Three wild rabbits managed to escape rising floodwaters in New Zealand by clambering aboard sheep and surfing to safety on their backs.

“Ferg Horne, 64, says he’s been farming since he left school at age 15 and has never seen anything quite like it.

“He was trudging through pelting rain to rescue a neighbor’s 40 sheep from the floodwaters [at] their South Island farm near Dunedin when he spotted some dark shapes from a distance.

“He was puzzled because he knew his neighbor, who was away in Russia attending a nephew’s wedding, didn’t have any black-faced sheep. As he got closer, he thought it might be debris from the storm, which had drenched the area and forced Horne to evacuate his home.

“Then he saw the bedraggled rabbits hitching a ride — two on one sheep and a third on another sheep.

‘‘ ‘I couldn’t believe it for a start,’ he said.

“Nobody else would believe him either without proof, he thought, so he got out his phone to take a photo, an image he figured his grandchildren would enjoy. In fact, he inadvertently shot a short video. …

“Horne herded the sheep to a patch of dry ground on the farm about 50 meters (164 feet) away. The sheep didn’t like it.

‘‘ ‘As they jumped through the water, the rabbits had a jolly good try at staying on,’’ Horne said.

“He said the rabbits appeared to cling onto the wool with their paws. As they approached the higher ground, the rabbits fell off but managed to climb a hedge to safety.”

More.

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Photo: Rafael Bessa
The Blue-eyed Ground-Dove was rediscovered in Brazil in 2015 after a 74-year absence from the scientific record. It was rediscovered more than 600 miles away from where it had last been seen in 1941.

Our birder friend Gene laughed at me when I told him that a woman I knew had spotted a Carolina Parakeet in New Shoreham. “Believe me,” he said. “She didn’t see a Carolina Parakeet. It’s extinct.”

Well, I suppose he was right, but I’ve always wanted to see a bird thought to be extinct — the Dodo, say, or the Ivory-billed Woodpecker.

It turns out, hope is possible.

Sarah Gilman reported the story for Cornell Lab of Ornithology’s Living Bird.

“The song was a surprise: A succession of coos like water drops, both monotonous and musical. They sounded sleepy, familiar, and yet just foreign enough to catch ornithologist Rafael Bessa’s attention.

“It was a brilliant June afternoon in 2015, and the song fluted from some rock outcroppings near the verdant palms of a vereda, or oasis, in an expanse of shrubby grasslands in southern Brazil.

“The country’s Amazon rainforest has long captured conservation headlines, but the cerrado — as this mixed savanna of grass, brush, and dry forest is called — covers 20 percent of the country’s landmass, and is more threatened.

“Bessa himself was there in the state of Minas Gerais to conduct an environmental assessment for a proposed agricultural operation. He had stumbled on the vereda while driving from his hotel to a distant survey site. There was no time to investigate the plaintive call, but the ‘woo-up … woo-up … woo-up’ sounded a bit faster and deeper than the Ruddy Ground-Doves that occur in abundance in the area. Bessa decided to return.

“The next day, he managed to record the mysterious call and summon its maker into a nearby bush with the playback. He aimed his camera and took a series of photographs, then zoomed in on the images.

“It was indeed a small dove — not necessarily the sort of quarry birders get twisted up over. Its back was an unspectacular greenish-brown, and its head, tail, and breast were a muted ruddy orange, blending to a creamy belly and a set of bony pink feet. But its eyes were arresting pools of spectacular cobalt blue, echoed by little half moons of the same dabbed across its wings.

“Bessa’s hands began to shake. ‘I had no doubt that I found something really special,’ he says.

“Seeking confirmation, he texted his friend Luciano Lima, the technical coordinator at the Observatório de Aves of the Instituto Butantan, São Paulo’s biological and health research center. Lima had done his master’s degree in a museum with an extensive specimen collection, and agreed to drive to his office to pull up the photos on his computer and see if he could identify the mystery dove.

“ ‘I was in my car,’ Lima recalls, ‘and he suddenly sent me one of the pictures, and I almost crashed!’ ”

Read more of this real-life detective story here. It contains a bonus in the form of new vocabulary words:

Just as there is a recently coined term for the last individual of a species — an endling — so too is there a much older phrase for those that reemerge — a Lazarus taxon.”

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Photos: Bo Zhao
Boston has put a colorful park under Interstate 93. Bright lights, art, 24-hour security, and an ever changing array of events are expected to connect communities that the highway long divided.

When I had a chunk of free time at my last job, I’d take a walk over to an artsy part of Boston called SoWa, for “South of Washington Street.” It was a place of antique dealers, a homeless shelter, art galleries, and farmers markets.

As interesting as SoWa was, it abutted a bleak wasteland under Interstate 93. People had to walk under there — I walked under there — because the highway divided the neighborhood. But it was creepy.

Saturday saw the opening of an unusual park under the highway. I wasn’t there, but a former colleague who manages to see everything of interest in the city got a kick out of it, commenting that he was surprised to find the park is so near Boston’s public Harbor Walk. He shared his photos here.

at the Daily Free Press provided the background. “National Development, the developer of Ink Block, is partnering with Reebok to make the project a reality. The park, which was originally an 8-acre underpass between South Boston and the South End, will feature a pedestrian and bicycle boardwalk, 175 parking spaces for local businesses and a mural wall, according to the release.

“Ted Tye, the managing partner at National Development, said the park was originally supposed to be a plain, normal park when the Massachusetts Department of Transportation started on the project across the street from where their Ink Block brand is located. Once National Development gained access to the project; however, the idea changed. …

“Tye said the idea behind incorporating the murals, which was curated by Street Theory, artistic duo Victor ‘Marka27’ Quiñonez and Liza Quiñonez, was to appeal to companies and younger generations looking to find their start in Boston. …

“Tye said, ‘It makes it really an exciting, new destination, a new playground in the city, and we’ll be extending that not just with our opening event [September 9] but looking into next year with some really great programming.’

“Another reason for opening the park, Tye said, is to connect the neighboring communities of South Boston and the South End and to make the area surrounding the Broadway Bridge safer to walk.

“ ‘By filling in this area with a place that’s well-lit, with a place that will have 24-hour security, with a place that will have lots of people, and activity, and music and art — it makes that gap a lot shorter,’ Tye said. ‘The people that are moving into the Ink Block area are now feeling really good about walking to South Boston, about using the Broadway T station, and it just really connects the two communities.’

“Sneha ‘IMAGINE876’ Shrestha, a Boston-based artist who is contributing to the mural wall described her style as ‘mindful mantras in [her] native language where [she meshes] the aesthetics of Sanskrit scriptures with graffiti influences.’

“Shrestha wrote in an email she wanted to give back to the Boston community as it was the first place she was exposed to the art of graffiti.

“ ‘As a kid from Nepal, I didn’t grow up seeing graffiti or much of any sort of art,’ Shrestha said. …

“Shrestha wrote the location of Underground at Ink Block excited her because it was near her first employer Artists for Humanity, a nonprofit which works to employ under-resourced urban youth interested in art and design, according to their website.

“ ‘My first job out of college was at Artists for Humanity and this is where I realized the effect of art on young people and how I can contribute to being an agent of positive change through art,’ Shrestha said. ‘It feels full circle in a lot of ways to have a mural here as my token of gratitude to this place.’ ”

Tim Logan at the Boston Globe, wondered whether getting to the park will be too challenging for people who are not going between the neighborhoods anyway.

He writes, “Drawing people to a place like this takes work, said Bob Uhlig, president of the Boston landscape architecture firm Halvorson Design. Color will help, he said; so will good lighting. Filling the place with popular, consistent programming will go a long way toward making it a destination, much as the Lawn on D has become, he added.

“ ‘That really adds another level of vibrancy, having something programmed on a regular basis,’ Uhlig said. ‘You want to get people to come back, repeatedly.’

“And, he said, you want the locals to use it. There’s a row of big buildings going up just a block away along Harrison Avenue, which will add thousands of residents to a corner of the city with relatively little park space. This is a chance to create some, even if it’s below a highway.”

More at the Free Press, here, and at the Globe, here.

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Photo: SoundCloud
With his unconventional collaborations, classically trained cellist Seth Parker Woods draws new audiences to the arts.

I’m always interested in people who see the world in unconventional ways and take their talents down unconventional byways.

The July issue of Strings Magazine provides an example of one such path-breaker, cellist Seth Parker Woods.

Thomas May writes, “For Texas-born cellist Seth Parker Woods, pushing boundaries and definitions comes naturally — both for his own creative development and for his overall sense of mission.

“ ‘I’m trying to change the face and the landscape in which music can be experienced, regardless of class or ethnicity or background,’ Parker Woods says. …

“Parker Woods refuses to let his identity as a cellist be restricted by conventional perceptions of what a classical string player does. Which is why, even at this still-early stage of his career, he’s already been leaving his imprint on a fascinating variety of collaborations across disciplines.

“An increasingly frequent and welcome presence among new-music circles, Parker Woods also draws audiences from the spheres of dance and innovative visual arts. And while the cello is at the center of his creative work, it shares space with his ongoing explorations of kinesthetics and the body, choreography, electronic music, visual art, and theatrical performance. …

“ICED BODIES is Parker Woods’ contemporary reframing of a legendary avant-garde collaboration from 1972 between the maverick designer Jim McWilliams and the late cellist and performance artist Charlotte Moorman. The original version was a durational ‘happening’ … that involved Moorman using a saw and other tools to play a cello sculpted from ice as it melted. …

“Parker Woods [headed] to London’s Royal Albert Hall to perform with the Chineke! Orchestra for its debut at the BBC Proms on August 30. He’s one of the founding cellists of this ensemble, which was created to address the underrepresentation of ethnic minorities among Europe’s professional orchestras. …

“ ‘My upbringing is in classical, and that’s still a major part of my career. But I feel that we as performers have to usher in the music of now and be advocates for it,’ Parker Woods says. …

“As a boy in his native Houston, where he was born in 1984, Parker Woods recalls falling in love with the sound of the cello when he saw the film The Witches of Eastwick. In one over-the-top scene of this comedy-fantasy, based on a John Updike story, Susan Sarandon plays the instrument with Jack Nicholson at the piano until her cello bursts into flames.

“Parker Woods started lessons at age five or six. ‘My father was a gospel and jazz singer, and had a band that would rehearse in our basement studio. My earliest musical experiences came from listening to them rehearse when I was a toddler.’ …

“A connection to opera, ballet, and film composer Patrick Soluri opened the door to Europe, which has remained a major focus of Parker Woods’ career as a performer and scholar. Through Soluri, he was engaged to perform in the Berlin Staatsballett orchestra. He later worked with the contemporary choreographer Anne Teresa De Keersmaeker and P.A.R.T.S., the dance academy of her company Rosas. A residency at the Centre Intermondes in La Rochelle, France, led to several more collaborations.”

“ ‘I just kept breaking all the rules,’ says Parker Woods.”

Read more here.

Hat Tip: ArtsJournal.

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Photo: Alicia Canter/The Guardian
Mohammed, a Palestinian, bakes cheese twists with his host family in London.

Here’s another example of individuals in the UK stepping up to give refugees a welcome — while providing themselves with an experience that feels more meaningful than donating money or sending “thoughts and prayers.”

Alicia Canter, Kate Lyons and Matt Fidler write at the Guardian,
“It’s a simple premise: people with a spare room in their house are matched with a refugee or asylum seeker in need of somewhere to stay.

“And it’s a popular one: before 2015, Robina Qureshi’s organisation, called Positive Action in Housing (PAIH), used to provide about 600 nights of shelter a year to people with nowhere to go. In the 18 months since September 2015 this has risen to 29,000 nights.

“ ‘We were getting bombarded with people. … They said, “I want to do something.” ‘ …

“There are numerous points in the asylum process that asylum seekers and refugees can find themselves becoming destitute and homeless. Perhaps the most common is when they have their claim refused – at which point support payments stop and they are forced to leave their accommodation.

“People in this situation often find themselves homeless, without the right to work or receive benefits, unable to approach the local authority for help, and yet, in many cases, feeling unable to return to their home country. …

“ ‘The ones I feel really sorry for are the people who have been left destitute for years on end. People take them in and let them be human, and take them into a warm home where people care for them,’ says Qureshi.

‘What the hosts found out was that they were meeting a need in themselves – a need to give. Our society is so wealthy and our houses are stuffed full, but there’s that need to help others.’

“Mohammed, 35, from Palestine, [lives] with Joanne MacInnes, an actor and activist, in west London, and on weekends her daughters Malila, 12, and Eve, 14. …

“MacInnes has hosted six people in her house, but Mohammed is, she and her girls agree, their favourite. ‘He’s the nicest of them all,’ says Eve.

“Currently the family are trying to find Mohammed a wife. He uses his local mosque’s dating service, but says that because of his precarious immigration status he is not considered a desirable match. …

“Mohammed says he was shy when he moved in and nervous about how the family would respond to him.

“ ‘First time I come in here, I’ll never forget, Malila gave me a hug and speak with me,’ says Mohammed. ‘I was shy, Malila come in straight away, hug and speak with me and is not shy, you know. Eve is shy and Eve after two weeks spoke with me. And Joanne spoke with me. I feel family. Listen, I don’t speak English, but I hope you understand me. My dad is dead, my mother is dead [and] my sister. Joanne, Mali and Eve are my family.’ ”

More here.

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Photo: Heidi Gumula/DBVW Architects
After the Mercantile Block in Providence, Rhode Island, was restored, it became a hub of activity once again.

Rhode Island in general is good at preserving historic sites, offering developers monetary assistance in the form of generous tax credits. Providence in particular has a history of successful efforts to renovate properties for new uses.

At the National Trust for Historic Preservation, Jared Foretek writes about one: “When the Providence, Rhode Island nonprofit AS220 set out to purchase its third downtown building, it knew the Mercantile Block had exactly what it was looking for. Its sheer size — 50,000 square feet, four stories, and a basement — made the 1901 structure perfect for the diverse uses the artist-run organization had in mind. There was storefront space for creative businesses, office space for local nonprofits, and room for 22 live/work studios for local artists.

“Built in 1901, the building was once the hub of a bustling commercial strip in downtown Providence [and] remained a destination until the middle of the 20th century, when the Mercantile and its surrounding neighborhood fell victim to the same economic and migratory forces that ravaged urban cores around the nation.

“The building was nearly vacant when AS220 — an organization dedicated to creating artist space in Providence since 1985 — undertook a $16.9 million rehabilitation in 2008. …

“A meticulous restoration of the building’s four-story facade by DBVW Architects has helped revitalize the entire streetscape and inspired building owners to take up rehabilitations nearby. The mixed-use redevelopment has benefited the broader community as well, with affordable storefronts for local small businesses, office space for Providence-based nonprofits, and subsidized live/work studios for artists. …

“The renovation also allowed locally owned small businesses — some long-time tenants — to lease newly desirable downtown storefronts at low cost. For a restaurant like Viva Mexico!, one of just a few Latino-owned businesses in the downtown area, affordable space with good real estate is hard to come by. …

“ ‘It’s a story that a lot of communities have. Artists live in places that are semi-legal or if they’re legal, they’re underdeveloped. And as soon as spaces become viable and interesting, artists get pushed out, and low-income people get pushed out,’ said Shauna Duffy, AS220’s Managing Director. ‘So our mission is to create these spaces and create this community. And that involves having a permanent place for artists to live affordably downtown in Providence.’ ”

More.

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Photo: The Guardian
One recent immigrant from Pakistan was welcomed into the home of Jo Haythornthwaite of Maryhill Integration Network in Glasgow, an example of individuals stepping up to help refugees.

The hostility to immigrants that fueled the Brexit vote in Britain gets all the attention, but there are other voices. There are always other voices.

Gregory Maniatis writes for the Open Society Foundations about refugee outreach across the British Isles.

” ‘I can’t solve the whole Syrian crisis, but I can do something, for a few people.’ The words of Olwen Thomas, from the port of Fishguard in Pembrokeshire, southwest Wales, probably sum up the feelings of many people around the world, as we follow news reports about the terrible difficulties that have faced refugee families fleeing the conflict in Syria, as well as other crises around the world.

“Thomas, and other members of her community, are now doing something significant through their involvement in the Fishguard Refugee Sponsorship Group. The group was one of the first to respond to a UK scheme first announced last July by the British Home Affairs Minister Amber Rudd and the Archbishop of Canterbury Justin Welby — the leader of the Anglican Church.

“Under the Community Sponsorship program, local groups agree to sponsor refugee families and help them integrate into life in the UK by assisting with things such as finding housing, securing access to medical and social services, arranging English language tuition, and supporting them towards employment and self-sufficiency. …

“One Welsh group in the small town of Cardigan has raised £12,000 as part of its application to the scheme. Vicky Moller, a member of the group, told the BBC … ‘People are very, very keen to help.’

“The sponsorship model being launched in towns and cities across England and Wales is partly inspired by a hugely successful effort launched in Canada in 1979, when the mayor of Ottawa, Marion Dewar, mobilized an effort by community groups to settle 4,000 mostly Southeast Asian refugees. To date, Canadian communities and citizens have resettled almost 300,000 refugees through its private sponsorship program. …

“Chris Clements, a director of Social Finance UK, … has noted the shortcomings of ‘traditional’ refugee resettlement in the UK, which has left many refugee families isolated and struggling to adapt to their new surroundings. This in turn results in high rates of unemployment, depression, stress, and other problems.

“Community sponsorship, Clements says, ‘enables local people to take responsibility for resettling a refugee family, supporting and empowering them to rebuild their lives.’ ”

More here.

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Photo: Alamy
Exercise and social activities could help to reduce the risk of developing dementia in later life, according to a new report.

Although there is no cure yet for dementia, lifestyle changes have the potential to reduce new cases by as much as one-third.

Nicola Davis writes at the Guardian about a recent report from the Lancet Commission on dementia prevention, intervention and care. The study suggests that many “dementia cases might be avoided by tackling aspects of lifestyle including education, exercise, blood pressure and hearing. …

“ ‘There are a lot of things that individuals can do, and there are a lot of things that public health and policy can do, to reduce the numbers of people developing dementia,’ said Gill Livingston, professor of psychiatry of older people at University College London and a co-author of the report. …

“ ‘We expect it to be a long-term change that will be needed for exercise; joining a gym for two weeks is probably not going to do it,’ she said.

“Clive Ballard, professor of age-related diseases at the University of Exeter medical school and also a co-author of the report, added that the evidence suggests individuals should also try to follow a Mediterranean diet, maintain a healthy weight and keep an eye on their blood pressure. …

“The results reveal that as many as 35% of dementia cases could, at least in theory, be prevented, with 9% linked to midlife hearing loss, 8% to leaving education before secondary school, 5% to smoking in later life and 4% to later life depression. Social isolation, later life diabetes, midlife high blood pressure, midlife obesity and lack of exercise in later life also contributed to potentially avoidable cases of dementia, the report notes. …

“They admit that the estimate that more than a third of dementia cases could be prevented is a best case scenario, with the figures based on a number of assumptions, including that each factor could be completely tackled. …

“Fiona Matthews, professor of epidemiology at Newcastle University who was not involved in the report, said that interventions for depression and social isolation could still prove valuable. ‘If we could actually resolve some of that issue, even if it is not 100% causal, it is likely we might be able to slow [dementia] progression – even if [an individual] is on a pathway to developing dementia already,’ she said.

“She added that the proposed areas for action could offer myriad health benefits beyond lowering dementia risk. …

“The authors pointed out that an intervention that delayed dementia onset and progression by even a year could decrease the number of people with dementia worldwide in 2050 by nine million.”

More at the Guardian, here.

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Photo: YouTube
One of the calendars used in the Dutch prison system to encourage prisoners to help solve cold cases.

Here’s a new twist on solving cold cases. It’s being implemented in the Netherlands, and I was going to say, “Trust the creative Dutch to come up with this idea!” But it turns out they got the idea from the United States.

Daniel Boffey writes at the Guardian, “Prisoners across the Netherlands are to be issued with calendars for their cells featuring unsolved murders or disappearances as part of a drive by the Dutch police to crack unsolved cases.

“The so-called cold case calendars will be handed to all 30,000 prisoners in the country after a trial run in five jails in the north resulted in 160 tips to the police.

“Each week of the year in the brightly coloured 2018-19 calendars will be illustrated with a photograph of a missing person and details of the case. The hope is that many of those in jail will know details of some of the crimes or may have heard other criminals chatting about them. …

“Jeroen Hammer, the calendar’s inventor, told Dutch newspapers the calendars had also proved popular with bored prisoners, although some had regarded the initiative as an attempt to turn them against their own. …

“The calendar has been printed in Dutch, Arabic, Spanish, English and Russian to maximise its impact, and a €800,000 reward is being made available for those whose information ends in a successful conviction. …

“The police say they can offer anonymity to people in certain cases.

“ ‘There is no penalty for keeping information about a criminal offence committed. Therefore, you do not have to fear persecution if you have been sharing information, even after years of deliberation,’ they said.

“The idea of the calendars was borrowed from the United States, where every year several states distribute a deck of cards containing information about cold cases among prisoners.”

More here. Someone should study whether participating prisoners are motivated mostly by the reward, by boredom, by outrage at certain crimes, or something else.

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Photo: Jon Cattapan/Dominik Mersch Gallery
The Decade Positions, by Jon Cattapan (2017).

I’ve been reading arguments lately about “cultural appropriation” — both from those who think artists should stick to their own culture and from those who think that artists who imagine how people from a different culture feel are building understanding.

I thought about the controversy as I read this article on Australia’s indigenous dot art by Brigid Delaney at the Guardian.

“For a long time,” she writes, “the dot painting has been synonymous with Aboriginal art. Emerging out of the remote Northern Territory community of Papunya in the early 1970s, the first dot paintings were produced when art teacher Geoffrey Bardon encouraged his Indigenous students to paint their stories in murals on the school wall.

“But long before that, circles and dots were used in ceremonies in the form of body paint or marks on the ground. The Papunya people drew on this knowledge in their art, painting stories, ceremonies and rituals, first on walls and then on canvas and board.

“dot, dot, dot […], a new exhibition at Sydney College of the Arts, tackles some of the issues around the use of Papunya dots in paintings, but also looks at why so many artists – Indigenous and non-Indigenous – are attracted to using dots in their work.

“Curator Janelle Evans, a lecturer at Sydney University, a Wingara Mura fellow and Dharug artist, told Guardian Australia that the exhibition had its genesis in 2006, when she conducted an interview with Australian artist and political activist, Richard Bell. ‘He was talking about Aboriginal art as something constructed by the art market.’ …

“The ubiquity of the dot painting was so powerful that Indigenous artists working in different mediums had trouble attracting the interest of the international art market. At the same time, the market became flooded with cheap fakes and rip offs, alongside mass-produced tack such as tea towels made overseas and sold to tourists. …

“In situations like this, Indigenous people rarely see the profits of their artefacts being used, perpetuating a cycle of poverty and appropriation.

“Queensland MP Bob Katter has taken up the cause, putting a private member’s bill before parliament that seeks to amend consumer law to ensure that profits from Indigenous art and artefacts go back to Indigenous communities. …

“What about artists using the dot who are non-Indigenous? It could be seen as cultural appropriation, although Evans says it’s not that clear cut.

“ ‘Non-Indigenous artists who work with dots can work without appropriation. Within the dot, there’s a whole world that can be created. Artists have always referred to other artists in their work but appropriation becomes an issue when you are copying someone’s style. You need to bring your own inquiry to into what you are doing.’ …

“dot, dot, dot […] … focuses on showing work from artists who interpret the dot beyond the style of central and western desert artists and ‘in ways that are non-derivative,’ says Evans.”

More here.

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