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Photo: Craig Barritt/Getty Images for Sing For Hope
Jon Batiste performing on June 5 at the 6th Annual Sing for Hope Pianos Kickoff Event at 28 Liberty Plaza in Lower Manhattan. You may know Batiste from Stephen Colbert’s Late Show.

Many of the artists, musicians, and theater people who live and work in New York City believe in the importance of bringing the arts to children in underserved schools. And they are turning their beliefs into action by supporting Sing for Hope.

On June 5, Sing for Hope sent out a press release on the unveiling of 60 new artist-designed pianos destined to go to public schools after a summer on the streets.

“Late Show with Stephen Colbert bandleader and Sing for Hope Board Member Jon Batiste kicked off the performances at 12 noon, followed by a special performance of Bach’s Prelude in C performed by 45 pianists simultaneously on 30 Sing for Hope Pianos. Other performances included renowned pianist Michael Fennelly, who played Gershwin’s ‘Rhapsody in Blue.’

“Each year, Sing for Hope selects local and international artists to create unique piano artworks that are placed in parks and other public spaces for anyone and everyone to play. This year, through a special partnership with the New York City Department of Education, Sing for Hope will place all of the Sing for Hope Pianos in permanent homes in NYC public schools after the pianos’ time on the streets, benefiting an estimated 15,000 New York City school children. …

“This summer marks the placement of the 400th Sing for Hope Piano to date, making NYC host to more street pianos than any other city in the world. …

“In time for the big reveal of the 2017 Sing for Hope Pianos, the world’s first-ever mobile app for street piano discovery and engagement is now available. The app helps people to discover, visit and play the pianos – and then share their experiences via social media. Now in its third year, the app will allow people to take curated tours of the pianos, discover special concerts by artists and performers taking place at the pianos, and sign up to give their own pop-up performances on the pianos. The app, designed and developed by Craver Inc., is free to download and available in the App Store.”

More here.

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Providence resident Stewart Martin’s passion for science and art have informed his work to promote urban gardening and composting.

My husband and I have a compost pile in Massachusetts (with a naughty mystery squash reaching out to strangle our neighbor’s lilac), but we are not brave enough to compost food scraps as there are too many animals around. I think if I lived in Providence though, I’d try a food-composting service and reduce my contribution to landfills.

In a recent edition of ecoRI News, Abby Bora interviewed Stewart Martin, a Providence entrepreneur who has perfected the art of urban composting and now offers his skills to others through Providence GardenWorks.

“Martin and his wife, Adrienne Morris, moved to Providence 15 years ago from New York City.

They were looking for a yard and fresh air, along with the bustle of a city. Providence was the perfect place. …

“Martin and Morris decided to replace their shrubs and perennials with veggies. To grow his skills, Martin trained through multiple gardening and composting programs. He has earned numerous certifications, including becoming a tree steward with the Rhode Island Tree Council and a University of Rhode Island master gardener.

“Martin said that in the past 14 years, his family hasn’t contributed even a cup’s worth of food scrap to landfills.

“ ‘We’re throwing away gold,’ he said, when food scrap is casually discarded.

“Compost — recycled food scrap, among other organic ingredients — contains many necessary soil nutrients that are valuable in fighting soil depletion. When not composted, organic matter rots in landfills, creating heat-trapping greenhouse gases such as methane. …

“Providence GardenWorks provides installation and training to urban gardeners and composters. For his composting clients, Martin installs an outdoor, animal-proof compost machine, and teaches them how to use it. He also provides a stainless-steel food-scrap pail, carbon filters, aerator, and a full bag of shredded leaves to begin the composting process. After installation, he offers technical support over the phone, via e-mail and on-site for six months. …

“While local organizations are working toward better food-scrap management, Martin wishes the city of Providence would commit to initiatives like the food-scrap collection program run by the city of Berkeley, Calif. … ‘The myriad benefits are well documented and it’s not rocket science. No one has to reinvent the wheel here.’ ”

More at ecoRI News, here.

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Photo: American Theatre
A scene from “Mentiras Piadosas,” by the troupe Los ImproDucktivos. That’s the audience watching from behind the Venetian blinds.

Theater people keep thinking up new ways to create work that moves you in an immediate and intimate way and that attracts new audiences. We’ve written about theater in taxis in Iran and dramatic productions conducted one-on-one, among other experiments.

Now from Spain comes micro theater, 10-minute plays that allow you to stand in the same room with the actors.

Felicity Hughes writes at American Theatre, “On a rainy Thursday night in Madrid the bar of Micro Teatro Por Dinero is packed with a young crowd of theatregoers waiting to catch a short performance in one of the five tiny rooms in the venue’s basement. When our number is called, we’re led into a small dark room where the audience sits pressed up against each other sardine fashion on tiny stools.

A door is flung open, immediately breaking the fourth wall as a distressed young man stumbles in and sits down on my knee in floods of tears.

“ ‘Never before has there been a theatre so close, so intimate, and so open — there are no preconceptions, no limits, no censure,’ says Miguel Alcantud, the inventor of micro teatro, an abbreviated form of theatre. …

“The concept has since become so popular that the Micro Teatro Por Dinero franchise has been sold to venues in 15 different cities around the globe, including Buenos Aires, Mexico City, Lima, Lebanon, even Miami. …

“ ‘The cost of putting on a show is very small, and we change the program every month,’ Alcantud continues. ‘We don’t mind if the piece works or doesn’t work, because we’re always putting something new on. The commercial success of a single show doesn’t matter so much.’ …

“ ‘You feel as if you’re breathing alongside the public and they’re breathing with you,’ says [Juan Carlos Pabón, a Venezuelan actor]. ‘We’re dealing with a lot of emotion inside a scene and a lot of attention. There’s not as much artifice, so it’s a tough discipline; the public are really concentrating on you, and notice the good along with the not so good.’ ” More here.

The director in Miami says audiences seem to prefer comedies to dramas. I can see why. If you are going to be that up close and personal with strangers, you probably want keep things light.

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Photo: Meghan McMenamie
A 17-metre tall totem pole, carved from an 800-year-old cedar tree was raised at University of British Columbia on April 1, 2017. It represents the victims and survivors of Canada’s residential school system for native children.

Although it’s been many years since I’ve seen her in person, I have kept tabs on my childhood best friend Carole through Facebook. She has always had an interest in tribal rights as her uncle by marriage was Sioux. So I was not surprised that she posted this article about a totem pole meant to aid healing. The story is about Canada, but the same abuses occurred in the United States.

The CBC News reported, “The University of British Columbia is now home to a 17-metre tall totem pole that represents the victims and survivors of Canada’s residential school system. The pole was carved by Haida master carver and hereditary Chief James Hart …

“Indigenous children across Canada were forced to leave their families and attend the church-run, government-funded boarding centres for Aboriginal children that operated in Canada for more than 100 years.

“A Truth and Reconciliation Commission on residential schools documented the litany of abuses that took place in the system … The pole, carved into a 800-year-old cedar tree, has special figures representing different aspects of the residential school experience.

” ‘It is called reconciliation. It is about a time before, during and after Canada’s Indian Residential schools,’ Hart explained. …

“A family unit, wearing the regalia of yesteryear, is supposed to represent Indigenous people getting their strength back together. Above that a canoe and a longboat travel over water, symbolizing a people moving forward. …

“Survivors and their family members participated in the emotional process of hammering in the nails. …

“The pole stands at the University of British Columbia’s Main Mall between Agronomy Road and Thunderbird Boulevard, looking towards the future site of the Indian Residential School History and Dialogue Centre.” The healing work will continue.

More.

Photo: Margaret Gallagher/CBC
James Hart is a Haida master carver and hereditary chief who carved the Reconciliation Pole. He said the work was very emotional for him.

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Photo: CNN
The CityTree is said to have the same environmental impact of up to 275 normal urban trees. Using moss cultures, it captures and filters toxic pollutants from the air.

Once again we face the question: is it best to focus our energies on removing pollutants, keep them from escaping in the first place, or piece together a variety of approaches?

Chris Giles writes at CNN about an intriguing air pollution initiative that addresses the first focus.

“Air pollution is one of the world’s invisible killers. It causes seven million premature deaths a year, making it the largest single environmental health risk, according to the World Health Organization. …

“One well-established way to reduce air pollutants is to plant trees, as their leaves catch and absorb harmful particulates. But planting new trees is not always a viable option. That’s why the ‘CityTree,’ a mobile installation which removes pollutants from the air, has been popping up in cities around the world, including Oslo, Paris, Brussels and Hong Kong. …

“The CityTree isn’t, in fact, a tree at all — it’s a moss culture.

” ‘Moss cultures have a much larger leaf surface area than any other plant. That means we can capture more pollutants,’ said Zhengliang Wu, co-founder of Green City Solutions.

“The huge surfaces of moss installed in each tree can remove dust, nitrogen dioxide and ozone gases from the air. The installation is autonomous and requires very little maintenance: solar panels provide electricity, while rainwater is collected into a reservoir and then pumped into the soil. …

“Its creators say that each CityTree is able to absorb around 250 grams of particulate matter a day and contributes to the capture of greenhouse gases by removing 240 metric tons of CO2 a year. …

“Gary Fuller, an expert on air pollution at King’s College London, thinks that the concept of an urban air purifier might be too ambitious. … Pollution from a car exhaust, for example, gets dispersed vertically a few kilometers into the air.

” ‘Efforts would be better put into stopping the pollution from forming in the first place, maybe cleaning up a city’s bus fleet,’ he added.

“The CityTree inventors say that they are aware of this and choose the location of each CityTree carefully.

” ‘We intentionally pick spots where pollution is heavy due to traffic and air flow is limited. We are also testing a ventilation system to create our own air flow that gets the pollution to the tree. …

” ‘We dream of creating a climate infrastructure so we can regulate what kind of air and also what kind of temperature we have in a city.’ ”

More here.

Hat Tip: Kate Colby on Facebook.

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Arts Journal often links to interesting articles on languages, especially vanishing ones. In Alaska, there are actually several native languages that are endangered. The Sealaska Heritage Institute has been tackling one of them and is starting to add more.

Wesley Yiin wrote about the effort at Pacific Standard.

“According to a 2007 study by linguist Michael E. Krauss of the University of Alaska, Fairbanks, only three of the 20 recognized Alaska Native languages have more than 1,000 native speakers. (Compare that figure to the most commonly spoken Native language in America, Navajo, which has 170,000 native speakers.) Several are extinct or close to it: The last native speaker of the Eyak language died in 2008, as did Holikachuk’s last fluent speaker, in 2012.

“One of the most endangered is Tlingit, one of four languages from Alaska’s southeast region. …

“Recently, advocates who have been establishing means of revitalizing Alaska Native languages have created new opportunities for the preservation of Tlingit. Perhaps the most creative effort has been that of the Sealaska Heritage Institute, a non-profit based in Juneau that promotes understanding of Southeastern Alaska Native cultures. In late 2016, it produced two phone applications and a podcast that aim to teach users the Tlingit language. One app teaches Tlingit sounds and some basic words and phrases, while another instructs listeners on the Tlingit words for animals that live in Southeast Alaska through interactive games.”

Katrina Hotch is the language project coordinator for Sealaska Heritage. Here are some of her comments on the work.

“One of its goals is to help teachers create welcoming environments for their students and to create culturally and linguistically sensitive learning environments within their classrooms. …

“You can revisit words and phrases as often as you need to. You just hit the button again and then you hear it again. I think this will help people with their pronunciation quite a bit and will expand their vocabulary and basic phrases. …

“It’ll help them to speak with more advanced speakers. It’ll be easier for them to be understood because they have so many examples of fluent speakers — all of the speakers in the app are fluent speakers. …

“Passion is contagious, and if people are hearing people who are passionate about the language, then it draws them in more.” Click here for the whole interview with Hotch.

The one thing about the interview that struck me as discouraging was that Hotch herself has been studying Tlingit for years and doesn’t feel fluent. A whole different worldview is involved, she says. That tells me that the initiative is best focused on helping children who grow up in the culture to keep it going. There are not likely to be many brand-new adult speakers.

Katrina Hotch’s podcast is a first step in preserving a Native Alaskan language called Tlingit.

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Photo: Kirk Crippens/ Insight Garden Program
Today’s post is about an illicit prison garden, but a 2014 story at NPR, here, suggests that approved gardens are finding favor with corrections officials. The photo is from San Quentin.

This story from the Marshall Project on twitter is about a secret garden behind prison walls — and what it meant to the gardeners.

Matthew Hahn, an ex-offender, wrote the article in collaboration with the online magazine Vice.

“I used to be a vegetable smuggler. It’s not how I got to prison, but it’s what I did once I was there.

“I wasn’t alone. The men with whom I worked in the garden on ‘China Hill’ at California’s Folsom Prison were there with me, every day, waiting in line to get back into the prison building and hoping the guards wouldn’t discover the vegetable contraband they had secreted away in their clothing.

“In my left boot, slightly smashed and carefully wrapped in a sandwich bag, was a single jalapeno pepper. In my right, bundled tightly and also wrapped, were a couple dozen shoots of green onions. …

“Officially, we were landscapers. There were about 20 of us, and we had been assigned to the landscaping crew atop the grassy knoll within the prison’s walls known as China Hill, spending our weekdays in what felt to us prisoners like the wilderness. …

“We had a hill, and a job on it, and a single guard, also our supervisor, who expected us to work only a couple of hours per day, after which he permitted us to while away the rest of our time as we saw fit.

“We weren’t actually allowed to garden, but that didn’t stop us from doing it. The unspoken agreement between the guard and us men was that we would keep China Hill from becoming an overgrown jungle, and in return he would pretend he didn’t see any of our vegetables growing there. It was motivation to keep us working.

“The vegetables we grew were the kinds that never would have made their way into the chow hall: We had squash, peas, chili peppers, bell peppers, watermelon, green onions, tomatoes.

“China Hill was divided into sectors, just like the prison yard. Black guys had the land in one spot, the Southsiders (a Mexican gang) in another, the White Boys near the Southsiders and the “Others” near the Blacks. Despite the determined segregation, it was peaceful. If the Southsiders wanted to eat some peppers with their burritos, they could trade a watermelon to the Others. …

“There was another aspect of working on China Hill that wasn’t usually shared with the men on the yard, but which made it one of the best jobs in Folsom: It offered the potential, at least, for solitude. The lack of noise — that was the feeling of belonging to the Earth again, and having a small part of it belong to me, and to us. …

“We were never able to smuggle in enough vegetables for entire meals — just morsels, just momentary freshness in our stale world. But we smuggled in memories when we smuggled in those tastes: memories of freedom.” More here.

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Photo: Brian van der Brug / Los Angeles Times
Lining up for tacos outside the Islamic Center of Santa Ana.  The ‘Taco Truck at Every Mosque’ event for iftar (evening meal that breaks the fast during Ramadan) promotes solidarity and understanding.

Community organizers are getting creative with ways to pull different groups together. Consider this California example.

Anh Do writes at the Los Angeles Times: “Activists Rida Hamida and Ben Vazquez wanted to find a way to promote unity among the region’s Muslim and Latino communities, so they came up with a novel idea.

“After daily fasting as part of the holy month of Ramadan, dozens of local Muslims joined their Latino neighbors Saturday night in the parking lot of the new Islamic Center of Santa Ana, taking part in the inaugural event of the campaign dubbed Taco Trucks at Every Mosque.

“Organizers said the idea is to demystify Islam through the sharing of food and to unite two groups, Muslims and Latinos, facing increasing discrimination. …

” ‘This is perfect timing. The purpose of this month is to give charity, to grow our character and our inner lives and to nourish our soul through service. What better way to do that than by learning from one another?’ asked coordinator Hamida, whose goal is to host food trucks that will serve halal tacos at every mosque in Orange County. …

“Even young participants such as Idrees Alomari, 13, were encouraged by Saturday’s event, which he said was a good way to show how people can appreciate their differences and similarities. …

” ‘All the way from the parking entrance to inside, everyone’s been like, “Welcome, welcome, we’re so glad to have you here,” ‘ said Dulce Saavedra, 24, [a] youth organizer for Resilience OC, a nonprofit created from the merging of Santa Ana Boys and Men of Color and Raiz, a group pushing for partnerships between law enforcement and immigrants.” More at the Los Angeles Times, here.

This initiative reminds me of an annual event that took place in Lowell, Mass. It was a gigantic soccer tournament with teams from the scores of immigrant groups in the city. I always admired the ONELowell initiative because it can be hard to get minorities to band together and realize they can collaborate to promote common needs. Sharing a sport loved by many nationalities seemed like a good place to start.

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Map: Nations Online Project
Fergus Falls didn’t need much money from the National Endowment for the Arts to create both economic benefits and constructive conversation across the political divide.

As Victoria Stapley-Brown wrote recently at the Art Newspaper, the arts benefit communities in many ways, and in rural America, a little funding can go a long way.

“A grant of $25,000 is not even a drop in the bucket of the US federal government’s spending, around $3.5 trillion per year. But it was able to effect visible change in Fergus Falls, a small rural community in Minnesota with a population of 13,000, which received $25,000 from the National Endowment for the Arts (NEA), the government agency that funds art and culture across every congressional district in the nation, in 2011. …

“With the $25,000 NEA grant, the St Paul, Minnesota-based arts non-profit, Springboard for the Arts, which calls itself ‘an economic and community development organization for artists and by artists,’ opened an office in Fergus Falls and was able to launch a multi-year cultural project. Since 2011, the organisation has been given a total of $145,000 in NEA grants — but has also received over $1.2m in funding from private donors, such as the McKnight Foundation. …

“The project explores ‘how artists can be a part of rural economies and rural communities,’ … to encourage young people to stay in the town and see it as a viable place to make a living and raise their families …

“Artists from other communities working across all media, from the visual arts to music to film-making, have also come to Fergus Falls for the Hinge Arts Residency, a programme that has hosted 45 artists for one to three months. These artists live in apartments on the property of the formerly disused hospital complex, which has spurred a local conversation about preservation and the use of historic buildings in the town, and local politics. …

“The artists-in-residence have carried out their own work during their residencies, which often involve the local community, such as the folk and punk musician Shannon Murray’s research into music and Minnesota working class history. They have also shown work in empty storefronts and organised community art projects, such as casting architectural elements of disused buildings, and giving art classes to local children.” More here.

Hat Tip: Arts Journal.

Photo: Rick Abbott
Kirkbride Art & History Weekend at the former Fergus Falls State Hospital Complex, which is on the National Register of Historic Places.

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071917-OMG-hydrangea-6tagTime for another photo roundup. All these pictures are from Massachusetts, except for the sunflower, which is reaching for the sun in Providence. Most of the photos are self-explanatory, but the tuba band is marching for an annual sidewalk sale that blocks off Walden Street, and the Mariachi band was featured at the library’s concert series.

Also, I liked how a trash can become a lovely little garden. The tree in the cemetery looked to me like it was frowning.

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Photo: Frankie Steele, The (Louisville) Courier-Journal
Carmichael’s Kids indie bookstore at its opening. Writer Shea Serrano recently directed his Twitter followers to the online store. The move generated more than 1,100 orders in a day.

Say what? I thought it was agreed that online shopping has killed retail. But wait! Maybe social media can save the day.

USA Today recently reposted an article by Jeffrey Lee Puckett from the Louisville Courier-Journal that highlights the possibilities. (Hat Tip: ArtsJournal.)

“Two years ago, [writer Shea Serrano] and some friends started the FOH [not translatable for family blog] ARMY and began practicing random acts of kindness such as raising money to help send a teacher to Turkey.

“Wednesday [May 17] was the group’s first FOH Indie Bookstore Day. Carmichael’s [Kids] was endorsed by Serrano after one of the store’s employees, Mark Schultz, messaged Serrano and questioned his decision to include a link to Amazon in an earlier tweet.

” ‘Some guy who works there sent me a message one day and he seemed nice so that’s why I decided to try and do the 1K in a Day thing for them,’ Serrano said in a Twitter message. …

“Serrano is best-known for his 2015 book, The Rap Year Book: The Most Important Rap Song From Every Year Since 1979, Discussed, Debated, and Deconstructed. …

‘The really cool thing is that he’s not encouraging people to buy his book. He’s encouraging people to buy any book,’ said Carol Besse, co-owner of Carmichael’s. ‘The orders have been so interesting, all across the board, all good stuff.’

“To pay back Serrano’s kindness, Carmichael’s will offer free shipping on all FOH ARMY orders, Besse said.” More here.

This twitter effort strikes me as a variation of the cash mob, which I don’t believe can be the salvation of a retail business in and of itself. Although I have to say the West Concord 5&10, which was the focus of a cash mob I described here, is still going.

The Holy Grail for retail will probably be some combination of online and bricks-and-mortar that recognizes customers like to have their purchases delivered to their homes and that also takes into account what sorts of products absolutely need to be handled before purchase.

But the article shows that it doesn’t hurt to have employees who notice Amazon references on social media and say, “Hey, what about us little guys?”

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Photo: Pascal Duez
Coiffeur, Rouen, France

As a former editor whose favorite thing was to work with a good designer, I appreciate different kinds of typeface and what they convey. My husband and I have actually watched movies on typography. Helvetica was a fun one.

Now from twitter by way of @gwarlingo and @presentcorrect, a funny collection of wildly different typefaces that hair salons have chosen to express their essence.

Photo: Peter Bruhn
Salong Inga-Britt, Malmö, Sweden

The effort to collect these reminds me that somewhere I have saved my list of hair salon names that are a play on words. For example, I used to be a client of Mr. Robert (now retired) of the Hair After. Across from that shop today you can book a cut and blow-dry at the Mane Escape. Then there is A Cut Above and Shear Elegance.

The website Bellatory has a much more comprehensive list, in case you are going into the hair business and are stumped for a pun.

The signs here are from the website Fleurs Coiffures Liqueurs, which has also gathered numerous signs for liquor stores and florists. See all three themes here.

Update 9/14/17. Oh, boy. I found my old, old list of salon names, collected over several years: Undercuts, Hairs to You, Grand Strand, Prime Cut, Head Hunters, Shear Delight, Shear Magic, Hair and Now, Great Lengths, Hot Heads, Heads Up, and Head Start.

Photo: Florian Hardwig
Coiffure Strauss, St. Gallen, Switzerland

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On an impossibly beautiful summer morning, Kristina and I decided to take a walk around Walden Pond, made famous by 19th century environmentalist and thinker Henry David Thoreau.

When we got to the parking lot, we were surprised to see how many cars were already there at 7:30 — people coming to walk, swim, snorkel, sit on the beach, and just enjoy nature.

Kristina was an ideal guide as she had just been to the pond the week before with other Thoreau fans celebrating his 200th birthday. She also has done a lot of art and writing and diving there over the years and was friends with the man who found the site of Thoreau’s small cabin, Roland Robbins.

On our walk, we noticed temporary signs from an alphabet book about Thoreau written at the Thoreau Farm Writers Retreat. The book is just one of many examples of the ways people make the venerated promoter of civil disobedience their own. Kristina mentioned there is even a Swedish Thoreauvian from Göteborg studying the soil around the cabin site, including the outhouse soil!

Thoreau’s friend Bronson Alcott started the tradition of leaving memorial stones at the site. Today the pile is testimony to the many thousands of visitors who wanted to pay their respects.

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Photo: UNHCR/Benjamin Loyseau
“When you see their desire to learn, it gives you a boost of energy,” says Brigitte Dubosclard, who volunteers with refugees.

I can never get enough of stories about people helping people. A good example is seen in this article on a French village welcoming refugees.

Céline Schmitt wrote for the refugee agency UNHCR, “In November 2015, Pessat-Villeneuve, which has a population of 550, opened the doors of the château as a reception and guidance centre for refugees from Calais and Paris. [As of April 2017], it has hosted 136 refugees. …

“[Mayor] Gerard Dubois strongly believes in solidarity, in mutual support, and while it was an easy decision for him to open a reception centre for refugees in Pessat-Villeneuve, he had to persuade residents that it was the right thing to do. It was not as easy task. At a public meeting, organized in November 2015 when the centre was opened, he says he felt like a ‘bull in the ring.’ In the weeks afterwards, he even received death threats, but solidarity was stronger.

“Hatred is noisy,’ he says. ‘Solidarity is quiet, but inspiring and effective.’ …

“Dubois believes that initial fears stemmed from the fact that locals did not know the new arrivals. Any apprehension, he says, disappeared once they had met them. ‘Meeting and getting to know each other changes everything. It’s as simple as that. I don’t call them refugees, but guests.’ …

“Brigitte Dubosclard is a volunteer at the reception centre in Pessat-Villeneuve. A retired teacher, she gives French lessons to the refugees and also runs a clothing store. She was the first to volunteer to help during the public meeting organized by the mayor when the centre opened.

“ ‘When I realized that there was a general feeling of fear, I immediately said that we are here to help, that France is a country that has always welcomed refugees for many years,’ she says. ‘I asked just one question: What do they need?’

“Brigitte opened the clothing store with help from non-profit organizations Secours Populaire Français and Secours Catholique, as well as donations from the public and local shops. …

“Sandrine Menuge has been the head of Pessat-Villeneuve primary school since 2000 and saw the arrival of refugees as an opportunity to talk about diversity with the children in her class. She tasked them to find faces of 100 children throughout the world in 100 days.

“ ‘We searched for photos to see where they come from, what they look like, how they live,’ says Sandrine. …

“One afternoon, she invited two refugees, Mary from Eritrea and Ali from Sudan, to come to the school. The local children asked them about their journey. ‘We looked on the map to see all the countries they had to go through to come to France. They found them very brave.’

“The children also understood why the refugees had to leave their homes. ‘They realized that in some countries, children are afraid that bombs will fall on their heads. It was a wonderful shared moment.’ …

“[Amir, a 27-year-old from Afghanistan,] travelled on foot, by truck and boat, by any means possible, to reach safety.

“ ‘I feel better now,’ he says, from the reception centre in Pessat-Villeneuve. ‘I have accommodation. I have friends. There are good people here. It is important that people understand why we are here. We are refugees. I don’t want to take benefits from the government. I want to start my life for myself.’ ”

More at UNHCR, here. And thanks to my twitter friend Jane for passing this story along.

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Art: Rene Meshake
Ojibwe artist Rene Meshake was part of a group of indigenous storytellers from Canada who attended the Untold Stories conference in Ireland in May.

As many people know, there was a dark period in US history when authorities thought is would be a good idea for indigenous children to be separated from their language, families, and culture. The same thing happened in Canada. Today, those children and their children are reclaiming their voices and telling their own stories.

Here is Catherine Conroy at the Irish Times: “On a Friday morning in a house in Dublin, I sit down to speak with three indigenous storytellers from Canada. They are here for a conference called The Untold Stories of the Past 150 Years/Canada 150 at [University College Dublin]. …

“Maria Campbell, Rene Meshake, and Sylvia Maracle, from Canada’s ‘Indian Country,’ accompanied by indigenous historian Kim Anderson, tell me a story of pain, resilience and the rebuilding of a shattered community through stories.

“Sylvia Maracle is an activist and storyteller from the Tyendinaga Mohawks. She believes their stories will resonate with Irish people, ‘with colonisers having come and disrupted what was probably the natural order.’ …

“She tells me of a conversation she had with an Irish taxi driver when she arrived. ‘He asked, “Are people recovering their memories?” I said, “They were always there, we just didn’t have the conversation.” He said, “That’s what happened here.” ‘ …

“Maracle believes in the power of storytelling as a force for rebuilding their communities. She feels privileged to have been ‘old woman raised’ by her traditional grandmother. …

“Maracle tells me that people now visit Maria Campbell ‘because they want this good medicine, this traditional stuff.’

“Campbell agrees that storytelling is medicine. ‘I grew up with a great grandmother and she never spoke English, she was a total “savage” according to the priest because she never converted.’

“But while Campbell grew up with stories, she always felt split between her traditional home life and her life outside. It was only after she stopped using drugs and attended her first ceremony in her late 20s that she realised the healing power of the stories, which came from ‘the old ladies, always women laughing.’ It was a revelation to realise ‘that you’d got this medicine, everything you need to help put yourself back together.’

“Campbell tells a story about the effects of colonisation that she learned from her teacher, the Old Man. …

“He had been trying to explain to her the effect of colonisation on their community’s wahkotowin, which in English means kinship, ‘but if you look at the word bundle, it’s all of our laws, it’s the way that we talk to each other, the way that we laugh.’

“He threw [a] jigsaw in the air. ‘He said, ‘”That’s what happened to us, everything was shattered and wahkotowin flew. Maybe you have three pieces, maybe she’s got half of one, if we come back together and we start to rebuild that, you bring your three pieces, you bring yours, and soon we’ll make the picture.” ‘…

“She recalls one story she wanted from her father that he would not give. ‘Then he got diagnosed with a terminal illness and I had to do the translating for him [in hospital]. I kind of went to pieces when we were driving home. He pulled to the side of the road, rolled me a cigarette, and he said, “That story you want, I’ll give it to you now.” He retold it and she understood now that it was a story about death, not the funny story she’d always thought it was.

“She translated and published the story. ‘In my family’s way, they were telling me that they trusted that I would treat it with integrity.’ ”

More at the Irish Times, here.

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