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Photo: Lenora Chu.
Ewa Łętowska, the elder stateswoman who helped build the legal framework of democratic Poland after communism, sits in her Warsaw flat last February.

Never underestimate the power of a woman. It may be under the radar, but woe to those who think they can always manipulate the quiet ones.

Lenora Chu of the Christian Science Monitor recalls, “It was late fall of 1987 in Poland, and the economic and social forces here were fueling tremors that would eventually fell communism across the Soviet bloc.

“Among a group of influential men – law professors – at a dinner party one evening was a Communist Party member brainstorming how to throw a bone to pro-democracy activists. The group was tasked with floating a name for a human rights ombudsman; that of legal scholar Ewa Łętowska kept surfacing. A devoted academic who had pumped out two decades of legal research on topics as benign as consumer protections and contract law, she was a respectable but safe choice.

“ ‘They said, “We want a woman, because women might be easier to manipulate,” ‘ Ms. Łętowska says in an interview in her Warsaw flat, lined floor to ceiling with books and opera records. She laughs at this memory that she possesses only because her lawyer husband was among the men feasting on schnitzel at that monthly table for regulars.

“If it was a wallflower they wanted, it turned out to be a miscalculation of historic proportion: They launched a stateswoman.

“Her trajectory as Poland’s top human rights thinker, she says, started ‘loudly, and with a bang’ when she was named the country’s human rights ombudsman soon after the dinner party, pioneering the balance between the state and the individual in the waning days of communism.

“She was an accidental influencer who, four decades later, now in her 80s, is a sought-after talking head, issuing viral social media posts about democracy. And when voters sent their right-wing government packing last October, a coalition of progressives turned to the wisdom and experience of Ms. Łętowska and her contemporaries.

“They’re looking for help to fix Poland’s institutions after the populists turned the country away from the European Union, rolled back civil rights such as abortion, took over the media and judiciary, and questioned the country’s humanitarian aid duties.

” ‘Ms. Łętowska’s value to Polish society cannot be overstated, says Helena Chmielewska-Szlajfer, a sociologist and assistant professor at Koźmiński University. ‘She’s a living legend, and she has the authority of this wise, powerful woman who set the institutions right in the beginning. She worked on this at a time it was the hardest – the intermediary stage between communism and democracy. And she still has much to say.’

“In 1980, the world saw burly Solidarity unionist Lech Wałęsa leading a revolt against communist authorities for worker rights – and eventually winning a Nobel Prize for it. But it was the progressive technocrats quietly blooming in that politically fertile time who did the less spectacular but essential work of building a democratic legal framework.

“Until then, Ms. Łętowska had forged her career as an impartial civil law professor, neither courting the communist regime nor joining the opposition. [She] now confidently says she … ‘was a state official to society, who brought more dialogue, more transparency. At the same time, I didn’t want a political future.’

“In an era when one didn’t easily trust one’s neighbor, there was little subversive in her ‘good girl’ youth to suggest she would emerge a strong voice for human rights and democracy. … On rare study trips abroad — few Polish scholars were trusted to leave the country — she might use German colleagues’ photocopiers to reproduce expensive legal tomes, like handbooks and casebooks on human rights law. …

“After law school in the 1960s, she published articles about civic law issues, rising through the ranks as a professor at the Polish Academy of Sciences’ Institute of Law Studies.

“A trip to the West – Hamburg, Germany – in the early 1980s was a turning point. She happened upon a demonstration by feminists. … From the other side of the street, she could see citizens hurling insults at the women.

“ ‘And in between you could see a line of police, with stone faces making sure no one gets hurt, being completely indifferent, and providing this space for demonstrating,’ says Ms. Łętowska. ‘It was the first time in my life I saw police not beating demonstrators – but rather protecting them. This is how I finally understood how things should be.’

‘The people of Hamburg would never know how much credit they should take, quite by accident, in my education,’ she says.

“Half a decade after that trip, she was named Poland’s first human rights official, judging the conduct of the state toward its citizens. … Should political parties have to register with the state? No, she famously wrote in 1988, when Poland was still under communist rule: ‘The constitution stated clearly: if parties want to form, let them form. Registration is required only for associations.’ …

“After the communist regime fell in 1989, she found herself among the legal scholars helping to modernize the Polish Constitution.”

More at the Monitor, here. Piotr Żakowiecki contributed to this report.

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Photo: Creatives Rebuild New York.
Painter Athesia Benjamin created a self-portrait while participating in the guaranteed income program.

From time to time this blog has checked in on experiments in basic income taking place around the world. If you use search terms like “basic income” or “guaranteed income” in my search box, you will find many related articles, including ones on helping Kenyan villagers, keeping New Orleans teens in school, slashing homelessness in Finland, and supporting artists in Ireland.

New York has also piloted a basic income for artists.

Maya Pontone writes at Hyperallergic, “Early findings from a guaranteed income program for artists across New York State reveal that such initiatives can provide crucial support for artists’ financial stability, professional advancement, and individual well-being. 

“While more comprehensive results are slated to be released at the end of the year, preliminary outcomes show that when artists receive guaranteed income, they generally concentrate on addressing outstanding debt, bills, and increasing their personal savings. They also have more freedom to work on their practice and more time for caregiving responsibilities.

“The report was compiled by Creatives Rebuild New York (CRNY), a $125 million guaranteed income and work opportunity initiative that began in 2021 and is chiefly funded by the Andrew W. Mellon Foundation, the Stavros Niarchos Foundation, and the Ford Foundation. Under the program, CRNY provided 2,400 artists across New York no-strings-attached monthly payments of $1,000 for 18 consecutive months, prioritizing individuals who are acutely impacted by institutional barriers to financial security based on their race, physical ability, sexual orientation, citizenship status, and caregiving tasks.

“On average, the survey found that 17% of the guaranteed monthly payments were used to pay off debt, principally outstanding credit card balances and loans and mortgages. Furthermore, artists saved approximately $150 more each month and put nearly $140 of the payments toward expenses like rent and utilities. The initiative also showed that participants generally reported feeling improved mental and emotional health in comparison to those who did not receive guaranteed monthly payments. …

“ ‘Going through a breast cancer diagnosis during a pandemic was the most difficult experience of my life,’ shared one anonymous participant quoted in the report. …

‘Guaranteed Income gave me the support I needed to slowly build my life back, become strong and healthy again, and has truly led me back to this industry feeling safe, valued and supported,’ the participant wrote.

“In an interview with Hyperallergic, Maura Cuffie-Peterson, CRNY’s director of strategic initiatives, explained that critics of guaranteed income programs generally ‘claim that they disincentivize work. … Our report shows that not only are artists working with a guaranteed income, but they’re really shaping work that is meaningful to them and in their community life.’

“The report’s findings add to survey results released by CRNY this summer that showed a majority of NY artists are in precarious financial positions, currently earning significantly below living wage standards.

“ ‘When done ethically and in collaboration of those who are directly impacted, research can lead us to better designed programs and even policy solutions,’ Cuffie-Peterson said, adding that guaranteed income programs could be more beneficial if they ran for longer periods of time.

“As an example, she cited Minnesota arts organization Springboard for the Arts’s recent announcement that it is extending its guaranteed income pilot for artists to five years and offering additional financial counseling services.

“ ‘It’s less what should be researched next, but more how these things that are all being researched are building up into something bigger, more impactful, and more meaningful to more people,’ Cuffie-Peterson said.”

More at Hyperallergic, here.

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Photo: Ilan Godfrey.
Vusi Mdoyi, center, rehearsing this month with the Step Afrika! dance group at the Soweto Theater in Soweto Township in Johannesburg.

And speaking of other cultures, today’s story is from South Africa. It reminds me of how much I loved Miriam Makeba albums in the ’60s. And in the ’80s, a Xhosa-Zulu couple we knew (the husband was attending grad school at Harvard). I also remember young John (age 12 or so) auditioning for a kid show on Boston television with his pitch about ending apartheid. The American Black host doubted kids would be interested. Then there was the tour-de-force play Syringa Tree, Pamela Gien’s heartbreaking one-woman show about South Africa. It’s all coming back to me.

Now John Eligon reports at the New York Times on an intriguing dance story from South Africa.

He begins, “The young boy couldn’t resist the dance moves he saw being performed around him: the rapid foot taps, the ligament-spraining knee twists, the torso shimmies, all coming together in what some might describe as a sort of urban tap dance.

“Growing up in an impoverished Black township near Johannesburg in the 1980s, the boy, Vusi Mdoyi, loved watching his father dance with friends, in a style known as pantsula, in the dirt yards of their staid four-room bungalows. It was a sprinkle of joy in the dark days of apartheid.

“At about 7 years old, Mr. Mdoyi began mimicking the dance form. By 10, he was dancing in school festivals. By 14, he had created his own dance crew with neighborhood friends.

“Now 44, Mr. Mdoyi is a celebrated dancer and choreographer who has helped to achieve what felt unimaginable during apartheid: turning the street art of pantsula into a high art that attracts global praise, and audiences. …

“In 1998, while still a teenager, Mr. Mdoyi took part in workshops and shows put on by a dance company, Step Afrika!, which was co-founded in South Africa by C. Brian Williams, a Howard University graduate who had worked in the region. The company fused African American step dancing with traditional African dance.

“The interest that the American dancers showed in pantsula and other African dances helped to inject a sense of pride that their dances were meaningful, Mr. Mdoyi said. Under the white-led apartheid government, which had lost power only four years earlier, Africans were often made to feel ashamed of their own culture, he said. …

“In part with connections made through Step Afrika!, Mr. Mdoyi made his first overseas trip, to teach a pantsula workshop in Britain in 2001. The next year, he toured internationally with Via Katlehong, a pantsula dance company named after his native township. …

“Mr. Mdoyi’s latest work is in some ways a full circle moment to what originally vaulted his career from South African festivals to stages across the world: He choreographed and danced in a piece performed in Soweto this month, during the 30th anniversary celebration of Step Afrika!

“His new piece, titled, ‘The Tattered Soul of a Worker,’ tells the story of South African migrant workers who were forced to travel from their homes to find jobs, and it offers a critique of a capitalist system that has left the working class struggling.

“The dancers, clad in midcentury formal suits, dance at times with beer crates — it’s common in South Africa to see young people dancing pantsula with beer crates at traffic lights, seeking tips. …

“Black South Africans began to take up tap dancing in the 1960s after seeing it in American films, [Gregory Maqoma, an acclaimed South African dancer and choreographer who has mentored Mr. Mdoyi] said. That eventually evolved into pantsula, which started in townships where Black South Africans were forced to live.

“The apartheid regime largely restricted Black South Africans from freely traveling into cities. That left them with virtually no access to the theaters and studios where dance thrived as an art form. So for many Black South Africans, there was little expectation that dance could be anything more than a social activity. …

“As apartheid restrictions began to loosen in the late 1980s and early 1990s, opportunities increased for Black South Africans to access formal dance training and turn their talents into art.

“For Mr. Mdoyi, his focus on dancing as he grew up kept him away from the violence that consumed many Black communities while the government tried to maintain its fragile grip on power in the dying days of apartheid. Mr. Mdoyi said he connected with a popular street entertainer who danced pantsula and introduced him to the dance scene in nightclubs around Johannesburg. …

“The nightclubs were something of a dance academy for Mr. Mdoyi. He met street dancers from many different neighborhoods, each bringing their own styles, techniques and approaches. …

“Mr. Mdoyi’s dance productions can come across as stage plays, with elaborate costuming, soundtracks and even dialogues that tell a story beyond the dance moves themselves. He plays with genres and moods.

“In a performance called ‘Footnotes,’ Mr. Mdoyi and other dancers lay a soundtrack with typewriters, typing eviction notices. The piece grows angry and frantic as disgusted shouts from tenants boom over loudspeakers. …

“In 1998, Mr. Mdoyi won an award at a national dance festival for the first time, and the festival director connected him with Jackie Semela, who had established the Soweto Dance Theater, a company based in the nation’s largest township. Mr. Semela helped to start Step Afrika!, which in 1994 held its first festival, in Soweto, only months after South Africans elected Nelson Mandela president in the country’s first democratic election.

“Under Mr. Semela’s tutelage, Mr. Mdoyi not only honed his craft as a dancer and found a springboard to perform and choreograph pieces internationally, but he also learned the business side of the profession. He now has two companies dedicated to creating pantsula shows and teaching the dance.”

Read more and see cool videos of the dances at the Times, here.

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Photo: Visit Dalarna.
One of the languages spoken in Älvdalen, Sweden, has the charmingly elvish-sounding name of Elfdalian. Älvdalen is part of Dalarna, the area best known for colorful wooden horses.

I’m always interested in learning about endangered languages, and the radio show The World introduced me to one tucked away in the Swedish town Älvdalen.

Älvdalen appears to be a part of Sweden that, for context, is closer to that Norwegian Olympic site Lillehammer than to better known Swedish towns.

Bianca Hillier reported at The World that “an organization called Ulum Dalska, based in a small Swedish town called Älvdalen, is on a mission.  For decades, members have been working hard to help save a language called Elfdalian, a remnant of Old Norse.

“ ‘We had our first meeting on the 1st of June in 1984,’ said press secretary Björn Rehnström. ‘And the biggest hall in Älvdalen was filled with people.’

“Elfdalian sounds nothing like the country’s national language, Swedish, which Rehnström said destabilized the language about 100 years ago. At that point, Elfdalian became stigmatized.

“Ulla Schütt, also a Ulum Dalska member, saw the impact firsthand while growing up in Älvdalen.

“ ‘My parents spoke Elfdalian with each other, and with my grandma and my aunts and uncles and everyone around,’ Schütt said. ‘But when they turned to me, they spoke Swedish.’

“Schütt said her parents spoke Swedish with her because that’s what was spoken in schools. Students were even discouraged to speak Elfdalian in the classroom. Now, there’s only about 2,500 speakers left. But people are getting creative in the fight to change that trend.

“The language is getting a boost on Minecraft. Musicians are releasing new songs with Elfdalian lyrics. Several children’s books were also translated into Elfdalian, including Le Petit Prince, by Antoine de Saint-Exupéry.

“Additionally, Rehnström helps run a popular Facebook group that offers courses in the Elfdalian language, where he posts lessons to the group’s 1,800 global members.

“ ‘[People are from] America, Australia, South America, Indonesia, Haiti, Cape Verde,’ he said. …

“The local government supports the teaching and preservation of Elfdalian. … The language is also recognized on an international level. In 2016, it was assigned an ISO language code, which helps the internet distinguish one language from another.

“But the national government of Sweden is a different story. They currently consider Elfdalian a dialect of Swedish, not its own language.

“Speaking in Elfdalian, Swedish MP Peter Helander recently asked Parliament why that’s the case. But before Culture Minister Amanda Lind could answer the question, the parliamentary speaker interrupted them both to say that only Swedish may be spoken in the chamber. Helander said the ‘only Swedish’ remark proves his point, that Elfdalian should be considered its own language. …

“Schütt said every time a language dies — which some research suggests is as often as once every two weeks — it is a sad moment. To her, losing Elfdalian would be an especially tragic loss. …

“Getting Elfdalian recognized as a language by the Swedish government, she added, is key to making sure that death doesn’t come.”

Read more about Elfdalian at The World, here, and at the blog Transly, here.

Dala horses come from the region where Elfdalian is one of the languages spoken.

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For our family, this day is partly about opening gifts and eating. If the roads don’t ice up for our get togethers, it just feels happy and sleepy and good.

Sending greetings to all who celebrate Christmas, to all who are celebrating the beginning of Chanukah tonight, and to all who celebrate other traditions.

In fact, I’d love to hear of any childhood memory you may have of a tradition in your family. Not necessarily for this time of year. Families sometimes develop traditions that no one else shares. I’m thinking of little things like singing a certain song every year when you catch the first glimpse of your favorite beach. Or special gestures after two people say the same thing simultaneously.

I’d also be interested in cultural traditions from a place you spent time as a child.

Thank you for your presence on WordPress. It’s fun to have friends in other places.

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Photo: Suzanne and John’s Mom.

This is my favorite version of the Christmas story. There may be more-accurate translations of the original, but none that sounds as lovely to me or has as many associations with my younger years, when we memorized Bible verses in school.

“And it came to pass in those days, that there went out a decree from Caesar Augustus that all the world should be taxed.

“(And this taxing was first made when Cyrenius was governor of Syria.)

“And all went to be taxed, every one into his own city.

“And Joseph also went up from Galilee, out of the city of Nazareth, into Judaea, unto the city of David, which is called Bethlehem; (because he was of the house and lineage of David:)

“To be taxed with Mary his espoused wife, being great with child.

“And so it was, that, while they were there, the days were accomplished that she should be delivered.

“And she brought forth her firstborn son, and wrapped him in swaddling clothes, and laid him in a manger; because there was no room for them in the inn.”

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Photo: WJAR/file photo.
Traffic on Interstate 195 west builds up on the approach to the Washington Bridge in East Providence, where one lane had to be closed a year ago. Now you can have a Washington Bridge Christmas ornament.

I do get tired of “Jingle Bells” and “Deck the Halls” on the radio starting before Thanksgiving, but there are other seasonal songs I look forward to hearing again, some that are lovely (“Mary’s Boy Child”) and some that are playful (“Santa Baby”).

If you want to hear holiday music that’s a bit different, check out WICN, the Worcester jazz station, here. It’s a breath of fresh air. I love seeing the creativity that holidays bring out in jazz musicians.

The holidays bring out the creativity of ornament makers, too, delighting people who want a small, kooky gift to give or something different for their own tree.

Ed Fitzpatrick at the Boston Globe has written about a new Christmas tree decoration that makes hay out of an unwelcome event in Rhode Island: the sudden closure last year of the westbound lane of a critically important bridge. Rhode Islanders are still dealing with the chaos that ensued.

“Forget Christmas ornaments of snowmen, Santa, or even the Big Blue Bug,” says Fitzpatrick. “This year, Rhode Islanders are decorating their Christmas trees with a miniature replica of the Washington Bridge ― complete with orange traffic cones shifting drivers away from the westbound lanes, which have been closed for more than a year. …

“Facing the choice of laughing or crying, many of the Rhode Island motorists who’ve spent time idling in bridge traffic jams have added a sardonic touch to their fir trees.

“Duke Marcoccio, the design artist behind mylittetown.com, said the Washington Bridge is by far the best seller from among the dozens of ornaments he sells. …

“Marcoccio, a Narragansett resident, said he has been making Christmas ornaments for 25 years now. The first was a replica of The Towers in Narragansett. Since then, he has created about 300 ornaments, including a Del’s lemonade cup, the Haven Brothers mobile diner, the Benny’s sign, and the Big Blue Bug. …

“The biggest hit has been the Washington Bridge ornament, Marcoccio said. He said he considered placing tiny orange traffic cones on the bridge deck, but they probably would have broken. So he just painted the cones and shifting lanes on the span. ‘They get the idea,’ he said.”

Read more of the entertaining story at the Globe, here. And please share holiday songs you like, especially ones that don’t get much play. Beautiful or quirky.

Louis Armstrong and his song “‘Zat You, Santa Claus?”

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Photo: Estaban Bustillos/GBH News.
A rider mounts a bull at New England Rodeo in Norton, Massachusetts, in September.

I have seen rodeos in Madison Square Garden and in Buffalo, Minnesota, and in the Southwest. But I never expected to hear there were rodeos in Massachusetts. I should have given a little more thought to the welcome variety of national cultures that have taken root here.

Esteban Bustillos reports at GBH News, “Drivers who pull onto the small road leading them to the New England Rodeo in Norton might well feel like they’ve arrived on a different planet.

“Located about an hour from Boston, the parking lot is a sea of cowboy hats, boots and pickup trucks. And as Kelly Pina, who helps with the behind-the-scenes paperwork for the rodeo, jokes, it’s New England’s best-kept secret. …

“The event is the only weekly event in the commonwealth to feature bull riding and barrel racing, making it a lifeline for rodeo culture that’s far from home. That’s especially important for Brazilians, who make up the vast majority of the bull riders at the rodeo. It makes for a swirl of English and Portuguese, Americans and Brazilians all coming together for a sport and lifestyle they love.

“Jullia Oliveira manages the rodeo’s bull riding — and she also speaks fluent Portuguese, a crucial skill given the high number of Brazilian bull riders in the sport. …

“Since Massachusetts has one of the largest Brazilian communities in the country, Norton’s rodeo is a natural hub. The owner, Elias DaSilva, hails from Brazil, too.

“ ‘It’s nice to have a place where they can come and feel comfortable and feel welcomed,’ Oliveira said. ‘Especially since they’re coming from another country, usually without being able to speak English.’ …

“As welcoming as the rodeo may be, the back of a bull is no place for the timid. As soon as the gate to the pen opens, it’s man versus nature. And for a few electrifying seconds, the riders are locked in a mesmerizing dance that shakes the earth beneath them as supporters scream and holler.

“But gravity and thrashing bulls have a way of getting the cowboys to hit the ground. As terrifying as it looks, they all dust themselves off and hop back up. Some even do so with a smile.

“Wesley Goncalves, Oliveira’s uncle, has been riding bulls most of his life. He says bull riding and soccer are the big sports in his home country of Brazil, so having the rodeo in Norton has been very important to him. … Walter Oliveira, Jullia’s father, is a bull rider as well. And having a local rodeo has been a game changer.

“ ‘We used to travel like six hours, seven hours, eight or more, sometimes sixteen hours, to go for a ride,’ he said. ‘And to have the New England Rodeo here, for us is great. For me, it’s one hour from my house.’

“Today’s established New England Rodeo is a long way from its humble beginnings. Tim Lee, one of the rodeo’s announcers, used to be a bullfighter — the type that helps wrangle a bull after it’s thrown a rider, not the matador-with-a-cape kind.

“ ‘Sometimes rodeo can be like a dying breed, but we’re never gonna let it die,’ Lee said. “There’s just nothing like rodeo, man. You bring so many people together like that, how could you have a bad time?’

“For Pina, the rodeo is a personal affair. Along with helping to run it, she’s a professional barrel racer, zooming through the dirt of the arena and weaving through barrels on horseback. And her husband, Ed Pina, is the other half of the rodeo’s announcing duo. …

“ ‘You come here a few times, you’re family. You work with us, you’re blood, no matter what,’ he said. ‘It’s about building our family bigger and teaching the next generation how to do our sport and to make sure our sport keeps going.’ ”

Shout-out to Craig, the bull rider who ran manufacturing for my husband’s former company. Despite bones repeatedly broken, he truly loved the sport. And he provided enthusiastic support to the many little kids who got their start by riding rams!

More at GBH, here.

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Photo: Ning Zeng.
An ancient log excavated and likely buried naturally, cleaned and dried, with the lower end sawed off for lab analysis.

And while we’re on the subject of reducing carbon in the atmosphere, consider an ancient process that works without our help. You may find it a little weird, however, especially as intentionally pursuing this natural approach merely postpones carbon escape for a few thousand years!

Dino Grandoni writes at the Washington Post, “On the outside, its rust-red bark had peeled. Its sweet, distinct cedar smell had disappeared. But at its core, it’s still as hard as a tabletop — and may just contain a way of slowing down rapidly rising temperatures.

“A 3,775-year-old log unintentionally discovered under a farm in Canada may point to a deceptively simple method of locking climate-warming carbon out of the atmosphere for thousands of years, according to a study published [in September].

“ ‘This accidental discovery really gave a critical data point,’ said Ning Zeng, a University of Maryland climate scientist whose team unearthed the ancient chunk of wood. ‘It’s a single data point,’ he added, but it ‘provides the data point we need to really say under what conditions we can preserve wood for a thousand years or longer.’

“Figuring out ways of sequestering carbon may be crucial to meeting the world’s goal of halting warming beyond 2 degrees Celsius above pre-industrial levels. … Doing something as simple as burying wood underground in the right spot, these researchers say, may be a cheap and scalable way of doing just that.

“Forests are Earth’s lungs, sucking up six times the amount of carbon dioxide (CO2) that people pump into the atmosphere every year by burning coal and other fossil fuels. But much of that carbon quickly makes its way back into the air once insects, fungi and bacteria chew through leaves and other plant material. …

“What if that decay could be delayed? Under the right conditions, tons of wood could be buried underground in wood vaults, locking in a portion of human-generated CO2 for potentially thousands of years. While other carbon-capture technologies rely on expensive and energy-intensive machines to extract CO2, the tools for putting wood underground are simple: a tractor and a backhoe.

“Finding the right conditions to impede decomposition over millennia is the tough part. To test the idea, Zeng worked with colleagues in Quebec to entomb wood under clay soil on a crop field about 30 miles east of Montreal.

“ ‘We were trying to do a small pilot project at first,’ said Ghislain Poisson, an agronomist with Quebec’s Agricultural Ministry who worked with Zeng. … But when the scientists went digging in 2013, they uncovered something unexpected: A piece of wood already buried about 6½ feet underground. The craggy, waterlogged piece of eastern red cedar appeared remarkably well preserved. …

“Radiocarbon dating revealed the log to be 3,775 years old, give or take a few decades. Comparing the old chunk of wood to a freshly cut piece of cedar showed the ancient log lost less than 5 percent of its carbon over the millennia.

“The log was surrounded by stagnant, oxygen-deprived groundwater and covered by an impermeable layer of clay, preventing fungi and insects from consuming the wood. Lignin, a tough material that gives trees their strength, protected the wood’s carbohydrates from subterranean bacteria. The team wrote up their results in a paper in the journal Science. …

“Said Daniel L. Sanchez, an assistant professor at the University of California at Berkeley who was not involved in the study, ‘Scientists and entrepreneurs have long contemplated burying wood as a climate solution.’

“The next step is to find prehistoric logs in other locations, to see how well other types of soil preserve wood. … The researchers estimate buried wood can sequester up 10 billion tons of CO2 per year, which is more than a quarter of annual global emissions from energy, according to the International Energy Agency.

“One of the biggest challenges isn’t so much the supply of wood but rather the cost of transporting it to the right spots, Poisson said. ‘There’s probably a lot of unmerchantable wood right now that doesn’t have any market or doesn’t have any purpose.’ “

Hmmm. What do you think? Transporting wood to a burial site wouldn’t just be costly, it would cause more emissions. Not sure the scientists have thought this through. More at the Post, here.

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Livestock produces a lot of methane, which is unlikely ever to be balanced out by carbon captured in the soil. The Soil Association Exchange wants you to know about a few positive effects, however. 

It’s an ongoing process to keep up on the latest, especially when it comes to protecting the planet. I myself once thought that massive tree planting had the biggest bang for the charitable buck. Then I learned that, although trees are important, they can’t help much without due consideration given to where and how they are planted, and what varieties of trees they are.

Today I’m trying to bone up on the situation with cows, which we all know (including a young grandson who has cut beef out of his diet) produce too much climate-warming methane gas.

James Tapper reports at the Guardian, “New data shows [cows] may play an important role in renewing farm soil. Research by the Soil Association Exchange shows that farms with a mixture of arable crops and livestock have about a third more carbon stored within their soil than those with only arable crops, thanks to the animals’ manure.

“This also has an effect on biodiversity: mixed arable and livestock farms support about 28 grassland plant species in every field, compared with 25 for arable-only and 22 for dairy-only.

“Joseph Gridley, chief executive of SAE, which was set up by the Soil Association in 2021 to support and measure sustainable farming, said it was unlikely that carbon captured in soil would balance out the enormous amounts of methane created by cattle. Farm livestock around the world creates about 14% of human-induced climate emissions.

“ ‘It’s pretty unequivocal in the data that having livestock on your farm does mean you have more emissions – five or six times more emissions,’ he said. ‘But if you integrate livestock into the system, on every metric on soil health, there’s an improvement, and on a lot of the biodiversity measures as well.’

“Soils are degrading, but by how much exactly is unclear. In 2015, the UN Food and Agriculture Organization claimed that the world had only 60 harvests left, but researchers at Oxford University and Our World In Data said in 2021 that there was a complex picture. …

“Lee Reeves, UK head of agriculture at Lloyds bank, which helps fund SAE … suggested ministers should create a decarbonization strategy, and a standardized carbon calculator, so that farmers and other businesses could use a single tool to calculate their carbon impacts.

“ ‘Moving from traditional to regenerative farming can see a dip in profitability for the first five years, so the government needs to support farmers and banks in that,’ he said.

“[In the UK] the Department for the Environment, Food and Rural Affairs has been investigating so-called methane blockers as a way to reduce emissions. Adding substances such as essential oils, probiotics and even seaweed to cattle feed can reduce the amount of burps and wind they generate.

“Last month the Green Alliance charity said that feeding Bovaer, a methane blocker, to a third of the UK’s dairy cows would cut the country’s emissions by about 1%. Yet this is not happening, the campaign group warned, because farmers were unwilling to pay extra for something they did not benefit from. It said methane blockers should be subsidized, as other green farming schemes were.”

More at the Guardian, here. The Natural Resources Defense Council explains more about regenerative farming here.

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Photo: MSG Entertainment/Victoria Lewis.
In “Parade of the Wooden Soldiers,” the 36 Rockettes on stage imitate the stiff movements of toy soldiers. This photo was taken during a dress rehearsal on November 6, 2024. 

For many New Yorkers and visitors to New York, the holiday season is a time to see the Rockettes at Radio City Music Hall. I went there once as a child with my babysitter. We saw the Rockettes, and then we saw the featured movie. The movie was Million Dollar Mermaid, a biopic about an Australian swimming legend. It starred Esther Williams and it made a big impression on me. Maybe an even bigger impression than the Rockettes did.

But the Rockettes are a wonder of the world. And today’s article — from Popular Science, of all things — explains just how they do what they do.

Laura Baisas writes, “Every holiday season, the Radio City Rockettes dazzle with their eye-high kicks that seemingly defy gravity. During the precision dance company’s roughly 200 shows over eight weeks, a dancer can do up to 650 kicks in a single day. For all this kicking, Rockettes must stay in peak physical condition. While this signature kick is a festive feat of physics in its own right, the math on stage also makes the magic.

“The Rockette’s home at Radio City Music Hall in New York City first opened its doors in 1932. … With this storied stage history, it should come as no surprise that a show that has been running for close to a century continues to use some tried-and-true, but admittedly low-tech methods. 

‘Our stage is set up like a giant piece of graph paper.’ 

“ ‘Our stage is set up like a giant piece of graph paper,’ Julie Branam, a former Rockette herself and the current director and choreographer of the Radio City Christmas Spectacular, tells Popular Science. ‘Every two feet, there’s a number and a dash or a solid line. There are also colored lines, so you will see red, green, blue, white, and upstage of each one of those lines is a dotted line. So everywhere you look, is a giant piece of graph paper and that’s how we figure things out.’ …

“Rehearsals typically start in October and the whole show is plotted onto actual paper so that the choreographers and dancers can get an idea of how their dances will look from the audience. For example, the iconic ‘Parade of Wooden Soldiers‘ number is seven pages long for roughly five to six minutes of dancing. 

“ ‘As we are learning choreography, I can sort of see almost an overhead visual of where my coordinate is,’ Danelle Morgan, a current Rockette who also serves as an Assistant Choreographer and Dance Captain, tells Popular Science. …

“ ‘Parade of the Wooden Soldiers’ is one of the original numbers from the show, which has been performed since the Christmas Spectacular first premiered in 1933. It’s a fan favorite, for its military-like steps and the iconic slow fall at the piece’s conclusion. …

“ ‘Every four counts they’re going to replace the line in front of them and we have 24 counts. And then that spoke [of the wheel] will revolve,’ explains Branam. ‘So you can really see where you’re going and know where everybody is and how far they’re traveling.’

“Choreographers will also use design softwares like OmniGraffle to create a digital version of these stage puzzles and plot the movements of the 36 dancers on stage. Each dancer follows an individual track, so she knows what order and where to go on the stage. Everyone is also lettered so that they can refer back to the plot points and quickly see where they need to be. Still, it’s all easier said than done on paper. 

“ ‘As a dancer, I challenge my body so much, but each Rockette has to challenge their brain so much as well.’ … says Morgan. ‘When you step into this position, then it’s a completely different brain game and a different brain challenge. It’s puzzles.’ …

“Since uniformity is key to making the precise patterns that the Rockettes are famous for, the company has what are called swings. In performing, swings are sort of an understudy times 10, who has to learn multiple parts instead of just one. Morgan is currently one of 12 swings in the company. …

“ ‘We know every single Rockette’s individual track, with the help of our charts and the information that we get in rehearsal, so we’re ready to jump in at a moment’s notice,’ says Morgan. … ‘We can jump in costume and then give the audience the same show that they deserve every single show. It’s a high adrenaline situation every time.’

“The festive costumes might make being Rockette look glamorous, but it takes a lot of grit to be a Rockette. In addition to the precision of their dancing, costume changes as short as 78 seconds, and physical challenges, there is also the mental load of performing in up to four shows a day for eight weeks. 

“That comes down to ‘training your resilience,’ putting mind over matter, and importantly, leaning on your fellow Rockettes when you think you just can’t do another kick. The special appearances at major events like the Macy’s Thanksgiving Day Parade or Rockefeller Center Christmas Tree Lighting or working with younger dancers also help boost company morale. 

“ ‘It’s just constantly having that reminder that what we do is something super unique that brings so much joy to so many people,’ says Morgan. ‘I think that helps us get through and keeps us motivated.’ “

More at Popular Science, here.

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Photo: Giacomo Augugliaro/Getty Images.
A loggerhead turtle (Caretta caretta) off Elafonissos island in Greece, where the rebound in population has been called “phenomenal.”  

Today’s article is about the resurgence of turtles in Greece. But before I get into it, I need you to indulge my current train of thought about turtles.

There are the chocolate, caramel, and pecan-footed “turtles” that my sister-in-law makes every Christmas, turtles that this week have gotten certain farflung relatives wildly excited.

There are songs about turtles like one I just found out my exercise teacher made for a fundraiser years ago, here.

And there are turtle fans all over the world who are bringing real turtles back from the brink of extinction. Slowly but surely.

Helena Smith writes for the Guardian about that.

“After nearly a quarter of a century observing one of the world’s most famous sea turtle nesting grounds,” she reports, “Charikleia Minotou is convinced of one thing: nature, she says, has a way of ‘sending messages.’

“Along the sandy shores of Sekania, on the Ionian island of Zakynthos, what she has seen both this year and last, has been beyond her wildest dreams. The beach, long described as the Mediterranean’s greatest ‘maternity ward’ for the Caretta caretta loggerhead sea turtle, has become host to not only record numbers of nests, but record numbers of surviving hatchlings as the species makes an extraordinary resurgence.

“ ‘The message sea turtles are sending is very clear,’ said Minotou, who coordinates the WWF program in the protected area. ‘And that is the measures we have taken over the past 25 years to ensure conditions are right for the marine turtles to nest here are working … It’s fantastic.’

“One of the oldest living species, sea turtles are believed to have existed for more than 100m years. Although highly migratory – over a lifetime, the reptiles cross thousands of miles of seas and oceans – female turtles always return as mature adults, about 20 to 25 years later, to the habitat where they were born to lay eggs. It is a reproductive cycle that happens with perfect synchronicity. In Sekania and other nesting grounds in Zakynthos and around Greece, turtles tagged at birth by conservationists a quarter of a century ago are now reappearing to nest.

“ ‘It’s hugely moving,’ says Minotou, a sustainable development expert who highlights the importance of technological advances, including the installation of CCTV cameras, in helping to ward off seagulls, ghost crabs and other predators. ‘This year more than 1,200 nests have been recorded in Sekania, which is one every 50cm [~20 inches] of beach. An amazing number.’

“From Spain in the west to Cyprus in the east, the Mediterranean has witnessed a record rise in sea turtle nesting – testimony to the painstaking efforts of environmentalists determined to save an ancient mariner that not that long ago was on the verge of extinction. Only one in 1,000 turtle hatchlings makes it to adulthood, making the turnaround even more remarkable.

“In Greece, which hosts 60% of Caretta caretta nests, the rebound has been phenomenal: from an average of 5,000 to 7,000 nests per year, since 2023 over 10,000 nests have been recorded annually, according to Archelon, the Sea Turtle Protection Society of Greece. …

“Thirty years ago, before the creation of a state-funded marine park on Zakynthos – the country’s biggest sea turtle nesting ground after the bay of Kyparissia in the Peloponnese – Greek authorities appeared oblivious to the plight of a species whose survival is now widely recognized as vital for marine ecosystems and the region’s ecological biodiversity.

“Few have more vivid memories of the dangers the creatures once faced than Lily Venizelos, who founded the UK-based Mediterranean Association to Save the Sea Turtles (Medasset) in the 1980s.

“The doughty campaigner, now in her 90s, spent years lobbying successive Greek governments to legislate policies to protect Caretta caretta from the then nascent threat of tourism and other perils posed by speedboat propellers, beach furniture and human activity in marine turtle habitats, conservationists say. …

“ ‘It’s been the most wonderful news, at my age, to find out that the Caretta caretta are no longer so threatened, but it’s crucial protective measures continue to be enforced. One false move and everything could be lost.’ ”

Do you have any thoughts on why turtles are so beloved? I think for me it’s their patience, the way they get everything done that they need to do while moving slowly.

More at the Guardian, here. No firewall.

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Photo: Singer and blogger Will McMillan.

I’ve been following the singing career of Will McMillan even longer than I’ve been following his blog, which I see several of you also follow. If you haven’t checked it out yet, I think you will like it: not just for the thoughtful way Will writes about living life with awareness but for recordings of some of his songs and links to others.

One of the many things Will does is prepare fascinating research on famous songwriters and present shows about them, often in libraries or retirement places. He comes up with obscure tidbits about his subjects’ lives and obscure songs that I guarantee you’ve never heard, no matter how famous the featured songwriter.

Ever since Will and pianist Joe Reid presented a show I saw on Cole Porter, I’ve been wanting to share a song he unearthed, a funny one about an ambitious oyster.

Watch out now! I’m into spoilers. The song ends as the little oyster, having previously descended down an elegant throat, begins to get jostled:

“Off they go through the troubled tide
“The yacht rolling madly from side to side
“They’re tossed about till that fine young oyster
“Finds that it’s time he should quit his cloister
“Up comes the oyster

“Back once more where he started from
“He murmured, ‘I haven’t a single qualm
” ‘For I’ve had a taste of society
” ‘And society has had a taste of me.’ “

Read all the lyrics at Oyster. If you don’t already read Will’s blog, click here. And you can download his songs at any of the sites that offer music, listed here.

Now a few words from Will:

“My latest releases are a wise gem by Stephen Flaherty and Lynn Ahrens called ‘Love Who You Love,’ the Frank Loesser gem ‘Thumbelina,’ a sassy Rodgers & Hart classic ‘The Lady Is A Tramp,’ a lovely song called ‘Cry (If You Want To‘ by Casey Scott, the Gershwin Brothers favorite ‘ ‘S Wonderful,’ an original song called ‘Boil A Frog Slowly,‘ and the Bacharach/David chestnut ‘Alfie.‘ “

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Photo: Sushmita Pathak.
Ritmani Devi, one of roughly 60,000 women in India trained as goat nurses under the Pashu Sakhi initiative, stands with her herd in Angara, India, March 19, 2024.

It seems wrong somehow that there should ever be a need to “empower” women, anymore than there is a need to empower men.

But such is the case, whether women live in rich countries or in the most impoverished villages of India.

Still, it’s better to have empowerment initiatives for women than to do nothing about the imbalance.

At the Christian Science Monitor, Sushmita Pathak reports from India about one such initiative, “Dressed in a light-blue sari, Ritmani Devi cradles two black baby goats as she guides a flock of ducks toward its coop. …

“A few years ago, this muddy yard was much less lively. Ritmani Devi’s goats would often die, she says, and the ones that survived weren’t very healthy. This was common here in the east Indian state of Jharkhand and throughout the country.

“India is home to one-sixth of the world’s goat population. A goat is a valuable asset for a low-income family, ready to be sold at a moment’s notice in case of emergencies. But with owners lacking basic animal health knowledge, that’s all they were – a one-time, last-ditch safety net, rather than an alternative stream of income. Plus, poor access to veterinary services led to high mortality and morbidity rates among goats.

“Now, results from one novel initiative that began a decade ago indicate the tide may be turning. The Pashu Sakhi, or ‘friend of the animal,’ program works to fill gaps in veterinary care by transforming rural, semiliterate women into community animal health care workers, or ‘goat nurses.’ With support from the Indian government, the World Bank, the Gates Foundation, and others, around 60,000 women across India have been trained to provide services like vaccination and deworming, leading to a spurt in goat populations in several states. They are paid for the care they provide, and gain a sense of pride and independence. …

“At the community hall near Ritmani Devi’s home in Getalsud village, the walls are painted with training material, including illustrations of common symptoms to look out for, like swelling under the animal’s mouth or pale eyes, and tips on how to negotiate better rates for goats in the market. 

“Jharkhand was one of the first states in India to adopt the Pashu Sakhi model. Having women at the forefront of the initiative was a natural choice, says Swadesh Singh, a livestock specialist at the Jharkhand State Livelihood Promotion Society, the government agency that runs the program.

“In rural India, the responsibility of managing small ruminants and poultry usually falls on women. Meanwhile, veterinary doctors – who sometimes serve multiple village clusters alone – focus on larger, more valuable animals like cows and buffalo. Before the program, goat mortality in Jharkhand was 50%, says Dr. Singh. Authorities say that figure is now below 15% – thanks in large part to the state’s goat nurses.

“The typical Pashu Sakhi candidate has at least eight years of schooling. After being selected by the state’s livestock department, they’re taught how to administer vaccines, what type of fodder is best for the animals, and how to give preventative care. More advanced nurses also get trained in managing disease, performing castration, goat breeding and marketing, and more. 

“Goat nurses are often the first responders in any livestock-related medical emergency, in addition to conducting regular check-ups and advising others on goat rearing. Their proximity is a huge advantage. Hailing from the same community that they serve makes it easier to build trust, and the women can take on as much work as they like. 

“Livestock owners pay a fixed sum for each service – about 12 cents for every vaccination, for example – and goat nurses also receive a small stipend from the government. Ahilya Devi says she makes anywhere from $25 to $85 a month. That money goes toward her children’s school fees, groceries, and other household expenses – and, occasionally, a personal treat like makeup. 

“ ‘Earlier, I had to consult my husband for every expense,’ she says. …

“To be sure, the work comes with challenges. Farmers are often reluctant to pay for services, says Dr. Singh, and there’s the risk that goat nurses may be threatened or harmed if an animal dies under their care. …

“Still, the initiative has paid rich dividends. In some districts of Bihar, Maharashtra, and Haryana, goat mortality fell to single digits. Between 2012 and 2019, Jharkhand’s goat population – which had become stagnant – grew by nearly 40%, and another livestock census is expected to take place this year. Spurred by the program’s success, goat nurses in some parts of Jharkhand are also being trained to cater to larger animals like cattle, says Dr. Singh. …

“The initiative has contributed to ‘the building of social capital and self esteem’ among urban women, wrote [Observer Research Foundation senior fellow Arundhatie Biswas Kundal]. People often refer to the goat nurses as ‘doctor didi,’ meaning an elder sister or person you think highly of. …

“But none of this happens overnight. When Ahilya Devi first started as a goat nurse, people would look at her with some suspicion. ‘Even those from my own village did not recognize me, because I did not step out of the house much,’ she says.

“Now, nearly a decade later, they welcome her into their homes with respect.”

More at the Monitor, here.

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Photo: Michael Blackshire/Los Angeles Times.
Carol and Dave Clark in front of artist Ray Vasquez’s works exhibited in one of the micro-galleries they built. 

I wrote about Stacy Milrany’s mini art gallery a while back and have been following her work ever since via Instagram. Her idea was to create an art gallery similar to what most of us know as the Little Free Library, a box to hold free books, set up like a mailbox in residential neighborhoods.

Now a couple in California have taken the idea a step farther.

Stacy Perman wrote at the Los Angeles Times, “Two years ago, Long Beach artist Dave Clark exhibited a small sculpture of his called ‘Together. Forever. Maybe. Regret’ at the local Mantel Gallery — itself a small, repurposed Little Free Library that does double duty: When it’s not filled with books, it displays the works of artists like Clark.

“At the time, Clark and his wife, Carol, were struck by the concept. ‘That’s cool,’ he said. ‘But what if I had something bigger? You can put more art in there, and it becomes more of a real functional art gallery.’ While his neighborhood had many artists, he noted, it did not have any galleries.

“Inspired, he designed and built a micro-gallery measuring about 16 inches wide and 14 inches tall. It has movable walls, a floor and a ceiling that could be adapted for rotating artworks; a solar panel powers the little ceiling light. He installed it on the front yard of their house in the Wrigley neighborhood. They named it Gallery 17, the sum of the numbers on their Eucalyptus Avenue address.

“Last summer, the couple organized an exhibit by local artist Cody Lusby. About 40 people showed up. One of their neighbors saw it and wanted a Clark micro-gallery too. Soon, others began commissioning Clark to build micro-galleries on their front lawns. And then, artists from around Los Angeles and as far away as Ecuador began asking to show their works in them.

“An archipelago of 10 micro-galleries stretches around neighborhoods in Long Beach as well as in San Pedro and Lomita. Two more, also in Long Beach, are set to be built in the coming weeks. …

“ ‘It’s important that art become a part of everyday life,’ said Linda Grimes, executive director of the San Pedro Waterfront Arts District, who’s husband commissioned a micro-gallery for her birthday in April. ‘Not everybody feels welcome going into an art gallery or a museum. We started painting those traffic signal boxes so that people could see art and appreciate it outside, on the street every day. And then we painted large scale murals.’ …

“ ‘I thought what a great idea Dave had,’ [said Eric Almanza, a classically trained oil painter]. ‘Instead of books, this has little masterpieces that can brighten someone’s day. There’s been many times I’ve headed outside the house to run an errand and encounter someone at the box looking inside.’ …

“Almanza, whose own photo realistic paintings examine the nexus between politics, culture and identity with a focus on the border wall and immigration, initially made scaled down prints to show in the box and sold them for $50. …

“ ‘I like the idea of being able to bring art to the masses in the community,’ he said. ‘I think nowadays we don’t see much public art. I feel like art in general is not as appreciated as in the past. This felt like a good way for artists to show their work and to put public art in my neighborhood.’ ”

More at the LA Times, here.

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