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Originally, I was just going to write about a new State Department program that brings foreign cultural acts to the United States. There had been a story in the Boston Globe.

“The US State Department, which has long sent American artists abroad as part of its cultural diplomacy efforts, is for the first time launching a sizable program to bring foreign performers here — an initiative administered by the New England Foundation for the Arts. Comedians, puppeteers, musicians, and dancers from Pakistan, Haiti, and Indonesia will tour to small and midsize cities across America next year as part of the nearly $2 million Center Stage program. ‘Since the early ’50s, we’ve basically sent groups overseas to do people-to-people exchange for mutual understanding,’ said Ann Stock, assistant secretary of state for educational and cultural affairs. ‘This is the first time we’re bringing 10 groups to Main Street America.’ ”

It sounded like a nice experience for foreign visitors and audiences alike.

But not all summer visitors who come in under the auspices of the State Department get what they expect. J-1 visas, for example, are given out for young people to work here and enjoy cultural interactions. But according to Monica Lopossay in Thursday’s New York Times, things cans go wrong, especially if job placements are contracted out to contractors who also contract them out.

In Palmyra, near Hersey (PA), “Hundreds of foreign students, waving their fists and shouting defiantly in many languages, walked off their jobs on Wednesday at a plant here that packs Hershey’s chocolates, saying a summer program that was supposed to be a cultural exchange had instead turned them into underpaid labor.

“The students, from countries including China, Nigeria, Romania and Ukraine, came to the United States through a long-established State Department summer visa program that allows them to work for two months and then travel. The students said they were expecting to practice their English, make money and learn what life is like in the United States.

“In a way, they did. About 400 foreign students were put to work lifting heavy boxes and packing Reese’s candies, Kit-Kats and Almond Joys on a fast-moving production line, many of them on a night shift. After paycheck deductions for fees associated with the program and for their rent, students said at a rally in front of the huge packing plant that many of them were not earning nearly enough to recover what they had spent in their home countries to obtain their visas.” Read more here.

In Rhode Island, our family often meets up with young adults on J-1 visas. They staff the grocery store and the restaurants in summer. For us, it is a nice cultural exchange to talk to people from Ukraine, Moldova, or Serbia, but it’s hard to know if the visitors are having a valuable experience. Often their housing is not great, but the location is beautiful and many make good friends.

If you know more about this, do weigh in.

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The Edinburgh Fringe Festival of short theater pieces always sounds like as much fun as the Newport Folk Festival of the 1960s. Maybe more fun.

An intriguing example is described in the August 16, 2011, issue of the Guardian.

“Some shows at the Edinburgh festival are daylight robbery. Some are cheap at the price, and some cost nothing. There is only one show at this year’s festival, however, that invites members of the audience to come on stage and shred their banknotes. And the surprise of it is, people do it.

“Gary McNair, a Glasgow-based theatre-maker, is the artist behind the one-man show Crunch, which runs until 27 August at Forest Fringe. Conceived in the wake of the financial crisis, while McNair was an associate artist of the National Theatre of Scotland, the show seeks to critique money as a belief system. In it, McNair promises a ‘five-step programme’ to ‘release you from the terrors of the financial system.’ …

“The climax of the show was … the moment when he suggested members of the audience feed their hard-earned cash through an office shredder, ‘as a vaccine against the disasters of the future, so that money and greed will lose their grip on you.’ Five did, with £10 notes as well as £5 notes returned to their owners as useless slithers of paper.” Read more here.

At YouTube, McNair Explains his art.

Meanwhile, Cookie Monster contends that “God’s Away on Business.”

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I had heard about community-supported-agriculture-type efforts that deliver fish directly to consumers in the Greater Boston area. Very fresh. What I did not know is that this sort of initiative is taking place on a wider scale.

My husband recently pointed out a NY Times story on how professional Rhode Island fishermen have made it easy for chefs to buy directly from the daily catch. And according to the Times, the chefs are ecstatic.

“This boat-to-table initiative is part of Trace and Trust, a program that [Point Judith-based fisherman Steve] Arnold; Christopher Brown, the head of the Rhode Island Commercial Fishermen’s Association; and Bob Westcott, another local fisherman, started this year to make fishing more lucrative and shopping more reliable. …

“Trace and Trust comes at a moment when the seafood industry is under attack because of misleading labeling as well as the freshness and sustainability of what it sells. Consumers and fishermen have reacted by setting up community-supported fisheries, in which consumers pay in advance for a weekly delivery of seafood. And fishermen have reached out to chefs before. But Trace and Trust has used technology to create a more direct and responsive connection between consumers and fishermen than any other program in the country, said Peter Baker, director of Northeast Fisheries Program for the Pew Environment Group.”

Read more here. See also the Pew Environment Group’s focus on Conserving New England Fish.

Because of the field I’m in, I do have to spare a thought for the fish-processing jobs that may be lost with more of this direct marketing, but there is no doubt that for the fisherman, the consumer, and the restaurant, fresh is best.

Here’s a picture I took of the Point Judith (RI) fishing fleet at rest.

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My friend and former colleague Mary Ann acquires, edits, and designs lovely craft books for Quarry. Today on Facebook, she linked to this article by one of her authors, Los Angeles Times writer Jeannine Stein.

Jeannine has published two craft books on making your own books: Re-Bound: Creating Handmade Books from Recycled and Repurposed Materials and, this year, Adventures in Bookbinding: Handcrafting Mixed-Media Books. This quote from Stein’s LA Times article gives you an idea of how she thinks about these projects.

“As I learned more complicated traditional bindings, I also gravitated toward unorthodox materials such as 19th century photographs, old quilts, cereal boxes and vintage record albums. My fascination with these materials was really born from books. Reading Laura Ingalls Wilder books made me crazy for worn, faded quilts, calico fabric and rough, unbleached cotton and linen that to this day inform my work. I cannot go to a flea market or thrift store without pawing through every basket of vintage linens, and I have a vast collection of 19th century tin types, carte de visite photographs and cabinet cards that inevitably become book covers or embellishments.”

By chance, my friend Kristina, who is an artist and teaches after-school art classes in her studio, is deep into planning student projects for the coming school year, with a focus on the art of books and bookmaking. I like making connections in general, and in particular, I have been passing leads to Kristina from Mary Ann. And while I was at it, I also promoted Quarry Books to the owner of Dabblers, a craft shop in Concord.

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The blue-collar city of Buffalo, New York, has struggled in recent decades with unemployment and economic decline. A few years ago, it had a big idea for redeveloping its waterfront — a big idea that went up in smoke.

But when residents and local organizations starting thinking small instead of big, good things began to happen.

“In 2004, it was decided that the region would invest large sums of public money [at the site of the old Memorial Auditorium] to draw a new outlet for Bass Pro Shops, a national purveyor of sporting goods and fishing equipment. Local leaders scraped together $65 million in promised tax breaks, infrastructure improvements and other public subsidies to speed its arrival and to catalyze a new era of growth and commerce on the waterfront. It was all for nothing.

Since the Bass Pro deal collapsed, the harbor development corporation has shifted its focus on some comparatively tiny, piecemeal projects, such as the multicolored Adirondack chairs that dot the waterfront park, a new small restaurant that dispenses ice cream and veggie burgers, Jason Mendola’s fledgling kayak rental business and the relocation of the free Thursday at the Square concerts to Canalside’s Central Wharf.

None of those improvements required huge investments. None were heralded as keystone projects for future growth. But together, they have begun to transform the phrase ‘waterfront development’ from an oxymoron into a reality.”

Read the thoughtful article by Colin Dabkowski in the Buffalo News. I found the lead at ArtsJournal.com.
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By the way, when my mother met my father, he was an editorial writer for the Buffalo Evening News, the forerunner of the Buffalo News. She was attending law school.

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I’ve been thinking of Lucille Corcos the last couple weeks. I have no idea why, but I hope eventually to reconstruct the train of thought that led to her. She was an artist I knew when I was a child. I rediscovered her art in the 1990s in a Minnesota museum. That was when I realized I love it.

Since Corcos wasn’t in Wikipedia, in spite of having works in museums, I taught myself how to write a Wikipedia contribution and am just waiting for the Wiki experts to let me post it.

As Cipe Pineles Golden and Martha Scotford write in Cipe Pineles: A Life in Design (New York: W.W. Norton & Co., 1999), Corcos and her artist husband, Edgar Levy, moved from New York City to the artsy South Mountain Road in Rockland County, New York, in 1941.

“Corcos was a successful painter and illustrator by this time. In the 1930s, fashion, culture and home magazines published her work and her popularity continued into the 1960s. Cipe Pineles’s close friendship with Corcos had begun when Pineles commissioned Corcos’s work for Seventeen and Charm. Her humor in personal interactions and in her art made her an engaging collaborator. Corcos’s paintings were densely packed with many small stories and commentary. The compositions had detailed multiple subjects; perspective and scale were distorted for practical and expressive purposes. This new modern primitivism was considered part of a native tradition in American art and its ‘unacademic’ nature was celebrated. Corcos’s subjects included rural landscapes and urban scenes, ranging from Christmas Eve, Rockfeller Center to The Oyster Party  to Everybody Meets the Boat. In addition  to doing commissioned illustration, Lucille Corcos built her career as a fine artist and was a steady participant in New York gallery shows from 1936 to 1954. During the same time, she was a part of major exhibitions in Chicago, Pittsburgh, Philadelphia, Washington, D.C., and other institutions in New York.”

I found a few other tidbits about her by Googling around. For example,  I found an article in the July 12, 1954, issue of Life magazine that shows two Corcos paintings, one of her life in winter in Rockland County, another of activities around her Fire Island house in summer. And here is a 1950 painting of her Fire Island house. I remember the house well.

Levy was often spoken of as the great artist in the family, with his numerous Picasso-esque paintings of his wife as mostly feet and eyes, but my mother pointed out that Corcos herself had an art career. Levy is not in Wikipedia either, but I leave it to an admirer of his art to fix that lapse.

 

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Nicole Freedman is a woman with a mission. A professional bike racer from 1994 to 2005 and a competitor in the 2000 Olympics, she was appointed by Boston Mayor Menino in 2007 to move the city from the bottom of the bikable-cities list to the top. In a few years, much has changed. Protected bike lanes have appeared all around the Greater Boston area, citywide biking events have enticed everyone from beginners to experts, and new bike maps are widely available.

Now Freedman and the New Balance company have brought bike sharing to the Hub. It’s not just for Europe anymore.

“New Balance Hubway is your Boston bike sharing system. Launched in Boston on July 28, 2011, with 61 stations and 600 bicycles, with an eye towards expanding into Boston neighborhoods and surrounding communities, New Balance Hubway provides you with an accessible and green transit option. Rent a bike near your home or office and pedal your way to the next lunch meeting, errand or shopping trip, or to visit friends and family.”

Read more here. Learn how you can borrow bikes and where you can return them.

But BYO helmet because Boston drivers are still Boston drivers.

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Fun with T-Shirts

If you are in Boston’s South Station and suddenly realize you need  a T-shirt from a vending machine, you are in luck.

I had not seen a T-hsirt vending machine before and had T-shirts on my mind today because I had just read a very strange story about T-shirts in Germany. It seems like one of those great ideas that, once it has been tried, can never work again. No one at a skinhead concert will ever accept a free skull and crossbones T-shirt now. (Although I suppose the technique could be tried against other political groups who don’t read Der Spiegel. Ideas, Anyone?)

Here’s the story: “With a skull-and-crossbones logo and the message ‘Hardcore Rebels – National and Free,’ some 250 black T-shirts given away at a recent right-wing extremist rock festival were quickly snapped up. But there was more to the tough-looking image than met the eye.

“Once the rightist rockers washed their new shirts, they were dismayed to find an entirely different message: ‘If your T-shirt can do it, so can you. We’ll help to free you from right-wing extremism.’ The offer, complete with contact information, came from a group called Exit Deutschland, which helps people get out of the neo-Nazi scene.” Read more.

Of course, this all assumes that recipients sometimes do a laundry.

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Efforts are underway to reclaim the soil pounded to smithereens by the Big Dig. Certain plants are considered especially restorative, and I have enjoyed watching them grow on the strip between the farmers market plaza and the Greenway.

By the way, the Greenway, of which I have written before is just gorgeous at this time of year. Everyone walking through there looks happy. And most people seem content to obey the rules. Here is a rule written in the Greenway’s typically lighthearted style.

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I care about the original meanings of words. Poet John Ciardi cared even more than I do. A random thing I recall from his book How Does a Poem Mean? is that a person alert to word derivations would never say that a ship “arrived” at an oil platform in the North Sea because “arrived” is from the Latin words “to shore” and a North Sea platform is not the shore.

My office window overlooks the location of the Boston Tea Party. So lately, I have watched the museum rising from the ashes of a fire that destroyed it years ago, and I have been thinking about original tea parties.

When I was little, I loved to use the visit of a friend as an occasion for a tea party in our large attic closet. My mother or a babysitter would make a pot of tea and very buttery cinnamon and sugar toast, and my friend and I would cart it all upstairs with the cups, saucers, spoons, sugar, napkins, and milk, and have a tea party by the glow of flashlights.

Then there is my feeling for the tea party in Alice in Wonderland. That is perhaps the most important tea party to me because, at age 10, I understudied Alice in a local production of the play, which had been adapted from the book by New York television director Binny Rabinowitz.

I think part of the reason I loved that experience so much was because Alice is a sensible little girl who tries hard to follow all the rules laid down for her, but she is surrounded by completely inconsistent, stubborn, unreliable, and unreasonable adults. In spite of the enormity of the task, she keeps trying to help these grownups make sense. I loved the tea party scene, in which my best friend, Carole, was the dormouse (“Twinkle, twinkle, twinkle … zzzz”). Today I’m thinking about the fact that, other than Alice herself, all the tea party participants were quite mad.

Quite, quite mad.

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Juliette Kayyem,  assistant secretary for intergovernmental affairs in the United States Department of Homeland Security, often writes op-eds for the Boston Globe. Her piece today is on new polling by the Gallup Center for Muslim Studies and the Abu Dhabi Gallup Center. An interesting finding of the poll is that among different religious groups in the United States, American Jews are more likely to see Muslim Americans as loyal to the United States.

“Jewish Americans are much more likely than any other non-Muslim faith to see US Muslims as loyal. Eighty percent of Jewish Americans have trust in Muslim Americans as Americans. (Only 56 percent of Protestants and Mormons said the same.) Muslims and Jews are the most likely to believe that Muslim Americans have no sympathy for Al Qaeda.”

Kayyem sees common ground here, and she moves on to what William Brandeis said in 1905  as the first Jew named to the Supreme Court. His paper “What Loyalty Demands,” she opines, is a powerful argument for the belief that adherence to one’s own religious values is “the greatest form of fidelity to America.”

Read the article here.

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The other day on an American Public Media radio broadcast, I heard a story about Better Block Houston and its approach to urban revitalization. “The Better Block is a national movement which originated in the Oak Cliff neighborhood of Dallas. Better Block projects have improved neighborhoods in Chicago, Dallas, Fort Worth, Portland, and Memphis.”

Concerned residents focus on a vision for one block and throw a daylong event showing the potential.  The idea is that visitors might come to see the event and its special one-day amenities and would then notice cool things about the area and decide to return. New businesses might decide to move in. Sounds like wishful thinking, but the Better Block folks claim the approach is attracting more foot traffic and business.

“The ‘Better Block’ project provides a one-day living workshop of how a ‘Complete Street’ works, by actively engaging the community, helping them to visualize better outcomes for the future, and empowering them to provide feedback in real time. Better Block is a fun and interactive demonstration of a ‘Complete Street’ — and what it can do for a neighborhood. Complete Streets …  are designed and operated to enable safe access for all users. Pedestrians, bicyclists, motorists and transit riders of all ages and abilities must be able to safely move along and across a complete street. Complete Streets make it easy to cross the street, walk to shops, and bicycle to work. They allow buses to run on time and make it safe for people to walk to and from train stations.”

In Boston, a young couple I know, Sam and Leslie Davol, had an idea to set up a temporary library in Chinatown, which had not had a branch library in decades. Their project made use of a storefront that had been vacant during the economic downturn.

Leslie just sent out an e-mail about what they’re working on next: The Uni Project.

“Many of you know the Storefront Library, which Sam and I undertook in a vacant storefront in Boston’s Chinatown last year. That project had a big impact on us, just as it did on the Chinatown community. Since then, we’ve helped several local groups take over the books and Chinatown’s library advocacy, and we’ve spent time exploring a broader need for places like libraries in urban neighborhoods and cities generally. …

“The Uni is a portable infrastructure that will allow us to quickly deploy and create staffed, open-air reading rooms in almost any available urban space. The Uni is based on a system of cubes, and the books inside those cubes are just the start. Like libraries, we plan to use the Uni to provide a compelling venue for readings, talks, workshops, and screenings, through partnerships with local organizations and institutions. And the best part, once we fabricate this lightweight infrastructure, we can keep it running, serve multiple locations, and even replicate it.” Read about The Uni Project here.

8/11/12 update on Uni Project here. Now it’s even in Kazakhstan.

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I blogged about my annual carrot cake here. I was wondering what to do with the leftover buttermilk. Margareta commented from Sweden that we should just make more cakes. She had a houseful of teenagers at the time and sweets were all they were eating.

Meran, however, was able to use up the buttermilk by making two pans of remarkably yummy cornbread.  After we ate our fill, we cut pieces, wrapped them in foil, and froze them.

Having provided the ingredients for the carrot cake in the July 17 post, I now proceed to explain how to bake it.

2 cp flour, 1 tsp baking soda, ½  tsp salt, 1-1/2 cp sugar, 2 tsps cinnamon, 3 eggs, ¾ cp buttermilk, ½ cp oil, 2 tsps vanilla, 1 8-1/2 oz can crushed pineapple, 2 cps grated raw carrots (no liquid), 1 cp chopped nuts, 1 cp flaked coconut

Preheat oven 350 degrees

Sift flour, soda, salt, cinnamon, and sugar together in a big bowl.

Beat the eggs with the buttermilk, oil, and vanilla. Add to dry ingredients all at once and mix until smooth. Fold in the rest of the ingredients and pour the whole batter into a greased, floured 9 x 13 pan. Bake for 45 minutes or until the center springs back when lightly touched.

You’re going to love it.

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To paraphrase a character in the Brian Friel play “Translations,” if you impose a language on people, one day you may find that their speech “no longer fits the contours of the land.” Language is critical to identity. People can always learn the language of the power group later, once they have learned how to learn.

That is the rationale behind a new effort in Haiti.

“When Michel DeGraff was a young boy in Haiti, his older brother brought home a notice from school reminding students and parents of certain classroom rules. At the top of the list was ‘no weapons.’ And right below it, DeGraff still remembers: ‘No Creole.’ Students were supposed to use French, and French only. …

“DeGraff is now an associate professor of linguistics at the Massachusetts Institute of Technology, and he is using his influence to try to destroy the barrier that essentially fences off most of Haiti’s children from a real education.” Read the Boston Globe report here.

The dominance of a few languages was one of the concerns behind creating Esperanto as a bridge. With a bridge language, Esperantists hoped, less common languages would not die. It hasn’t turned out that way.

“There are more than 7,000 languages in the world, and if statistics hold, two weeks from now, there will be one less. That’s the rate at which languages disappear. And each time a language disappears, a part of history — a subtle way of thinking — vanishes too.

“A new documentary called The Linguists, [which aired August 4] on PBS, follows ethnographers David Harrison and Greg Anderson as they race to document endangered languages in some of the most remote corners of the world.

“From the plains of Siberia to the mountains of Bolivia to the tribal lands of India, Harrison and Anderson have hopscotched the globe, but they sat down for a moment with NPR’s Scott Simon to discuss their race to capture the world’s endangered languages.

“Harrison, a linguistics professor at Swarthmore College, specializes in sounds and words; Anderson, who directs Oregon’s Living Tongues Institute, is the verb expert. Together, they speak 25 languages.” Read more here.

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I met Dedalus Wainwright when he was collaborating with a colleague of mine on an exhibit about carbon fiber. He is an artist, a sculptor.

Dedalus is having an open house this weekend at the Allston studio he rents from Harvard University.

In the studio, three tables full of models trace the origin of the full-sized painted aluminum sculptures you see here. He created the canes, or strips, in his models by cutting up drawings he had done in the past. Then he painted the blank sides with bright colors. I was intrigued by that multilayered approach and by what I could see by bending down and looking through the strips. I liked one model with especially intricate and colorful drawings and another that from the back reminded me of an Edvard Munch forest of ominous skinny trees.

I learned that a bird planted the seed that grew into the sculpture project.

Dedalus had been listening to a bird singing outside all day long. It may have been a mockingbird because it had so many different songs. At night, counting 47 different calls without one repeat, he dozed off, and when he awoke he had an idea for a sculpture with upright pieces such as you see here. If you look behind him, you also can see his studies of his pillars. Some are rising from what might be destruction, others from something more luminous.

There is a short bio of Dedalus at the Kinodance site. Read it here.

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