Feeds:
Posts
Comments

Rohingya-in-Bangladesh-ARC-photo

Photo: @coryt
American Refugee Committee, a nonprofit with Charity Navigator‘s highest rating, is one of a few organizations helping Myanmar’s persecuted Rohingya Muslims in Bangladesh camps.

With so many languages still in use, I have sometimes wondered how aid workers in refugee camps find people to translate languages that are rare.

Malaka Gharib reports about some of the challenges at National Public Radio (NPR).

“Imagine an aid worker in Bangladesh. Her mother tongue is Chittagonian. She’s trying to help a Rohingya refugee, whose language is similar to hers — but not 100 percent. The refugee tells her gaa-lamani biaram, ‘my body is falling apart.’ Would she know that phrase meant the refugee had diarrhea?

“That’s why a new glossary is being developed. And one of the 180 entries is that Rohingya phrase, indicating that a person is suffering from diarrhea.

“In June, a nonprofit group called Translators Without Borders, in partnership with Oxfam and UNICEF, created a special online glossary for humanitarians working in Rohingya camps in Bangladesh. The app, which aid workers can download on their mobile phones, includes terms with translations in five languages spoken in the camps: English, Bangla, Rohingya, Chittagonian and Burmese. …

“A November 2017 study from Internews, a nonprofit group that helps people in low-income settings access news and information, reported that almost two-thirds of the 570 Rohingya refugees surveyed at Cox’s Bazar [a Bangladesh camp] were unable to communicate with aid providers.

“That can be particularly dangerous when it comes to health care, says [Irene Scott, the program director for Translators Without Borders in Bangladesh]. … To create the glossary, Translators Without Borders assembled a focus group of aid workers and refugees to come up with ‘a dictionary list of terms they use at the camps every day and terms that field workers are having trouble trying to communicate,’ says Scott. Then they worked with members of the community and a staff sociolinguist to translate the words into the four languages. …

“Most of the words in this first iteration of the Bangladesh glossary focus on water, sanitation and hygiene. Over the past few months, the camps have faced acute water shortages, putting people at risk of waterborne diseases like cholera, bloody diarrhea, typhoid and hepatitis E. …

” ‘Chlorine tablet’ is an important word for aid workers to clearly translate, says Scott, because they’re asking refugees to put a foreign substance into their drinking water to make it safe to consume. ‘It’s hard to tell a traumatized community to put that tablet in water and drink it.’ …

There are a few unexpected words in the glossary — like ‘poem.’ Rohingya aid volunteers in the camps specifically asked for this word to be added.

” ‘Since Rohingya is an oral language, written communications like fliers or pamphlets [to convey important health information] may not be effective given the lack of a standardized script,’ says Krissy Welle, senior communications officer for Translators Without Borders.

“Rhyming conventions are a key way to transfer knowledge and historical facts in Rohingya culture, explains Eva Niederberger, Oxfam’s community engagement adviser in Cox’s Bazar, in a statement to NPR. So an aid worker might say something like, ‘Here’s a poem that will teach you how to protect yourself from certain diseases. …

” ‘When we talk about language with Rohingya women and men, they’re happy that someone is paying attention to something so crucially important to their cultural identity. For so long they’ve had their rights denied to them. It’s all about respect at the end of the day.’ ”

More at NPR, here.

A Town with Benches

090518-shop-bench-early-morning

A town with public benches is a civilized kind of town. Benches and sidewalks. Sidewalks and benches. Benches where a dad can help a kid with a messy ice cream cone, where an older citizen can take a break from his daily constitutional, where a shopper can organize her armload of purchases.

I’m grateful to the town government, the independent library, the performing arts center, and — especially — the many businesses that pay to place and maintain benches in Concord. It’s the little things that make for quality of life.

Want to send me a photo of a public bench in your town? How about you, Arlington? Stockholm?

090518-town-benches

090518-bench-at-real-estate-office

090518-Colonial-Inn

090518-performing-arts-center

090518-library-bench

090518-toy-shop

090518-pocket-part-with-fountain

090518-Sally-Ann-bakery

090518-Helen's

 

 

Au Revoir, Summer

090118-morning-glories-New-Shoreham

The calendar says we have more days of summer to come, but for school children, it’s over. Also for me.

For a variety of reasons, it wasn’t my happiest summer, but one has to be grateful for the beauties all around. It certainly is my favorite season for taking pictures. In winter, after I’ve shot all the snow-covered fences and bent-over trees, the photographic opportunities are mostly versions of gray. I’m no Sally Mann, in love with black and white, although I want to get better at finding curious shadows in winter.

The photo collection below starts with the working harbor where one boards the boat to New Shoreham and continues into sights that caught my eye in late August: horse chestnuts, Dusty Miller holding down the fragile dunes, a house sign with a sailboat, a gallery sign with a scarecrow, and the famous Painted Rock. I was so happy to see that 2018 at last had a good piece of art on the rock, not to mention that it stayed up a whole day without getting sloppily spray-painted over. The local paper promised to print my picture of the octopus side and seek out the artist.

Finally, I give you a curious sunset rainbow on an oppressively hot and humid evening. The weather had really gotten me down when this rainbow showed up, so beautiful I felt like saying, Sorry, Sorry, because one needs to remind oneself when feeling down that one won’t always feel that way.

This rainbow was amazing in a couple ways. First of all, there wasn’t even any rain: The air was just loaded with moisture. Second, the sunset on the clouds seemed to spread out the rainbow into several times its true size.

You have to be grateful for these things when you see them.

083018-fishing-port-with-clouds

090218-fuzzy-horse-chestnut

083118-dusty-miller-at-beach

082818-sailboat-fire-number

082818-scarecrow-gallery-invitation

083118-desert-rainbow-on-rock

083118-octopus-best-Painted-Rock-2018

083018-sunset-rainbow

 

 

df59b7bbd4c1a071922f705dbbf5f485

Before the rise of unions and child labor laws, it was common to see scenes like the one above showing a young girl working with dangerous textile machines in Lowell, Massachusetts.

The pendulum has swung too far away from workers. Just my view. There was a time that unions had built up power to the point of abuse. That’s not where we are now. We have all benefited from people banding together to fight deadly working conditions, end child labor, and negotiate a living wage.

Ideally, it would be corporate leaders themselves who recognized that everyone is better off when employees have a decent life. How likely are we to see such leaders today? Too many parents work two or three jobs while their children still don’t eat well without the free lunch at school. CEOs’ attitude: Not my problem.

But wait! There’s news.

Ben & Jerry’s leaders may be outliers. Of course, it took worker activism, but a good-faith effort led to positive results for all.

As John Dillon reports at Vermont Public Radio, “Some Vermont dairy workers say their wages and living conditions have improved, thanks to an agreement reached last year between the workers and Ben & Jerry’s, a division of global consumer products company Unilever.

“Times are tough on dairy farms around the country, with milk prices declining for the fourth year in a row. But 72 farms that supply Ben & Jerry’s earn a little more by agreeing to follow labor and housing standards.

“Enrique Balcazar is a former dairy farm worker and an activist with the group Migrant Justice who helped negotiate an agreement last year called Milk with Dignity. …

” ‘There are farmworkers in the state who, in collaboration with their farmers and with support from the Milk With Dignity Standards Council, are now receiving a day off every week when they previously didn’t have one, who are receiving wages to bring their wages up to the Vermont minimum wage,’ he says. …

“Farms enrolled in the Milk with Dignity program also commit to providing five annual paid sick days, five paid vacation days and to meet housing health and safety standards.

“Farmers get a premium for following these standards, but it’s not clear how much. …

” ‘Ben & Jerry’s is paying the premium because we recognize a lot of farmers will need some of the financial support to improve housing conditions or to make up for the vacation days that they’re going to provide workers,’ [Cheryl Pinto, manager of values-led sourcing at Ben & Jerry’s,] says. …

“The Milk with Dignity program covers all farmworkers whose farms are enrolled — and not just undocumented workers who work on many of Vermont’s dairy farms. … Migrant Justice says the program is a model for other dairy processors.”

How about you consider Ben & Jerry’s if you are buying ice cream or frozen yogurt for your Labor Day party? Cherries Garcia, Moo-phoria, anyone?

More at Vermont Public Radio, here.

A Tribe Run by Women

nerisgarden

Photos: Lucy Sherriff/PRI
Neris Uriana, the Wayuu tribe’s first-ever female chieftain, stands in her garden. With her leadership and new water-saving techniques, the northern Colombia tribe is finally able to grow food year-round.

I’ve been reading articles by my friend Ann Tickner on Jane Addams, best known for founding Hull House in Chicago in the early 20th Century. Addams, an international peace activist who influenced the thinking of world leaders after WW I, was a more extraordinary woman than I realized in third grade, reading one of those little orange biographies in the school library. She was a model of all that women can be if they choose.

In South America, there’s another surprising example of female leadership that I just heard about. It’s in an indigenous tribe, where the women are making sure that the people achieve their potential while living in harmony with nature.

Global Post reporter Lucy Sherriff writes at Public Radio International (PRI), “For years, the Wayuu tribe in La Guajira, a remote area in northernmost Colombia, was run by a male chieftain. But 13 years ago, male elders decided to appoint a woman as its leader. After the success of being led by a female head, the community changed its governance traditions and now exclusively appoints women to lead.

“ ‘When I first started, I didn’t know anything,’ Neris Uriana, the tribe’s first-ever female chieftain, told PRI. ‘But over time, one learns how to lead, the required skills you need to be head of a community.’

“Neris Uriana was elected in 2005. She was already involved in providing support to the community’s mothers, and Jorge Uriana, along with other elders, believed she had the qualities needed to lead the tribe. It was a first for Wayuu communities in Albania, in La Guajira.

“ ‘We had had some problems with communicating with leaders of other tribes and in our own village,’ explained Jorge Uriana, who was the community leader until 2005 and is Neris Uriana’s husband.

“Jorge Uriana explained that traditionally, Wayuu men negotiate and resolve disputes but that some male leaders can come off as confrontational and even aggressive at times.

“ ‘Whereas women, when they speak, they address the human side. They tend to be more peace-loving and more humanitarian in their outlook.’ ”

Excuse me, I have to stop here and marvel: that is exactly why Jane Addams and her contemporaries in the peace movement are considered the founders of what is known today as feminist diplomacy.

Back to my story.

” ‘We wanted to turn the way things were on its head. We wanted women to use their way of dialogue to resolve our conflicts, and we wanted to transform our culture,’ [said Jorge Uriana].

“ ‘I realized I had a commitment and an obligation to my people,’ said Neris Uriana, who will lead for as long as she likes (or until someone else steps up). ‘I really trained myself in leadership, and now, I feel like I am able to really achieve great things.’

“Marta Pushiana is one of the many women who have become more involved in the tribe’s community since Neris Uriana’s appointment.

“ ‘Now, we have a female leader; more women are taking more responsibility in the tribe. Before, we always had to stay at home and look after the children and cook and clean,’ said Pushiana. ‘Now, the men share those responsibilities with us, so that women have the opportunity to work, to help build, to be involved in leadership. The whole dynamic in the tribe has changed for the better.’ …

“Although Wayuu tribes have traditionally treated women as equals to men and have a more matriarchal culture than other nonindigenous Colombians, few tribes are led by women, and even less — if any — have permanently pledged to only appoint women. …

“Since Neris Uriana took up her position, she has introduced a long-term agricultural initiative to help sustain her community, rather than continually living hand to mouth. Neris Uriana sought the help of outsiders to teach her and other women in the tribe about irrigation, crop cycles and land use, so they could have ample produce throughout the year. The women also use their ancestral knowledge of lunar cycles to plant food and strongly believe the can use their connection with the Earth to sustain themselves.”

Oh, my, I am in love with these people! Read more about them at PRI, here.

A woman from the Wayuu tribe who is part of the female chieftain’s food initiative waters the saplings. The initiative has been such a success that the tribe now produces surplus food and sells it to other communities.

watering_plants

e8a7579-2-ec93a293d6b1a2c4f3ba3637a49cf1c7c1c7397c-s600-c85

Photo: Pearl Mak/NPR
Girard Children’s Community Garden in Washington, D.C. was created on a vacant lot and is now a thriving community space for neighborhood kids.

Most of us know that spending time in nature makes us feel good, but many city children have few opportunities to find that out for themselves. A chain of community gardens in Washington, DC, provides anecdotal evidence that green space reduces stress, and now a controlled Philadelphia study gives more scientific proof that that is exactly what’s going on.

Rhitu Chatterjee reports at National Public Radio, “Growing up in Washington, D.C.’s Columbia Heights neighborhood, Rebecca Lemos-Otero says her first experience with nature came in her late teens when her mother started a community garden.

” ‘I was really surprised and quickly fell in love,’ she recalls. The garden was peaceful, and a ‘respite’ from the neighborhood, which had high crime rates, abandoned lots and buildings, she says.

“Inspired by that experience, years later, Lemos-Otero, 39, started City Blossoms, a local nonprofit that has about 15 children-focused community green spaces across Washington, D.C. She wanted to give kids from minority and low-income communities easy access to some greenery. …

” ‘Having access to a bit of nature, having a tree to read under, or, having a safe space like one of our gardens, definitely makes a huge difference on their stress levels,’ says Lemos-Otero. ‘The feedback that we’ve gotten from a lot of young people is that it makes them feel a little lighter.’

“Now a group of researchers from Philadelphia has published research that supports her experience. The study, published Friday in JAMA Network Open, found that having access to even small green spaces can reduce symptoms of depression for people who live near them, especially in low-income neighborhoods.

“Previous research has shown that green spaces are associated with better mental health, but this study is ‘innovative,’ says Rachel Morello-Frosch, a professor at the department of environmental science, policy and management at the University of California, Berkeley, who wasn’t involved in the research.

” ‘To my knowledge, this is the first intervention to test — like you would in a drug trial — by randomly allocating a treatment to see what you see,’ adds Morello-Frosch. Most previous studies to look into this have been mostly observational.

“Philadelphia was a good laboratory for exploring the impact of green space on mental health because it has many abandoned buildings and vacant lots, often cluttered with trash, says Eugenia South, an assistant professor at the Perelman School of Medicine at the University of Pennsylvania and an author of the study. …

“South and her colleagues wanted to see if the simple task of cleaning and greening these empty lots could have an impact on residents’ mental health and well-being. So, they randomly selected 541 vacant lots and divided them into three groups. They collaborated with the Pennsylvania Horticultural Society for the cleanup work.

“The lots in one group were left untouched — this was the control group. The Pennsylvania Horticultural Society cleaned up the lots in a second group, removing the trash. And for a third group, they cleaned up the trash and existing vegetation, and planted new grass and trees. The researchers called this third set the ‘vacant lot greening’ intervention.”

You can read what happened at National Public Radio, here.

Photo: Pearl Mak/NPR
Girard Children’s Community Garden will be celebrating 10 years this year. The garden signs are in both English and Spanish.

e8a7566-5-9189d87bba6596fdfded4f9555d19eb7a718f53b-s600-c85

image2

Photo: Susan Meisalas/Magnum Photos
A deaf girl using Nicaraguan Sign Language at the Esquelitas de Bluefields, Managua, Nicaragua, 1999.

Lately, I’ve been impressed with the leadership of young people. I’ve told friends, “Wherever they lead, I’m going to follow.” One thing I like about young people is that they don’t know what’s impossible, so they just set about to do it.

In Nicaragua several decades ago, it was the youngest children who began to invent a language. The older children followed, and then, eventually, the adults.

Shoshi Parks has the story at Atlas Obscura, “Of all the changes within Nicaragua to come out of the overthrow of the Somoza regime by the Sandinistas in 1979, perhaps the least anticipated was the birth of a new language.

“Nicaraguan Sign Language is the only language spontaneously created, without the influence of other languages, to have been recorded from its birth. And though it came out of a period of civil strife, it was not political actors but deaf children who created the language’s unique vocabulary, grammar, and syntax.

“When the Sandinista National Liberation Front gained power, they embarked on what has been described as a ‘literacy crusade,’ developing programs to promote fluency in reading Spanish. One such initiative was opening the first public school for deaf education, the Melania Morales Special Education Center, in Managua’s Barrio San Judas. According to Ann Senghas, a professor of psychology at Barnard College who has studied NSL, it was the first time in the history of the country that deaf children were brought together in large numbers.

“These children, who ranged in age from four to 16, had no experience with sign language beyond the ‘home signs’ they used with family members to communicate broad concepts. American Sign Language, which has existed since the early 19th century, is used throughout the Americas and is often considered a ‘lingua franca’ among deaf people whose first sign language is a national or regional one. But the first Nicaraguan deaf school did not use ASL or any signs at all. Instead, they focused on teaching children to speak and lip-read Spanish. …

“The Sandinistas’ focus on Spanish literacy resulted in the immersion of deaf students in Spanish speaking and reading skills. But while the country’s deaf children were being taught Spanish inside the classroom, outside the classroom they were spontaneously developing their own method of signed communication. …

“All languages have grammar and syntax, but the first children at Managua’s deaf school had no model for how a language worked because they had been isolated from signed, spoken, and written language all their lives, notes [James Shepard-Kegl, co-director of the Nicaraguan Sign Language Project, which administers programs to empower the Nicaraguan deaf community through the use of sign language].

“When the children interacted, instead of adapting their signs to fit an existing language, they developed something unique. While the older students had more life experience, it was actually the younger kids that drove the language’s development. ‘As you get older, your language instincts tend to diminish,’ says Shepard-Kegl. ‘A lot of those older kids weren’t generating grammar the way little kids did. They copied the grammar the little kids generated.’ …

“The critical mass needed to spontaneously develop Nicaraguan Sign Language only occurred with the opening of Melania Morales. Within a few years, teachers and education officials recognized that something incredible was happening at the school.” More at Atlas Obscura, here.

Photo: Susan Meisalas/Magnum Photos
Deaf students using Nicaraguan sign language at the Esquelitas de Bluefields, Managua, Nicaragua, 1999.

image3

shadow1

Photo: Narek Harutyunyan
Armenian shadow puppetry uses light and shadow to bring folklore to life. Going back to the 1300s, the art is being revived in a more child-oriented form today.

Throughout the centuries, people have used puppets to express ideas that would be hard to express directly. The oldest version of shadow puppetry in Armenia addressed religious and reproductive topics. In its revived form, shadow puppetry passes Armenian folklore to a new generation.

Allison Keyes reports at Smithsonian, “Behind a screen, puppets mounted on long, slim sticks dance and sway, twirling, backlit so that only their dark shadows appear, while puppeteers called Karagyoz players sing, provide sound effects and create voices for the characters. An interpreter translates, telling in English the Armenian stories like a libretto for an opera, so the audience will understand.

“The Armenian Shadow Puppet Theater, known as Karagyoz, was especially popular in the 18th century. But it has roots dating back to the 14th century, with shared sources in South Asia, the Middle East and North Africa.

“ ‘They are oldest in Egypt and the countries of Maghrib, Greece and the Ottoman Empire,’ explains Levon Abrahamian, an anthropologist and a curator of the 2018 Armenia program at the Smithsonian Folklife Festival. ‘Armenians were doing this in the Ottoman Empire because part of Armenia, Western Armenia, is now in Turkey.’

“Now, a new version of the Armenian Shadow Puppet Theater, called Ayrogi, is touring Armenia, staging modern performances reviving the traditions of the past. Ayrogi performed at this year’s Folklife Festival. … Some of the players travel by horseback, stopping to perform horse shows, songs, folk dances and shadow puppet shows.

“[Director Armen Kirakosyan says], ‘In Armenian theater, the puppets were colored in black, so it is a principle of shadow. The light comes from behind them in such a way that you have only shadows.’ Black and white, he says, has a far greater impact on the imagination, and the characters develop a much more menacing or hilarious presence in the minds of the viewers. …

“The stories Ayrogi tells now are for a general audience, and many are adapted for children. Modern shadow puppetry, Abrahamian says, is based on traditional folktales such as ”The Cat of Martiros.’ Martiros is a popular Armenian name meaning ‘martyr,’ and the theater company performs a series of tales about him.

“One story begins with a man who is content and free of troubles, says Kirakosyan in Armenian as Abrahamian translates. He laughs because the man’s life is about to get complicated.

“ ‘The man is complaining about this mouse, saying it is eating his shoes. . . People came and said, “We will help you,” giving him a cat. The cat solved the problem but created other problems, meowing, and the man says he can’t sleep. So the people say, “it is hungry, thirsty—give him milk!” But where would he get the milk? So they give him a cow to solve the problem. He had to have a field to have something for the cow to eat some grass. Lots of problems come, so they give him a wife! Now he has a lot of children, and when he is dying, he calls his eldest son, and tells him, “You can do anything you want, but never let a cat come to your house!” ‘ ”

More here.

Photo: Narek Harutyunyan
Armen Kirakosyan, director of the Ayrudzi horseback riding club and Ayrogi puppet theater, poses with shadow puppets.

shadow3

 

800px-savinien_de_cyrano_de_bergeracArt: Zacharie Heince (1611-1669)
The 19th Century Edmond Rostand comedy
Cyrano de Bergerac was recently performed in a New York prison that has unusual rehabilitation programs.

Sometimes when an article I want to share with you has its photos under lock and key, I look for alternative images on Google. It was interesting to see that modern renditions of the outsize nose on Cyrano de Bergerac are much more extreme than the one above. Today’s productions really go overboard trying to make the silver-tongued hero look as ugly as possible. A recent production in a prison also exaggerated the nose, which you can see if you click on the original article.

Jesse Wegman wrote about the show at the New York Times, “Cyrano de Bergerac will be eligible for parole in 2022. For the time being, he is a vision in Gallic effrontery, pinballing around the stage in the gymnasium at Fishkill Correctional Facility in Beacon, N.Y.

“The production of Edmond Rostand’s canonical 19th-century comedy, which enjoyed a well-attended two-day run early [in June], was the work of Rehabilitation Through the Arts, a 20-year-old organization that operates in prisons across New York State. The program introduces inmates to theater, dance, writing and other creative arts in the hope of teaching them life skills and improving their chances at success upon release. …

“When [inmates] proposed ‘Cyrano de Bergerac,’ the show’s director, Charlie Scatamacchia, was skeptical. ‘I thought, yeah, that’s not gonna happen,’ he said. ‘It’s got multiple scene changes, costume changes. It’s got sword fighting. I doubted my ability to direct them, and their ability to pick up these skills in the time we had. I’ve never been happier to be proved so wrong.’

“Behind the title character’s plastered-on proboscis and feathered chapeau is Rodney Spivey-Jones, a 35-year-old from Syracuse. Mr. Spivey-Jones, who had never acted before, first auditioned for the role of Le Bret, the play’s narrator. But Mr. Scatamacchia quickly realized that he was a good fit to play the lead — one of the most verbose roles in theater.

“Mr. Spivey-Jones is no stranger to addressing a crowd — he helped form an inmate debate team at another prison that beat a team from Harvard in 2015. Still, he had not given any thought to playing Cyrano and didn’t understand how big the role was until he kept getting called back to read for it. …

“When the show went up, Mr. Spivey-Jones realized that he had memorized not only his own lines but every other character’s as well — a handy trick when a castmate ran into trouble, and he could provide a cue on the spot. …

“A bigger obstacle than memorization, it turned out, was getting swords inside the prison. Corrections officials nixed various materials, like a hard plastic foil. … The cast of 13 men took the setbacks in stride, as people in prison learn to do with most things. Along with a professional actress, Kate Kenney, who played the role of Cyrano’s love interest, Roxane, the crew worked every week through the winter and spring to get the show into shape. …

“The program, which has about 400 alumni who were released from prison, is popular among both inmates and New York’s prison administrators, who have seen its philosophy pay off. Studies of prison-arts programs around the country, including R.T.A., have found that their participants are better behaved than other inmates, earned educational degrees earlier and in some cases are less likely to wind up back behind bars after release.”

It would be wrong to minimize the crimes these guys have committed or the pain they have caused their victims, but if there’s a way for offenders to become engaged with the world in more positive ways, that’s a good thing in my book.

And I love that play.

More at the New York Times, here.

980x

Photo: Amitava Sarkar/Forklift
The cast of
Served performs a dance phrase based on the five key movements of mopping. Forklift Danceworks makes choreography from everyday life, revealing the beauty and majesty of what you thought was mundane.

From childhood, I was always one for fantasy and found it easy to relate to imaginary worlds in the arts. Lately, though, I find myself more interested in art that feels relevant, art that uncovers wonder in everyday life. So it’s not surprising that this Dance Magazine article about discovering the dancelike moves of ordinary occupations appealed to me.

Nancy Wozny writes, “Austin renegade Allison Orr doesn’t use traditional performers. With her Forklift Danceworks, she has created dances featuring everyone from sanitation workers (The Trash Project) to power linemen (PowerUP), urban forestry department members (The Trees of Govalle) and food service employees (Served).

“Orr has a BA in anthropology and calls her process ‘ethnographic choreography.’ Using the movements of everyday workers, she crafts large-scale extravaganzas that have included more than 75 performers (and sometimes trucks), audiences of 2,000, and a deep research process that may involve her learning how to scale a power-line distribution pole or riding with a sanitation worker at 4 am.

“She recently spoke to Dance Magazine about her unique creative process.

” ‘When I start a new piece, I listen for the story the workers want told. What do they want people to know about what they do? I usually do about 50 to 100 interviews. Then I watch people doing their expert movement, looking for that seed. ,,, Usually there’s an all-staff meeting where I am introduced. Then I start job shadowing, working alongside them when I can. …

” ‘We don’t actually get people to agree to perform until very late in the process. I usually don’t ask for what we want until that person is likely to say yes. We put out a question, like “How do you cook an omelet in three minutes or less?” and they start choreographing it. Then they want to be in it, because they are the ones who can do it.

” ‘For the actual piece we organize sequences based on their movements, expanding it in space and time. For Served I watched one gentleman mop the floor and observed five different movements he does, including this beautiful turn. …

” ‘Because participants are asked to collaborate across different work groups to make the dance together, they build trust with people they might have worked with for years but never had the chance to really get to know.

” ‘The act of performing changes how collaborators see themselves. Being witnessed in one’s everyday work, particularly doing what might be thought of as mundane or ordinary, is transformational.’ ”

More at Dance Magazine, here.

Photo: Jonica Moore/Forklift Danceworks
A worker from Austin’s Urban Forestry Division performs in the dance
The Trees of Govanelle.

980x1

Surfing and Sleeping

082518-surfing-Crescent-Beach

Summer has its own pace — sometimes slow and sleepy, sometimes fast and exhausting. The grandchildren like to go-go-go. The older folks wouldn’t mind taking a nap every day.

This photo collection starts out with my energetic older grandson, who learned to surf this summer. Suzanne tried it, too, because John bought her a surfing lesson for her birthday. She says her nephew was really a natural.

Today’s pictures are all from Providence and New Shoreham.

Suzanne’s neighbor has the goofy fairy houses, and the elegant used bookstore Paper Nautilus is also near her home.

The Painted Rock is a beloved island feature — too beloved these days. People paint over one another’s messages within hours, and even a decent picture gets no respect. There were few decent pictures this year, mostly spray painted graffiti.

On our morning walk, Sandra and I snuck up on the bird that was visiting the Manissean cemetery, thinking we’d get a great shot of a heron. You have probably already realized it was only a cormorant. But what a cormorant was doing in the cemetery is anybody’s guess.

I wrap up with a pre-dawn view. “The moon was a ghostly galleon tossed upon cloudy seas.” (Wish I’d written that myself.)

082018-Fairy-Houses

082018-Paper-Nautilus

082318-view-thru-wall

081918-Queen-Annes-Lace-BIRI

081918-New-Shreham-tughole

081818-Painted-Rock-house

 

082318-hibiscus-I-believe

082118-fungus-amongus

082618-cormorant-at-Manissean-cemetery

082618-full-moon-morning

 

800px-sea_glass_at_glass_beach_in_california_28closeup29_-_2016

Photo: Moximox

After a year of waiting impatiently for summer, we always wanted to squeeze in every memorable summer activity we had ever done: crabbing, seining with a net, riding waves, building sand castles, walking to the Sunken Forest, digging for mole crabs, painting shells and selling them outside the house (what my father called teasingly “gypping the public”), roasting marshmallows at night. We did not want to miss one thing because we knew we’d have to wait a whole year for another chance. And in those days, a year seemed like an eternity.

One of the more iconic things I associate with summer is sea glass, and I recently was intrigued to learn from @chasonw on instagram that there was a place you could have the sea-glass experience any time of year. It’s called Glass Beach, and it’s at Fort Bragg, California. As pretty as sea glass is, you will not be surprised to learn that the abundance at Glass Beach is the result of years of dumping garbage.

From Wikipedia: “In 1906, Fort Bragg residents established an official water dump site behind the Union Lumber Company. … When [a second dump was] filled in 1949, the dump was moved north to what is now known as ‘Glass Beach,’ which remained an active dump site until 1967. …

“Over the next several decades, what was biodegradable in the dump sites simply degraded and all the metal and other items were eventually removed and sold as scrap or used in art. The pounding waves broke down the glass and pottery and tumbled those pieces into the small, smooth, colored pieces that often become jewelry quality and that cover Glass Beach and the other two glass beaches. …

erysimummenziesiieurekPhoto: Gordon Leppig & Andrea J. Pickart
Menzie’s Wallflower, an endangered species that grows at Glass Beach in California.

“About 1,000 to 1,200 tourists visit Fort Bragg’s glass beaches each day in the summer. Most collect some glass. Because of this and also because of natural factors (wave action is constantly grinding down the glass), the glass is slowly diminishing. There is currently a movement by Captain J.H. (Cass) Forrington to replenish the beaches with discarded glass.”

If you saw yesterday’s post, you know that replenishing the beach would be hard. There is a shortage of glass everywhere. Sea glass is moving into a category closer to semiprecious stones than its embryonic form as trash.

More at Wikipedia, here.

jesse-taylor

Photo: Kelly Howard
At Lincoln City Glass Center, a glassblower melts down objects made of clear glass to keep the studio supplied during a glass shortage — the unintentional consequence of environmental regulations and high demand from large overseas companies.

When I read recently about the closing of a glass-recycling center in Massachusetts, I didn’t have the imagination to consider all the causes or all the consequences.  What I did learn at the time was that beer companies were not using glass bottles as much and were moving to cans. That was all I knew.

Come to find out, thanks to the Law of Unintended Consequences, environmental regulations are having an effect on the amount of glass pellets available for a range of traditional purposes — including the glassblower’s art.

Lori Tobias writes at Oregon ArtsWatch, “On the Oregon Coast, creating a work of glass art is a bucket-list favorite, and there’s plenty of places to make that happen. But recent weeks have stressed some mom-and-pop glassblowing studios to the point of, well, a meltdown. It seems there’s just not enough glass to go around.

“Robin and William Murphy, owners of the Oregon Coast Glassworks in Newport, ran into problems earlier this month when they tried to buy a new supply of ‘cullet’ glass – furnace-ready recycled glass pellets that glassblowers turn into floats, bowls, and other art. There was ‘no glass anywhere available for purchase,’ Robin Murphy said. Nor would there be any until November, they were told. The shortage seems to be the culmination of stricter environmental laws, which led to a cutback in suppliers, compounded most recently by heavy demands on an overseas supplier.

“The Murphys have launched a fundraising raffle – of a glass sea turtle crafted by William – to help finance a new furnace that will melt ‘batch,’ a pelletized powder that is an alternative to cullet. It requires a natural gas furnace or what’s known in the industry as a ‘moly’ (short for molybdenum) furnace – a piece of equipment that generally comes with a price tag ranging from $30,000 to $50,000. The Murphys have a less expensive wire-melt furnace, but it doesn’t get hot enough to melt batch. …

“Oregon Coast Glassworks isn’t the only small shop facing the shortage. The Edge Art Gallery in South Beach is also experiencing it, as is the Lincoln City Glass Center. One of the largest of the dozen or so glassblowers on the central and north Coast with 21 employees, the Glass Center does have a ‘moly’ furnace, capable of melting batch or cullet. Owner and glass artist Kelly Howard prefers to use cullet, but she also has been unable to get any.

“Most glassblowers agree that the problem can be traced to 2016, when the Oregon Department of Environmental Quality and the federal Environmental Protection Agency imposed stricter regulations on glass manufacturers, ultimately prompting the closure of two major suppliers. One was Spectrum, based in Woodinville, Wash., which supplied glass products for 40 years to many Pacific Northwest artists. Bullseye Glass Co. of Portland survived the crack-down, but does not provide the type of glass used by glass blowers.

“With Spectrum gone, glass blowing studios turned to a German manufacturer, Cristalica, which is distributed through Olympic Color Rods, headquartered in Seattle. But this summer, Cristalica failed to keep up with demand, in part because of the heavy use of existing equipment.

“Howard said she heard the German company had a furnace go down a couple of weeks ago ‘and didn’t give anyone a warning. They said there is no more, and what they had was all given to the big companies. All of the rest us didn’t get any.’ ”

More here. Raffle tickets for the sea turtle are available for $50 here or by calling the studio at 541-574-8226. The winner will be chosen Sept. 2. No more than 500 tickets will be sold.

sea-turtle-face

01-wigtown

Photo: Celeste Noche
Charming Wigtown, Scotland, is famous as a “book town.”

Do you remember reading my post about Alex Johnson’s survey of “book towns,” small locales with numerous emporiums for buying books? Well, here’s another angle from the New York Times. It describes how a book critic got a taste of running a bookstore in one of the better known book towns.

Dwight Garner reports, “Recently, if only for a day, I had a bookstore in Scotland. …

“It is worth getting to Wigtown, population 1,000. [It] is lush and green and smells of the nearby sea. It is Scotland’s national book town, its Hay-on-Wye. With a dozen used bookstores tucked into its small downtown, it is a literary traveler’s Elysium.

“Best of all, Wigtown offers a literary experience unlike any other I’m aware of. In town there is a good used bookstore called the Open Book, with an apartment up above, that’s rentable by the week. Once you move in, the shop is yours to run as you see fit.

“I was handed the keys and a cash box. I was told I could reshelve and redecorate. I could invite Elena Ferrante and Thomas Pynchon to speak, and Sly Stone to play, if I could find them.

“The Open Book is run by a nonprofit group. It has touched a chord with so many people, from every continent, that it’s booked through 2021, which is as far as Airbnb will take reservations. There’s a waiting list after that. I managed to wedge myself in for a single night by begging and whining. …

“My first task as proprietor of the Open Book was one I hadn’t anticipated. What to write on the slate sandwich board that sits out front?

“A favorite exhortation came to mind. With chalk I scrawled: ‘Read at whim! Read at whim! — Randall Jarrell.’ For the opposite side, after a bit of puzzling, and given my physical and mental state, I shakily wrote: ‘Of course it’s all right for librarians to smell of drink. — Barbara Pym.’ I set my board outside.

“It was time to get a look around. The Open Book is not entirely my kind of used bookstore in that its literature section is modest, dwarfed by the sections for miscellaneous subjects like birds and Scotland and garden design. But there was a nice shelf of Penguins under the register. …

“I’ve worked in many bookstores in my life, and I hadn’t realized how much I missed them. It’s surprising what you learn, as if by osmosis, a daily mental steeping, about every possible subject.

“Often you learn more than you want to know, when people bring to the register books about hemorrhoid care, loneliness or coping with the death of a child. To this day, when a young person asks me for advice about finding employment in the word business, I say (after telling them to read like lunatics): Work in a bookstore if you can find one, or a library, all through high school and college. …

“A young couple, Beth Porter and Ben Please, arrived with their infant daughter, Molly. They had musical instruments in tow: Beth, a cello; Ben, a ukulele; Molly, a toy glockenspiel.

“Porter and Please are the core members of the Bookshop Band. They write songs inspired by books and play them in bookstores. I’d met them the night before at [large-bookshop proprietor Shaun] Bythell’s apartment, which is above his store. They’d decided to welcome me to Wigtown by performing an impromptu concert.

“The Bookshop Band is not just good but achingly good — listen to its soulful lament ‘Accidents and Pretty Girls,’ based on Ned Beauman’s novel ‘The Teleportation Accident’ — and it played a resonant 20-minute set for me and a few lucky droppers-in.”

More about the band and the temporary-shop-owner experience at the New York Times, here, where you can also enjoy some delightful photos. For an overview of Wigtown shops, check this out, too.

trtheatre-gill_sans-1-2

Photo: Gil Sans
These folks started a theater with no money and filled a gap in neighbors’ lives. “If you build it, they will come.”

A recent article at Arts Professional shows that money isn’t the only tool for getting things done. Where there’s a will, there’s a way.

Anthony Briggs writes about what happened after he agreed to join Peter Tate in implementing a dream of creating truly relevant theater in London.

“When Peter asked me to join him as Co-Artistic Director of The Playground Theatre in May last year, I had been looking for a new challenge. [The] Playground’s previous life as a developmental space intrigued me, and Peter and I shared a vision of bold, imaginative and highly theatrical new work, developed with the local community in Latimer Road.

“Within a few weeks of us joining forces, the fire swept through the nearby Grenfell Tower. The events of that night had a huge impact on our vision for the theatre and our role in the local community. It was immediately apparent that what was needed was a place where people could share stories and grieve, and also hope and aspire for a better future for our area.

“North Kensington is a postcode of extremes with huge wealth sitting next to appalling poverty. It also includes probably the broadest ethnic mix of people in the UK. Finding a way to appeal to all our residents would be a challenge.

“When we first walked around the space there were only wall lights, so the first thing was to raise the money to kit the venue out and turn it into something fully functioning. … At the same time as raising funds and getting the theatre up and running, we faced the challenge of raising awareness and attracting an audience. …

“Doing anything for the first time can be an anxious experience, so we do all we can to make people feel welcome. We regularly post on local social media boards and leaflet along Portobello Road. Slowly the word is getting out.

“Everyone has an opinion about what we should be doing and that can be tiring. But to be a community theatre you have to be part of that community and that means engaging in constant conversation, even if it isn’t what you want to hear. We are dedicated to reflecting the diversity of our community through the diversity of our programming. …

“We have established good relationships with a nearby secondary school, Kensington Aldridge Academy, which is on a temporary site while its main building is being repaired following the Grenfell Fire. … Another partner is Grief Encounter, a child bereavement charity that has been active in our area following the fire.”

Read more here about how this new group is making theater that is relevant to people’s lives and thereby filling a gap.