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The Burrito Brigade

Photo: Alan Greenblatt/NPR
Growing up, Liam Foley (left) was in charge of dishes and never cooked. He was still able to help chop the onions, though, at a burrito-making project for the poor in San Francisco.

Here’s another great story about ordinary people stepping up to try to make a dent in some of life’s knottier problems. This initiative is about making a dent in hunger and getting to know a few people experiencing homelessness.

Alan Greenblatt writes at National Public Radio, “Jimmy Ryan’s recipe for burritos is really pretty simple. It calls for 50 pounds of rice, 50 pounds of beans, a couple of cases of canned tomatoes and several hundred tortillas.

“That may sound like a lot, but Ryan is one of the organizers of the Burrito Project in San Francisco, an informal charity that makes and distributes about 500 burritos to the homeless once a month. On May 21, the group celebrated its second anniversary and rolled its 10,000th burrito. …

“The desire to distribute healthy, easily portable burritos is catching on. … A couple of the entities have registered as 501(c)3 charities, but others remain completely informal. Anyone is allowed to use the name as long as they’re providing burritos and not making any money off the service.

” ‘From what I understand, we have one of the only burrito projects that runs four days a week,’ says Rai Doty, a coordinator in Salt Lake City. ‘Four days a week, we feed 200 to 500 people a night.’

“The groups rely on a mix of donated food and sponsorships. In San Francisco, different companies pay the bills each month, helping out with both funding and manpower. …

“The crowd [I saw] was mostly young and white, but several other racial and ethnic groups were represented, with at least one grandmother helping out. For some, this effort represents just one stop along their personal charity journeys, which also include efforts such as working at animal shelters or churches. But for others, this was a quick and painless way to give back. …

“The organizers say they’re trying to make the event fun and welcoming, asking everyone to introduce themselves and providing kombucha and cake to celebrate their anniversary. …

“The soup kitchen that allows the Burrito Project to use its kitchen is located on the edge of the Mission District, which is ground zero for gentrification pressures in San Francisco. …

“The Burrito Project encourages volunteers not just to hand out food, but to stop and interact with individuals who are often neglected or avoided. …

“No one is under the illusion that handing out an occasional burrito is going to solve anyone’s problems.

“Some Burrito Project outposts try to do more than occasionally feed people. During the snowy season in Salt Lake City, the group partners with Warm the Homeless, which distributes blankets, coats and hats. The long-running project in Bakersfield, Calif., has been adopted by high school and church groups who hand out clothes and shoes when there are donations. Their ninth anniversary event on July 8 will provide a forum for representatives from other local groups that provide housing, health and legal assistance.”

More at NPR, here.


Art: Roy Lichtenstein
Masterpiece, 1962, was sold by philanthropist Agnes Gund to launch the Art for Justice Fund. 

There’s a movement in the world of philanthropy to combine the arts with social justice. In some cases, donations to arts organizations specify reaching out to poor communities and new audiences. This particular article focuses on collectors who sell art to fund causes they believe in.

Mike Scutari writes at Inside Philanthropy, “After Agnes Gund launched the $100 million Art for Justice Fund with the proceeds from the sale of Roy Lichtenstein’s ‘Masterpiece,’ I wondered if collectors represented the sleeping giants of arts philanthropy. The prognosis thus far seems promising.

“A number of founding donors to Art for Justice have committed gifts of artwork or contributions, and late last year, the fund allocated $22 million to 30 criminal justice reform groups and education and arts initiatives. Around the same time, the anonymous consignor of Jean-Michel Basquiat’s ‘Red Skull’ announced they would donate the proceeds to a nonprofit that opens new public charter schools. …

“Glenn Fuhrman and his wife Amanda partnered with Suzanne Deal Booth and The Contemporary Austin to transform the existing $100,000 Suzanne Deal Booth Art Prize, which is currently celebrating its inaugural exhibition, into one of the nation’s largest awards presented to an artist.”

Scutari notes that although the prize doesn’t require attention to social causes, sometimes a winner’s work turns out to have been strongly influenced by the issues of the day.

“Collectors have historically deferred to institutional givers to do the heavy lifting when it comes to traditional grantmaking and the red-hot area of activist art in particular. This is why Gund’s Art for Justice Fund is so important. It’s predicated on the idea that by selling their work, collectors can advance social justice. As Ford [Foundation] President Darren Walker noted, ‘art has meaning on a wall, but it also has meaning when it is monetized.’ …

“An open question is the extent to which the Suzanne Deal Booth / FLAG Art Foundation Prize will align with the surging fields of boosting access to the arts and promoting socially focused work. Corroborating evidence suggests it will.

“Regarding access, the Fuhrmans’ FLAG Art Foundation exhibition space has been free and open to the public since its 2008 opening. The Fuhrman family has also underwritten free admission at the Institute of Contemporary Art [in Philadelphia] annually for nearly a decade. The couple is clearly committed to eliminating financial barriers to access.

“Exemplifying its social focus, in the charged aftermath of the 2016 election, the FLAG Art Foundation curated an exhibition that focused on artists who ‘negotiate politics, tragedies, social issues, and their own perspectives’ by using the New York Times as an inspiration for their work. …

“I recently spoke with VIA Art Fund President and collector Bridgitt Evans on the state of arts philanthropy and floated the theory that collectors are the sleeping giants of arts philanthropy. [VIA means Visionary initiatives in Art. It’s located in Boston.] She concurred with this assessment. Collectors, she said, are ‘exposed to a wider variety of artists, practices, ideas, and social commentary,’ and moving forward, they will ‘direct the same passion they have to collecting to philanthropy.’ ”

Read more at Inside Philanthropy, here.

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Photo: Honolulu Museum of Art
“Black Lava Bridge, Hana Coast No. 1,” 1939, by Georgia O’Keeffe.
 

Who knew that the great Southwest artist Georgia O’Keeffe also painted Hawaii? I myself was surprised to read the report at the New York Times of a new exhibit showcasing the artist’s Hawaii art.

William L. Hamilton writes, “Finding out Georgia O’Keeffe had a Hawaiian period is kind of like finding out Brian Wilson had a desert period.

“But here it is: ‘Georgia O’Keeffe: Visions of Hawaiʻi,‘ 17 eye-popping paradisal paintings, produced in a nine-week visit in 1939, and now on display at the New York Botanical Garden in the Bronx, through Oct. 28.

“It is the first time the largely unknown group has been shown together since its original exhibition in 1940 at Alfred Stieglitz’s gallery, An American Place, in New York. In addition, there are two oil sketches never before exhibited. And not a bleached skull in sight.

“As with previous shows on artists — including Frida Kahlo and Claude Monet — the Garden has also mounted a living display of the subjects depicted in the artworks, and more. In the Enid A. Haupt Conservatory are over 300 tropical plant types, representing the three major groups of flora in Hawaii. …

“[The] air is palpable in the humidly colored, freshly amplified palette of her paintings of hibiscus, wild ginger, pink ornamental banana, and the sea and landscapes in the library gallery, with its muted gray background, as meditatively sensual as a Hawaiian open-air church.

“That air also hangs, warmly spiced, in the Conservatory, with a profuse display of the natural exoticism of the islands that goes well beyond the painter’s depiction. …

“ ‘Every single portrait she painted — the heliconia, calliandra — they’re all imported,’ Todd Forrest, the Garden’s vice president for horticulture and living collections, said of O’Keeffe’s output. ‘That’s the sort of flora people have in their mind’s eye when they think of the islands.’ …

“Missing from her vision, as eager to absorb the overwhelming newness of the place as she was, were Hawaii’s true nobility: the hundreds upon hundreds of native species that exist nowhere else. To its credit, the Conservatory has represented them too, a group rarer to see than even the paintings. …

“O’Keeffe, of course, is an art world star, one of the first of the 20th century’s artists singled out for celebrity. Her larger-than-life flowers are famous too. Since 1924, she had studied and depicted them — gone to the startling heart of them — with her original style. …

“She was already a celebrity in 1939 when at 51, self-created and self-confident, she was asked by N.W. Ayer & Son, a Philadelphia advertising agency, to travel to the islands to produce two print-ad images for the Hawaiian Pineapple Company, later Dole. Not known for commercial work, O’Keeffe had completed a commission in 1936 — what would be the largest of her flower paintings — for the Elizabeth Arden Sport Salon in New York. …

“ ‘What she wanted was an adventure,’ [Honolulu Museum of Art deputy director Theresa Papanikolas] said. …

“ ‘Many of the native plants are endangered and therefore they can’t be shipped,’ explained Francisca Coelho, who designed the edenic installation. The Garden worked with the National Tropical Botanical Garden in Hawaii, which provided cuttings and seedlings of natives legally transportable. …

“And there are tiny groves of pineapples. O’Keeffe cavalierly neglected to paint any while she was in Hawaii on Dole’s dime. Her sponsors had to send her a pineapple when she got back to New York. Ignoring that, she painted a pineapple plant from her memory of being in the fields — a budding fruit guarded like a queen by its threatening wreath of swordlike leaves and fire-colored dirt.

“ ‘I laughed so hard,’ said Christine Gentes, who was visiting the Garden from Chicago with her daughter and sister. ‘She did it for an ad, and turned it into a painting. I mean, she really resisted. Artists never like to do that kind of work.’ ”

Lots of great pictures here and here.

Photo: Tim McDonnell /for NPR 
Samuel-Richard Bogobley holds a GPS-enabled tablet to capture the location of one corner of an underwater clam “farm.” Collecting data is the first step in protecting indigenous livelihoods.

I love reading about how people around the world come up with constructive ways to use technology. This story is about clam farmers in Africa enlisting GPS data as a first step in protecting indigenous rights.

Writes Tim McDonnell at National Public Radio, “Samuel-Richard Bogobley is wearing a bright orange life vest and leaning precariously over the edge of a fishing canoe on the Volta River estuary, a gorgeous wildlife refuge where Ghana’s biggest river meets the Gulf of Guinea.

“He’s looking for a bamboo rod poking a couple feet above the surface. When he finds it, he holds out a computer tablet and taps the screen. Then he motions for the captain to move the boat forward as he scans the water for the next rod. …

” ‘Before you can start to recognize a fishery, you need to have a lot of data,’ says Bogobley, a researcher with Hen Mpoano, a Ghanaian nonprofit that supports small-scale fishers. ‘These people don’t have any platform to fight for what is theirs.’

“The Volta River is rich with clams, harvested year-round by a bustling community of several hundred fishermen and women. The meat is packaged for sale across West Africa, while the shells are ground into an additive for whitewash and chicken feed.

“The riverbed itself is divided into intricate real-estate parcels, each one an underwater clam ‘farm’ with its own caretaker.

“The farms have become a flashpoint in a broader conflict over the land rights of indigenous peoples in Africa: The clam fishers have no legal claim to their farms, and are under increasing pressure as they compete for prime real estate with the booming tourism industry and cope with the impacts of climate change. …

“[Clam farmer Kofi] Amatey spends most of every day working here about ten feet below the surface, gathering clams into a basket. Wearing eye goggles and a weighted belt, he breathes through a makeshift scuba apparatus that pumps air from a compressor on his canoe.

“It’s a subsistence living: Amatey estimates that he earns less than $1,000 per year. And in recent years, it’s gotten even harder.

“A crop of new luxury resort hotels now crowd the riverbanks, forcing the clam fishers off of land where they used to live, dock canoes and process clams. Tourists’ speedboats and jet skis churn the water, threatening to topple the narrow dugout canoes loaded with clams. …

“Without a formal, legal claim to the clam farms, Amatey and his neighbors say they have no way to protect themselves from hoteliers and other developers who acquire deeds from the government. …

“Many indigenous land rights lack protection because of a scarcity of data. …

“That’s where the GPS tablets come in. A growing number of research groups and international aid organizations are rolling out software aimed at making it easier for anyone with a tablet or smartphone to accurately map community-held land and record basic information about its proprietors. This data alone doesn’t offer any legal protection, but it’s an essential starting place.”

More here.

Photo: The Human Rights Warrior
New study suggests that children exposed to music from other ethnic groups become more tolerant.

Numerous studies have shown that children pick up biases against other ethnic and racial groups at a very young age. Here’s a study suggesting that the music of other cultures can temper that process.

Tom Jacobs writes at Pacific Standard, “Ethnocentrism remains a fact of life in both Europe and the United States. Combating it will require teaching a new generation to view members of different cultures as potential friends rather than threatening outsiders. But what mode of communication has the power to stimulate such a shift?

“New research from Portugal suggests the answer may be music. It reports schoolchildren around age 11 who learned about the music and culture of a faraway land expressed warmer feelings toward immigrants from that country than those who did not. What’s more, those positive emotions were still evident three months after this exposure to the foreign culture. …

“[The] study, published in the journal Psychology of Music, featured 229 Portuguese sixth graders, all living in greater Lisbon. Two-thirds came from blue-collar families.

“The students began by filling out a survey in which they were presented with 10 personal traits — five positive (including ‘hard-working’ and ‘honest’) and five negative (including ‘stupid’ and ‘lazy’). They were asked to pick those that applied to members of three ethnic groups common to the Lisbon area: Portuguese, Brazilian, or Cape Verdean people. …

“For the next six months, half of the students took part in a specially designed ‘cross-cultural music education program.’ During the 20 sessions, each of which was 90 minutes long, they learned about Cape Verdean culture, and listened and sang to both Portuguese and Cape Verdean songs.

“At the end of the program, all the students again filled out the survey in which they evaluated people of the three ethnicities.

“Among those who took the class, ‘prejudice towards Cape Verdean people was reduced,’ the researchers report. ‘Attitudes towards other groups were not altered.’

“In contrast, prejudice did not drop among those who did not take the class. A follow-up three months later found the same pattern held for all of the youngsters, meaning the prejudice reduction for those who took the course had stuck.”

More here.

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I know it’s possible to take good pictures on cloudy days, but for me, the play of sunlight and shadow is irresistible. And this time of year, Midsommar in Swedish, has so much sunshine.

Today’s photos feature my usual Massachusetts and Rhode Island haunts. A couple pictures may be slow to load as I am learning to use an iPhone and the size I chose is too big for a blog. I’ll get better at this.

The Mountain Laurel above is from one of my favorite walks — through Sleepy Hollow Cemetery into wooded conservation land. The sunflowers by my fence were a gift from one of the ESL teachers I assist in Providence.

I got a big kick out of the deciduous holly tapping on the window. It was overcome with curiosity about what I was reading so intently at the kitchen table. (Answer: War and Peace.)

The next photo shows a child’s playhouse in Concord. I have never seen any child there and can only imagine how I would have felt to have such a place to play in as a kid. I would have thought I was in heaven.

Next comes an actual home in New Shoreham, one that is not much bigger than the playhouse. Decades before anyone spoke of “tiny houses,” a member of a church I was attending lived in this very small house year-round. It was known as the Doll House, although today the damaged sign says only, “Doll.”

Next to Doll, is a tiny restaurant called the Three Sisters with outdoor seating only and antiques on the fence. (Order sandwich combinations with names like Hippie Sister, Sailor Sister, and Twisted Sister.) There is also a small junk yard (antique yard?) that is fun to investigate while you wait for your food.

In the first sky photo, I was trying to capture the lower clouds, which looked like sheep, but I don’t think they are that noticeable given the whole view.

Finally, a Rhode Island sunset. Ahhhh.

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Photo: Rosa Furneaux
Haroon Ebrat reaches for his notepad, where he has written down audience requests. The entrepreneurial immigrant runs Afghan Theatre TV, a Farsi-language variety show, out of his garage in suburban California.

I’m impressed how this immigrant from Afghanistan took it on himself to keep his culture alive by broadcasting a variety show from his garage. Many viewers have responded with gratitude.

Jeremy Lybarger writes at Pacific Standard, “Afghan Theatre TV operates out of a soundproof garage 40 miles east of San Francisco. … It’s an unexpected setting for a studio whose Farsi-language variety shows stream online 24 hours a day to more than a million viewers a month, according to the station. But much about Afghan Theatre TV is unexpected, starting with its credo that politics and show business don’t mix. …

” ‘We entertain,’ says Haroon Ebrat, the network’s 66-year-old founding impresario and star. On most afternoons for the last six years, he’s shuffled out to his garage in house slippers to host the live call-in shows that have made him famous, or at least recognizable to the Muslims who mob him, groupie-like, in restaurants, supermarkets, and parking lots across the Bay Area. The calls — 500 an hour, Ebrat says — come from all over: Canada, Germany, Russia, Australia, and many of the dozens of other countries that make up the Afghan diaspora. …

“Afghanistan has been in a quasi-permanent state of war for over three decades, historically exporting more refugees per year than any nation besides Syria. Most Afghans decamp to neighboring Iran or Pakistan, but approximately 124,000 live in America. …

” ‘He has preserved the culture of Afghanistan,’ says Ebrat’s 36-year-old daughter Shabnam, who hosts a call-in show of her own, often accompanied by a local psychic who counsels callers about work and love. Such preservation has come at a cost, both literal and cultural.

“Afghan Theatre TV is a family business, as are many of the more than 3,000 ethnic media outlets. … In between these segments of original programming, the station airs Afghan music videos and concert footage, and on some nights local musicians perform traditional songs like a live house band (hence the soundproofing). Ebrat, a prolific filmmaker, also screens the movies he’s made, which are ultra-low-budget mash-ups of comedy, action, and music starring him and his family.

“The station boasts a handful of Bay Area advertisers — kebab shops, halal supermarkets, Muslim-owned tax services — but Ebrat relies on his children to keep the lights on. (Shabnam is a real estate agent; [older brother] Burhan works with cars.) …

“Ethnic media, produced by and for immigrants, faces unique challenges. The relatively small niche audiences, for example, can discourage advertisers. … Even large outlets struggle to survive. Channel 18, a multilingual network that broadcast out of Los Angeles for more than 40 years, filed for bankruptcy in 2012 before finally shuttering its international format in 2017. …

“Part [the] experience includes reckoning with cultural disagreements within the same family. Shabnam Ebrat has become a target for older or more traditional Muslims who see her appearance — dyed-blond hair and make-up — as an affront to God. She doesn’t wear a hijab either. On Instagram, where her selfies reach about 23,000 followers, commenters debate whether or not she’s going to hell for posing in miniskirts and bikinis. …

“There’s the added stigma of being outspoken in a society that, to many Western onlookers, muzzles women. In Afghanistan, some women have no public identity of their own. They’re referred to simply as the wife of, daughter of, or sister of. …

“Overall, though, politics are absent from Afghan Theatre TV, where the maxim is that entertainment brings people together and politics drive a wedge. Haroon is more interested in the zombie horror movie he has in production than he is in discussing the White House. His only stated political aspiration, however vague, is to restore peace in Afghanistan.” More.

Seems like a good idea to stick to entertainment. One thing I’ve noticed while working with Afghan refugees, whether their first language is Farsi or Dari, is that individuals are, well, individualistic. Like groups everywhere, Afghans may have attitudes that diverge a good bit.

Photo: WideOpenPets.com
The University of Maine used baby goats to calm student stress during finals. Valley Edge Farm, which specializes in Nigerian Dairy Goats, provided the rambunctious kids.

This is exactly the sort of offbeat story I love. (Feel free to send me other kooky stories.)

Emily Burnham writes at Bangor Daily News, “For the past few years, the University of Maine has brought in therapy dogs — mostly cuddly golden retrievers and adorable Pomeranians — to soothe the frazzled nerves of students during finals week.

“This spring, however, it decided to try something a little different: baby goats.

“Brittany Smith, a staffer with UMaine’s campus activities board, got the idea when a co-worker mentioned that her sister, Abby Skolfield, owned and operated a goat farm, Valley’s Edge Farm, in the western Maine town of Strong. …

“A few quick phone calls later, a truckload of baby goats was on its way to UMaine, bound for an afternoon visit with students — most of whom had no idea they were going to hang out with month-old Nigerian Dwarf goats. Once word got out, a line stretched all across the mall, full of students waiting for their chance to pet a goat.

“ ‘I thought maybe 30, 40 people would show up, but this is ridiculous,’ said Smith. …

“Skolfield’s goats are old hands at dealing with crowds. Her goats are mostly for show, and they visit daycares and walk in parades regularly.

“ ‘I get hit up for goat yoga more times than I can count,’ said Skolfield. ‘I don’t see how that’s relaxing, but hey, whatever works.’ …

” ‘They come when called. Their little tails wag,’ she said. ‘They are the most dog-like of all livestock.’ ” More here.

I had actually heard of goat yoga! The goats stand on yoga students’ backs.

Video: CBS News

Photo: Arts Professional
Theatergoers can buy tickets at a Heron Foods store’s pop-up box office in the United Kingdom.

There’s a UK publication in which people who are in the arts write articles on initiatives their organizations have tested in case other groups want to try something new. This one is from a theater troupe in Hull. (Prolific arts and culture blogger Amelia in Hull is sure to know all about it.)

Magda Moses writes at Arts Professional, “Hull Truck Theatre’s pop-up box offices are part of our community engagement project called Community Dialogues. The project works to develop deeper relationships with people from areas of low arts engagement and high deprivation in Hull, encouraging them to come to the theatre, often for the first time.

“My job is to get out into the local community to build relationships between community organisations and the theatre, and to better understand the barriers that might stop people attending the arts. …

“As our community relationships developed, we recognised that barriers to engagement with the arts include time, cost, lack of awareness of what’s on, childcare and a sense of it being ‘not for me’. We realised that we could work with retail chain Heron Foods, which has busy stores in the areas in which we work, to learn more, build personal relationships and start to address some of those barriers. Heron Foods is already our main auditorium sponsor and offered us space to trial our visits. …

“I asked shoppers to share their past, present and future experiences of theatre, linking that with A Christmas Carol, our Christmas production. People’s experiences were extremely varied – some attended often, while others were unsure of why the theatre might be relevant to them.

“Members of our box office team then joined us, enabling customers to buy tickets from an iPad. We now run these pop-up box office and community engagement sessions in four Heron Foods stores once a month, and having other staff in attendance has helped the project become more embedded across the theatre. …

“We continue to ask people why they don’t visit the theatre. Some have told us they feel intimidated by the building, let alone by walking up to the box office to buy a ticket. Some are worried they don’t know the conventions of what to wear or how to behave. …

“One of the biggest barriers is ticket price. Why should they spend £15 to see something they don’t know if they’ll enjoy? We sought to address this barrier last November through the marketing campaign for our production of ‘The Last Testament of Lillian Bilocca’ about the women of Hull who campaigned for fishing industry reform in the 1960s.

“We held back 100 pay-what-you-can tickets to the production, which were only made available to the targeted communities via the pop-up box offices. These tickets were popular and we received positive feedback that people were thrilled to be able to afford to see a play that was directly relevant to their community.”

Read how Hll Truck Theatre’s community-engagement efforts have worked, here.

Photo: Brain Pickings
Kelli Anderson works on paper flowers for an animation illustrating Jane Hirshfield’s poem “Optimism.”

If you haven’t discovered Maria Popova’s blog Brain Pickings yet, I hope that you will. Not only do I got the very best ideas there for books to buy the grandchildren, I learn more than I can say about literature and science — and the intersection of the two.

In one recent post, Popova talks about asking a cut-paper artist to create a short animation to illustrate a Jane Hirshfield poem. I loved reading about the thought process behind this project.

“One spring morning in 2017, walking along a San Francisco sidewalk,” writes Popova, “I was arrested by the sight of a tiny weed poking through the crevice between a concrete wall and a chain link fence, boldly blooming in its yellow gramophone blossoms. I stood there marveling at its persistence, remembering Gwendolyn Brooks’s beautiful lines: ‘Wherever life can grow, it will. / It will sprout out, / and do the best it can.’

“Poetry was on my mind that day — I was in the final stages of composing the inaugural Universe in Verseand was on my way to meet the poet and ordained Buddhist Jane Hirshfield, whose work I had cherished for years and who had kindly contributed to the program her mighty protest poem about the silencing of science and nature.

“A year passed. When I invited Jane to participate in the second annual Universe in Verse, we chose her spare and lovely poem ‘Optimism’ for the show. … It instantly reminded me of the irrepressible yellow blossoms I had seen the day Jane and I first met. I had a sudden vision of bringing the poem to life in an animated stop-motion short film. …

“I enlisted the imaginative help of artist, designer, papercraft engineer, and my longtime collaborator Kelli Anderson — a wrester of wonder from ordinary objects and creator of the wondrous This Book Is a Planetarium. …

OPTIMISM
by Jane Hirshfield
[from Each Happiness Ringed by Lions]

More and more I have come to admire resilience.
Not the simple resistance of a pillow, whose foam
returns over and over to the same shape, but the sinuous
tenacity of a tree: finding the light newly blocked on one side,
it turns in another. A blind intelligence, true.
But out of such persistence arose turtles, rivers,
mitochondria, figs — all this resinous, unretractable earth. …

“Find more highlights from The Universe in Versehere.”

Read the rest of Popova’s post at Brain Pickings, here, where you can also enjoy the delightful animation made from cut paper. (I’m thinking 18th C botanical paper artist Mary Delany would have loved the ability to create an animation.)

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Everything happens in June — suddenly urgent yardwork, weddings, anniversaries, graduations, Father’s Day, piano recitals, festivals, youth baseball. Sometimes there are two things you want to attend in two different states happening at the same time. That’s June for you. We could use a little of that weekend excitement in other months. (Blogger New England Nomad said almost the same thing. See the comments in his post.)

Above, my oldest grandson performs “Blue Interlude” and “Love Me Tender” for a piano recital in a setting with a delightful Old World feel.

Next are three photos from the annual Middlesex Jazz Festival in Concord. I especially liked watching the intrepid couple that got up to swing dance.

On the same Saturday as the piano recital and the jazz festival, I drove south to Providence for the hugely popular PVD Fest that Suzanne had been telling me about the last couple years: streets given over to pedestrians, performers of all kinds, costumes, food, fun activities for kids. I saw a lot of people wearing flower garlands in their hair and several in Native American dress.

It was a busy day. I slept well that night.

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Photo: Kensy Cooperrider
A man in the village of Gua, Papua New Guinea, points while describing a representation of Yupno history. Recent research confirms the long-held hunch that every culture uses hands in communicating.

Esperanto was meant to be a bridge between native languages, and I still believe in its potential. But three cheers for languages that don’t need bridges at all.

Blogger KerryCan mentioned one universal yesterday: music. Today’s post is about the nearly universal language of gestures — “nearly” because some gestures have wildly different meanings depending upon the culture.

Kensy Cooperrider writes at Aeon, “In the spring of 1528, the Spanish explorer Álvar Núñez Cabeza de Vaca made landfall on what is now the gulf coast of Florida. Over the next eight years, as he and a small party traversed thousands of miles, they found themselves in a new-world Babel, moving from ‘one strange tongue to another’. In their many encounters with native peoples, their own tongue, Spanish, proved of little use. But their hands served them well. ‘You would have thought, from the questions and answers in signs,’ de Vaca later recounted, ‘that they spoke our language and we theirs.’

“De Vaca is not the first or last explorer to claim successful communication with indigenous peoples through gesture. Similar reports abound. … Sometimes, the messages conveyed were surprisingly sophisticated. If you stay until morning, we will feed you. In that direction, there are goats and pigs of all sizes. The people in that direction eat human flesh. 

“The parties in these exchanges could not have known it at the time, but they were following the advice of Joseph Marie Degérando, a French philosopher with an anthropological bent. In 1800, he wrote a treatise offering practical advice for would-be explorers and ‘philosophical travellers’. …

“Degérando’s proposals swam with the tide of much of Western thinking. The notion that gesture is a natural mode of expression – one that transcends the contrivances of culture – is a very old one. In 95 CE, the Roman rhetorician Quintilian wrote that ‘though the peoples and nations of the earth speak a multitude of tongues, they share in common the universal language of the hands’. …

“[When] Europeans were impressed by the universality of gesture, they were mostly impressed by the strength of their own intuitions. They had not actually been to ‘all regions of the habitable world’. They had no photographs, videos or other visual documents to consult. …

“In the past 50 years, however, much has changed. Technical limitations have evaporated. Video-recording technologies are now cheap, portable and easy to use; video files can be readily stored, swapped and posted online in massive databases. …

“In every group yet studied, the hands at least occasionally stir and take flight as people talk. We are certainly capable of communicating without these aerialist accompaniments, but our hands tend toward motion.

“A second preliminary point is that evidently not all gestures are universal. Most, perhaps all, human communities harbour a storehouse of hand gestures with fixed meanings, which are often called ‘emblems’. Examples of emblems in the English-speaking world include the shhh gesture (an index finger held vertical across the mouth), the peace sign (an outward-facing V made with the index and middle fingers), and the thumbs up. Notoriously, such gestures can lead to confusion or worse. Another emblem, the okay gesture, made by forming a ring with the thumb and index finger, is perfectly benign in the US but a provocation elsewhere.

“Emblems might be what many think of when they first think of gestures, but in the United States and perhaps most other places they are only rarely put to use. (Try to recall the last time you shhh-ed someone, or gave a thumbs up.) What people produce much more often are gestures for ‘yes’ and ‘no’; points to people, places and things; gestures that sketch objects, actions and represent abstract ideas through visual metaphors. These are the real workhorses of gestural expression. And, as it turns out, a case can be made that these workhorses are broadly similar the world over.”

More here. It’s a thoughtful article, and I will only add that if you help immigrants learn English, as I do, the shhh gesture and the thumbs up appear frequently. In fact, teachers and students pantomime pretty much anything that is not easily accessible using Google Translate.

Photo: Mary Carole McCauley, The Baltimore Sun
Tuba player Dan Trahey has helped make OrchKids a national model for lifting up kids. “We’re all interconnected,” he says. “We’re bad at this in America, where we’re all bred to be soloists. We create our own little worlds, and that’s really dangerous.”

When I was in second grade, my mother convinced the school principal to show a movie for children that I think came from the United Nations. It involved hand puppets who were enemies. And what I remember most was that in the end, each puppet felt its way up the arm of the puppeteer and discovered that they were connected.

That message, the message about human interconnectedness, is always having to be retaught, but people who understand it often get involved in initiatives that help disadvantaged children. Consider this story.

Michael Cooper writes at the New York Times, “From the outside, Lockerman-Bundy Elementary School looks forbidding, a tan monolith built in the 1970s. Some of the rowhouses across the street are boarded up — reminders of the cycles of poverty and abandonment this city has struggled with for years.

“Inside on an afternoon [in April], though, it was a different story. Music echoed through brightly colored halls lined with murals. Classes were over, but school was not out: Young string players rehearsed Beethoven in one classroom, while flutists practiced in another and brass players worked on fanfares in a third. Also on offer were homework tutors, an after-school snack and dinner. …

“It was just another afternoon at OrchKids, the free after-school program that the Baltimore Symphony Orchestra and its music director, Marin Alsop, started a decade ago with just 30 children in a single school. The program now reaches 1,300 students in six schools; its participants have gone on to win scholarships to prestigious summer music programs; play with famous musicians, including the cellist Yo-Yo Ma and the trumpeter Wynton Marsalis; perform at halftime at a Baltimore Ravens game; and win accolades at the White House.

“The program was the idea of Ms. Alsop, who began thinking about how to forge closer ties to the city soon after she became Baltimore’s music director — and the first woman to lead a major American symphony orchestra — in 2007. …

“The first student to enroll in the program was Keith Fleming, then a first grader. ‘At first I didn’t really like music,’ he recalled recently. ‘I just thought, I’m going to do this because I didn’t really have something else to do. The first day came, and I started to learn music — and I started to like it.’

“He is 15 now, and his tuba skills have taken him to Austria and London and helped him win an audition to the Baltimore School of the Arts, where he is a sophomore. …

“From the very beginning,” [Nick Skinner, the OrchKids director of operations], said, ‘it was very important that we were immersed in the school, and in the community.’ ”

More at the New York Times, here. And there’s a nice article at the Baltimore Sun about tuba player and OrchKids volunteer Dan Trahey, here.

Photo: Josh Reynolds for The Boston Globe
Volunteers try to find housing and employment opportunities for asylum seekers in Arlington, Cambridge, and Somerville, Mass. Refugees have government-approved supports. Asylum seekers have nothing.

In the last couple years, since I’ve been volunteering in ESL classes, I have learned there is a differences between refugees, who arrive in this country fully vetted and eligible for official support, and asylum seekers.

Asylum seekers are generally fleeing persecution and danger. One woman I heard about knew that the government in her country intended to arrest her after disappearing her husband for his vocal opposition. When she arrived here, she had nothing.

Numerous groups of US citizens are now organizing to help such people.

Zipporah Osei reports at the Boston Globe, “With more attention than ever on the crisis and issues of immigration, Fowkes knew what he needed to do was to effect direct change. …

“Said Fowkes, “I wanted to do more than just mail a check to an organization. I wanted to have a hand in changing someone’s life.’

“Fowkes and his wife joined ArCS Cluster, a group of volunteers helping refugees and asylum seekers in Arlington, Cambridge, and Somerville. The group started in the spring of 2016 as an arm of the Malden-based nonprofit Refugee Immigration Ministry, with a mission of helping through person-to-person connection

“Asylum seekers come to the United States to escape issues such as war, persecution, or domestic violence. Once here, they must apply for asylum and then wait at least five months to apply for a work permit.

“While they wait to be approved, individuals can lack access to medical care and face housing insecurity and social barriers that make the process even more difficult. The group attempts to make the transition as smooth as possible. …

“The cluster, which has over 250 members with roughly 50 active volunteers, provides services to asylum seekers from countries including Saudi Arabia, Libya, Liberia, and Rwanda. It is the first explicitly LGBT-friendly cluster in the Refugee Immigration Ministry. Although the cluster was formed out of First Parish Unitarian Universalist of Arlington, all volunteers are welcome whether or not they are affiliated with any religious organization. …

“For many of the volunteers, the connections made with asylum seekers are long-lasting.

“ ‘I have so enjoyed forming relationships with these people. We develop friendships together,’ said [Sarah Trilling, co-coordinator]. …

“The cluster helps the asylum seekers in seemingly small ways as well. After finding out that one of their guests was uncomfortable taking the bus late at night, volunteers took turns driving her home from appointments.

“ ‘They support me morally and financially. This is a blessed group,’ she said of the coordinating team. ‘I love them for all they do.’

“Fowkes and his wife, who live in Medford, have been members of First Parish for more than 20 years. He recently retired and felt he had more time to invest in charity work. The experience of housing an asylum seeker has also had a positive impact on him.

“ ‘This kind of work suits me,’ said Fowkes. ‘You can do a small thing for a great many people or you can do a huge thing for one person, and I just know I’m making a tremendous impact on someone’s life.’

“The couple took in an asylum seeker who had been living on the street. The guest has been living with the pair for more than a year now. The three have dinner together every night, and the couple has introduced him to his family and friends. Fowkes said they have formed a deep connection.

“ ‘He introduces me to people as his American dad,’ said Fowkes.”

More.

Photo: Toast Ale 
Toast Ale brews its commercial ales with surplus bread at a brewery in Yorkshire. It also pairs up local breweries and bakeries to help them tackle food waste in their own communities.

I have never been a beer drinker, but I have to give a thumbs-up to Toast Ale in the UK because it’s trying to reduce food waste through an unusual brewing process.

Carolyn Beeler of PRI’s The World has the story. “It’s a Wednesday night in central London and the trendy Temple Brew House pub is packed with people out for after-work beers and burgers. A crowd in one corner is sipping intently from half-pint tasting glasses, savoring a beer they helped brew about a month earlier using an unusual ingredient: leftover bread. …

“The beer was brewed at the pub’s tiny in-house brewery in collaboration with Toast Ale, a British craft beer company that uses waste bread to make beer on a commercial scale.

“ ‘In the UK, 44 percent of all bread is wasted,’ says Toast Ale’s chief brand and finance officer Louisa Ziane. ‘So we take surplus bread from bakeries and sandwich makers, and we replace a third of the barley that would otherwise have been used to brew, upcycling bread that would have otherwise been wasted.’ …

“Once the company starts turning a profit, it plans to donate those profits to Feedback, a charity that fights against food waste and shares a founder, Tristram Stuart, with the beer brand. (The company says it’s been able to make donations to Feedback already through its local collaborations.) …

“Around the world, about one-third of the food that’s produced ends up going to waste. That’s a big problem for the world’s hungry, but it’s also a big contributor to climate change: Producing that food emits as much greenhouse gases as many individual countries. …

“ ‘There are bakeries up and down the country who are left with surplus bread at the end of the day, and there are also over 2,000 breweries in the UK,’ Ziane says, so Toast is playing matchmaker with these local bakeries and breweries. …

Toast says it works with bakeries to make sure they’ve exhausted the options to get bread to people who would eat it before agreeing to turn it into beer. …

“Michael Mulcahy, who helped stir up that mash with a red plastic shovel, says, ‘It takes it away from being a hippie environmentalist thing,’ Mulcahy says. ‘It’s the pub. It’s the guys at the bar drinking beer, it’s football and baseball.’

Toast’s beer recipe is online for home-brewers to try, and the company has franchised or licensed its brand in South Africa, Brazil and Iceland. Last year they expanded to the New York City area.” More here.

My husband once tried home brewing, but it was a lot of work, and the beer that resulted didn’t taste as good as the beers he could buy. Still, if someone is into home brewing, the Toast recipe could be fun to try.