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Associate conductor Roderick Cox and the Minnesota Orchestra during rehearsal. Photo from the conductor’s collection.

There are not many African American conductors. Not yet. In Boston, we know Isaiah Jackson, whose distinguished career included a stint with the Boston Pops in the 1990s. But black conductors have remained scarce.

Now there is Roderick Cox at the Minnesota Orchestra. John Mancini writes about him at NBC News.

“Growing up, the sound of music was a constant in the Cox household. As a boy, Roderick Cox joined his mother and brother in their Macon, Georgia, gospel choir. At home he would put on his own concerts in his room — with the help of his action figures. …

“Cox began his musical journey at Northwestern University, where he studied conducting under the tutelage of famed Russian Conductor Victor Yampolsky. It was actually Yampolsky who planted the seed in the young musician’s mind.

“ ‘Yampolsky, who was very charismatic to me, told me “You should be a conductor.” At first – I laughed at him. But after he reiterated that, it started to become a reality for me,’ says Cox. …

“Cox is just one of a handful of African-American orchestra conductors in the world — and at age 30, certainly one of the youngest. Even with his undeniable talent, the road hasn’t been easy.

“ ‘You’re clawing yourself through the profession. I always say you can’t want to be a conductor you have to need to be a conductor,’ he says.

“It’s having that attitude that helps you withstand, ‘hundreds of rejections and people, organizations telling you that you’re not good enough,’ says Cox. …

“Black folks have been largely left out of classical music. Cox said he felt inspired to do his part to change that and is working hard to break down the barriers that exist between different kinds of people from different walks of life. …

“ ‘I think it’s important for people of different races and backgrounds to see themselves represented onstage.’ ”

More at NBC, here.

Photo: Steve Swayne/wikimedia
The humanities are staging a comeback. May the Parthenon and the finer things it represents stand forever.

I had a liberal arts education. I studied Latin. I studied Ancient Greek. There were certainly times after college I wondered if I should have spent more time on something “practical,” if I should have gotten training that would have plunked me straight into a job.

But then again, where would I be without the richness of the humanities?

Nowadays, there is a prominent thread of educational dialogue that emphasizes the importance of training for jobs, and I get that. But as the drumbeat of practicality continues loud and clear, a new one is also making itself heard. It turns out that even tech companies are beginning to see the point of a liberal arts background.

George Anders writes at Forbes, “In less than two years Slack Technologies has become one of the most glistening of tech’s ten-digit ‘unicorn’ startups, boasting 1.1 million users and a private market valuation of $2.8 billion. If you’ve used Slack’s team-based messaging software, you know that one of its catchiest innovations is Slackbot, a helpful little avatar that pops up periodically to provide tips so jaunty that it seems human.

” ‘Such creativity can’t be programmed. Instead, much of it is minted by one of Slack’s 180 employees, Anna Pickard, the 38-year-old editorial director. She earned a theater degree from Britain’s Manchester Metropolitan University before discovering that she hated the constant snubs of auditions that didn’t work out. After winning acclaim for her blogging, videogame writing and cat impersonations, she found her way into tech, where she cooks up zany replies to users who type in ‘I love you, Slackbot.’ It’s her mission, Pickard explains, ‘to provide users with extra bits of surprise and delight.’ The pay is good; the stock options, even better.

“What kind of boss hires a thwarted actress for a business-to-business software startup? Stewart Butterfield, Slack’s 42-year-old cofounder and CEO, whose estimated double-digit stake in the company could be worth $300 million or more. He’s the proud holder of an undergraduate degree in philosophy from Canada’s University of Victoria and a master’s degree from Cambridge in philosophy and the history of science.

” ‘Studying philosophy taught me two things,’ says Butterfield, sitting in his office in San Francisco’s South of Market district, a neighborhood almost entirely dedicated to the cult of coding. ‘I learned how to write really clearly. I learned how to follow an argument all the way down, which is invaluable in running meetings. And when I studied the history of science, I learned about the ways that everyone believes something is true — like the old notion of some kind of ether in the air propagating gravitational forces — until they realized that it wasn’t true.’ …

“Considering that Butterfield spent his early 20s trying to make sense of Wittgenstein’s writings, sorting out corporate knowledge might seem simple.

“And he’s far from alone. Throughout the major U.S. tech hubs, whether Silicon Valley or Seattle, Boston or Austin, Tex., software companies are discovering that liberal arts thinking makes them stronger.  Engineers may still command the biggest salaries, but at disruptive juggernauts such as Facebook and Uber, the war for talent has moved to nontechnical jobs, particularly sales and marketing. The more that audacious coders dream of changing the world, the more they need to fill their companies with social alchemists who can connect with customers — and make progress seem pleasant.”

Lots more at Forbes showing that the humanities have practical applications (here). All good. But let’s not forget that there is more to life than the purely practical. Liberal arts can benefit people in other ways besides helping them get jobs.

The Artist on the Bridge


Image: Ida Schmulowitz
Artist Ida Schmulowitz says, “I have painted landscapes outside from a pedestrian bridge overlooking a highway since 1983. I feel a very strong bond to this particular place.”

My friend and former boss Meredith Fife Day, an artist, put up an intriguing Facebook post not long ago. It was about the work of a Rhode Island artist who has been painting the view from the bridge at India Point over and over since 1983. No two paintings alike.

Meredith wrote, “Ida Schmulowitz of Providence has painted on site on a pedestrian bridge over the highway near her home and studio for more than 30 years. No camera. No sizing canvases to fit her easel. No hesitation to return again and again until the painting is finished. The paintings are on canvas and average 6-by-8 feet. …

“I had the good fortune of meeting the artist and writing about her work for Art New England 10 years ago. Here is an excerpt from that review:

“ ‘Applying paint in thin layers Schmulowitz often took a morning painting back out at sunset months after it was begun. A pale sky gone peachy-orange carries its history and alludes to color’s role in the passage of time. As highway shadows lengthened at the end of the day, their geometry became more explicit and their hue more saturated. Footprints left in the foreground from walking on the canvas to reach the upper edges mimic brushmarks. The confidence that comes with knowing a site, and developing over the years a vocabulary that expresses its essence, unleashes great intuitive force. That force explodes in these works.’ “

At her website, Schmulowitz explains, “I feel a very strong bond to this particular place (India Point). I’ve felt compelled to record it year after year in all seasons and times of the day. I struggle with trying to combine the structural essence of the place with my internal vision. Changes in the landscape itself, or shifting my vantage point just slightly, are the catalysts for creating a new series.”

I love the strong colors and shapes of the paintings on the website — and the way the shadows lengthen in views of the same scene. Choose from tabs “Bridge View,” “Park View,” “Highway,” “School View,” “Stop Sign,” and “Studio View.”

Photo: Sandor Bodo
The artist says that on the way home after work, “I lay the wet canvas flat and drag it back flat through the streets to my studio. This contributes somewhat to an imperfect surface, that I like to work with, and feel it is part of the process.” 

Extreme Jump Rope


Photo: Metro
Double Dutch competitions are not just about jumping rope.

This past summer, I swung the jump rope with John on the porch as his kids threw themselves enthusiastically into the novelty of this time-honored activity.

Then we went online and checked out an advanced version: today’s competitive Double Dutch.

Gia Kourlas wrote about the phenomenon at the New York Times. “A pair of swirling ropes, two turners to maneuver them and at least one jumper to feel out the rhythm, slip seamlessly in between the ropes and bounce in perfect time. Double Dutch may sound like child’s play, but it’s more than just skipping rope. This game that came to life in the streets of New York City — practiced mainly by girls — is an integral piece of African-American culture.

“Double Dutch has been a competitive sport since the 1970s, its popularity in cities intertwined with the birth of hip-hop. While just about anyone can do it, the best practitioners use athleticism, finesse and musicality to transform it from a game into a choreographic feat. Yes, double Dutch is very much an art form. And who knew? It even has roots at Lincoln Center.

“Jill Sternheimer, the director of public programming at Lincoln Center, had no idea herself until she stumbled upon a video circulating on Facebook. The footage, from Skip Blumberg’s 1981 documentary ‘Pick Up Your Feet: The Double Dutch Show,’ chronicled a competition held on the plaza.

“ ‘It blew my mind,’ she said. ‘I realized that I had to go back and find this history. It’s a story that I wanted to make sure was told from the viewpoint of an African-American woman.‘ …

“Ms. Sternheimer reached out to Kaisha S. Johnson, a founder of Women of Color in the Arts, who has produced events at Lincoln Center for the past 11 years. What moved Ms. Johnson about the video went beyond jumping.

“ ‘I saw all of the black and brown faces on the plaza of Lincoln Center,’ she said. ‘In my lifetime, I haven’t seen that happen ever again. I thought, we have to revitalize this competition, but it has to be more than just a competition.’ …

“Ms. Johnson said, ‘When I think about its living legacy, I think about choreographers and dancers like Jawole Willa Jo Zollar and Camille A. Brown, who both integrated double Dutch into their work.’ …

“For [Brown], double Dutch is about identity and African-American culture. ‘It speaks to the African rhythms and African traditions that continue to be within African-American culture,’ she said. ‘It’s not just about the game play, it’s also about traditions — you can hear those rhythms and the complexity of the double Dutch games.’ ”

More at the New York Times, here.

“Creaticity” Lowell

Like many of New England’s postindustrial cities struggling to reinvent themselves, Lowell has attracted a thriving artistic community to its old warehouses.

And as a magnet for generations of immigrants since the Merrimack and Concord rivers were harnessed to power cotton mills in the 19th century, the city has also attract a rich array of cuisines and cultures.

The late U.S. Senator Paul Tsongas helped to create a popular national park in Lowell. Today, others are building on the city’s arts reputation to attract tourists while strengthening ties among the various nationalities.

Yesterday I decided to check out one of the city’s newest festivals, “Creaticity.” Despite good weather, music, food, giant bubbles, and booths that featured artisans of many ethnicities, the event didn’t have anything like the attendance of the city’s 31-year-old folk festival. But you couldn’t expect that. It probably just needs time to get established.

Here are a few Lowell scenes to give you a taste. The last photo is an editorial comment on how challenging it can be to unlock all the inherent beauty of a city like Lowell.

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RIP James J. Hackett

070314-james-hackettJames J. Hackett, storyteller and harness maker, Moate, Ireland, 1937-2017. Seen here visiting his Kelly cousins in Rhode Island.

The late James J. Hackett, quintessential Irish raconteur, did not have an easy life. But the joy he brought to people through his storytelling and kindness leads me to say he led the best kind of life.

I met James through his visits to his Kelly cousins in New Shoreham and wrote about him on the blog.

Turtle Bunbury, co-author with James Fennell of the Vanishing Ireland book series, interviewed James for volume 3, Recollections of Our Changing Times. He put these words on Facebook yesterday.

“Farewell, JJ Hackett (1937-2017), Harness Maker & Poet — Ballinakill, Moate, Co. Westmeath

James Fennell and I are very sad to learn of the passing of James J Hackett last night, 14 September 2017. He was an absolute gentleman and an inspirational man who, perhaps more than anyone we encountered during the Vanishing Ireland project, personified the resilience and generosity of his generation. Here is his story from the third volume of the series, which we post as a tribute to JJ and as a salutation to his brother Michael.

‘There is no doubting that JJ Hackett is one of the more unusual farmers in the parish. He quotes Wordsworth while stoking the Stanley stove.[i] He has a pet crow who can recognise strangers. He is a fan of the philosopher Edmund Burke and he knows plenty about the Abbé Edgeworth from Longford who blessed King Louis XVI as he awaited his execution.[ii] He’s also written his own memoirs, ‘Days Gone By’, for which he is justly acclaimed across the county. His tales are thoughtful but upbeat and give considerable insight into the rough ride he’s had along the way.

‘ “I was born with a deformity,” he says. “My right hip was out and it’s still out. Nurse Brophy, the midwife, didn’t realise. There’s a poem about her. ‘Here comes Nurse Brophy on her new Raleigh bike, out by Mount Temple and home by the Pike’. I didn’t walk until I was seven years of age simply for the reason that I couldn’t walk.[iii] And to this day I do tire easily, especially walking behind a funeral. …

‘Calamity struck in early 1949, the very same dark winter’s night that his younger sister Margaret was born.

“We weren’t long home from school but a tree fell on top of me. It broke the collar-bone, the cranium and it done in the right knee. I was put in a wheelbarrow and taken to Mullingar Hospital, broken up. I never went back to school. I was in hospital for about a year and ten months and I couldn’t walk for about two years.” …

‘Daniel secured his son an apprenticeship as a harness maker with a saddlery and upholstery business in Moate.[xii] His co-workers were an unusual trio whom JJ refers to as “the three deaf mutes.” None of them could speak or hear. And one of them, John Casey from Limerick, was operating with a single eye. “He lost his left eye with a needle when he was making mattresses,” explains JJ. “That taught me to keep the face turned away when I made them. And yet he could turn a collar for a horse, a mule, a donkey or a jennet.”[xiii]

‘They were the elite of harness makers.” ’

For more text, some footnotes, and good photos, see Turtle Bunbury on Facebook. Or buy the book. I wish I had recorded James’s rich brogue. I can almost hear it in Turtle’s interview. Can you?

Under gray skies or sunny skies, I never tire of the beauty of Rhode Island and Massachusetts. Most of the photos are mine, but three were courtesy of Bo Zhao, Suzanne, and my husband.

We start off with the boathouse that is near the Old Manse and the famed North Bridge in Concord. You can see that the grasses at Minuteman National Park are changing into autumn attire.

On a morning walk, I saw a happy little snake where the bike path meets Sleepy Hollow Cemetery. I think it was a garter snake.

The Kindness Garden was on Blackstone Boulevard in Providence. The last time I walked by, I saw that people had taken whatever they needed of kind words, and there were only a couple left.

The picture of the sidewalk poem in Cambridge was taken by Bo. I wrote about that initiative here.

The photo of the beautiful message on New Shoreham’s Painted Rock was taken by Suzanne. And my husband snapped the funny Help Wanted sign at Summer Shack. I sent it to my cabaret-artist pal Lynn, who wrote back

Another [clam] openin’
Another show
My hand is bleeding
Please stanch the flow
The tips are fine
But my nails don’t grow
Another openin’ of
Another show

The purple flower is called Blazing Star, and it’s native to New Shoreham.

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Photo: Janne Körkkö for the New York Times
A team from Vihti, Finland, competing in the country’s 20th annual Swamp Soccer World Championships. Their mascot, a badger doll, is the one in the cage.

Gotta love those Finns. They have possibly the best education system in the world and all those unusual contests like wife carrying and cellphone tossing. Long, dark winters must make for desperate ideas about how to have fun in summer.

Andrew Keh writes at the New York Times, “There’s something strange going on in Finland. Over the past few decades, as it has all but disappeared from the global sports stage, this humble Nordic nation has sort of lost its sports mind.

“More than 2,000 people ventured to the remote backwaters of central Finland recently for the 20th annual Swamp Soccer World Championships. If you and your spouse want to compete in the Wife Carrying World Championships, you must come to Finland. The Mobile Phone Throwing World Championships? Finland. The World Berry Picking Championship and the Air Guitar World Championships? Finland and Finland.

“ ‘We have some weird hobbies,’ said Paivi Kemppainen, 26, a staff member at the swamp soccer competition and master of the understatement.

“Just look at swamp soccer in Hyrynsalmi, a place where Jetta can achieve a small level of celebrity over the years. Jetta is a stuffed badger ensconced in a bird cage. She acts as a mascot of sorts for a team of 12 friends who make the seven-hour drive each year from Vihti, near Helsinki, for the competition. They bought the doll seven years ago from a junk store at a highway rest stop, and her fame around the swamp has grown ever since. A couple of years ago, she was interviewed by a local newspaper. …

“On Saturday morning … a bottle of vodka was being passed around (their preferred way, apparently, of warming up). It was about 10 o’clock. Soon it would be time for their first game of the day. They set Jetta aside and stripped off their outerwear, revealing skimpy blue wrestling singlets.

“Before they treaded into the mud, they were asked a question: Why?

“ ‘You can say you’re world champions of swamp soccer,’ said Matti Paulavaara, 34, one of the team members, after a contemplative pause. ‘How many can say that?’

“The genesis of swamp soccer was in 1998, when creative town officials in Hyrynsalmi cooked up a festival-like event that would make use of the area’s vast swamplands. Thirteen teams showed up for the first tournament. Since then, the competitive field has grown to about 200 teams. …

“People striding on seemingly firm ground would disappear suddenly into the soft earth, as if descending a stairway. Some tottered on their hands and knees, like babies. Others stood still, until they were waist-deep in muck. The scores were generally low. Many of the players were drunk. …

You play, you lose, you win — no one cares,’ said Sami Korhonen, 25, of Kajaani, who was playing in the tournament for the ninth time. ‘The whole game is so tough, you’re totally wiped out when you’re done.’ ”

More at the New York Times, here.

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Photo: Safira’s Journey
Safira, an Indonesian blogger, visits the Teletubbies village to learn about earthquake-resistant housing.

I like the WordPress blog Safira’s Journey, by a young woman from Indonesia. In a July post, she visits an unusual village and takes pictures.

“My sister needs to make a report about Teletubbies Village in Yogyakarta. So, she asks me to take her to the place as I’m more familiar with Yogyakarta. It’s one of unique village or kampong in Yogyakarta.

“It is made for replacing the public’s house which ruined because of the earthquake in 2006. It was big earthquake and the victims about 6.234 people. It’s occurred at 5.55 in the morning for 57 seconds with moment magnitude of 6,2.

“Teletubbies domes village is from Domes For The World Foundation. It’s unique house and it can resist the earthquake. My sisters interviewed the people who living in one of the domes. She said, it’s comfortable and people are happy to live there. The domes village is one of the memorial from the earthquake.

“They even have annual even to memorizing the earthquake. They make the Teletubbies figures as the icons as you can see from my pictures. Who is that in the costumes? LOL”

More photos at Safira’s Journey.

Photo: Ferg Horn via Associated Press
Two rabbits sat on the back of sheep to avoid rising flood waters on a farm near Dunedin, New Zealand, in July.

As we have all seen recently, a silver lining to hurricane devastation is that people who otherwise would never meet reach out instinctively to help each other in the rising waters.

Here is a story of animals helping other animals, albeit unwittingly. It took place in New Zealand, before either Hurricane Harvey or Irma.

As Nick Perry reported at the Boston Globe, “Three wild rabbits managed to escape rising floodwaters in New Zealand by clambering aboard sheep and surfing to safety on their backs.

“Ferg Horne, 64, says he’s been farming since he left school at age 15 and has never seen anything quite like it.

“He was trudging through pelting rain to rescue a neighbor’s 40 sheep from the floodwaters [at] their South Island farm near Dunedin when he spotted some dark shapes from a distance.

“He was puzzled because he knew his neighbor, who was away in Russia attending a nephew’s wedding, didn’t have any black-faced sheep. As he got closer, he thought it might be debris from the storm, which had drenched the area and forced Horne to evacuate his home.

“Then he saw the bedraggled rabbits hitching a ride — two on one sheep and a third on another sheep.

‘‘ ‘I couldn’t believe it for a start,’ he said.

“Nobody else would believe him either without proof, he thought, so he got out his phone to take a photo, an image he figured his grandchildren would enjoy. In fact, he inadvertently shot a short video. …

“Horne herded the sheep to a patch of dry ground on the farm about 50 meters (164 feet) away. The sheep didn’t like it.

‘‘ ‘As they jumped through the water, the rabbits had a jolly good try at staying on,’’ Horne said.

“He said the rabbits appeared to cling onto the wool with their paws. As they approached the higher ground, the rabbits fell off but managed to climb a hedge to safety.”

More.

Photo: Rafael Bessa
The Blue-eyed Ground-Dove was rediscovered in Brazil in 2015 after a 74-year absence from the scientific record. It was rediscovered more than 600 miles away from where it had last been seen in 1941.

Our birder friend Gene laughed at me when I told him that a woman I knew had spotted a Carolina Parakeet in New Shoreham. “Believe me,” he said. “She didn’t see a Carolina Parakeet. It’s extinct.”

Well, I suppose he was right, but I’ve always wanted to see a bird thought to be extinct — the Dodo, say, or the Ivory-billed Woodpecker.

It turns out, hope is possible.

Sarah Gilman reported the story for Cornell Lab of Ornithology’s Living Bird.

“The song was a surprise: A succession of coos like water drops, both monotonous and musical. They sounded sleepy, familiar, and yet just foreign enough to catch ornithologist Rafael Bessa’s attention.

“It was a brilliant June afternoon in 2015, and the song fluted from some rock outcroppings near the verdant palms of a vereda, or oasis, in an expanse of shrubby grasslands in southern Brazil.

“The country’s Amazon rainforest has long captured conservation headlines, but the cerrado — as this mixed savanna of grass, brush, and dry forest is called — covers 20 percent of the country’s landmass, and is more threatened.

“Bessa himself was there in the state of Minas Gerais to conduct an environmental assessment for a proposed agricultural operation. He had stumbled on the vereda while driving from his hotel to a distant survey site. There was no time to investigate the plaintive call, but the ‘woo-up … woo-up … woo-up’ sounded a bit faster and deeper than the Ruddy Ground-Doves that occur in abundance in the area. Bessa decided to return.

“The next day, he managed to record the mysterious call and summon its maker into a nearby bush with the playback. He aimed his camera and took a series of photographs, then zoomed in on the images.

“It was indeed a small dove — not necessarily the sort of quarry birders get twisted up over. Its back was an unspectacular greenish-brown, and its head, tail, and breast were a muted ruddy orange, blending to a creamy belly and a set of bony pink feet. But its eyes were arresting pools of spectacular cobalt blue, echoed by little half moons of the same dabbed across its wings.

“Bessa’s hands began to shake. ‘I had no doubt that I found something really special,’ he says.

“Seeking confirmation, he texted his friend Luciano Lima, the technical coordinator at the Observatório de Aves of the Instituto Butantan, São Paulo’s biological and health research center. Lima had done his master’s degree in a museum with an extensive specimen collection, and agreed to drive to his office to pull up the photos on his computer and see if he could identify the mystery dove.

“ ‘I was in my car,’ Lima recalls, ‘and he suddenly sent me one of the pictures, and I almost crashed!’ ”

Read more of this real-life detective story here. It contains a bonus in the form of new vocabulary words:

Just as there is a recently coined term for the last individual of a species — an endling — so too is there a much older phrase for those that reemerge — a Lazarus taxon.”

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Photos: Bo Zhao
Boston has put a colorful park under Interstate 93. Bright lights, art, 24-hour security, and an ever changing array of events are expected to connect communities that the highway long divided.

When I had a chunk of free time at my last job, I’d take a walk over to an artsy part of Boston called SoWa, for “South of Washington Street.” It was a place of antique dealers, a homeless shelter, art galleries, and farmers markets.

As interesting as SoWa was, it abutted a bleak wasteland under Interstate 93. People had to walk under there — I walked under there — because the highway divided the neighborhood. But it was creepy.

Saturday saw the opening of an unusual park under the highway. I wasn’t there, but a former colleague who manages to see everything of interest in the city got a kick out of it, commenting that he was surprised to find the park is so near Boston’s public Harbor Walk. He shared his photos here.

at the Daily Free Press provided the background. “National Development, the developer of Ink Block, is partnering with Reebok to make the project a reality. The park, which was originally an 8-acre underpass between South Boston and the South End, will feature a pedestrian and bicycle boardwalk, 175 parking spaces for local businesses and a mural wall, according to the release.

“Ted Tye, the managing partner at National Development, said the park was originally supposed to be a plain, normal park when the Massachusetts Department of Transportation started on the project across the street from where their Ink Block brand is located. Once National Development gained access to the project; however, the idea changed. …

“Tye said the idea behind incorporating the murals, which was curated by Street Theory, artistic duo Victor ‘Marka27’ Quiñonez and Liza Quiñonez, was to appeal to companies and younger generations looking to find their start in Boston. …

“Tye said, ‘It makes it really an exciting, new destination, a new playground in the city, and we’ll be extending that not just with our opening event [September 9] but looking into next year with some really great programming.’

“Another reason for opening the park, Tye said, is to connect the neighboring communities of South Boston and the South End and to make the area surrounding the Broadway Bridge safer to walk.

“ ‘By filling in this area with a place that’s well-lit, with a place that will have 24-hour security, with a place that will have lots of people, and activity, and music and art — it makes that gap a lot shorter,’ Tye said. ‘The people that are moving into the Ink Block area are now feeling really good about walking to South Boston, about using the Broadway T station, and it just really connects the two communities.’

“Sneha ‘IMAGINE876’ Shrestha, a Boston-based artist who is contributing to the mural wall described her style as ‘mindful mantras in [her] native language where [she meshes] the aesthetics of Sanskrit scriptures with graffiti influences.’

“Shrestha wrote in an email she wanted to give back to the Boston community as it was the first place she was exposed to the art of graffiti.

“ ‘As a kid from Nepal, I didn’t grow up seeing graffiti or much of any sort of art,’ Shrestha said. …

“Shrestha wrote the location of Underground at Ink Block excited her because it was near her first employer Artists for Humanity, a nonprofit which works to employ under-resourced urban youth interested in art and design, according to their website.

“ ‘My first job out of college was at Artists for Humanity and this is where I realized the effect of art on young people and how I can contribute to being an agent of positive change through art,’ Shrestha said. ‘It feels full circle in a lot of ways to have a mural here as my token of gratitude to this place.’ ”

Tim Logan at the Boston Globe, wondered whether getting to the park will be too challenging for people who are not going between the neighborhoods anyway.

He writes, “Drawing people to a place like this takes work, said Bob Uhlig, president of the Boston landscape architecture firm Halvorson Design. Color will help, he said; so will good lighting. Filling the place with popular, consistent programming will go a long way toward making it a destination, much as the Lawn on D has become, he added.

“ ‘That really adds another level of vibrancy, having something programmed on a regular basis,’ Uhlig said. ‘You want to get people to come back, repeatedly.’

“And, he said, you want the locals to use it. There’s a row of big buildings going up just a block away along Harrison Avenue, which will add thousands of residents to a corner of the city with relatively little park space. This is a chance to create some, even if it’s below a highway.”

More at the Free Press, here, and at the Globe, here.

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Photo: SoundCloud
With his unconventional collaborations, classically trained cellist Seth Parker Woods draws new audiences to the arts.

I’m always interested in people who see the world in unconventional ways and take their talents down unconventional byways.

The July issue of Strings Magazine provides an example of one such path-breaker, cellist Seth Parker Woods.

Thomas May writes, “For Texas-born cellist Seth Parker Woods, pushing boundaries and definitions comes naturally — both for his own creative development and for his overall sense of mission.

“ ‘I’m trying to change the face and the landscape in which music can be experienced, regardless of class or ethnicity or background,’ Parker Woods says. …

“Parker Woods refuses to let his identity as a cellist be restricted by conventional perceptions of what a classical string player does. Which is why, even at this still-early stage of his career, he’s already been leaving his imprint on a fascinating variety of collaborations across disciplines.

“An increasingly frequent and welcome presence among new-music circles, Parker Woods also draws audiences from the spheres of dance and innovative visual arts. And while the cello is at the center of his creative work, it shares space with his ongoing explorations of kinesthetics and the body, choreography, electronic music, visual art, and theatrical performance. …

“ICED BODIES is Parker Woods’ contemporary reframing of a legendary avant-garde collaboration from 1972 between the maverick designer Jim McWilliams and the late cellist and performance artist Charlotte Moorman. The original version was a durational ‘happening’ … that involved Moorman using a saw and other tools to play a cello sculpted from ice as it melted. …

“Parker Woods [headed] to London’s Royal Albert Hall to perform with the Chineke! Orchestra for its debut at the BBC Proms on August 30. He’s one of the founding cellists of this ensemble, which was created to address the underrepresentation of ethnic minorities among Europe’s professional orchestras. …

“ ‘My upbringing is in classical, and that’s still a major part of my career. But I feel that we as performers have to usher in the music of now and be advocates for it,’ Parker Woods says. …

“As a boy in his native Houston, where he was born in 1984, Parker Woods recalls falling in love with the sound of the cello when he saw the film The Witches of Eastwick. In one over-the-top scene of this comedy-fantasy, based on a John Updike story, Susan Sarandon plays the instrument with Jack Nicholson at the piano until her cello bursts into flames.

“Parker Woods started lessons at age five or six. ‘My father was a gospel and jazz singer, and had a band that would rehearse in our basement studio. My earliest musical experiences came from listening to them rehearse when I was a toddler.’ …

“A connection to opera, ballet, and film composer Patrick Soluri opened the door to Europe, which has remained a major focus of Parker Woods’ career as a performer and scholar. Through Soluri, he was engaged to perform in the Berlin Staatsballett orchestra. He later worked with the contemporary choreographer Anne Teresa De Keersmaeker and P.A.R.T.S., the dance academy of her company Rosas. A residency at the Centre Intermondes in La Rochelle, France, led to several more collaborations.”

“ ‘I just kept breaking all the rules,’ says Parker Woods.”

Read more here.

Hat Tip: ArtsJournal.


Photo: Alicia Canter/The Guardian
Mohammed, a Palestinian, bakes cheese twists with his host family in London.

Here’s another example of individuals in the UK stepping up to give refugees a welcome — while providing themselves with an experience that feels more meaningful than donating money or sending “thoughts and prayers.”

Alicia Canter, Kate Lyons and Matt Fidler write at the Guardian,
“It’s a simple premise: people with a spare room in their house are matched with a refugee or asylum seeker in need of somewhere to stay.

“And it’s a popular one: before 2015, Robina Qureshi’s organisation, called Positive Action in Housing (PAIH), used to provide about 600 nights of shelter a year to people with nowhere to go. In the 18 months since September 2015 this has risen to 29,000 nights.

“ ‘We were getting bombarded with people. … They said, “I want to do something.” ‘ …

“There are numerous points in the asylum process that asylum seekers and refugees can find themselves becoming destitute and homeless. Perhaps the most common is when they have their claim refused – at which point support payments stop and they are forced to leave their accommodation.

“People in this situation often find themselves homeless, without the right to work or receive benefits, unable to approach the local authority for help, and yet, in many cases, feeling unable to return to their home country. …

“ ‘The ones I feel really sorry for are the people who have been left destitute for years on end. People take them in and let them be human, and take them into a warm home where people care for them,’ says Qureshi.

‘What the hosts found out was that they were meeting a need in themselves – a need to give. Our society is so wealthy and our houses are stuffed full, but there’s that need to help others.’

“Mohammed, 35, from Palestine, [lives] with Joanne MacInnes, an actor and activist, in west London, and on weekends her daughters Malila, 12, and Eve, 14. …

“MacInnes has hosted six people in her house, but Mohammed is, she and her girls agree, their favourite. ‘He’s the nicest of them all,’ says Eve.

“Currently the family are trying to find Mohammed a wife. He uses his local mosque’s dating service, but says that because of his precarious immigration status he is not considered a desirable match. …

“Mohammed says he was shy when he moved in and nervous about how the family would respond to him.

“ ‘First time I come in here, I’ll never forget, Malila gave me a hug and speak with me,’ says Mohammed. ‘I was shy, Malila come in straight away, hug and speak with me and is not shy, you know. Eve is shy and Eve after two weeks spoke with me. And Joanne spoke with me. I feel family. Listen, I don’t speak English, but I hope you understand me. My dad is dead, my mother is dead [and] my sister. Joanne, Mali and Eve are my family.’ ”

More here.


Photo: Heidi Gumula/DBVW Architects
After the Mercantile Block in Providence, Rhode Island, was restored, it became a hub of activity once again.

Rhode Island in general is good at preserving historic sites, offering developers monetary assistance in the form of generous tax credits. Providence in particular has a history of successful efforts to renovate properties for new uses.

At the National Trust for Historic Preservation, Jared Foretek writes about one: “When the Providence, Rhode Island nonprofit AS220 set out to purchase its third downtown building, it knew the Mercantile Block had exactly what it was looking for. Its sheer size — 50,000 square feet, four stories, and a basement — made the 1901 structure perfect for the diverse uses the artist-run organization had in mind. There was storefront space for creative businesses, office space for local nonprofits, and room for 22 live/work studios for local artists.

“Built in 1901, the building was once the hub of a bustling commercial strip in downtown Providence [and] remained a destination until the middle of the 20th century, when the Mercantile and its surrounding neighborhood fell victim to the same economic and migratory forces that ravaged urban cores around the nation.

“The building was nearly vacant when AS220 — an organization dedicated to creating artist space in Providence since 1985 — undertook a $16.9 million rehabilitation in 2008. …

“A meticulous restoration of the building’s four-story facade by DBVW Architects has helped revitalize the entire streetscape and inspired building owners to take up rehabilitations nearby. The mixed-use redevelopment has benefited the broader community as well, with affordable storefronts for local small businesses, office space for Providence-based nonprofits, and subsidized live/work studios for artists. …

“The renovation also allowed locally owned small businesses — some long-time tenants — to lease newly desirable downtown storefronts at low cost. For a restaurant like Viva Mexico!, one of just a few Latino-owned businesses in the downtown area, affordable space with good real estate is hard to come by. …

“ ‘It’s a story that a lot of communities have. Artists live in places that are semi-legal or if they’re legal, they’re underdeveloped. And as soon as spaces become viable and interesting, artists get pushed out, and low-income people get pushed out,’ said Shauna Duffy, AS220’s Managing Director. ‘So our mission is to create these spaces and create this community. And that involves having a permanent place for artists to live affordably downtown in Providence.’ ”

More.