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In my town, everyone knows who Louisa May is, but you may know her better as Louisa May Alcott, author of Little Women.

When Alcott was first starting out as a writer, she wrote dramatic potboilers under various pseudonyms. Researchers keep discovering more. Michael Casey at AP has the story.

“The author of Little Women may have been even more productive and sensational than previously thought,” he writes. “Max Chapnick, a postdoctoral teaching associate at Northeastern University, believes he found about 20 stories and poems written by Louisa May Alcott under her own name as well as pseudonyms for local newspapers in Massachusetts in the late 1850s and early 1860s.

‘One of the pseudonyms is believed to be E. H. Gould, including a story about her house in Concord, Massachusetts, and a ghost story along the lines of the Charles Dickens classic ‘A Christmas Carol.’ He also found four poems written by Flora Fairfield, a known pseudonym of Alcott’s. One of the stories written under her own name was about a young painter. …

“Alcott remains best known for Little Women, published in two installments in 1868-69. Her classic coming-of-age novel about the four March sisters — Meg, Jo, Beth and Amy — has been adapted several times into feature films, most recently by Greta Gerwig in 2019.

“Chapnick discovered Alcott’s other stories as part of his research into spiritualism and mesmerism. As he scrolled through digitized newspapers from the American Antiquarian Society, he found a story titled ‘The Phantom.’ After seeing the name Gould at the end of the story, he initially dismissed it. … But then he read the story again.

“Chapnick found the name Alcott in the story — a possible clue — and saw that it was written about the time she would have been publishing similar stories. The story was also in the Olive Branch, a newspaper that had previously published her work.

“As Chapnick searched through newspapers at the society and the Boston Public Library, he found more written by Gould — though he admits definitive proof they were written by Alcott’s has proven elusive.

“ ‘There’s a lot of circumstantial evidence to indicate that this is probably her,’ said Chapnick, who last year published a paper on his discoveries in J19, the Journal of Nineteenth-Century Americanists. …

“When first contacted by Chapnick about the writings, Gregory Eiselein, president of the Louisa May Alcott Society, said he was curious but skeptical. … But he has come to believe that Chapnick has found new stories, many of which shed light on Alcott’s early career.

“ ‘What stands out to me is the impressive range and variety of styles in Alcott’s early published works,’ he said. ‘She writes sentimental poetry, thrilling supernatural stories, reform-minded non-fiction, work for children, work for adults, and more. It’s also fascinating to see how Alcott uses, experiments with, and transforms the literary formulas popular in the 1850s.’

“Another Alcott scholar at Kansas State, Anne Phillips, said … his paper makes a ‘compelling case’ that these were her writings.

“ ‘Alcott scholars have had decades to compare her work in different genres, and that background is going to help us evaluate these new findings,’ she said in an email interview. ‘She reworked and reused names and situations and details and expressions, and we have a good, broad base from which to begin considering these new discoveries,’ she said. ‘There’s also something distinctive about her writing voice, across genres.’ …

“In the 1940s, Leona Rostenberg and Madeleine Stern found thrillers written under the name A. M. Barnard, an Alcott pseudonym. She also wrote nonfiction stories, including about the Civil War where she served as a nurse, under the pseudonym Tribulation Periwinkle.

“It wasn’t unusual for female writers, especially during this period, to use a pseudonym. …

“ ‘She might not have wanted [her family] to know she was writing trashy stories about sex and ghosts and whatever,’ Chapnick said. …

“ ‘The detective work is fun. The not knowing is kind of fun. I both wish and don’t wish that there would be a smoking gun, if that makes sense,’ he said.”

More at AP, here.

Photo: An Rong Xu for NPR.
Vickie Wang (left) is from Taipei, Taiwan, and Jamie Wang is from Shanghai, China. Together they make a funny team.

Recently a resident in my retirement community was telling a dinner table of avid listeners about his (non-Chinese) grandson who speaks perfect Mandarin and has a comedy act that’s a hit both in Taiwan and on the US West Coast. I thought, it can’t be easy for a Caucasian to make comedy about China, especially if he ever hopes to go there.

I thought of this young man when I read Ailsa Chang‘s interview with two Chinese comedians at National Public Radio.

“Vickie Wang calls Jamie Wang her ‘mirror sister.’ No, they are not related, but they share an inverse history. Vickie, who’s originally from Taipei, Taiwan, spent about a decade living in Shanghai, where she began her stand-up comedy career, notably under Chinese censorship. Jamie, who’s from Shanghai, came across the Taiwan Strait and fell into a stand-up career in Taiwan.

“They both met at the bar in a bilingual comedy club, tucked inside Taipei’s red-light district and began performing together. Their recent show, A Night of Cross-Strait Comedy, was so well-received that their friends suggested they start touring together.

“Vickie jokes that if they were to tour together it would feel like something of a ‘peace and reconciliation tour.’ … They spoke to All Things Considered host Ailsa Chang at the very bar where they first met.”

Here are some excerpts from the conversation.

Vickie Wang [of Taiwan]: I grew up thinking that people in mainland China are not to be trusted, that they spit, and that they’re really aggressive and they’re not, like, polite and civilized like Taiwanese people. And it took years in Shanghai to consciously undo that kind of stereotype and prejudice. …

Jamie Wang [of Mainland China]: I think people kind of have this stereotype about Taiwanese where they’re, like, villagers because they live on a small island and they haven’t seen much of the world. They’re very backwards.

“Because I’m a Chinese student here, there’s a lot of unfair regulation towards us. Like, Chinese students are the only international students who cannot work here. Luckily, this February, Chinese people can have health insurance in Taiwan now. But for the past seven years, I couldn’t. [Most] Chinese people are also not allowed to work here, so there’s no way for Chinese people to stay and live and work in Taiwan unless, like, you get married to a Taiwanese citizen.

Vickie: When I first started doing stand-up in China, I was immediately briefed on the three Ts: Tibet, Tiananmen Square and Taiwan. These are hard red lines that we’re not supposed to talk about. It’s interesting. It means that I can’t talk about politics. I can’t really talk about LGBTQ issues. …

Now that I’m not living in China anymore, right now, I’m also revenge bingeing on democracy and freedom of speech. I’m really enjoying being able to say whatever I want.

“Jamie: I posted two jokes, and they were all viral, obviously because I’m very funny. But one of the jokes touched the fine line. And I thought it was OK, but a lot of Chinese people were trolling me on the internet. I also received death threats. Trolls DMd me, they were like, ‘I’m going to kill you.’ And I’m like, ‘You can’t. Because you can’t get a visa here.’ I don’t think you can ever be free as long as you are Chinese.

Vickie: There are a lot of things that I can say that Jamie can’t say. And I don’t want to speak over my Chinese friends, but I’m also very aware that, like, there’s things that I have to amplify for them. And in the meantime, I can also call out my own people. Ever since COVID started, I had Taiwanese friends on my Facebook feed who were saying things like, ‘Oh, yeah, they deserve it. These commies, they deserve a plague on their house.’ And I was so, so devastated to feel, like, oh my God, my people, who I’d like to think are generally decent, kind people, have so dehumanized this other population that they’ve never actually encountered. And, you know, I feel like having both of us on stage performing together, I hope that somehow bridges the gap.

“Jamie: I think comedy is a very powerful thing ’cause it’s not, like, a debate. Comedy is like, ‘I make you like me. I make you feel weird together. And then let me tell you what I have to say.’ I think it’s a very non-hostile, very friendly way to make people listen to you.

“Vickie: When someone laughs with you, it’s the closest thing you get to changing someone’s mind. When you’re laughing with someone, it means you — in that moment — you get their perspective. To a degree, you agree with them. It’s a very proactive kind of empathy. And it’s a very joyful kind of empathy. … I think that’s the best thing we can do, is to make jokes about it. I just still struggle to make everything funny. I’ll get there. I’ll figure it out, or Jamie will first.”

More at NPR, here.

Photos: Suzanne and John’s Mom.

I love walking around dirty old New York, even in cold and rainy weather. Today’s photos are from last weekend, when I took the train down for a wedding.

It’s the small things one notices. The saxophone player under the pedestrian bridge in Central Park, where the sound amplifies like an orchestra. He was playing “Beauty and the Beast,” with his sax case open for tips, a stick placed inside to keep any bills from blowing away.

A nicely dressed woman on a city bus scrolling her phone and wearing a rubber Halloween monster mask — blue and green rubber with a gaping hole at the nose and beaver teeth hanging down.

Then there were two people from my childhood that I ran into on the same morning in the Upper West Side. Not people I even knew from the Upper West Side but from Fire Island. The one I met in an elevator was a close childhood friend. The one I met in a diner was someone I knew from the Ocean Beach teenage musicals I directed. So there we were in a diner on Broadway singing one of those old teenage show tunes.

I got myself lost in Central Park on my way to the Met Museum to see the Harlem Renaissance exhibit. Like all New York, it was way too crowded, too many long lines. You spend 20 minutes waiting to buy a ticket, and then, if you want to unload your coat and backpack, you can wait in a ten-minute line to check them in and another long line to pick them up. I decided I could carry mine.

I photographed the Horace Pippin painting for my artist friend Meredith, a Pippin fan. There were many works by Aaron Douglas, but it was too crowded for much picture taking. Here’s a representative sample of Douglas’s art from the Rhode Island School of Design Museum.

The Met exhibit was huge, with portraits of luminaries like Langston Hughes, Zora Neale Hurston, James Weldon Johnson, and Marian Anderson, and scenes of Black life in the 1920s and ’30s rendered in many styles and media. Some artists, like photographer Carl Van Vechten, were not technically part of the Harlem Renaissance, but close observers.

Moving on to other New York sights.

I often envy blogger Sheree, at View from the Back, who can post the most wonderful door photos. Of course, she lives in Europe. I have to go to New York to get anything comparable. Here are two interesting doors, the second in Riverside Park, where signs of spring were defying the miserable weather.

I love that new homeowners in New York often clean up the lovely, old architectural details. Notice the carved staircase, all sandblasted and spiffy.

Finally, here’s a shot for my Ukrainian friends. Thinking of you. Always.

Photo: Vanessa Chisakula.
Vanessa Chisakula of Zambia wrote her first spoken word poem in her early 20s and “didn’t want to stop.”

It’s a universal human need: to have people listen to you, to be heard. How often do you find yourself talking to someone who is only waiting for you to pause so they can say their own thing? Well, that’s not being heard.

Recently in Africa, young people are finding that poetry events can be an outlet where other people are really trying to listen. It feels good.

Sarah Johns has written at the Guardian about poetry slams in Zambia.

“After giving birth, Vanessa Chisakula started writing poetry as a way of processing the changes and struggles she was experiencing as a new mother. ‘I was in my early 20s. I had just become a mum and didn’t understand it,’ she says. …

“Chisakula wanted to share her stories. She was inspired to do spoken-word poetry – a genre written to be read out loud and performed – when she heard I Will Wait For You by Janette…ikz, an American spoken-word poet.

“Now, she is spearheading efforts to expand the spoken-word scene in Zambia, where she is from. In 2017, she co-founded Word Smash Poetry, a movement for young creative activists across southern Africa. In her own award-winning work, she uses poetry as a tool for activism, focusing on issues including women’s rights, youth, African identity and mental health. …

” ‘Art is a form of protest that leaves no blood. It can be peacefully done but a strong message can be communicated artistically. … Poetry is just so beautiful,’ she says. ‘It can be a short but inspiring piece; it leaves you thinking and wanting more. I didn’t want to stop.’

“One of her first poems, ‘Her Place,’ was an examination of womanhood. She explains: ‘I wanted to tell my truth. What exactly is womanhood?’ … In 2020, Chisakula released a short collection of poems, Africana, written to embrace her identity as a black African.

“ ‘I always wanted to relocate to the US when I was young,’ she says. ‘I thought the American dream was the dream. There’s no African dream.’ She no longer believes this; now she wants to celebrate her home continent. …

“Over the past five years, Chisakula has seen the spoken-word scene grow in popularity in her home country. It is already well established across southern Africa, she says. From September to December there are poetry festivals ‘nonstop’ across countries including South Africa, Botswana, Zimbabwe and Zambia. In 2022, the winner of the World Poetry Slam, held in Brussels, was Xabiso Vili from South Africa.

“This year, the competition will be held in Togo. … ‘There’s a poet on every corner now,’ she says. ‘Back then, it was a bit uncommon; now people are doing it on a larger scale. I see poets at almost every event.’

“Male poets still outnumber female poets, however. Chisakula believes women struggle to get a foothold in the arts in Zambia. … Last month, the Word Smash Poetry movement hosted its second all-female national poetry slam in Lusaka, which took place during the 16 Days of Activism Against Gender-based Violence, an annual international campaign that kicks off in late November.

“There were 12 performers in total; four had returned after performing last year and there were eight new faces, which was a huge achievement, according to Chisakula.”

More at the Guardian, here.

Photo: BBC.
Under a government voucher plan, Austria will pay residents to repair broken machines instead of throwing things out.

A new plan in Austria could lead to the emergence of a whole class of tinkerers. There’s money to be made.

Bethany Bell writes at the BBC, “Has your washing machine broken down, or is your electric kettle, laptop or mobile phone refusing to work? Well, if you live in Austria, the government will pay up to €200 ($219) towards getting it repaired.

“The Repair Bonus voucher scheme is aimed at trying to get people to move away from throwing away old electrical appliances – and focusing on getting things mended.

“Erik’s laptop is broken, so he has come to Helferline, a computer and mobile phone repair workshop in Vienna. Because of Austria’s Repair Voucher scheme, he will only have to pay 50% of the repair costs to get it fixed. … Erik has already used the Repair Bonus to mend an old CD player, which is now working well. He says the scheme makes it easier to decide whether or not to throw something away. …

“Helferline’s chief executive, Clemens Schmidgruber, says the Repair Bonus scheme has been great for his business. ‘Our revenues have doubled since it was introduced. So we’re very happy about it,’ he said. …

” ‘Customers benefit because it helps them save a lot of money. Of course, it’s good for local businesses because they generate additional revenues. And the environment benefits, because there’s less electronic waste.’

“Mr Schmidgruber says customers have to download a voucher from a government website and then pay the repair shop upfront. ‘Then you get back half of the costs after three to four weeks.’ …

“The City of Vienna runs a separate scheme – which works in a similar way and helps people pay for repairs to old clothes, bicycles or furniture.

“Markus Piringer, the co-ordinator of the Repair Network in Vienna, says ‘if the costs of the repair are more than 20-30% of the cost of the new product, people tend to buy new. And as the Repair Bonus lowers those costs, it’s a big incentive to repair more. … [But] for many people, it’s still very positive to have always the newest product and to throw away your clothing after half a year or even less. And so this is also something where we need awareness raising.’

“And he warned that while the number of repairs was rising in Austria because of the voucher schemes, there were still too few technicians and craftspeople to do it. ‘We have a problem that we don’t have enough repairers. So we also need a system which is promoting repairs as a job.’ …

“At his bicycle shop in Vienna, Marc Warnaar and his team are fixing a bike, which has rusted brake and gear cables. ‘They don’t make spare parts for this gear system,’ he says, ‘Especially the gear cables, you cannot buy them anymore. So what we’ll do is exchange them with a newer model, so it will run again.’

“He says the Vienna Repair voucher has made a big difference to his business. ‘Normally we see a large decline in repairs, especially in winter. But now we see a lot of people coming because of this voucher and getting their bikes repaired also in winter.’ “

More at the BBC, here. And check out my 2012 post about Dutch repair cafés, here

Art: Francisco Goya via Museo del Prado.
The Parasol (also known as El Quitasol) is one of a series of oil on linen paintings made by Francisco Goya. This series was made in order to be transformed into tapestries that would be hung on the walls of the Royal Palace in Madrid.

Companies that last over many generations know how to evolve with the times. There are a few in the US but more in other parts of the world. In Spain, for example, a factory that once converted pieces by the painter Francisco Goya into tapestries for his clients still plays a role in art and design.

Irene Yagüe writes at the Associated Press (AP), “Spain’s Royal Tapestry Factory has been decorating the walls and floors of palaces and institutions for more than 300 years. Located on a quiet, leafy street in central Madrid, its artisans work with painstaking focus on tapestries, carpets and heraldic banners, combining the long wisdom of the craft with new techniques.

“The factory was opened in 1721 by Spain’s King Felipe V. He brought in Catholic craftsmen from Flanders, which had been part of Spain’s empire, to get it started. Threads and wool of all colors, bobbins, tools and spinning wheels are everywhere. Some of the original wooden machines are still in use.

“The general director, Alejandro Klecker de Elizalde, is proud of the factory’s sustainable nature. ‘Here the only products we work with are silk, wool, jute, cotton, linen,’ he said. ‘And these small leftovers that we create, the water from the dyes, or the small pieces of wool, everything is recycled, everything has a double, a second use.’ …

“The factory recently received one of its biggest orders, 32 tapestries for the Palace of Dresden in Germany — worth more than 1 million euros and providing work for up to five years, according to Klecker de Elizalde. …

“Creating a tapestry is a delicate process that takes several weeks or months of work for each square meter. A tapestry begins with ‘cartoons,’ or drawings on sheets of paper or canvas that are later traced onto vertical thread systems called warps, which are then woven over.

“One of the factory’s most illustrious cartoonists was master painter Francisco Goya, who began working there in 1780. Some of the tapestries he designed now hang in the nearby Prado Museum and Madrid’s Royal Collections Gallery.”

Just for fun, see if you recognize any companies on the list of the world’s oldest companies, here. There’s one called Adam & Eve, which you’d expect to be old! It’s a pub in England, founded 1249.

More at AP, here. No paywall. Wonderful pictures!

Photo: Ann Scott Tyson/Christian Science Monitor.
In China’s hutongs, people travel more slowly, affording them time to enjoy the lush bounty of small gardens.

I do like stories about the joy and innocence of growing things. Check out today’s feature from the Christian Science Monitor, an outlet that reliably covers more positive news than the blaring headlines we are used to.

Ann Scott Tyson writes, “On his morning rounds after a summer rainstorm breaks Beijing’s heat, Zhao Shisheng inspects his favorite vine of gourds. 

“From a small pot of dirt set against the wall of his back alley home, the vine climbs a bamboo pole, rising past mops hung out to dry. From there, it scales window ledges, pipes, and electricity wires, soaring toward a makeshift trellis Mr. Zhao built on his rooftop.

“In fact, Mr. Zhao’s prolific, potted garden – bursting with vines of melon, grapes, tomatoes, cucumbers, mint, and beans – is rapidly enveloping his modest, one-story house, where he lives with three generations of his family and a pet parrot.

“Mr. Zhao counts himself among the ranks of Beijing’s hutong gardeners – the avid, green-thumbed residents who work wonders in the city’s maze-like ancient neighborhoods, tucked behind skyscrapers and traffic-clogged avenues. In hutongs, as the narrow alleys are called in Chinese, people travel more slowly – often by bicycle or by foot – affording them time to enjoy the lush bounty, and admire the gardeners’ horticultural feats. 

“ ‘We eat some and I share the rest with neighbors. I don’t need to sell what I grow. I already have a way to make a living,’ Mr. Zhao says, pointing to a tiny convenience shop in the front room of his house.

“These gardens are largely vertical, rising like Jack’s beanstalk out of humble clay pots or small planters. Vibrant vines and curly tendrils cling to the old stone and rounded tiles of the traditional courtyard homes. Their rustling leaves create a soothing sound and welcome shade as they arc over alleys and courtyards on trellises. …

“Around the corner next to another hutong garden, a plein-air painter has set up an easel and canvas to capture the scene. ‘This plant is a loofah gourd,’ says Liu Changli, dabbing leaves on his watercolor tableau. ‘People in Beijing like to grow it because you can eat it, or simply enjoy looking at it.’ …

“The grower of the loofah gourds, Zhao Guangliang, steps out his door carrying a potted tomato that needs a sunnier exposure. Space is precious in the hutongs, where people live in crowded conditions and share public toilets. So gardeners must be creative. Assisted with strategically placed bamboo, they use every nook and cranny for plants. One of Mr. Zhao’s neighbors arrays plants on the roof of an unused van. Mr. Zhao opts, for now, to seat his tomato on a small chair. …

“Visit with them for a time, and the gardeners enjoy sharing not only growing tips, but also how to use different plants in cooking and other practical ways. ‘This is a Sichuan pepper bush I’ve been growing for more than a decade,’ boasts Mr. Wang, who withheld his first name for privacy. ‘You dry out the pepper in the yard, then you can use it to make mapo tofu or meat stew.’ …

“ ‘This is mint. Do you have some in your house? Smell this kind – see how strong it smells? If you get bitten by a mosquito you can crush some and rub it on your skin. … It’s good for people to chat like this,’ he reflects. ‘It gets rid of your worries.’ “

I wanted to grow loofah gourds here, but I knew I shouldn’t introduce a species to my region. Loofahs make those wonderful “sponges” I used to think came from the sea.

More at the Monitor, here. No paywall. Subscriptions encouraged.

Photo: Institute For Figuring.
Coral Forest – Helsinki, crocheted from recycled plastic. A collaboration between Christine and Margaret Wertheim and the Helsinki Satellite Reefers, hosted by Helsink Art Museum and Helsinki Biennial 2021.

Remember my post on how crochet art was drawing attention to dying coral reefs? (See it here.) Well, after my friend Kristina told me about seeing some of the new additions to the crochet project, I decided to post a follow-up.

Siobhan Roberts reported at the New York Times in January, “Every year after the full moons in late October and November, Australia’s Great Barrier Reef begins its annual spawning — first the coral species inshore, where waters are warmer, then the offshore corals, the main event. Last year, this natural spectacle coincided with the woolly propagation of two new colonies of the Crochet Coral Reef, a long-running craft-science collaborative artwork now inhabiting the Schlossmuseum in Linz, Austria, and the Carnegie Museum of Art in Pittsburgh.

“To date, nearly 25,000 crocheters (‘reefers’) have created a worldwide archipelago of more than 50 reefs — both a paean to and a plea for these ecosystems, rainforests of the sea, which are threatened by climate change. The project also explores mathematical themes, since many living reef organisms biologically approximate the quirky curvature of hyperbolic geometry. …

“The surface of a sphere displays constant positive curvature; at all points, the surface bends inward toward itself. And a hyperbolic plane exhibits constant negative curvature; at all points, the surface curves away from itself. Reef life thrives on hyperbolism, so to speak; the curvy surface structure of coral maximizes nutrient intake, and nudibranchs propel through water with frilly flanges.

“In the artworks, marine morphologies are modeled — crocheted — with loopy verisimilitude. A bit like Monet’s water lilies, the crochet corals are abstract representations of nature, said Christine Wertheim, an artist and writer now retired from the California Institute of the Arts. Dr. Wertheim is the driving artistic force behind the project, which she created with Margaret Wertheim, her twin sister, a science writer who is in charge of scientific and mathematical components as well as management. …

“Crochet Coral Reef exhibitions typically have two main components: The Wertheims provide an anchor, of sorts, with works from their collection that they have crocheted over the years. They also incorporate pieces by select skilled international contributors. One is a ‘bleached reef,’ evoking corals stressed by increases in ocean temperature; another, a ‘coral forest’ made from yarn and plastic, laments the debris that pollutes reef systems.

“Then in response to an open call, volunteers far and wide crochet a pageant of individual specimens that agglomerate in a ‘satellite reef,’ staged by a local curatorial team with guidance from the Wertheims. … All contributors are credited.

“The largest satellite reef thus far coalesced in 2022 at the Museum Frieder Burda in Baden-Baden, Germany, with some 40,000 coral pieces by about 4,000 contributors. The Wertheims call this the Sistine Chapel of crochet reefs (documented in a splashy exhibition catalog). But the show at the Linz Schlossmuseum, which is dedicated to natural science as well as art and culture, is reminiscent of the work of the painter Giuseppe Arcimboldo, whose collage portraits from depictions of fruits, vegetables and flowers are ‘fantastically heterogeneous, also very funny and clever,’ Ms. Wertheim said.

“The Linz satellite reef unites some 30,000 pieces by 2,000 crocheters. The disparate parts take colorful inspiration from traditional Austrian ‘craftswomanship,’ as the exhibit text puts it, and there is a vast, glittery coral wall that gives a nod to the artist Gustav Klimt. In the Wertheims’ view, however, the crochet coral project is proof that it is not always lone geniuses who create great art, but also communities. In the art world, that is a radical idea, they noted, yet in science big collaborative projects and papers with thousands of authors are not unprecedented. …

“The mathematical dimension of the story intersects (from afar) with research by the applied mathematician Shankar Venkataramani and his students at the University of Arizona. They use idealized models to study hyperbolic surfaces in nature. [The] benefit, he said, is that it helps optimize processes like circulation and nutrient absorption. …

“When Margaret Wertheim, who studied math, physics and computer science at university, learned hyperbolic geometry, she found it ‘a bit bamboozling.’ She took the principles more on faith than understanding. Yet through crocheting models, she said, ‘you really do learn in a very deep way what a hyperbolic structure is, and in a way that I think is very powerfully pedagogical.’ “

More at the Times, here. Gorgeous photos.

See also Crochet Coral Reef, here. As the website notes, “Every crafter who contributes to the project is free to create new species of crochet reef organisms by changing the pattern of stitches or working with novel materials. Over time, a Darwinian landscape of wooly possibility has been brought into being. What started from simple seeds is now an ever-evolving, artifactual, hand-made ‘tree of life.’ “

Photo: Joel Sartore/Photo Ark.
Rare flat-headed cats were declared “lost” before the species was rediscovered in 1995.

Lady Macbeth says, “What’s done cannot be undone.” Similarly, when a species is truly extinct, it’s done, never mind random talk of bringing back a wooly mammoth from its DNA. What is more feasible is bringing back to its former range a species that is merely extinct in that region.

Remember our post on the tiger quoll, thought to be extinct in southern Australia? And how about that gray whale, thought to be extinct in the Atlantic Ocean? It just showed up, although that was probably a sign of melting ice that could have opened a passage from the Pacific.

You might like Daniel Shailer’s related story at Scienific American on species that scientists think may yet be found. He explains how researchers will go about prioritizing their searches.

“Gison Morib was home lying in bed, sick from exhaustion after a month-long jungle expedition, when his phone buzzed and a black-and-white photograph appeared. Morib ran outside, jumped on his motorbike and sped through the city of Sentani on Indonesian New Guinea to his colleagues’ expedition and research base — where he broke down in tears.

“ ‘I cannot believe we found it,’ was all he could say, over and over. The photograph showed the first recorded sighting in more than 60 years of an Attenborough’s long-beaked echidna, an egg-laying mammal. After the researchers had spent three years of research and four weeks of trekking through the island’s remote Cyclops Mountains … the team’s camera trap had finally captured an image of the echidna. ‘Even now I can’t describe the feeling,’ … says Morib, a biology undergraduate student at nearby Cenderawasih University. …

“It can be painful for scientists to conclude that an entire species is gone forever. So after at least a decade without recorded sightings, local researchers sometimes simply declare a species temporarily ‘lost’ — hoping it may eventually be found again — instead of giving up entirely. In 2023 that hope led to rediscoveries of animals that included Attenborough’s echidna, De Winton’s golden mole in South Africa and the Victorian grassland earless dragon, a type of Australian lizard that went unseen for half a century. Such hope also fuels ongoing, decades-long searches for species such as the American Ivory-billed Woodpecker, which was last seen in 1944.

“Now an international study published [in] Global Change Biology aims to ‘bring a bit of science back to the search’ for all mammals, amphibians, reptiles and birds playing hide-and-seek, according to senior study author Thomas Evans, a conservation scientist at the Free University of Berlin. In a span of two years, Evans and a team of researchers across the globe — from the U.S. to China, Ecuador and South Africa — compiled what they call the most exhaustive catalog ever of four-limbed creatures that were considered lost to science and those among these animals that were later rediscovered. …

“Although there has been plenty of research into lost species, the study authors say that rediscoveries haven’t been thoroughly assessed since 2011. Analysis tallying losses and rediscoveries across animal groups is even rarer, Evans says.

“His team’s catalog suggests that 856 species are currently missing and that the number of lost species is growing around the world faster than expedition parties can keep up. And this is occurring even though researchers are finding animals through the use of increasingly sophisticated technology, including systems that detect environmental DNA (eDNA) traces of burrowing birds near the South Pole, software that disentangles the noises of different nocturnal species, and even techniques used to spot microscopic traces of rare frogs in ship rats’ stomachs.

“Adding up losses and rediscoveries also suggests that roughly a quarter of lost species are likely already extinct. … Analysis shows that many rediscovered species fit a certain profile: they are big, charismatic mammals or birds that tend to live across a range of habitats, often near humans and in more-developed countries. So, Evans says, if an animal fits the bill for the kind of species that is usually found more easily but continues to evade researchers after long searches, it is probably gone forever. The thylacine, or Tasmanian tiger, is a good example: since the last captive thylacine died in a zoo in 1936, the wolflike species has taken on huge cultural significance across Australia and inspired decades of searching, but it remains lost. The paper argues that precisely because the thylacine is a perfect candidate for rediscovery, the fact it remains lost strongly suggests that it is actually extinct. The same goes for more than 200 other lost species that have been thoroughly searched for as well, Evans says.

“On the other hand, creatures that don’t fit the profile for easy rediscovery, especially reptiles, could still be out there. Because they’re often hard to find and inspire less search effort, small, uncharismatic species are more likely to genuinely be lost but still alive, Evans says. His optimism is backed up by the numbers: new species of small reptiles continue to be discovered at a steady rate, and rediscoveries have boomed, with more than twice as many lost reptiles found between 2011 and 2020 than in the decade before.

“The thylacine has acquired a Bigfoot-like status, complete with amateur hunters and highly questionable sightings. Meanwhile reptiles such as the Fito leaf chameleon of Madagascar are probably sitting pretty and waiting to be found. …

“A probability analysis of some factors also rang ‘alarm bells’ in different ways for different classifications of lost species, Evans says. Mammals classified as lost on islands, such as the Bramble Cay melomys, a rat lost in 2009 and declared extinct in 2016, are disproportionately likely to be gone for good, compared with mammals in other environments. There’s also a sweet spot for finding birds after they’ve been lost: 66 years, on average. This time span is long enough to raise interest in search expeditions but not so long that the animals are considered extremely likely to be extinct. So the odds are not good for the more than a dozen bird species that were lost more than a century ago.

“Evans hopes such details about what may be simply unseen versus what is more likely extinct will help conservationists.”

More at Scientific American, here.

Photo: Lesley Black.
Theater company A Play, A Pie and a Pint produces up to 40 plays a year as well as two pantomimes in the Oran Mor venue in Glasgow, Scotland. Actor Elaine C Smith is pictured above.

I’m in the middle of reading a novel by one of my favorite mystery writers, Ian Rankin, who writes about Scotland. Besides his plots and characters, I love the Scottish slang. Sometimes I even have to look up expressions or words — Teuchter, Slainte, Howff. And it’s not just Gaelic words that are fun, but the Scottish way of putting English words together. For example, “getting mortal” means getting extremely drunk, smashed.

The murder mystery takes place during the offbeat theater festival known as the Fringe, which is why a recent BBC article about a Scottish theater group caught my eye.

Pauline McLean writes, “Established in 2004, A Play, A Pie and a Pint produces up to 40 plays a year as well as two pantomimes in the Oran Mor venue in Glasgow. It has given a platform to established names [and] has also helped new writers get a foothold in the industry, like Liam Moffat, whose play Jack opens the new season. …

“For Juliet Cadzow it is a bitter sweet moment. Her husband David MacLennan was the theatre director who came up with the idea. He died in 2014 after being diagnosed with motor neurone disease. …

“This is what he wrote at the time: ‘The actor Ralph Richardson once described acting as the art of keeping the audience from coughing. And Alfred Hitchcock said the length of a film should be directly related to the endurance of the human bladder. That’s why Colin Beattie and I started “A Play, A Pie, and a Pint.” ‘

“The first show was a play called Hieroglyphics, by Anne Donovan, author of Buddha Da. It was her first stage play. …

“Lunchtime theatre was already popular across Europe but the Scottish offer of a pie made it different, and brought its own challenges.

” ‘It was waiter service when it first started and everyone came and sat at long trestle tables and they were served their pie and It took time when it was busy,’ [actor Linda Duncan McLaughlin] says. ‘They wouldn’t have stopped serving before the play went up. So the waiters were trying to be quiet and and the audience were trying to be quiet but they were still eating.’

“But the concept quickly took off. ‘I think the fact that it was weekly helped,’ says Juliet. ‘If you didn’t like the play that was on that week, there would be a new one next week. And the audience were quite vociferous.

‘They would say to David “I didn’t like that one,” but they’d still come back the next week.’

“Those involved in the shows also liked the challenge of creating a 50-minute show with limited resources and rehearsals. Linda Duncan McLaughlin has written plays, as well as performing in them.

“She says: ‘You’ve got to get what basically is a full play into a fifty minute timeframe. You only have three actors, so if you wanted to write six parts, you’re going to have to be really good at writing doubling up parts and you have to make sure the actors can cope with that. It is limited but it’s a great discipline for a writer. And it really focuses your mind.’

“For some performers, it’s a chance to return to their roots, although Robbie Coltrane admitted his week long run in Peter MacDougall’s play My Father’s Old Suit in 2005 was a daunting one.

” ‘The idea of 500 Glaswegians drinking and having their dinner?’ he recalled in a 2010 documentary. ‘It’s like one of those Frank Sinatra concerts where all you can hear is the knives and forks clattering.’

“[Icelandic] writer Jon Atli Jonassan found the 2009 run of his play The Deep helped him into filmmaking. … ‘No one wanted to make it, but after the production here, we got interest from filmmakers. It was the most expensive film ever made in Iceland and was shortlisted for Best Foreign Film at the Oscars.’ …

” ‘If you’d asked us that first week, I’m not sure we would have been confident that we’d still be going twenty years hence,’ says Linda, who is co-chair of the Scottish Society of Playwrights. ‘It does offer an opportunity for new work to be on every week of the year for forty eight weeks of the year, which no other organization can offer. So it really does have a strong, vital part to play in Scottish theatre culture and long may it continue.’ “

More at the BBC, here.

Photo: S.C. Mero.
Ladybugs nestle into the intersection of 9th, Main, and Spring Streets in Los Angeles, spring 2023. LA’s Fashion District commissioned S.C. Mero to create a series of installations to decorate the median, which had fallen into disrepair.

Art can lift up a community. It can be an outlet for feelings of all kinds. Whether it’s the art of graffiti (see Manny’s documentary Stations of the Elevated), the art of whimsy, or any other kind.

In today’s post, Ali Martin interviews a whimsical street artist, S.C. Mero, for the MonitorDaily.

“In downtown Los Angeles, absurdity interrupts urban blight: A fire hydrant sprouts stockinged legs; a winged telephone leaps from a phone booth; a mailbox towers, inaccessible, over passersby. 

“The city’s historic business district and surrounding neighborhoods are the backdrop for contemporary street artist S.C. Mero, who sees opportunity in a landscape dogged by disappointment and deferred dreams.

“The Minnesota native embraced the area, known as DTLA, after graduating from the University of Southern California (USC) a decade ago. Today, her rogue installations are part of downtown’s creative fabric – and local authorities are in on it. She’s been honored by the city for her contributions to the Skid Row neighborhood and commissioned by the nearby Fashion District to decorate a median at an intersection.

“Transformation governs her art. Ms. Mero’s first pieces were mosaics made of pennies which she altered with heat, dye, and tools. Other projects reshape abandoned spaces into commentaries on politics and humanity. 

“Her work insists on hope, which she describes as rebellious. ‘To put something like cute little turtles on a median with downtown the way it is, it’s resisting something, right? It’s resisting the default, which is to be negative,’ says Ms. Mero.

“The Monitor spoke with Ms. Mero at Something Poetic, her venue for performance art. The space, offered to her during the pandemic by the Historic Core Business Improvement District, has become a hub for local artists. The conversation has been edited for clarity and length. 

Monitor: Why downtown? You joined an artist collective on Skid Row after graduating from USC. I’m guessing there were other options. 
“S.C. Mero: I think my mom asked me the same question all the time. I just feel like it’s a good fit for what I’m doing. It’s really a creative vortex. … You have the Arts District, the Flower District, the Fashion District, Little Tokyo, you have the Industrial District, the Financial District. And maybe that’s typical of most cities, but I feel like there’s a lot happening here and it’s good for cultivating ideas.  I’ve just felt like I want to see it through, too. Look at these [historic, vacant] buildings. I think this could come back to life and they’re not there yet. So I want to be part of that transition. …

You look at a pothole, you look at something breaking down around you, and you see whimsy and light. How does that happen? 
“Because nobody cares about it anymore. It’s free game, right? Nobody’s going to stop you from really, truly doing anything on a pay phone right now, or a newspaper stand, or – in certain areas – a pothole. … To do anything to it, people are like, ‘Oh, you know, it’s better than what was there.’ 

What do you want people to take away from your art? 
“I feel like wanting people to take away something is in a way thinking that I want something from them. … I’m thankful that they are even allowing me to do it. So the fact that their reaction is positive, I’m just even more grateful for that – it makes it a little easier to be able to keep doing it. So I don’t know if I want a certain reaction from people. I just hope that they can find something that they do that they love as much as what I’m doing. 

Is there a theme or an idea that pulses through your work?
“Yes. At first I didn’t really see it. … The age-old idea of spiritual growth and transformation. And I think that that’s evident in a lot of my work – the whole idea that something can lose its identity or lose its value, but then come back even stronger. 

“A lot of my work is critical of our government, but I still maintain hope that there is a better way. It speaks to the truth because it’s not really about a payphone or a penny. We’re no different than that, right? Something is that way, but it can be better. What does it take for that to happen? It takes a belief, for one. It’s not going to get better by not thinking or imagining or seeing it that way. 

What is the relationship between your work and the downtown community?
“They’re as much of a part of [the art] as I am. It’s that we’re-in-this-together kind of vibe. Whether they like the piece or not, they get it because they’ve seen that pothole. They’ve seen a payphone like that. … It has that sense of camaraderie, I think.”

More at the Monitor, here. Note the funny mailbox, among other things.

Photo: Lily St Angelo/Burlington Free Press.
Pallet shelters opened in Burlington, Vermont, in November 2022.

Is this unfancy housing a good idea? It’s a reprieve from sleeping rough. It’s off the bare ground, it provides a roof and some heating and cooling, but … but …

In January, Wheeler Cowperthwaite wrote about “pallet shelters” (above picture) for the Providence Journal.

“Since the onset of the COVID-19 pandemic, when the limitations of congregate homeless shelters became clear as the world shut down against a new disease, House of Hope Executive Director Laura Jaworski has been thinking about pallet shelters.

“Three years later, as Burlington, Vermont and Boston have set up their own pallet shelters, Providence could be next in line with a plan for 45 individual tiny shelter buildings, 70 square feet, with screened windows, fire extinguishers, smoke and carbon-dioxide detectors, electrical outlets and their own heating and cooling systems.

“State officials are ‘pursuing’ a plan to open a 45-unit pallet-shelter village on state land off Victor Street in Providence, state Department of Housing spokeswoman Emily Marshall wrote in a news release.

“An additional four ‘office units’ are in the plan, as the site would be staffed at all times, as well as a ‘free-standing community room’ and a combination shower/bathroom and a laundry room. The shower and bathroom would be Americans with Disabilities Act compliant. …

“The proposed site is on 1 acre of a 4-acre half-moon-shaped lot on Victor Street that is bounded by the on-ramp for Route 146 from Douglas Avenue, as well as by Route 146. One street over, on Chalkstone Avenue, is the Foxy Lady strip club.

“It is unclear how long people will stay, but it’s meant to help them stabilize and move into permanent housing. … Rhode Island Homeless Advocacy Project Director Eric Hirsch said the pallet shelters are very needed and will make a difference to the state’s estimated population of 300 people sleeping outdoors.

” ‘These are a particularly good option, and I like the way they’ve set it up, with one person in each unit, so you don’t have to worry about roommate conflict,’ Hirsch said.

“The pallet shelters will take referrals from the state’s Coordinated Entry System, including those who have been chronically homeless.

“The pallet-shelter initiative is largely a result of outreach workers listening to people struggling with homelessness, and the reasons they would rather live outside than go to congregate shelters, where their lives and behavior are largely controlled by the operators, Jaworski said. …

“In congregate shelters, there is no privacy, people are often kicked out early in the morning and not allowed to come back until late in the afternoon and do not allow people to decompress and begin shifting from survival mode to secure residency. …

“Among the ways the pallet shelter would meet people where they are is allowing pets, including having a dog run, and allowing couples. … Pet ownership being banned and couples being separated were two of the major things that providers found were preventing people from taking offered shelter options, she said.

“Each shelter would also have electric service, which is especially important for people who need medication to be refrigerated, including anyone who needs insulin. …

“The city Board of Contract and Supply has scheduled a Jan. 16 hearing on a proposed $475,763 contract with House of Hope, paid for with American Rescue Plan Act funds, as well as a $475,394 outlay for Amos House to extend its program, or add shelter beds, at the Charlesgate shelter program. … In an email, Providence spokesman Josh Estrella wrote that, because the proposed shelter community would be built on state-owned ‘public right-of-way land,’ it is exempt from city zoning regulations.”

My only question is: Since temporary fixes so often become permanent, who is in charge of seeing this solution is truly transitional?

More at Projo, here. A February update from Sarah Doiron and Kayla Fish at WPRI notes that the shelters will open in early spring. See WPRI here.

Photo: Adeline Heymann/One Ocean Expeditions.
Candice Pedersen, a guide for One Ocean Expeditions in the Arctic, tells passengers that Inuit women feel empowered reclaiming traditional tattoos for themselves.

I love the radio show called The World because of the international focus. It always has a deeper take on mainstream media stories, and you can hear music you’re unlikely to be exposed to anywhere else. Recently, Joshua Coelda, Sejersdal Dreiager, and Shirsha Chakraborty reported about a tradition that is coming back from the brink: Inuit tattoo art.

“Najannguac Dalgård Christensen, 35, pulled back her sleeve on one forearm to reveal a pair of tattoos shaped like train tracks across her wrists. …

“These are traditional Inuit tattoo patterns that speak to her Indigenous Inuit heritage. The markings, she said, represent Sila, a word that carries many meanings, including ‘breath,’ ‘sky,’ ‘spirit’ and ‘universe.’

“To Christensen, who got the tattoo several years ago, it also means ‘the Greenlandic belief that we should be aware of who we are and what we can be, and that is attached to each other.’

“In precolonial times, Inuit women of Greenland, and across much of the Arctic, would have tattoos on both their bodies and faces, holding important pre-Christian spiritual meaning. Today, some Greenlandic Inuit like Christensen are reclaiming their identity through this long-lost art. 

“She said that she didn’t always embrace her Greenlander identity — because it is often associated with negative stereotypes about the Inuit diaspora living in Denmark, who colonized the North American island three centuries ago.  

“ ‘I felt empowered by getting the tattoos because it was like there was some kind of relief that I didn’t have to be embarrassed about being a Greenlander anymore,’ Christensen said. …

“The custom itself is far from new, but tattoos were some of the first traditions to be discouraged when Danish-Norwegian missionaries started colonizing the island at the beginning of the 18th century. The missionaries found tattooing incompatible with Christian faith, [Randi Sørensen Johansen, intangible cultural heritage curator at the Greenland National Museum and Archives] said. …

“As the custom disappeared, so did much of the knowledge about the tattoos’ meaning. ‘We didn’t have that tradition of writing down,’ Johansen said — Inuit passed knowledge through oral storytelling. …

“Inuit would use amulets to protect them from ‘unwelcome spirits,’ but also to help certain attributes or ensure a successful childbirth, among other things. It is likely, Johansen said, that Inuit tattoos were seen as a kind of amulet, giving strength, help or protection to the women or — in rarer cases — men who had gotten them.

“The tattoos were most often made as linear patterns across the brow and vertical lines on the chin made by using both a puncture or dot technique and a sewing technique. The latter technique consisted of pulling sinew dipped in soot under the skin with a needle made of animal bone, curator Johansen said.

“Maya Sialuk Jacobsen is one of about a dozen Inuit tattoo artists across the globe reviving this traditional art. … It was she who created Christensen’s tattoos. For over six years, she’s been helping Inuit like Christensen who live in Denmark connect with their culture through ink. Like Christensen, she is of both Danish and Greenlandic Inuit descent — a group she describes as an emerging ‘third culture’ in the Scandinavian country.

“The community is fairly small in Denmark and not well-defined demographically. According to StatBank Greenland, there are a little under 17,000 people born in Greenland currently living in Denmark. But community leaders, including from the Greenlandic House of Aalborg, aren’t even sure about the exact number of Inuit in Denmark. The number of self-identifying Inuit could be even higher, due to the presence of third-culture community members, who are partially Inuit. …

“Sialuk Jacobsen said, ‘It’s basically identity work all the time.’  Many come to her with a feeling of sadness, in search of a sense of belonging, she said. ‘They need to talk about these things, and to learn about the culture, they just want to learn.’ …

“While Sialuk Jacobsen said she uses inks and needles approved for tattooing on clients in Denmark, her research into the traditional techniques has included experimental tattooing on herself, and using her own right leg as her test area to reconstruct authentic methods of inking up.

“But in Denmark, finger, hand and face tattoos are prohibited (though it’s not illegal in Greenland). So, Sialuk Jacobsen is limited to tattooing the rest of the body. …

“The legacies of colonialism hang heavy over the community living in Denmark. Greenlanders are overrepresented among Denmark’s homeless population — accounting for 7% of people experiencing homelessness, according to VIVE.

“In recent years, Denmark’s colonial past came under public scrutiny.  For her master’s degree, Christensen looked into a form of ‘modern boarding schools.’ She found that Inuit children in Denmark are more likely than Danish children to be taken away from their families and placed in foster homes, which are almost always Danish families. 

“ ‘They learn to speak Danish, and there isn’t any focus on the Greenlandic language, so they lose their Greenlandic language. And when the parents only speak Greenlandic, they can’t talk to each other without an interpreter.’

“Christensen, who has become an activist through her research, believes the government should make it at least mandatory for Inuit children living in foster care to have lessons on Greenlandic.”

More at PRI’s The World, here, and CNN, here.

Photo: Brian Otieno/The Guardian.
Thanks to a roadside health service in Africa, Alphonse Wambua learned he had hypertension and also how to treat it. 

Every country has different ways of handling the challenges of providing health services to its people. We can learn from each other. In the US, the Covid pandemic showed us we had cut back too much on public health programs. Many people who needed help were not being reached, which caused the disease to spread more than it should have.

Today’s story suggests that you reach the hard-to-reach by meeting them wherever they are.

Caroline Kimeu writes for the Guardian from Kenya, “A life on the road had caught up with Alphonce Wambua. Twenty-five years of transporting cargo between the Kenyan capital, Nairobi, and the coastal city of Mombasa, nine hours’ drive away, had resulted in long days, a poor diet and an irregular sleep routine for the trucker. Still, it came as a shock when doctors told him he had hypertension a few years ago.

“ ‘I wasn’t expecting it – I thought I just had serious fatigue,’ says Wambua, who has stopped by the clinic where he was diagnosed to pick up his monthly prescription. ‘This job is high pressure. There’s not much rest.’ …

“The health facility, based in Mlolongo, on the busy Nairobi-Mombasa highway, attracts a steady flow of patients. As well as workers and residents from the area, it also treats drivers from the truckers’ rest stop across the road, as one of 19 roadside health facilities run by the nonprofit North Star Alliance, offering priority healthcare to mobile populations.

“The organization, which constructs clinics out of shipping containers, has set up facilities along major transport routes, transit towns, and border crossings across east and southern Africa to increase mobile workers’ access to medical services.

” ‘When governments do their health planning, they usually plan for communities, but no one plans for mobile workers,’ says Jacob Okoth, a [program] manager at North Star Alliance. ‘Their operating hours are different, so you can’t reach them with the traditional 8am-5pm healthcare service delivery model, and many can only afford to queue for short wait times.’

“North Star was founded in 2006 to tackle HIV and STD cases in the transport sector during the height of the Aids epidemic, when some transport companies were losing more than 50% of their drivers to the disease. It extended its services to cover broader health issues after identifying other recurring health concerns among mobile workers, including non-communicable diseases.

“NCDs such as hypertension and diabetes are responsible for more than half of hospital admissions and deaths in Kenya. Health practitioners warn that the growing burden demands new approaches for prevention, diagnosis and treatment. …

“Many of the NGO’s health centres are along the northern corridor, one of east Africa’s busiest transport routes, which connects several countries in the region. Truck drivers who transport cargo along the corridor can travel for 12-hour stretches with short breaks in between, sometimes for weeks or months at a time. In some areas, the distances between hospitals are long; drivers often delay seeking care due to time pressures or irregular work cycles. …

“Regular health checkups are essential for truckers. … Many rely on high-carbohydrate meals to keep them full on long drives, and they struggle to maintain a balanced diet due to time and cost pressures, says Wambua, whose go-to meal is the Kenyan staple ugali (boiled maize meal). …

“ ‘You’re not focused on eating healthy food – you eat what you find and continue with the journey,’ he says, while a clinician takes his blood pressure and writes him a new prescription. …

“Each health center tailors its opening hours to the needs of mobile workers in the area. Some, like the Mlolongo health center, have regular 9am-6pm opening hours, but run outreach programs in which clinicians and trained volunteers offer free health screenings to target groups, such as truckers, sex workers and informal traders.”

More at the Guardian, here.

Photo: NYPD Dance Team via WYRK.
People of good will may disagree on whether recreation for stressed police officers is money well spent.

Controversy over the New York Police Department has broken out. But it’s not about the usual law enforcement complaints (that they’re not hard enough on crime; that they’re too hard). It’s about the dance team.

Maria Cramer has background at the New York Times, “Officer Lauren Pagán looked at the line of dancers in the overheated cafeteria at a Queens high school on a recent Monday night and frowned. They were gyrating through moves choreographed to ‘Mamacita,’ a pulsating, Reggaeton-inflected song by the Black Eyed Peas and Ozuna. …

“The seven-officer team has mastered hip-hop and salsa and is playing around with bachata and bhangra, the fast-paced, energetic movements drawn from the traditional folk dance of India’s Punjab region. The group is figuring out how to fold in step and pom, where dancers wave pompons while synchronizing their moves.

“But what they really need is recruits to fill out a robust, diverse roster of at least two dozen dancers who can travel and compete against other groups, ideally other officers (although they would be happy to dance off against paramedics and firefighters).

“The dance team, which was formed in 2022, is among about four dozen competitive groups within the department that include traditionally macho squads like N.Y.P.D. Paint Ball, the N.Y.P.D. Rugby Football Club and the N.Y.P.D. Pistol Team.

“Department employees have been branching out. There is a chess club, yoga is popular and there is interest in starting a reading group and even a knitting circle, said Inspector Mark Wachter, a commanding officer with the department’s health and wellness unit, which approves applications. Dance team members hope that more of their brothers in blue will find the rhythm within. …

“In September, on the department’s Fraternal Day, when all of the clubs sought recruits at the Police Academy, 33 people signed up to try out for the dance team, said [Officer Autumn-Raine Martinez, who works in crime analysis at the 108th Precinct and is the team’s president]. Three were men trying to sign up their daughters. …

“She suspects that men fear being mocked. The group’s original emblem — a teal silhouette of a lithe dancer mid-leap — did not help.

“ ‘They’re like fifth-graders,’ Officer Pagán said. ‘They saw a ballerina and they went, “Ew.” ‘ The team redesigned its emblem. …

“The groups’s schedule is intense, a tough sell for police officers who work long hours. The dancers rehearse twice a week for two hours. … They perform at parades, schools, neighborhood fairs and at halftime during games of other Police Department sports teams. The expectation is that members will make it to rehearsals and shows, Officer Pagán, 39, said. …

“Detective Jessica Gutierrez came to the practice at the school cafeteria while nursing a case of conjunctivitis. … Officer Martinez arrived after working 12 hours starting at 5 a.m. Sgt. Benely Santos was scheduled to work an overnight shift at the 111th Precinct after practice. …

“The women range in age — from 26 to 42 — and experience. Sergeant Santos was a novice when she joined. Officer Martinez, on the other hand, has been dancing since she was 4, but has been bedeviled by her height. As a girl, she tried out for the role of Nala in the Broadway cast of The Lion King, but was too tall to make the cut. Later, when she considered auditioning for the Rockettes as a teenager, she was unable to: At 5-foot-5, she was an inch shy of the minimum height requirement at the time.

“Officer Alyssa Blenk, 32, who danced competitively in high school and college, joined the team when she saw pictures of it on Instagram. Her desire to be part of a squad was especially strong following the stress she was feeling as a result of the pandemic and the protests that erupted in New York in 2020 after the police killing of George Floyd in Minneapolis.

“ ‘I need to do this,’ she thought when she saw the Instagram posts.”

More at the Times, here. People of good will may disagree on whether recreation for stressed police forces is money well spent. What do you think? All I can say is I’d rather not have tense, strung-out officers answering a call.