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In honor of my 3,000th post today, Suzanne is offering a 20 percent discount on anything at Luna & Stella, the site for contemporary and vintage jewelry with which this blog is associated. Just use the code 3000. The offer is good for all of June 2019!

Turning now to two of my blog’s favorite themes — paying it forward and refugees — I want to tell you about England’s Dame Stephanie Shirley, a former kindertransport evacuee, who plans to donate German government compensation to modern-day refugee children.

Are you familiar with the kindertransport that rescued children from Nazi Germany and brought them to England? According to Wikipedia, “The Kindertransport (German for ‘children’s transport’) was an organised rescue effort that took place during the nine months prior to the outbreak of the Second World War. The United Kingdom took in nearly 10,000 predominantly Jewish children from Germany, Austria, Czechoslovakia, Poland, and the Free City of Danzig. The children were placed in British foster homes, hostels, schools and farms. Often they were the only members of their families who survived the Holocaust. Most importantly, the programme was supported, publicised and encouraged by the British Government, which waived some immigration requirements.”

Imagine that. The government responded to the urgency!

I like that Dame Stephanie, having grown up to be a successful entrepreneur and philanthropist, will pay her German compensation forward to help other refugee children. There is still a crisis, just for children from different countries this time.

According to the Jewish News, “Dame Stephanie Shirley, 85, who boarded a train from Vienna in 1939 aged five, founded a software company in 1962 which was later valued at over £3 billion. … She said: ‘I intend to donate my €2,500 windfall to the Safe Passage charity which supports today’s child refugees. …

“ ‘I’m trying to encourage others to donate theirs as well. There are an estimated 500 of us Kinder still in the UK, so that adds up. I’m discussing it with [Lord] Alf Dubs and [Sir] Erich Reich, how we can combine to make a really big donation. …

‘I’m ashamed of how little this country has done to save child refugees in recent years. It couldn’t be more different to the monumental effort that saved so many of us.’

Read more here and here.

P.S. Please buy something gorgeous at Luna & Stella — for yourself, or maybe a June bride — and use that 20 percent discount so my daughter knows my eclectic blog actually sends folks her way.

Dame Stephanie Shirley, a former kindertransport child, who is paying it forward to help young refugees.

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Photo: UNHCR
Shukria Rezaei, an Afghan Hazara refugee in the UK, with Kate Clanchy, writer-in-residence at Shukria’s school.

Years ago, my husband’s company ordered his department to move to Dallas from upstate New York. We decided not to go, which was a big no-no in the corporate world at that time. Other wives got a laugh when I said, “I don’t transplant well.” That’s probably true of many people who get used to their place. When I think of the thousands of migrants leaving home now, I know they are not doing it just for fun but because there is no other choice. Most people love their home.

The young Afghan refugee in this story longs to go home someday. In the meantime, she is learning all she can, including how to write poetry in a new language.

Caroline Brothers reports for the UN Refugee Agency (UNHCR) that a few years ago “no one, not her family, her teachers, nor any of her 900 schoolmates, was more surprised than Shukria Rezaei herself, when she was judged the best poet in her year. A shy, 15-year-old Afghan girl, who was still grappling with an adopted language.

“Oxford Spires Academy, a secondary school whose catchment area includes deprived localities, had just run a poetry competition to discover what talent might lie hidden in a student body speaking 54 different languages.

“ ‘Everyone was shocked, even myself,’ said Rezaei, now 20 and a scholarship student at the University of London, recalling the moment when Kate Clanchy, the school’s writer-in-residence and the competition’s judge, announced Rezaei had won first prize.

“Less than a year before, Rezaei and her mother – Hazara refugees – had arrived in Oxford from Quetta, Pakistan, which hosts a large population of displaced Afghans. The two were reunited in 2011 with Rezaei’s father, who had been granted asylum in the UK, after a three-year separation.

“Rezaei, for her part, was still struggling to master a language whose barest bones she had learnt at Afghan primary school and refugee school in Pakistan. As a child in the Afghan province of Ghazni, she awoke to the tap-tap of sheep trooping past on their way to the fields; a few hours later, she would set off through the mountains with a dozen other girls.

“ ‘School was two mountains away, and it snowed a lot,’ Rezaei told UNHCR, the UN Refugee Agency. ‘We went on a rocky mountain path and it took an hour and a half.’ …

“In England, in the thick purple jumper of a strange school uniform, she was struggling to keep up.

“ ‘I could only understand what was written down,’ Rezaei said of her first year. She survived, she said, by reading rather than speaking, copying everything she saw on the blackboard: ‘I just did as much as I could.’

“With the poetry prize, however, things shifted. From feeling invisible, Rezaei suddenly had an identity within the school. Clanchy, meanwhile, invited her to join a poetry group she had formed on a hunch that the quiet foreign girls at Oxford Spires might in fact have something to say.

” ‘At the beginning, I couldn’t talk,’ said Rezaei. But seated among 15 or 20 aspiring poets, she began to express herself. …

“Since then, Rezaei has had work published in Oxford Poetry, the emblematic literary journal that has showcased many of the country’s greats. She will be included in an anthology, England, to be published by Picador in June; one of her poems, ‘Homesick,’ has already been translated into German. …

“Like many children of refugees, Rezaei is acutely aware of how much hope her parents have invested in her. Even in the bleakest moments, amid profound dislocation, giving up was never an option, either for them or for her. …

“Rezaei is finding her feet in London, another major adjustment after Quetta and Oxford. Having won a scholarship to Goldsmiths College, she is studying politics, philosophy and economics, which she hopes to convert into a law degree.

“She still misses aspects of her Afghan childhood, but for now her hopes are firmly focused on England. She recently passed her driving test, and is exploring the creative writing scene.

“ ‘Afghanistan is still dear to my heart,’ she said, ‘but I have a lot more to achieve here before I go back.’ ”

Here is one poem.

I want a poem
with the texture of a colander
on the pastry

A verse
of pastry so rich
it leaves gleam on your fingertips

A poem
that stings like the splash of boiling oil
as you drop the pastry in …

I’d really like to copy the whole lovely thing, but you better click through to read it.

Hat tip: Beautiful Day on Instagram.

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Northampton Town v Forest Green Rovers - Sky Bet League Two

Photo: Pete Norton/Getty Images
Reuben Reid (front) of the Forest Green Rovers in England went fully vegan after the team’s owner introduced healthful food. He says it’s made a huge difference in his life.

Even after the retirement of founding host Bill Littlefield, the WBUR show Only a Game continues to have stories that appeal to sports lovers and lay people alike. I got a kick out of this one about England’s vegan soccer team.

Gary Waleik was the reporter.

“The menu at sports events has traditionally been a bit limited … and unhealthy. Especially at soccer games in England.

” ‘On a match day, you’re looking at a lot of sausages, burgers, bacon sandwiches. Quick and easy fried food,’ says Forest Green Rovers striker Reuben Reid. His team is broadening its menu with healthier fare. But that’s just one part of a much larger mission.

“In 2010, Forest Green Rovers, then a fifth-tier football club in Nailsworth, England, was in financial trouble. Dale Vince, who loved the sport as a kid, was approached by the team.

” ‘They said they needed a little bit of help to get through the summer,’ Vince says. ‘And I thought it would be a nice thing to do — because we could, so we should. But within a couple of months, it was clear that they needed much more than just a little bit of money.

” ‘And they said to me, “You really need to be the Chairman.” And I said, “I really don’t. I’ve got so much else to do.” But I then faced the choice — if I walked away, they would fold.’

“It was heady stuff for a guy who, two decades before, was living a hermit’s life on a hill in England’s bucolic Cotswolds region.

” ‘I had an old U.S. Air Force radar trailer that I rescued from a scrap yard and converted into a home,’ Vince says.

“In 1991, he was traveling in Cornwall. And something caught his eye.

” ‘It was England’s first modern, proper wind farm,’ Vince says. … That inspired him to build his own windmill farm, beginning in 1996. He called his new company Ecotricity. It was a big risk.

” ‘When I got started, renewable energy powered about 2 percent of Britain,’ Vince says. ‘Last year, it was 30 percent. And we’ve grown to be a company of about 700 people supplying about 200,000 customers.’ …

” ‘I saw the opportunity to use football as a new channel to speak to a new audience of people about sustainability,’ Vince says. ‘It’s still a football club, but it’s become something else, as well.’ …

” ‘We cut red meat out of the menu straight away for the players. We did it across the whole ground at the same time, so staff and fans and visitors as well. And then we took a series of other steps over the next couple of years toward full-on veganism.’

“The team dropped all meat, fish and dairy. By 2015, Dale Vince was the Chairman of the world’s first vegan sports team.

‘There were people at the time that said, “You’re gonna kill the club. Nobody’s gonna eat it. This kinda stuff,’ Vince remembers.”

Read more here.

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Photo: The Music Lesson, by Frederic Leighton, 1877. The young girl being taught to play the saz (a Turkish lute) is Connie Gilchrist. She was not a musician but became famous as an artist’s model and jump-rope entertainer.

The little girl in this story, born to a stage mother in a 19th century London slum, appears to have had a very successful life. But do click on Little Fatima, a painting by Frederic Leighton, and tell me what you see.

Vanessa Thorpe writes at the Guardian, “Fame is a fickle thing – and this point is well made by the painting of an opulently dressed girl being taught to play a stringed instrument that now hangs in the City of London’s Guildhall Art Gallery.

“Researchers preparing for an exhibition on Victorian attitudes to childhood, called Seen and Heard, have found that Connie Gilchrist, the forgotten young musician in painter Frederic Leighton’s canvas entitled The Music Lesson, was once the toast of England. …

“The child star, then known as ‘the original Gaiety Girl,’ made her name on stage at 12 with a novelty skipping rope act. But even at that early age, Gilchrist’s face was well known across London.

From the age of four she had posed for many of the great artists of the era, including Frank Holl, William Powell Frith and James McNeill Whistler, and for photographs taken by Lewis Carroll. …

“Gilchrist’s is a remarkable rags-to-riches story, yet one masked by her later identity as Countess of Orkney, the name by which she went until her death in 1946.

“Leighton’s sumptuous 1877 painting shows Gilchrist playing the saz, a Turkish stringed instrument, in a scene influenced by the artist’s visit to Damascus in 1873. But it is not the portrait of a child of the English aristocracy. In fact, Gilchrist had been born in the slum area behind King’s Cross station – a district described in 1851 by the writer WM Thomas as ‘a complete bog of mud and filth’ – which was demolished the year after her birth in 1865.

“ ‘Connie had been pushed into celebrity by her mother, it seems, in the hope she would be able to pull the family out of poverty – which she eventually did,’ said [Katty Pearce, curator at the Guildhall gallery]. ‘But although she appeared in hundreds of stage shows, becoming a star turn, those who met her in artists’ studios remembered her as quite a sad little girl.’

“Gilchrist was six when she began sitting for Leighton, and she is the Arab girl in his painting Little Fatima. Whistler even attempted to depict her skipping rope routine in an etching. …

“Gilchrist was able to quit the stage for good after doing an American tour in 1886. Her two wealthy benefactors, Lord Lonsdale and the Duke of Beaufort, had introduced her into high society, one buying a London home for all the Gaiety theatre girls, which he then left to Gilchrist, and the other becoming in effect her adoptive father. In 1892 Gilchrist married a Scottish peer, the 7th Earl of Orkney in London, and they lived quietly together for 53 years in his home near Leighton Buzzard.

“The painting of Gilchrist is one of 50 on show until the end of April in Britain’s biggest exhibition to examine Victorian representations of childhood.”

More images of Gilchrist, here, including the Whistler painting. More of her story at the Guardian, here.

I love how the various strands of this story could lead to many different investigations: on the sadness of child stars, on benefactors that do things like making a home for girls working in a theater, on how a town got a name like Buzzard. Leighton Buzzard — such an English name! Can you say it without affecting an English accent?

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Photo: Pinecone.org
Becoming a musician should not stress students out. That’s why students at a music school in Manchester, England, are encouraged to take time for a well-rounded life.

Our niece is a music teacher and youth orchestra conductor in North Carolina. Her husband and all three of her children are also accomplished musicians. One thing that’s hard to remember now is that when she was studying music in college, she was very stressed out.

That’s something a music school in Manchester, England, is determined to prevent as it launches its new wellness program.

Photo: UIG/Getty Images 
The Royal Northern College of Music in Manchester, which has about 800 students, is promoting physical and mental wellness for students.

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Sally Weale writes at the Guardian, “The Royal Northern College of Music has become the first conservatoire to appoint a lecturer in musicians’ health and wellbeing, to help equip students to deal with the pressures of a career in music.

“The number of students reporting mental health concerns has risen sharply across higher education in recent years, and the RNCM is concerned its students have to deal with the additional pressure of concerts and recitals as well as long hours of practice.

“Sara Ascenso, a clinical psychologist and trained pianist, will start at the college in January. Her role will include lecturing and research, and she will also develop the health and wellbeing provision across the college, ensuring it is tailored to musicians’ needs.

“Kathy Hart, the RNCM students’ union president, said … ‘The work needed to build such a difficult career can come at a price, both physically and psychologically. … The more work we put in, the higher the stakes become – and the more devastating the impact if we are held back by injury or mental health struggles.’

“The Manchester college plans to lay on extra counselling sessions for students, particularly when performance pressures are at their peak, plus wellbeing activities such as yoga to help prevent injury. The RNCM also intends to extend its community outreach so more students get to work with people in need.

Ascenso said: ‘We want our students to learn how to make music with excellence, but also how to live fulfilling lives as musicians and as human beings more generally.’

More at the Guardian, here.

Photo: Mark Bell
A relaxed family recital communicates even to the dogs that music is something to enjoy.
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Photo: Simon Buckley
Grandad, an artist who has experienced homelessness, is one of 33 people behind the “Doodle on Ducie Street” mural, part of the International Arts and Homelessness Festival and Summit in Manchester, UK. The event used art as part of a holistic approach to tackling homelessness.

So many initiatives to address the world’s problems feel like a drop in the bucket, but I have to believe that the bucket can be filled — even if it’s only one drop at a time, even if some drops spill out along the way and have to be replaced. Little things mean a lot if they hit a person just at the moment of receptivity.

In England, a homelessness summit last fall tested the potential of art to spark conversations between haves and have-nots and also to give homeless people a reason to get up in the morning. Helen Lock has the story at the Guardian.

“Two armchairs are facing each other in the Whitworth art gallery in Manchester. Denise Harrison, a mental health blogger with past experience of homelessness, is sitting in one of them, waiting for questions.

“A member of the public sits down opposite her, and tentatively asks if she thinks it’s OK to give money to people on the street, as charities discourage it. ‘It’s down to personal choice – you shouldn’t feel bad if you do or if don’t,’ replies Harrison. ‘Some worry it’s enabling addictions, but it’s also providing someone with the option to pay for shelter. On the street, someone can end up with several free McDonald’s burgers but nowhere to sleep that night.’ …

“Dialogues are part of a performance artwork called Are You Sitting Comfortably? by the artist Emma Turner, who felt the public were becoming inured to homelessness in Manchester. The official number of rough sleepers was 278 in 2017, a 41% increase on the previous year, but the true number of its homeless people – counting those in temporary accommodation – is likely to be much higher.

“As Harrison says of her time suffering with alcohol addiction and sofa surfing after the breakdown of her marriage: ‘It’s scary how quickly a situation that was so abnormal became normal, my new normal. It can happen to anyone.’

”The work was part of the inaugural International Arts and Homelessness Festival and Summit, running 12-18 November [2018], which explored a potentially contentious idea: the role of arts and culture in tackling homelessness.

“Manchester was chosen for the event because the city council’s homelessness strategy for the next five years explicitly includes a commitment to increasing access to arts, and because of how the city’s cultural sector has stepped forward to provide support for the council’s plan. …

“Third sector organisations began working together to approach the council, consulting businesses, universities, cultural organisations and the faith sector, as well as people with experience of homelessness. Their findings underpinned the new Manchester Homelessness Charter. … Officials will now work towards what is described as a jigsaw of homelessness support approaches, rather than focusing exclusively on immediate needs such as shelter and healthcare. This includes the chance to meet people, build skills and have fun. …

“But how would this approach work in practice when the crisis is so severe? Beth Knowles, an adviser on homelessness for the mayor’s office, reiterated that the call for a more holistic approach came from homelessness services themselves – even frontline providers such as the night shelters.

“ ‘I’ve spoken to some about trialling the jigsaw approach,’ she said, ‘and while it might not seem the most immediate thing when you’re trying to find beds, some see the value in maybe having some singing or photography sessions on site, because it’s worked well.

‘Of course, not every council officer is going to see this as a priority. But to do something, it doesn’t have to be a priority. It’s part of a whole package. It’s about what that individual needs and offering it.’

“[According to Amanda Croome, chief executive of the Booth Centre, a day facility for people who are homeless or at risk,] ‘We find that if you put someone into a flat and they have no support network, no interests and nothing to do, then very often in six months they’ll be back on the street. What the arts do is give people a new perspective.’

“Lawrence McGill has become an avid gardener since first becoming a regular visitor to the Booth Centre, filling salvaged containers with soil and seeds. He has also written poetry, and a song, ‘Spinning Plates,’ about juggling life’s hardships. ‘My life started the day I stepped into this place.’ ”

Read about other aspects of the festival, including a description of the “immersive opera” Man on a Bench, here.

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Although black history is not a one-month-a-year-thing, having a dedicated month does seem to turn up stories that might not otherwise be heard. I got this one from the BBC television show Our Classical Century, “a celebration of the most memorable musical moments from 1918 – 2018,” which focused on broadening the audience for classical music.

In this episode, Sir Lenny Henry expressed admiration for forgotten black composer Samuel Coleridge-Taylor.

“I have been enthralled and captivated by the story of a man from Croydon in south London who died more than 100 years ago and who wrote one of the biggest musical hits of the 20th century. He was a total genius – a bit like Prince, but for late 19th-century London rather than 1980s California – and his name was Samuel Coleridge-Taylor. …

“Young Samuel was brought up by his mother and her extended family in Croydon. He never met his doctor father, Daniel Peter Hughes Taylor, who was originally from Sierra Leone and had come here to study medicine in London. …

“The family clubbed together to pay Samuel’s fees at the Royal College of Music, which he entered at 15 as a violin scholar. But the violin was set to one side and composition took centre stage and he was taken under the wing of the composer and conductor Charles Villiers Stanford. … For two years running, Coleridge-Taylor won the RCM’s Lesley Alexander composition prize and was championed by Edward Elgar, who recommended the talented young composer for a major commission – an orchestral work for the Three Choirs festival, his Ballade in A Minor, opus 33.

“The thing I like about Coleridge-Taylor is that he fought adversity to reach the top. He suffered racial abuse at school – apparently he even had his hair set on fire – but remained dignified. His compositions are dynamic, bold, incredibly melodic and immediately accessible. I was blown away. And I wasn’t the only one. He was known as the ‘African Mahler’ and his success stretched far and wide.

“In the US, he was a household name in his lifetime, and travelled there by invitation of the Samuel Coleridge-Taylor Choral Society of Washington DC in 1904, and again in 1906 and 1910. The US marines band were engaged for his first performance and 2,700 people were in the audience, two-thirds of whom were black. He went on to compose Twenty Four Negro Melodies and Five Choral Ballads after that visit. He became interested in interpreting African American melodies, writing: ‘What Brahms has done for the Hungarian folk music, Dvořák for the Bohemian, and Grieg for the Norwegian, I have tried to do for these Negro melodies.’ When success hit, he used it to tell stories about his racial origins in a musical way that might uplift others.

“His best known work, ‘Hiawatha’s Wedding Feast, part of the cantata trilogy ‘The Song of Hiawatha,’ premiered in 1898 to huge acclaim, and went on to play, with the other two parts in a semi-staged version, at the Royal Albert Hall for a fortnight in June every year for almost 30 years in the interwar years. …

“But Coleridge-Taylor never got to enjoy his success – he died tragically young, aged 37, of pneumonia in 1912 – illness said to have been brought on by overwork. Nor did his family enjoy the financial fruits of Hiawatha’s success – the composer had sold the publishing rights to it to Ivor Novello’s company for a low flat fee.

“[My family] never went to a concert hall, and I didn’t see any black musicians. When I finally heard a live orchestra as an adult, it hit me like lightning. … Perhaps it’s time for everyone to take a fresh look at classical music and put aside the stereotypes. … This is our music – it’s music for everyone.”

More here.

Photo: Hulton/Getty
The multitalented 19th-century British composer Samuel Coleridge-Taylor was best known for “Hiawatha’s Wedding Feast.”

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