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Posts Tagged ‘philadelphia’

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Photo: Jessica Griffin/Philadelphia Inquirer
James Hough spent 27 years in prison making murals for the outside world without getting to see the finished product. Now, he’s the Philly DA’s artist-in-residence.

This makes good sense to me: an ex-offender welcomed at the district attorney’s office as an artist-in-residence. Way to move forward! But in this and other restorative justice programs, the victims of a crime are not left out.

Samantha Melamed reports at the Philadelphia Inquirer, “For nearly two decades, James Hough painted sections of murals that would splash color, bold imagery, and messages of resilience, healing and hope across more than 50 blank or blighted walls across Philadelphia.

“But Hough — who was serving a life sentence at the State Correctional Institution-Graterford — never saw the finished artwork. Each square of parachute cloth he painted was sent out into the world. He saw the finished product only in photographs sent to him by Mural Arts Philadelphia’s Restorative Justice program.

“Then, the U.S. Supreme Court ruled that life sentences automatically imposed on minors were cruel and unusual, putting Hough in line for a new sentence making him eligible for parole.

“Now, Hough is seeing his work on display for the first time — and expanding his role in making public art as an unlikely emissary for the Philadelphia District Attorney’s Office, where he is taking a position that’s been described as the first-ever artist-in-residence at a DA’s office, embedded alongside prosecutors, investigators and victim advocates. …

“It makes perfect sense to DA Larry Krasner, who sees the arts as central to the criminal justice reform movement, starting with the writing of Michelle Alexander and continuing with the films of Ava DuVernay, right up to Kendrick Lamar’s songs of racial injustice.

[The DA said], ‘The connection between the reforms we’re trying to make in Philadelphia and the people in Philly who are part of that movement are best made in some ways through the arts.’ …

“The project will be supported by Mural Arts Philadelphia and by Fair and Just Prosecution, the national network of reform prosecutors. …

“Miriam Krinsky, who heads Fair and Just Prosecution, sees the project as a pilot for other offices around the country willing to welcome in artists and work with them to humanize the impact of the system and underscore the need for reform.

“She acknowledged that by bringing in someone such as Hough, who came into the criminal justice system at 17 for fatally shooting a man on a Pittsburgh street in 1992 and spent 27 years in prison, the work is also squarely aimed at those who work within the office.

“Hough, who lives in Pittsburgh, envisions conducting interviews and workshops with DA office staffers and people in the community, and using those testimonials to inspire a series of videos and paintings. …

“Before a news conference at the District Attorney’s Office to announce his new role, Hough stopped off near 12th and Callowhill Streets, to gaze up at a striking mural he’d created called the Stamp of Incarceration, working side by side with the artist Shepard Fairey and other prisoners.

“ ‘I was involved with this mural for the whole process: developing the concept, mixing the colors,’ he said. ‘Now, the final step is witnessing it. … I can’t wait for some of the other guys that are incarcerated to get that experience,’ he said. ‘It really places you as an individual who worked on a collective project in the bigger scheme of things, in the sense that you contributed to the tapestry of the city in a meaningful way. And it opens the door to the possibility that there’s more that you can do.’ ” More here.

For a previous post on restorative justice, click here. And here’s one about an indigenous approach and another about using the arts.

 

 

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Photo: Culture Club/Getty Images
Detail from CW Quinnell’s portrait of 17th century poet John Milton.

Never doubt the ability of a motivated academic researcher plodding along in dusty library carrels to uncover miracles. I credit the intense focus of youth, imagination, and the thrill of the chase.

Alison Flood writes at The Guardian, “Almost 400 years after the first folio of Shakespeare was published in 1623, scholars believe they have identified the early owner of one copy of the text, who made hundreds of insightful annotations throughout: John Milton.

“The astonishing find, which academics say could be one of the most important literary discoveries of modern times, was made by Cambridge University fellow Jason Scott-Warren when he was reading an article about the anonymous annotator by Pennsylvania State University English professor Claire Bourne. Bourne’s study of this copy, which has been housed in the Free Library of Philadelphia since 1944, dated the annotator to the mid-17th century. … She also provided many images of the handwritten notes, which struck Scott-Warren as looking oddly similar to Milton’s hand.

“ ‘But I always think “I recognise that handwriting,” ‘ Scott-Warren said, ‘[and] normally I’m wrong. This time I thought: “The case is getting stronger and stronger.” ‘

As evidence stacked up, he said he became ‘quite trembly … You’re gathering evidence with your heart in your mouth.’ …

“Scott-Warren has made a detailed comparison of the annotator’s handwriting with the Paradise Lost poet’s. He also believes that the work the annotator did to improve the text of the folio – suggesting corrections and supplying additional material such as the prologue to Romeo and Juliet, along with cross-references to other works – is similar to work Milton did in other books that survive from his library, including his copy of Boccaccio’s Life of Dante.

“The scholar tentatively suggested in a blogpost that he might have identified John Milton’s copy of the Shakespeare First Folio of 1623, admitting that, ‘in this as in other cases, there’s usually a lot of wishful thinking, plus copious spinning of the evidence to make it seem plausible, and elision of anything that doesn’t seem to fit.’

“But he soon found that other scholars were agreeing with him. ‘Not only does this hand look like Milton’s, but it behaves like Milton’s writing elsewhere does, doing exactly the things Milton does when he annotates books, and using exactly the same marks,’ said Dr Will Poole at New College Oxford. … ‘This may be one of the most important literary discoveries of modern times.’ …

“One highlighted section in The Tempest is the song: ‘Come unto these yellow sands, / And then take hands: / Courtsied when you have and kiss’d / The wild waves whist.’ The unusual rhyme, of ‘kiss’d’ and ‘whist,’ is echoed in Milton’s On the Morning of Christ’s Nativity: ‘The winds with wonder whist, / Smoothly the waters kist.’

“ ‘We would already have known about that allusion, they are the only two writers who used that rhyme, but you can see him marking it in the text and responding to it,’ said Scott-Warren. ‘It gives you a sense of his sensitivity and alertness to Shakespeare.’ ” More here.

(Looking for a comment from blogger Laurie Graves, a devoted Shakespeare fan.)

Photo: The Guardian
Milton’s annotated first folio of Shakespeare, recently discovered in the Free Library of Philadelphia Library by a Cambridge University fellow. “He said he became ‘quite trembly … You’re gathering evidence with your heart in your mouth.’ ”

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Photo: Mark Makela
Caleb Hunt, left, and Tony Croasdale at the John Heinz National Wildlife Refuge at Tinicum in Philadelphia. In a city known for its punk underground and avian history, the friends have found an overlap that celebrates both niches.

No doubt among the pressing questions of our time, you have been wondering about the connection between punk rockers and birders. Wonder no more. Steve Neumann at the magazine Audubon has answers for you.

“It’s the evening golden hour at the John Heinz National Wildlife Refuge at Tinicum. A whirlwind of swallows swims through the soft light, chasing midges into a frenzy. Nearby on a platform a handful of birders scans the dimming sky, exposed to the marsh and its blood-thirsty elements.

“In plain T-shirts and khakis, the group blends into the woods-y backdrop — with two exceptions. Caleb Hunt, a bookkeeper for an adult-entertainment boutique, rocks a Philly Punx tank top with a fanged, horned Benjamin Franklin splashed across the front. Next to her, Tony Croasdale, the leader of today’s walk, sports an aviary of skin art. A Swallow-tailed Kite, Belted Kingfisher, Scissor-tailed Flycatcher, Greater Racket-tailed Drongo, Scarlet Tanager, and three types of vultures bedeck his legs, collarbone, and arms.

“Croasdale’s tattoos pay homage to two of his biggest life passions: birding and punk rocking. He plunged into the first as a kid when his father took him to Philadelphia’s Pennypack Park to learn about kingfishers. The music came later at age 19 when he launched the vegan thrashcore band R.A.M.B.O. under the stage name Tony Pointless. The collective quickly hit fame with two full-length albums and tours on five continents; but when it broke up in 2006, Croasdale came back to his home city and turned his focus to environmental activism. He eventually went on to found the BirdPhilly education program, which is how he and Hunt, who identifies as a committed punk, met in 2015.

“Though his moshing days are behind him, Croasdale says he still feels connected to punk culture. If anything, he’s found more space for expression by building birding into his practice. The hybrid approach has strengthened his resolve to tend to nature and fight oppression with personal action — a sentiment shared by his many ‘birdpunk’ friends around the country. …

“ ‘Philadelphia has so many row homes with basements,’ Croasdale adds. ‘That fosters a vibrant show scene.’ It was in those basements that Croasdale formed R.A.M.B.O. — an acronym for ‘Revolutionary Anarchist Mosh Bike Overthrow’ — in 1999 as lead singer. …

“Ultimately, that double lifestyle didn’t work out. Before a show in Malaysia, Croasdale and the band’s bassist, Bull Gervasi, went birding in Kuala Selangor, 100 miles away from where they were taking the stage. They gave themselves 10 hours to get back by bus, but it took 12 and they missed their call time.

‘It was kind of a big deal,’ Croasdale says. ‘It occurred to me that my head was not in the band; it was with the birds.’

“Today Croasdale is the site director for the Cobbs Creek Community Environmental Education Center … Working in conservation in West Philadelphia has helped Croasdale resolve a childhood dilemma. When he was 12, he realized that the government and in general, society, couldn’t be trusted to steward the planet and its resources. But it wasn’t until he fell into the punk scene that he was fully able to share that anxiety. ‘I found out there was music, a political ideology, and a counterculture that spoke to these issues. It provided me with like-minded peers,’ he says.”

More here.

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Photo: Philadelphia Water Department
A rain garden manages stormwater runoff in Philadelphia’s Germantown section. 

When I was at the magazine, I solicited several articles about Philadelphia and what people there were doing to bring more of the natural environment into urban living. It’s not easy for any city as budgets are often strained. But when you can make the case that environmental improvements ultimately save costs (or when an EPA is serious about quality of life), you have a better chance of getting things done.

Bruce Stutz at Yale Environment 360 (a great publication I recommend following on twitter @yaleE360) has the story.

“Benjamin Franklin, Philadelphia’s favorite son, described his city’s stormwater problem well: By ‘covering a ground plot with buildings and pavements, which carry off most of the rain and prevent its soaking into the Earth and renewing and purifying the Springs … the water of wells must gradually grow worse, and in time be unfit for use.’

“When he wrote this in 1789, many of Philadelphia’s water sources, the scores of streams that ran into the Schuylkill and Delaware rivers, were already cesspools of household and industrial waste. As they became intolerable eyesores and miasmic health hazards, the city simply covered them with brick arches, turned the streams into sewers, and on top constructed new streets, an expanding impervious landscape that left the rains with even fewer places for ‘soaking into the Earth.’

“Crude as it was, this network of underground-to-riverfront outfalls through ever-larger pipes was pretty much the way Philadelphia and other U.S. cities coped with their stormwater for the next 200 years.

“But Ben Franklin’s town has decided to take the lead in undoing this ever-more costly and outdated system that annually pours huge volumes of polluted stormwater runoff and untreated sewage into the Delaware and the Schuylkill. Instead of building more and bigger sewers and related infrastructure, Philadelphia has adopted a relatively new paradigm for urban stormwater: Rather than convey it, detain it — recreate in the urban streetscape the kinds of pervious places where, instead of running into surrounding waterways, rainfall and the contaminants it carries can once again soak into the earth.

“The city is now in the seventh year of a 25-year project designed to fulfill an agreement with the U.S. Environmental Protection Agency (EPA) to reduce by 85 percent Philadelphia’s combined sewer overflows. … Rather than spending an estimated $9.6 billion on a ‘gray’ infrastructure program of ever-larger tunnels, the city is investing an estimated $2.4 billion in public funds — to be augmented by large expenditures from the private sector — to create a citywide mosaic of green stormwater infrastructure. …

“At nearby Villanova University, the Urban Stormwater Partnership, founded in 2002 under environmental engineering professor Robert Traver, had begun experimenting with green stormwater infrastructure. [Howard Neukrug who served as the city’s water department commissioner from 2011 to 2015] developed a couple of low-impact pilot design projects, and in 2009, the Philadelphia Water Department released a revision — 12 years in the making — to its stormwater and sewage management plan….

The city is working now to standardize the construction of green infrastructure and monitor its effectiveness. Costs are coming down as green infrastructure becomes more widely adopted. …

“As the Water Department’s planners expand the network of greened acres, they are bringing social, economic, and environmental investment to often marginalized neighborhoods. [Marc Cammarata, the Water Department’s deputy commissioner of planning and environmental services] says that green stormwater infrastructure projects now support 430 jobs. … Residents already report that green infrastructure projects have reduced crime as green spaces proliferate, says Cammarata.

The Water Department’s website map is crowded with green infrastructure sites across the city. Visitors can zoom in on their neighborhood and see what’s there.”

More here.

 

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Photo: David Swanson/Philadelphia Inquirer
Asiaish Lawrence speaks about his involvement in Dreams, Diaspora, and Destiny, an augmented-reality mural that involved students from the Haverford School and Philadelphia’s Mastery Shoemaker Charter School.

At my last job, my very artistic colleague Melita tried to explain augmented reality (AR) to me. It sounded like science fiction. As I recall, she had ideas about using it in one of the exhibits she curated, but I don’t remember what the upshot was. Our workplace appreciated new technology, but not necessarily arts technology.

Schools tend to be more open than that. Recently, I read an article that both explains the AR concept and shows how it was used by students from somewhere I once lived. (Years ago, I lived in a third-floor walk-up directly across from the Haverford School.)

Grace Dickinson wrote the augmented-reality story at the Philadelphia Inquirer in October, but the project she describes is available for at least a year.

“Mural Arts Philadelphia is bringing art to life with the city’s first augmented-reality mural, Dreams, Diaspora, and Destiny. The project invites viewers to experience a large-scale painting completed on a warehouse at 53rd and Media Streets through the lens of a smartphone app that casts holograms and generates a changing soundtrack as you move from left to right. Picture a metaphysical version of Pokémon Go in which the power of a screen momentarily alters reality around you.

‘To see the augmented-reality mural, you’ll need to download the free app, created by the local production firm Blue Design. It’s available in the Apple App store under the name ‘MuralArtsAR.’ ”

The idea was that people who showed up at 53rd and Media would just need to point their phone screens with the app at the mural.

When you do that, Dickinson says, “Immediately, elements such as light beams, colorful orbs, floating crystals, and sculpturelike figures will begin to pop out from the painting, covering a wall the length of a city block. …

” ‘I like making art that the viewer can look at for 15 or 20 minutes and really get lost in,’ says muralist Joshua Mays, who conceptualized the project with Philadelphia DJ and producer King Britt, the mastermind behind the audio component. ‘Both King and I are futurists, so we enjoyed the idea of going deep in order to create further realms to discover.’

“With the yearlong Dreams, Diaspora, and Destiny project, Mays and Britt set out to visualize possible futures for West Philadelphia, involving students from Mastery Shoemaker Charter School, across the street from the mural, as well as from the Haverford School. The collaboration marks the first Mural Arts Philadelphia partnership to connect public and private high school students. …

“Says Mays, who worked with about 30 students, ‘I want them to always remember to aspire for something greater but to also continuously stretch their imaginations — and their imaginations really ran wild with this.’

“Thinking about the destiny of West Philadelphia, the students dreamed up imagery ranging from an undersea world full of squids and water spirits to a landscape where robots intermingle with humans in everyday life.

” ‘I picture clean energy, no smog, with holograms suspending all around us, and a soundtrack of Kanye West’s Graduation album playing on repeat,’ Haverford School senior Garrett Johnson says. …

“Including the students’ ideas in his design, Mays developed a progressive series of abstract images that start with a representation of the African diaspora and end with a portrait of a woman holding a shining seed between her fingers, the focal point of the mural.

” ‘The seed is meant to unveil a world of future possibilities, radiating out to a past that reconnects the main character with her ancestral heritage.’ …

“The audio component, which you can hear through the app, follows the temporal transition of the painting. Drums, chants, and other tribal percussion notes mark the beginning, shifting to trumpet and electric piano tunes inspired by ’70s jazz, and ending with rhythmic, hip-hop-inspired beats mixed with futuristic sounds. …

” ‘I recorded them doing things like riding the elevator up and down, banging on the water cooler, and closing classroom doors,’ says Britt. ‘Then I manipulated the recordings into musical notes — so, for instance, the water cooler became the kick drum, and the elevator was worked into the sound of a keyboard.’ …

” ‘I had the kids come up with a list of questions to ask [neighborhood elders], such as, “How do you think the mural will affect this neighborhood?” and, “What did the neighborhood look like 20 years ago?” and, “What kind of music do you like?” ‘ ” says Britt, who then included snippets of the interviews in the soundtrack.

More here.

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Photo: Tim Tai
The Dancing Monks of Assam rehearse in Philadelphia.

As I mentioned in a recent post, I take tai chi chuan for exercise. The practice is also what is sometimes called a “moving meditation.”

Another kind of moving meditation is performed by the Dancing Monks of Assam in India.

Nancy G. Heller wrote for the Inquirer about an April visit that a group of monks paid to Drexel University.

“The Dancing Monks of Assam live on a remote river island in India and devote their lives to celebrating the Hindu god Krishna through the arts. Eight of them visit Philadelphia this week on their first-ever U.S. tour, initiated by a Philadelphia dance company with roots on that same river island. …

“Unlike dancers in the better-known Bharatanatyam and Kathak styles, ‘Sattriya dancers do not stamp their feet or wear ankle bells, [co-artistic director of Philadelphia’s Sattriya Dance Company — Madhusmita] Bora said. ‘Their movement occurs mainly in the torso.’ …

“At home at their monastery on the river island of Majuli, in India’s Assam state, the monks have the same religious obligations as members of any monastic community. But they also receive rigorous daily instruction in traditional singing; how to play drums, cymbals, flutes, violins, and conch shells; plus mask-making, yoga, and dance. They often join the monastery as children.

“Everyone studies everything, and eventually each monk chooses an area of specialization.”

If you are interested in weaving, you can also learn about Assam’s “Cloth of Vrindavan” here. The Inquirer article describes it as “an elaborate silk cloth once woven in Assam. It uses the now-extinct lampas technique to tell stories from Krishna’s life through stylized images and ancient Assamese text.

” ‘Growing up in Assam,’ Bora said, ‘everyone heard about this cloth.’ But no one saw it, since the textiles themselves, and records of their whereabouts, had long since disappeared.

“Then, in the 1990s, a British textile curator chanced upon several 17th-century examples in London, Paris — and the  Philadelphia Museum of Art. …

“Thanks to support from the Pew Center for Arts and Heritage and some other sponsors, the ancient Assamese script on the Philadelphia textile was decoded as part of the dance project. Bhabananda Barbayan, an Indian monk, translated the cloth’s images into movement.”

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Photo: anekoho/shutterstock
As art classes get cut back, Philadelphia foundations are stepping up to protect a vital part of education.

In this time of cutbacks in school arts programs, it is heartening to see some organizations stepping up to the plate. If the trend continues, we may all need to start volunteering in schools — just as scores of parishioners at my church did for an amazing arts and crafts day yesterday. The only problem is, Who has the time for sustained volunteering when government doesn’t do its part?

In Philadelphia, foundations are providing some respite, as Mike Scutari reports at Inside Philanthropy.

“In June of 2013, Philadelphia’s School Reform Commission approved massive cuts in funding in what critics referred to as ‘The Doomsday Budget.’ Cuts included mass faculty layoffs, reduction of materials and athletics programs, and the complete elimination of arts and music programs.

“Four years later, Peter Dobrin, the Philadelphia Inquirer‘s culture writer, surveyed the city’s music education landscape and convincingly argued that funders sufficiently rose to the challenge, pointing to city’s web of innovative music education programs, including:

  • Play On, Philly!, launched in 2013 with seed money from Carole Haas Gravagno and the Lenfest Foundation.
  • The Philadelphia Youth Orchestra’s Tune Up Philly, which receives support from Impact100, a women’s giving collective.
  • AristYear Philadelphia, which will pay 12 arts teaching fellows in area schools with a high percentage of children from low-income families. The Knight Foundation has supported both Artist Year Philadelphia and Play On, Philly!

“Knight is only one of many influential funders active in the city. William Penn Foundation has doubled down on arts education, allocating more than $12 million over the last 4 years …

“The Andrew W. Mellon Foundation, meanwhile, recently awarded more than $2.5 million to a new program called the Philadelphia Music Alliance for Youth.

“Other examples include the Neubauer Family Foundation, which, in tandem with other local organizations, is ‘working to figure out what arts education programs are here already to determine what’s needed’  …

“The city’s financial woes were so calamitous that, funders, most of whom already had extensive footprints in the city, had no choice but to respond en masse. …

“In many cases, we’re not talking about your standard music education programs.

“Play On, Philly!, for example, is billed as ‘music for social change.’ Its 2017 summer programming included anti-child obesity and ‘active play’ programming at neighborhood recreation centers. ,,,

“More than ever, funders tend to support arts experiences that are immersive, experiential, and drive positive social outcomes.

“Now, consider the supporting role of big data in framing the arts as a means for driving social change.

“Play On, Philly!’s pilot collected data to show that students in the program improve their self-perceptions, academic motivation and school attendance, all while learning to play and perform a musical instrument. …

“Funders, increasingly beholden to this ROI [return on investment] mindset, are more inclined to cut checks when backed by compelling data. …

“All involved parties agree that access and equality is the key. Funders, more than ever, intuitively rally around this idea. Breadth is important, as well — ‘the net must be cast wide to capture all the talent out there,’ said Dorbin. Music education shouldn’t be just for future Julliard students.”

More here.

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Photo: Arden Theatre Company
Staff of the Arden Theatre Company in 1995 celebrating their recently purchased home. The building is at 2nd and Arch, in the Old City neighborhood.

I always enjoy stories about the arts sparking neighborhood revitalization. John Timpane, of the Philadelphia Inquirer, recently covered one from the City of Brotherly Love.

“There’s a lot of turnover in the theater world, many an entrance and exit, so the Arden Theatre Company’s 30th anniversary this season is a testament to clear vision, luck, a lot of work, and even more talent.

“But this story embraces more than a theater – it’s about a neighborhood, Old City, that in part revitalized around the Arden, and how an arts venue plays a potent role in such transformations.

“It began with two 1980s theater buddies at Northwestern University near Chicago. ‘Aaron Posner and I talked all the time about starting a theater,’ says Arden cofounder and producing artistic director Terrence J. Nolen. …

“Cofounder Amy Murphy, who met Nolen when both were at Upper Darby Summer Stage, says … ‘When Terry said, “Let’s do this,” I thought, “Sure, I can go down for a few weeks and help out.” Right. We were 24, young, and dumb enough to do it.’ …

“Arden opened in 1988 with a Kurt Vonnegut adaptation. …

“Is there an Arden philosophy? ‘Our first commitment is to Philly actors,’ Nolen says. ‘When we first opened and started getting great reviews, people said, “Where did you get these actors?” We said, “They’re from here.” ‘

“You can feel that loyalty among grads of the Arden Professional Apprentice Program. … Raelle Myrick-Hodges is founder of Azuka Theatre and a busy theater professional. And she’ll direct an adaptation of Toni Morrison’s The Bluest Eye at the F. Otto Haas Stage March 1-April 1. She says, ‘I began as an apprentice at the Arden 24 years ago, and I’m so grateful I went there instead of to a grad school.’ …

“[Former Arden apprentice Scott] Greer says Arden’s 1995 arrival helped revitalize the ’hood: ‘When they got the space in Old City, they were a big part of changing that neighborhood. There was hardly anything there, and they started bringing in subscribers eight nights a week.’

“Ellen Yin, proprietor of Fork at 306 Market St., … said the Arden presence ‘helped build a clientele for the earlier 5:30-8 p.m. dining hours, which are crucial.’ She and several other restaurant owners regularly have partnerships with the theater. …

” ‘Blown away’ is a term Murphy uses for the whole Arden story. ‘All the people we know, all the good work we’ve done because of it,’ she says. ‘I’m very grateful. All of us are, and I think we always will be.’ ”

More here.

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Photo: Jonathan Wilson
ArtistYear Fellow Aqil Rogers explains to Harrity School students in West Philadelphia how to assemble a contact microphone from component parts.

Many people worry about the drastic cutbacks in arts programs in schools. Not that many people do something about it. Pat Zacks of Camera Werks, Providence, is one person who does, as you may recall from this post.

In Philadelphia, another great idea is moving beyond the piloting phase — a kind of AmeriCorps for arts in education.

Peter Dobrin writes at the Philadelphia Inquirer, “With major new funding from a federal agency in hand, a Philadelphia service group in the arts is going national.

“ArtistYear has been operating since 2014, placing a few recent college graduates into Philadelphia schools each year as teaching fellows. This year, the program will expand to 25 full-time fellows who will teach music, art, dance, creative writing, and media arts in low-income schools in Queens, N.Y., and Colorado’s Roaring Fork Valley, as well as Philadelphia.

“A big boost to the program comes through AmeriCorps, part of the Corporation for National and Community Service, which has awarded ArtistYear a three-year, $1.45 million grant and extended certain benefits to the teaching fellows. …

“The grant is a first for AmeriCorps. ‘This is the first time there’s been a program that allows artists to dedicate a year of service to their country,’ said AmeriCorps spokeswoman Samantha Jo Warfield, citing the innovative model as one criterion for the award.

“Service-year programs for college graduates are common — to build English-language curriculum in Tonga, or to work on food-justice issues in Milwaukee. But ArtistYear may be unique. Its leaders call it the ‘first organization dedicated to national service through the arts.’

“This school year in the Rego Park neighborhood of Queens, storyteller and improviser Jill M. Pullara will put to use skills she learned earning an MFA in writing from the Royal Central School of Speech and Drama in London. Will Brobston, a guitarist and composer armed with a master’s degree from the University of Denver, goes west to the Colorado towns of Glenwood Springs, Carbondale, and Basalt.

“In Philadelphia, Aqil Rogers, a metal sculptor and designer who grew up in Lansdowne, is teaching at Mastery Charter Harrity Upper School at 56th and Christian Streets.

“ ‘What I’ll be doing is helping them create a maker space,’ said Rogers, 22, a Drexel University graduate whose senior thesis was Empowering Underserved High-Schoolers to Engage in Design/Maker Education through Hip-Hop and DIY Electronics. ‘We’ll work our way to electronics, robotics, lots of different sewing techniques — anything that can be done with hands, I suppose, will be learned at some point. And a lot of design-thinking work, which I think is critical.’ …

“In choosing fellows, the group wants artists who see teaching not merely as a space filler, but as a calling. ‘What we’re looking for is what kind of work experience they have that makes them think they are ready for a year of service, and that they want this as a piece of their career,’ says ArtistYear chief program officer Christine Witkowski.”

Learn more about the program and how it aims to supplement (not replace) arts in schools that still have them, here.

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Photo: NextCity
A Philadelphia street scene

The ideas of writer Jane Jacobs, well-known for her influence on city planning, continue to be tested. Is it true, for example, that having a lot of “eyes on the street” reduces crime? Jared Brey writes at NextCity about efforts in Philadelphia to find out.

“In the five-and-a-half decades since Jane Jacobs published The Death and Life of Great American Cities, her core contention — that urban vitality and safety are a function of small-scale density, a mixture of uses and ‘eyes on the street’ — has become conventional wisdom in urban theory. …

“In June, a team of researchers released a paper, titled ‘Analysis of Urban Vibrancy and Safety in Philadelphia,’ that attempts to begin a quantitative analysis of Jacobsian theory by bringing together publicly available data sets related to crime, business activity and the built environment. The study is the first of a series they have planned.

“In order to test the ‘eyes on the street’ notion, the authors — three statisticians at the Wharton School at the University of Pennsylvania and an architect — investigated the correlations between public safety and population density, population count, zoning, business activity, and business hours. They also designed a model of ‘business vibrancy,’ meant to serve as a proxy for Jacobs’ concept of eyes on the street, based on the density of businesses in certain areas and the amount of ‘excess business hours’ on them — meaning blocks with businesses open longer than what the authors calculated to be the citywide average. …

“Among the authors’ findings:

* Population density is not as strongly associated with crime rates as population count.
* More crimes occur on blocks with more businesses, but fewer in the direct vicinity of businesses that have longer-than-average operating hours.
* Crime rates are higher in neighborhoods with high rates of vacancy, but within high-vacancy neighborhoods, fewer crimes are reported in the direct vicinity of vacant properties. …

“ ‘What it says is measuring human activity is subtle and difficult,’ [co-author Shane Jensen, a statistics professor at Wharton,] says. ‘Yes, it does seem like there is something to this concept of eyes on the street, but I don’t think it’s just as simple as making sure that there’s businesses on every street corner and stuff like that. If anything, the more high-resolution you break this down, the more insight you can glean.’ ” More at NextCity.

Here’s my question: as online shopping causes retail storefronts to close, how do we preserve any “eyes on the street” at all?

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Well, here’s a new concept in energy production: braking regeneration.

Diane Cardwell writes at the NY Times, “Along Philadelphia’s busy Market-Frankford subway line, the trains behave like those of any transit system, slowing to halt at the platforms and picking up passengers.

“But more is happening than meets the eye. In an experimental system that is soon to be more widely adopted, every time the trains pull into certain stations, they recover the kinetic energy as they brake and channel it as electricity to battery banks at one of two substations.

“The batteries, managed by software, can then use that power to push the trains back out or to help modulate electricity flows on the grid.

“The system is unusual because the batteries are being used for more than just powering the trains, said Gary Fromer, senior vice president for distributed energy at Constellation, the power provider that will own and operate the system for the transportation authority.

“The electricity savings alone do not justify the battery costs, he said, so it was important to find another source of revenue, which comes from selling energy services to the grid. …

” ‘We don’t have to front the money and we’re reaping both savings and actually money coming back our way,’ said Jeffrey D. Knueppel, general manager of the transportation authority. The base technology of the system, known as regenerative braking, was one of the breakthroughs that allowed for the development of hybrid and electric cars like the Prius.” More here.

This reminds me of my 2012 post on inmates in Brazil who bike to create electricity — and reduce their sentences. And this post from 2013 about lighting schools by playing soccer. All hail to human ingenuity!

Photo: Jessica Kourkounis for The New York Times
The Market-Frankford subway line in Philadelphia is part of a regenerative braking experiment.

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The original idea when the grandchildren visited my workplace was to walk to the new Boston Public Market, but it was too far and there were so many other interesting things along the way.

We will go as a family another day, but I thought I would zip over there Thursday and take some pictures. I arrived at 8 a.m. The market is open Wednesdays to Sundays, 8 to 8, and since the activity wasn’t in full swing, it was a good time to look around.

The Boston Public Market is not as big, as noisy, or as messy as the famed Reading Terminal Market in Philadelphia (and there are no Amish), but it shows real promise. Although the market was fairly quiet at 8 a.m., there was already a line at MotherJuice and George Howell’s Coffee — people getting revved up for work at Government Center and environs. At a farmstand, I bought two small squashes. Fifty cents.

The Vietnamese restaurant Bon Me had a counter, and I saw local honey, fruits, vegetables, artisan cheese, and crafts. The crafts gave me pause as the market is supposed to be mainly an outlet for regional farmers, and much as I love crafts, I have seen them overwhelm another farmers market. As long as there is a good balance, it will be fine.

Note the vegetable soft toys in the children’s play area.

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The Barnes Collection is a quirky museum that is now located in Philadelphia. The eccentric art collector required all his art to be displayed a particular way. Which is perhaps why two Cézannes hidden behind other works weren’t uncovered before now.

Writes Randy Kennedy in the NY Times, “In 1921, the wily art collector Albert C. Barnes wrote to Paris to his friend and fellow collector Leo Stein, who was in dire need of money and had deputized Barnes to sell some of his holdings in the United States. They included five watercolor landscapes by Paul Cézanne, but Barnes reported that he had failed to find ‘anybody who seems to think they are sufficiently important to want to own them.’

“It was pure mercantile flimflam. Barnes turned around and bought the watercolors for himself, at $100 each, installing them permanently in his personal museum near [Philadelphia]. Now it turns out that Barnes got a better deal than even he had thought: A conservation treatment of the watercolors has revealed two previously unknown Cézanne works — a graphite drawing and a watercolor with graphite — on the verso (the reverse side) of two of the watercolors.

“Hidden beneath brown paper backing, the newly discovered pieces are unfinished, but they have sent tremors through the world of Cézanne scholarship, where additions to his body of work are exceedingly rare and where even the resurfacing of long-unseen pieces can be huge news. …

” ‘These are a perfect example of how much we still don’t know about this collection,’ said Martha Lucy, a consulting curator at the Barnes and an expert on its Renoir and Cézanne holdings. ‘To add new work to Cézanne’s oeuvre is incredible.’ “

More here.

Art: “New” Cézanne at the Barnes Collection in Philadelphia

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Photo of Gertrude Ely: Bryn Mawr College Collection

I was on the brink of unsubscribing to the American Academy of Poets poem-a-day e-mail because I let so many pile up and then have to slog through all sorts of contemporary brain twisters.

But as I was working my way through the poems today, I came across the one below. I thought, “Oh, I know exactly what this is about” and was carried back to my college days and hanging out at the home of my great aunt’s friend Gertrude Ely.

Gertrude Ely was quite elderly at that time but really interesting to be around. She knew all sorts of movers and shakers and was an awesome storyteller. I happened to be staying at her house one weekend when she received an unusual letter.

An elderly Philadelphia gentleman wrote that he had read in the Bulletin that she had received some civic award, and he just had to write and tell her a memory he had from his service in WW I in Europe. The Army was sending over carloads of friendly, proper young volunteers to chat with and cheer soldiers and bring a breath of home. The man wrote he would never forget a load of girls pulling up in an open car and Gertrude Ely calling out, “Any of you boys from Philadelphia?” He said, “At that moment, I believe every soldier there was wishing he was from Philadelphia.”

Gertrude Ely at my college graduation.

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***

American Boys, Hello! by Ella Wheeler Wilcox

Oh! we love all the French, and we speak in French
As along through France we go.
But the moments to us that are keen and sweet
Are the ones when our khaki boys we meet,
Stalwart and handsome and trim and neat;
And we call to them—“Boys, hello!”
“Hello, American boys,
Luck to you, and life’s best joys!
American boys, hello!”

We couldn’t do that if we were at home—
It never would do, you know!
For there you must wait till you’re told who’s who,
And to meet in the way that nice folks do.
Though you knew his name, and your name he knew—
You never would say “Hello, hello, American boy!”
But here it’s just a joy,
As we pass along in the stranger throng,
To call out, “Boys, hello!”

For each is a brother away from home;
And this we are sure is so,
There’s a lonesome spot in his heart somewhere,
And we want him to feel there are friends
right there

In this foreign land, and so we dare
To call out “Boys, hello!”
“Hello, American boys,
Luck to you, and life’s best joys!
American boys, hello!”

[Ella Wheeler Wilcox wrote “American Boys, Hello!” while visiting France during the latter stages of World War I as entertainment for the American soldiers stationed there.]

Photo of Ella Wheeler Wilcox: American Academy of Poets, here.

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Today I need the Indian goddess with the many arms because I want to say about the Barnes Collection in its new home, “On the one hand, on the other hand, on the third hand …”

After I saw the documentary The Art of the Steal, about how the fabulous art collection that was willed to a historically black college to keep it from art-world experts ended up in the hands of art world experts, I thought a trustee at Lincoln University had sold his patrimony for a mess of pottage. Now I think that receiving untold wealth is a curse and the donor better have a good plan and lots of resources to support the unfortunate recipient. (More about the movie.)

That’s two hands.

On Thursday, having visited the Albert C. Barnes collection in its new Philadelphia Museum of Art building, I needed a few more hands.

On the third hand, the building is gorgeous in its simplicity and displays the art (69 Cezannes, anyone? How about 60 Matisses? 44 Picassos? 178 Renoirs? Do you love Seurat? Van Gogh? Pennsylvania Dutch furniture?) in the quirky layout of the old Merion, Pa., setting and without labels as Barnes did. On the fourth hand, lack of labels is annoying. On the fifth hand, the art experts provide an ipod with lectures on selected works and a booklet to identify all the items exhibited. On the sixth hand, faithful as the layout is, Dr. Barnes, who made his money in pharmaceuticals and wanted ordinary working families to enjoy and study art without the filter of the art establishment — would have had a heart attack about the entry fee and the standard gift shop and coffee shop and other luxurious museum appointments.

The museum is definitely worth seeing, for the building, the art, and the way the roaring controversy was all handled. But it’s the little things I will cherish like finding black and white illustrations that reminded me of Dickens illustrations and turned out to be by the school friend Barnes asked to help form his taste and get him started on collecting (William Glackens).

Giorgio de Chirico, Portrait of Albert C. Barnes, 1926

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