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Posts Tagged ‘smithsonian’

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Photo: J. Urban/Smithsonian
Arev Armenian Dance Ensemble

Because I live in the Greater Boston area, where there is a large Armenian population, I was interested to read how how Armenian dance is helping to preserve the culture in the diaspora.

Roger Catlin writes at Smithsonian that Armenian dance has adapted in intriguing ways over time and place.

“Can dancing preserve culture?” he asks. “Those who circle up, link pinkies and swirl to the traditional village dances of Armenia believe they can.

“And as part of the 52nd annual Smithsonian Folklife Festival this summer, scores of dancers from Armenia and across North America will perform, present master classes and share technique. [Note: This took pace in July.] …

“One of the oldest centers of civilization, Armenia once stretched from the Black Sea to the Caspian Sea and between the Mediterranean Sea and Lake Urmia in present-day Iran. Its key location in the South Caucaus region of Eurasia made it a central place for commerce with other cultures, but also a site for constant invasion from neighboring empires, the Ottomans to the west and Iran to the south and Russia to the east.

“Already the dance traditions of individual villages, separated by mountainous topography had been unique to each town. But with the Armenian diaspora, the dancing, which continued as a way to keep connected to the old country, became even more individualistic, [says Carolyn Rapkievian, who is serving as an Armenian dance advisor for this year’s Folklife Festival], noting that the dances were further influenced by the host countries. …

“Gary and Susan Lind-Sinanian, dance historians at the Armenian Museum of America in Watertown, Massachusetts, say traditional western Armenian music and dance remained an important cultural touchstone for the immigrating community.

“ ‘As the Armenian language fell into disuse among many American-born Armenians, the music and dance gained even more importance, as one of the remaining avenues of cultural identity maintenance,’ they have written. ‘Today, this music and dance have developed into a characteristic form unique to the United States, and one of the principal means that today’s Armenian-American youth assert their Armenian identity.’

“ ‘The two means of expression, outside of being a member of the church, to mark you as an Armenian are dance and food,’ Gary Lind-Sinanian says. ‘Those are the two every Armenian family practices to some degree.’ Still, every village seemed to have its own style, he said. ‘When people make their pilgrimages to some monastery for a festival, they could see, when various groups danced to a melody, by the way they danced, you could tell where they came from.’

More at the Smithsonian, here. If you are ever in Watertown, try to get some Armenian food. It’s delicious — a little bit like Middle Eastern cuisines you already know, a little bit not. And you can get an interesting angle on the Ottoman Empire’s relationship with the Armenians from this wonderful book, Destiny Disrupted, by Tamin Ansary.

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Video: PBS NewsHour

Not long ago, Julia Griffin of PBS NewsHour interviewed an artist who has turned plastic trash into sculptures with a message.

“JULIA GRIFFIN: Octavia the octopus, Priscilla the parrot fish, and Flash the marlin, all sculptures now on display at Smithsonian’s National Zoo in Washington, D.C., and all made of trash pulled from the Pacific Ocean. …

“Angela Haseltine Pozzi is the lead artist and executive director of Washed Ashore, a nonprofit seeking to educate the public on the plastics polluting the word’s oceans.

“ANGELA HASELTINE POZZI: We create sculptures that can teach people about the problem. And, as an artist, it is a real challenge to use everything that comes up off the beach.

“JULIA GRIFFIN: In six years, Haseltine Pozzi and her team of volunteers have created 66 sculptures from more than 38,000 pounds of debris collected from a stretch of Oregon’s coastline.

“The countless bottle caps, flip-flops and beach toys are just a fraction of the more than 315 billion pounds of plastic estimated to be in the world’s oceans.

“Such plastics not only pose entanglement threats to Marine animals, but are often mistaken for food. …

“JULIA GRIFFIN: As scientists debate how to clean the water, Haseltine Pozzi hopes her sculptures will inspire visitors to curb pollution in the first place.”

The exhibit can be seen at the zoo until September 16, 2016. More at PBS here. Check out the Smithsonian’s site, too.

Photo: Smithsonian

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Cousin Claire sent me a good link. I had heard about the trend of tying farms to housing developments, but according to the Smithsonian magazine, Development Supported Agriculture is striking a chord with Millenials in particular.

Shaylyn Esposito writes, “A new fad in the housing world is a concept called Development Supported Agriculture (DSA), or more broadly, ‘agrihoods.’

“DSA is the child of Community Supported Agriculture (CSA), in which consumers pledge money or resources to support a farm operation, and in turn, receive a share of what it produces, but take the concept one step further by integrating the farm within residential developments. Instead of paying for access to a golf course or tennis courts, residents pay to be a part of a working farm—helping with the growing process and reaping the crops it produces. …

“The largest demographic of those trying to reconnect with the farm is Millennials, those born from the 1980s to the 2000s who ironically grew up farthest from the farm. As the average age of farmers continues to rise, it is this generation that is stepping in to fill the gaps.” More here.

Among the cohort of Millennial farmers are Sandy and Pat’s niece, now at the the Letterbox Farm Collective in the Hudson Valley. I blogged about her here and here.

Photo: Willowsford
This DSA community in Ashburn, Virginia, is hoping to fill 2,200 homes. Sounds like too many to be serious about the farming side of things.

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In 2010, photographer Rose-Lynn Fisher published a book of remarkable images that captured the honeybee in an entirely new light. By using powerful scanning electron microscopes, she magnified a bee’s microscopic structures by hundreds or even thousands of times in size, revealing startling, abstract forms that are far too small to see with the naked eye.

Now, as part of a new project called “Topography of Tears,” she’s using microscopes to give us an unexpected view of another familiar subject: dried human tears.

Read more: http://www.smithsonianmag.com/science-nature/the-microscopic-structures-of-dried-human-tears-180947766/#UBkOIVzILZd8kaLc.99
Give the gift of Smithsonian magazine for only $12! http://bit.ly/1cGUiGv
Follow us: @SmithsonianMag on Twitter

In 2010, photographer Rose-Lynn Fisher published a book of remarkable images that captured the honeybee in an entirely new light. By using powerful scanning electron microscopes, she magnified a bee’s microscopic structures by hundreds or even thousands of times in size, revealing startling, abstract forms that are far too small to see with the naked eye.

Now, as part of a new project called “Topography of Tears,” she’s using microscopes to give us an unexpected view of another familiar subject: dried human tears.

Read more: http://www.smithsonianmag.com/science-nature/the-microscopic-structures-of-dried-human-tears-180947766/#UBkOIVzILZd8kaLc.99
Give the gift of Smithsonian magazine for only $12! http://bit.ly/1cGUiGv
Follow us: @SmithsonianMag on Twitter

A Smithsonian article by Joseph Stromberg about photographs of tears is resonant on so many levels one doesn’t know where to start.

Stromberg writes, “In 2010, photographer Rose-Lynn Fisher published a book of remarkable images that captured the honeybee in an entirely new light. By using powerful scanning electron microscopes, she magnified a bee’s microscopic structures by hundreds or even thousands of times in size, revealing startling, abstract forms that are far too small to see with the naked eye.

“Now, as part of a new project called ‘Topography of Tears,’ she’s using microscopes to give us an unexpected view of another familiar subject: dried human tears….

“Scientifically, tears are divided into three different types, based on their origin. Both tears of grief and joy are psychic tears, triggered by extreme emotions, whether positive or negative. Basal tears are released continuously in tiny quantities (on average, 0.75 to 1.1 grams over a 24-hour period) to keep the cornea lubricated. Reflex tears are secreted in response to an irritant, like dust, onion vapors or tear gas.”

Oh, but I knew that tears from different causes are different. I learned that from a fantasy I was exposed to at age 10, when the future star of stage and screen René Auberjonois, age 13, played the wicked uncle in a production of James Thurber’s The 13 Clocks.

The wicked uncle requires jewels to release his lovely niece, the Princess Saralinda, from captivity.

Although you really will get a kick out of reading the whole book, all you need to know for present purposes is from Wikipedia:  “Zorn and the Golux travel to the home of Hagga, a woman with the ability to weep jewels, only to discover that she was made to weep so much that she is no longer able to cry.

“As the realization that they have failed sets in, Hagga begins to laugh inexplicably until she cries, producing an abundance of jewels. Hagga informs them that the magic spell that let her cry tears was altered, so whereas ‘the tears of sadness shall last without measure, the tears of laughter shall give but little pleasure.’ Jewels from the tears of happiness return to the state of tears a fortnight after they were made.”

(Fortunately, that was enough time to trick the wicked uncle.)

Photo: Rose-Lynn Fisher/Craig Krull Gallery
“Tears of Timeless Reunion”

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Photo: Nathaniel Brooks/NY Times
Lyle, Miles, and Ty Thompson have ignited a scramble for Native American recruits at lacrosse programs.

Maybe everyone who follows lacrosse knows that Native American players of the game that Indians invented tend to go to Syracuse University for college sports, but I didn’t.

I read the sports section only if there is a human-interest story, and today a NY Times front page article about a family of exceptional lacrosse players drew me in.

Zach Schonbrun writes, “The Albany lacrosse coaches stared at a small projector screen, searching for the black streak of a three-foot-long ponytail swooping toward the goal.

“They were watching Lyle Thompson, an Onondaga Indian from upstate New York, who has become a Wayne Gretzky-like figure in collegiate lacrosse. …

“He is a strong contender for this year’s Tewaaraton Award, lacrosse’s Heisman Trophy, which has never gone to a Native American. If he does not win, it could easily go to his older brother, Miles, who scored 43 goals in 12 games for Albany last season. And if Miles does not win, their cousin and teammate, Ty, has a chance.

“The Thompsons, who grew up on a reservation in upstate New York, are more than exceptional athletes thriving in the sport of their ancestors, a sport that is still endowed with deeply spiritual significance to Native Americans. They are trailblazers who have upended the athletic world and reservation life, and their success has ignited a scramble for Native American recruits at lacrosse programs across the country.” There’s lots more to the story here.

I especially liked this part, “One recent afternoon, Lyle Thompson, 21, took out a rattle made from the shell of a snapping turtle he had caught while golfing with his oldest brother, Jeremy. He uses the rattle to make music, part of the way he stays connected with Indian culture. Learning the Onondaga language is another.

 Art: Smithsonian Archives
What began as stickball, a Native American Indian contest played by tribal warriors for training, recreation and religious reasons, has developed over the years into the interscholastic, professional and international sport of lacrosse. See Federation of International Lacrosse.

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At Smithsonian magazine, Tom Downey explains why urban planners could learn a thing or two from a Hindu religious festival that occurs every 12 years.

“I arrived by taxi at the Kumbh [in India] at sunset, expecting throngs of cars, cows and human beings blocking all access points. Instead I glided comfortably into my camp, which sat on a hilltop. I looked out over the fleeting city before me: makeshift shelters constructed on the floodplain of a river that was sure to overflow again in a few months. …

“I’d come to witness the spectacle for myself, but also to meet a group of Harvard researchers from the university’s Graduate School of Design. Led by Rahul Mehrotra, an architect from Mumbai before he went stateside to teach, they would closely analyze this unparalleled feat of spontaneous urban organization.

“ ‘We call this a pop-up megacity,’ said Mehrotra, a bearded 54-year-old. ‘It’s a real city, but it’s built in just a few weeks to instantly accommodate tens of millions of residents and visitors. It’s fascinating in its own right, of course. But our main interest is in what can we learn from this city that we can then apply to designing and building all kinds of other pop-up megacities like it. Can what we see here teach us something that will help the next time the world has to build refugee camps or emergency settlements?’ …

“The Kumbh Mela works in a way that most other Indian cities do not in part because everyone is on their best behavior: Civil servants know that their careers will be defined by these few weeks in the national spotlight; members of the public arrive with a sense of purpose and community.” More here.

I think it goes to show that when large numbers of people are basically on the same page about the importance of something, miracles happen. Loaves and fishes get shared. People pick up their litter. Everyone feels they’ve been part of something big.

Photo: Alfred Yaghobzadeh
Cooks at the Hindu festival worked to feed millions.

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Another good lead from the voracious reader of magazines in my household.

This Smithsonian story shows how a relatively simple invention made it possible for the Impressionists to do much more painting outdoors, en plein air.

Perry Hurt writes, “The French Impressionists disdained laborious academic sketches and tastefully muted paintings in favor of stunning colors and textures that conveyed the immediacy of life pulsating around them. Yet the breakthroughs of Monet, Pissarro, Renoir and others would not have been possible if it hadn’t been for an ingenious but little-known American portrait painter, John G. Rand.

“Like many artists, Rand, a Charleston native living in London in 1841, struggled to keep his oil paints from drying out before he could use them. At the time, the best paint storage was a pig’s bladder sealed with string; an artist would prick the bladder with a tack to get at the paint. But there was no way to completely plug the hole afterward. And bladders didn’t travel well, frequently bursting open.

“Rand’s brush with greatness came in the form of a revolutionary invention: the paint tube. Made from tin and sealed with a screw cap, Rand’s collapsible tube gave paint a long shelf life, didn’t leak and could be repeatedly opened and closed.

“The eminently portable paint tube was slow to be accepted by many French artists (it added considerably to the price of paint), but when it caught on it was exactly what the Impressionists needed to abet their escape from the confines of the studio, to take their inspiration directly from the world around them and commit it to canvas, particularly the effect of natural light.

“For the first time in history, it was practical to produce a finished oil painting on-site, whether in a garden, a café or in the countryside.” More.

Dear artist friends, I can picture what it would have been like for you traveling by train after an outing to some scenic spot before this invention. “Oh, Madame, I am so terribly sorry. I’m afraid my cobalt pig’s bladder burst!”

Photo: Chrysler Museum of Art
The tin tube, below, was more resilient than its predecessor (the pig bladder), enabling painters to leave their studios.

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