Horses, Buggies & Community

merlin_159828219_aa0afd41-dda7-4679-88bf-0c0eea21b04a-jumbo.jpg

Dakar’s horse-drawn buggies, long a staple means of getting around, are under an emerging threat from motorized rickshaws. Yagazie Emezi for The New York Times

Senegal shows up a dozen times in our pages over the years, but not one those times is about my own experience there. Strange, because that experience marked my return to teaching, and indirectly led to the work we are doing now with Authentica and Organikos. That is worthy of a post, which I will write another day, for now enjoying a simple story about life on the streets with horses, buggies, their drivers, and the community members who are transported by them:

It’s Horses vs. Motors in Senegal. The Steeds Still Win on Many Roads.

By 

xxhorsecarts-dispatch1-jumbo.jpg

Yagazie Emezi for The New York Times

DAKAR, Senegal — After a visit to the market to buy a box of mangoes, some fish and a length of cloth, Binta Ba, a Senegalese woman, needed a way to get home.

So she looked around for her preferred means of transportation: a horse and buggy.

A ride was easy to find, with dozens of horse-drawn buggies lined up near the market, which was in Rufisque, a picturesque suburb of Dakar known for its colonial architecture.

She climbed aboard a buggy, whose driver then waited patiently for a third passenger to occupy his final seat. When his buggy was full, he took off at a trot, sometimes speeding up to a canter. The riders paid about 50 cents for a 10-minute ride, a fraction of what it would cost to take a taxi.

“Taking taxis is for rich people,” Ms. Ba said. “We prefer to support these people because they are from the community.” Continue reading

Tirana’s Time Warp Causes Creativity

06tmag-tirana-slide-Z2IZ-jumbo.jpg

Rows of acacia trees and ceruja vines at Uka Farm, with a view of Dajti Mountain National Park in the distance. Federico Ciamei

Ten years ago I was in Tirana and if I squinted I might have seen this article coming. I was working on a project for the United Nations Development Programme, focused on the Prespa Lakes Basin, and the visits in Tirana were like a time warp. In a good way, as it is now more easy to see:

The City Poised to Become Europe’s Next Affordable Creative Haven

In the Albanian capital of Tirana, the country’s strange history and bright future collide.

Plaza Tirana

The paneled facade of the Plaza Tirana. Federico Ciamei

Over the past five years, Albania has been discovered by travelers as that rare thing: a largely unexplored corner of Europe (one with some 265 miles of coastline). The small Balkan country sits just across the Adriatic and Ionian seas from Italy’s heel and a mere 45-minute ferry ride away from the Greek island of Corfu. It’s recently gotten its first high-end waterside resorts, and as the beach town of Sarande and the seaside city of Vlore have become more comfortable, so too has Tirana — the country’s capital, about 22 miles inland with a population of over half a million — grown more cosmopolitan, with new restaurants, shops and galleries joining the almost surrealist pastiche of testaments to the city’s past. For a good example of the way eras collide in Tirana, just visit Skanderbeg Square, recently renovated with new fountains and rosy granite paving, and home to an 18th-century mosque and minaret, a domed Albanian Orthodox church opened in 2012, a set of government buildings that echo the fascist architecture of Mussolini’s Italy and a Brutalist monolith that houses the National Historical Museum.

Stair Tirana.jpg

A sun-dappled staircase at the Plaza Tirana leads to the hotel’s breakfast room. Federico Ciamei

Initially settled by Illyrian and Greek tribes during ancient times, Albania spent over four centuries as part of the Ottoman Empire. After 1912, it became a fascist-leaning monarchy, and then, in the wake of World War II, a Communist state ruled by the infamous dictator Enver Hoxha. In 1991, a full year behind many of its Eastern Bloc neighbors, the country saw its first democratic elections, as well as murmurings of a cultural awakening. Tirana may not have a robust avant-garde scene, but it does have a gritty, iconoclastic edge — the Pyramid, a large monument to Hoxha in the center of town, is now popular with skateboarders — and a joie de vivre that’s enticed many former expats. “There’s so much potential,” says Flori Uka, a local winemaker who trained in northeastern Italy and now specializes in vintages made from organic Kallmet grapes grown just outside the city. “We were isolated for so long, but today it’s possible for creative people to do what they love. The place has become very receptive to the new.” Continue reading

Passamaquoddy Patrimony Preserved

dwayne-tomah-1-2_custom-90be2526bbc56d67fa337724dafa72ca52cf38fc-s1400-c85

Dwayne Tomah, the youngest fluent Passamaquoddy speaker, sings a Passamaquoddy song outside of his home in Perry, Maine. Tomah is translating and interpreting songs and stories from wax cylinders recorded nearly 130 years ago. Robbie Feinberg/Maine Public

It has been years since we read a story with a theme like the one in this story below (our thanks to National Public Radio for sharing it):

Historic Recordings Revitalize Language For Passamaquoddy Tribal Members

Dwayne Tomah sits at his kitchen table in Perry, Maine, and pulls up an audio file on his computer. When he hits play, the speakers emit a cracked, slightly garbled recording. Through the white noise, Tomah scratches out the words he hears, rewinding every few seconds.

Word by word, Tomah is attempting to transcribe and interpret dozens of recordings of Passamaquoddy tribal members, some of which are only recently being heard and publicly shared for the first time in more than a century.

“I really, I wept. Hearing their voices. Knowing that I’m probably one of the last fluent speakers on the reservation,” Tomah says. “And that we’re still continuing this process, to be able to revitalize our language and bring it back to life again, so to speak. And give it some attention that it really deserves.”

“It’s language”

dwayne-tomah-6-3_custom-639d7bf975d58151c464bed7a630f18ae7530db0-s1400-c85.jpg

Dwayne Tomah listens to and transcribes an old Passamaquoddy story from a digital copy of a wax cylinder recording. Tomah and others in the Passamaquoddy tribe are translating and interpreting the 129-year-old wax cylinder recordings, which have been digitally restored. Robbie Feinberg/Maine Public

The story behind these recordings goes back to 1890, when an anthropologist named Walter Jesse Fewkes took a research trip to Calais, Maine. He borrowed an early audio recording device: a phonograph from Thomas Edison that recorded sounds on large, wax cylinders — about two-and-a-half to three minutes each. Continue reading

Mexico, Mapping Memory

Blanton Museum of Art, for one more day, offers this:

Exactly 500 years ago, in August of 1519, an expedition led by the Spanish explorer Hernando Cortés began marching inland into Mexican territory. Just two years later, what today is Mexico City fell to an ethnically diverse army composed of both Spanish and local peoples from other cities, starting a long period of European colonization. This exhibition aims to expand our perspective on these events by featuring a selection of maps, known as Mapas de las Relaciones Geográficas, created by Indigenous artists around 1580. These unique documents show some of the visual strategies used by native communities for the endurance and perseverance of their cultures throughout the so-called colonial period and well beyond.

To learn more about the map click Teozacoalco Map. Thanks to National Public Radio (USA) for bringing this to our attention:

1.-meztitl-n_custom-76d71392f43cf17eb677f3a356088e82632e53ce-s1400-c85.jpg

The Mapping Memory exhibition in at the Blanton Museum of Art in Austin, Texas, displays maps made in the late 1500s of what is now Mexico. They were created by indigenous peoples to help Spanish invaders map occupied lands. This watercolor and ink map of Meztitlán was made in 1579 by Gabriel de Chavez. Blanton Museum of Art

440 Years Old And Filled With Footprints, These Aren’t Your Everyday Maps

4.-culhuac-n_custom-a07202fd250a7d6dc16ed2124d2c4e0adf01ec99-s1400-c85.jpg

Pedro de San Agustín created this watercolor map of Culhuacán in 1580. He was a judge — a powerful figure in the town. “Before the conquest, nobles were the only ones trained as painters,” exhibit curator Rosario Granados explains. She notes that this map is made on bark paper, the traditional material used before the Spaniards arrived. Blanton Museum of Art

At the Blanton Museum of Art in Austin, Texas, 19 maps, nearly 440 years old, are on display — and they look spectacular. “Works on paper are delicate so we’re only allowed to put them on display for nine months out of 10 years,” says Blanton Museum communications director Carlotta Stankiewicz.

The Mapping Memory exhibition contains work by indigenous mapmakers from the late 1500s. The maps demonstrate a very different sense of space than maps drawn by Europeans. They’re not drawn to scale; instead, they’re deeply utilitarian.

A map of Culhuacán, for example, shows rivers running straight, with tiny arrows in the middle, indicating which way they flow. The pathways curve like snakes, with footprints or hoofprints indicating whether the paths can be walked or ridden. Continue reading

If You Happen To Be In Or Going To Cornwall

A great writer can get you to consider doing something you normally would not consider doing:

Mendelson-HeliganGarden.jpg

After nine Heligan men died in the First World War, the grounds of the estate, in southwestern England, grew unkempt, then neglected, then were abandoned. Illustration by Daniel Salmieri

I don’t understand the point of garden visits. Why do ordinary people, the owners of mere balconies and tiny yards, torment themselves by touring other people’s grand estates? Nut trees, stables, ancestral compost heaps: I need no reminder of what I am missing. So, unlike virtually every other gardener in Britain, I had no intention of spending my summer wandering among aristocratic roses and marvelling at the fine tilth of Lord Whatsit’s sandy carrot beds. All those rambling sweet peas make me furious; yes, Tristram, it is a handsome cardoon bed, but some of us are struggling to find space for a single extra lettuce. And then, wholly by accident, I found myself in the Lost Gardens of Heligan…

And suddenly you cannot resist virtually doing that thing:

And the rabbit hole in this case gets you thinking about Cornwall:

Opening Hours and Prices

The Lost Gardens are open every day*, all year round, for your enjoyment and exploration.

*except Christmas Day.

We’re one of the most unique and fascinating places to visit in Cornwall, with an incredible 200 acres of gardens and estate awaiting your exploration. We therefore recommend that you allow as much time as you can, to see as much as possible; ideally a whole day. However, please don’t expect to see everything in the one visit!

If you would like to plan your route before you visit, click here to download our map or a German map can be found here.

Sometimes, restoration work, events or adverse weather conditions may restrict access and opening times. In these events we will keep you up to date with details of any restrictions via our News page.

Garden Admission Single Visit Charges
Adults £15.00
Students £9.00
Children (5 – 17) £7.00
Children (Under 5) Free
Family (2 adults & up to 3 children) £40
Companions who are required to assist disabled visitors Free

Two Sides of a Conservation Story – With Wolves in the Middle

Karin Vardaman, pictured left, walks the pastures with Breanna Owens, the owner of Cobblestone Ranch, in Los Molinos, California.Photographs by Lucas Foglia for The New Yorker

The return of apex predators to both national parks and rugged, yet unprotected areas of the United States impacts conservation and regeneration of biodiversity for both wildlife and native landscape.  Not surprisingly, it also creates challenges within the well established ranching community.

We’re grateful to all those who participate in the process of navigating a successful middle ground.

The Persuasive Power of the Wolf Lady

To bridge the divide between wolf-lovers and ranchers, the conservationist Karin Vardaman had to change many minds—including her own.

Early one morning in April, 2016, Karin Vardaman and four travelling companions woke in a motel in Siskiyou County, a rugged and remote region where rural California meets the Oregon border. They were in a town called Montague—a dot on the map that had begun, in the eighteen-eighties, as a stop on the Southern Pacific Railroad. After visiting a small market to pick up breakfast and snacks, they continued on to the old community hall, a narrow, low-slung building by the railroad tracks. Large, glass-paned windows ran the length of one side; below them, murals depicted horse-drawn wagons from the area’s pioneer days. Outside, a few dozen people were gathering. Watching them, Vardaman had an uneasy feeling. Oh, boy, she thought. Here we go.

Inside, chairs were arranged in a semicircle. Vardaman stood at the center, near a screen on which a PowerPoint slide displayed the title of her workshop, “On Wolves and Livestock.” Tall and sturdy, in her fifties, she has a flowing mane of lustrous red hair, framing slate-blue eyes and a narrow face. She introduced herself to the crowd as an advocate with the California Wolf Center. The Center, she said, was sponsoring a new, collaborative project called the Working Circle, through which it hoped to find a way for cattle and sheep to coëxist with endangered gray wolves.

Before Vardaman could continue, a man in the audience stood up, interrupting her. He wore a cowboy hat and cowboy boots. He calmly thanked her and her team: they had helped the local economy, he said, by shopping at the market. What he didn’t appreciate, he went on, was their coming into town and dictating to the community what it should and shouldn’t do about wolves. As he spoke, his voice rose in anger, and he stepped suddenly toward Vardaman; at the same moment, more than twenty other people rose to their feet. Some waved anti-wolf flyers above their heads. Others held rifle cartridges, their brass glinting in the light. They chanted, “Shoot, shovel, and shut up!”—an anti-wolf slogan. Vardaman watched as several people opened their jackets, revealing handguns.

For most of the last century, there have been no wolves in California; government-sponsored livestock-protection campaigns exterminated the state’s wolf population by 1924. But in December, 2011, a lone male gray wolf from Oregon, known as OR-7, was tracked via radio collar as he crossed into the Golden State. Slowly, over time, a few others followed. In 2014, the gray wolf gained protection under California’s Endangered Species Act; not long afterward, in Siskiyou County, two wolves were spotted by a trail camera. Today it’s thought that there are at least twelve to fifteen wild wolves in the state. This nascent comeback has opened a rancorous breach between California’s agricultural community, which fears losing livestock to wolf attacks, and its environmentalists, who have been galvanized by the idea of an iconic predator resurrected.

A version of this polarizing conflict has played out wherever wolves have reappeared, from Michigan to the Northern Rockies and Washington State. To an extent, livestock producers and wolf conservationists are divided for pragmatic reasons. If a wolf kills a heifer calf, a rancher can suffer a substantive economic hit—one or two thousand dollars, plus the loss of income from all the calves that the mature cow would’ve had over her lifetime. (Since the wolves returned to Northern California, an estimated eleven calves and cows have died in wolf attacks.) Conversely, if a rancher kills a wolf in an area where the wolf population is still recovering, it could be a significant blow to the animals’ survival.

And yet ranchers and conservationists are divided in other ways, too. Continue reading

Food Traditions & Modern Realities

19-jk-couscous-img_9780_wide-41a7659c6390d490ec35f9afb923320d4f461eb4-s1200-c85

A woman prepares couscous in a small Amazigh (Berber) hamlet on the eastern slopes of Morocco’s High Atlas Mountains. Jeff Koehler for NPR

It seems ages (if only six months) since the folks of the salt, over at National Public Radio (USA), offered a story like this, so thanks to Jeff Koehler – Writer – Photographer – Cook – Traveler for bringing it:

Couscous: A Symbol Of Harmony In Northwest Africa, A Region Of Clashes

In 2016, Algeria announced that it would be applying for UNESCO Intangible Cultural Heritage status for couscous. If successful, the staple food would join a diverse list of more than 500 cultural treasures ranging from hand puppetry in Egypt and tango dancing in Argentina and Uruguay.

37-jk-couscous-img_0385-1--74611dd6b5912bf25ced34fc7ae62bf31249d558-s1200-c85.jpg

Sweet couscous is popular across the Maghreb. It is generally served with leben, a buttermilk-like fermented drink.
Jeff Koehler for NPR

Couscous refers to both the tiny, hard granules typically made from crushed hard durum wheat semolina, as well as the dish itself. The tiny balls are steamed in a two-level pot with a perforated steamer basket called kiskis (known in much of the world as a couscoussier) over a stew of meat or fish, vegetables and spices, which is served on top.

While a catalog of outside influences has shaped Algeria’s cuisine over the years, it never lost its ancient traditions or uniqueness, wrote Mokhtaria Rezki in her authoritative book Le Couscous Algérian. “Algerian couscous remains in this respect the symbol of our originality and our greatest invention. … If one had to culinarily and symbolically award a medal of our national cultural identity … certainly couscous would be the star and the subject.” So key is couscous to Algerian culture that some simply refer to it as ta’am, or “food.” Continue reading

Traditional Life Intersecting With Modern Sensibilities

merlin_156503076_dc4f4b3e-84bd-4974-811c-cb5f380c65f3-jumbo.jpg

Ms. Fesseau keeps all the eggs from her chicken coop. Kasia Strek for The New York Times

It may be the Francophile in me that appreciates this story. Or maybe living surrounded by the sounds described in the story below helps me to take a position on roosters like the petition-signers all over France. Modern sensibilities include expectations to be shielded from such sounds, but equally modern sensibilities are emerging that remind us where food comes from, and ways in which we should respect the traditional life of rural areas.

‘The Rooster Must Be Defended’: France’s Culture Clash Reaches a Coop

merlin_156502533_982f1ebf-12eb-4f6d-81a8-e188e86d241c-jumbo.jpg

Corinne Fesseau with her rooster, Maurice, in the garden of her house in Saint-Pierre d’Oléron, France. Kasia Strek for The New York Times

SAINT-PIERRE-D’OLÉRON, France — The rooster was annoyed and off his game. He shuffled, clucked and puffed out his russet plumage. But he didn’t crow. Not in front of all these strangers.

“You see, he’s very stressed out,” said his owner, Corinne Fesseau. “I’m stressed, so he’s stressed out. He’s not even singing any more.” She picked up Maurice the rooster and hugged him. “He’s just a baby,” she said.

merlin_156502626_5c60349c-ce66-4fb6-b0fc-ccf7da3ed7cb-jumbo

Ms. Fesseau, a retired waitress, has defended Maurice vehemently. “A rooster needs to express himself,” she said. Kasia Strek for The New York Times

Maurice has become the most famous chicken in France, but as always in a country where hidden significance is never far from the surface, he is much more than just a chicken.

He has become a symbol of a perennial French conflict — between those for whom France’s countryside is merely a backdrop for pleasant vacations, and the people who actually inhabit it.

merlin_156503553_ca008159-9e82-4649-a675-572682fd9ec2-jumbo.jpg

Sebastien Orsero, a fisherman on the island, said he was asked to replace a hedge separating his house from his neighbors’ property with a concrete wall because birds living in the hedge disturbed his neighbors. Kasia Strek for The New York Times

Maurice and his owner are being sued by a couple of neighbors. They are summer vacationers who, like thousands of others, come for a few weeks a year to Saint-Pierre-d’Oléron, the main town on an island off France’s western coast full of marshes and “simple villages all whitewashed like Arab villages, dazzling and tidy,” as the novelist Pierre Loti wrote in the 1880s.

These neighbors, a retired couple from near the central French city of Limoges, say the rooster makes too much noise and wakes them up. They want a judge to remove him. Continue reading

Ithaca Dreams

Olive trees along the shore of Dexa Beach on the Ionian island of Ithaca, thought to be Odysseus’ homeland, as told in Homer’s eighth-century B.C. epic poem “The Odyssey.” Credit Alex Majoli

Odysseys (not to mention, The Odyssey) are a fundamental aspect of our family’s peripatetic lives. Having lived in 5 countries on 4 continents, there are places that continue to draw us back with roots that run wide and deep. Greece is one of those places, for multi-generational reasons. It strikes me as strange that we’ve never been to Ithaca, at least the one that Pico Iyer writes about here.

The Ithaca we’re tethered to in many ways is the Ithaca of the new world: the birthplace of our sons, the home of Cornell University, the place that draws us back to a 3rd generation, still.

The strength of stories is as powerful as the bonds of love for family and for motherland, and I thank Pico for continuing to share his with us all.

One writer chronicles his voyage to the island of Ithaca, where Odysseus was once reputedly king.

I STEPPED INTO a taxi on my arrival in Athens and mentioned the name of one of the city’s most central five-star hotels. The driver was thrown into a frenzy, and not only because he seemed to speak no English. As we zigzagged at high speed through the jampacked streets, he tapped frantically on his smartphone and started calling friends, none of whom were any help at all. When, finally, we pulled up at the entrance, I was greeted by a wild-haired, gesticulating front-desk man who said, “We’re so sorry, sir. We have a problem, a big problem, today. So we have made a reservation for you in our other hotel. Half a block away.”

The problem, the taxi driver conveyed, was that every toilet in the hotel had flooded.

In the fancy new place where I ended up — it took us 20 minutes to go around the corner thanks to narrow, one-way streets — I walked into an elevator to be confronted by two thickly bearded Orthodox priests in full clerical dress crammed into the same small space, cellphones protruding from their pockets as they wished me, in easy English, “Good evening.” The mayhem of the little lanes I’d just come through, the sunlit dishevelment of the buildings, which seemed to be collapsing as much as rising up, the graves in the middle of the city: I felt, quite happily, as if I were not in Europe but in Beirut or Amman.

The real antiquity in Greece, I thought — and this is its enduring blessing, for a visitor — is its daily life; on this return trip, retracing a course I’d followed 35 years before, from the classical sites of the Peloponnese (ill-starred Mycenae and healing Epidaurus) all the way to Odysseus’ storied home on Ithaca, I was noticing that it’s precisely the slow, human-scaled, somewhat ramshackle nature of arrangements here that gives the country much of its human charm. Yes, you can still see Caravaggio faces around the Colosseum in Rome; along the ghats in Varanasi, India, you’re among the clamor and piety of the Vedas. But in Greece, it’s the absence of modern developments — of high-rises and high-speed technologies — that can make you feel as if you’re walking among the ancient philosophers and tragedians who gave us our sense of hubris and catharsis.

Forget the fact that the Klitemnistra hotel is down the street from Achilles Parking; what really gives Greece its sense of being changeless is that the Lonely Planet guidebook gives you a cure for the evil eye, and a man is crossing himself furiously as he attempts to double-park. The Grecian formula that keeps the place forever young — and old, and itself — has less to do with the monuments of kings and gods than simply with the rhythms of the day: Fishing boats are heading out before first light and the shepherd’s son is leading the priest’s niece under the olive trees in the early morning. Black-clad women are gossiping in the shade and donkeys clop and stop over ill-paved stones in the siesta-silent, sunlit afternoon. At night, there’s the clatter of pots from the tavernas and the sound of laughter under lights around the harbor.

All in a landscape where the deep blue sea surrounds you on every side, and the indigo and scarlet and orange flowerpots are bright with geraniums and begonias. It’s not just that you feel the presence of a rural past everywhere in Greece; it’s that, amid this elemental landscape of rock and cobalt sky and whitewashed church, you step out of the calendar altogether and into the realm of allegory.

Continue reading

Have Books – Will Travel

A Pack Horse Librarian returning over the mountain side for a new supply of books (Part of Goodman-Paxton Photographic Collection, Kentucky Digital Library)

We’ve long held the belief that librarians are among the real life Super Heroes of society.  The history of the Pack Horse Librarians may be new to us, but without doubt, they deserve a pinnacle spot in the pantheon.

There are both rural and urban communities in our country that continue to qualify as “at risk” related to the official support received for the public educational and cultural services that libraries represent.  Some of the New Deal programs that helped millions of Americans survive the Great Depression seem advisable in the face of  administrations that turn their backs on libraries and other equivalent cultural elements that helped make the country great.

 

Horse-Riding Librarians Were the Great Depression’s Bookmobiles

During the Great Depression, a New Deal program brought books to Kentuckians living in remote areas

Pack Horse Librarians start down Greasy Creek to remote homes of mountaineers anxious for books. (Part of Goodman-Paxton Photographic Collection, Kentucky Digital Library)

Their horses splashed through iced-over creeks. Librarians rode up into the Kentucky mountains, their saddlebags stuffed with books, doling out reading material to isolated rural people. The Great Depression had plunged the nation into poverty, and Kentucky—a poor state made even poorer by a paralyzed national economy—was among the hardest hit.

The Pack Horse Library initiative, which sent librarians deep into Appalachia, was one of the New Deal’s most unique plans. The project, as implemented by the Works Progress Administration (WPA), distributed reading material to the people who lived in the craggy, 10,000-square-mile portion of eastern Kentucky. The state already trailed its neighbors in electricity and highways. And during the Depression, food, education and economic opportunity were even scarcer for Appalachians.

They also lacked books: In 1930, up to 31 percent of people in eastern Kentucky couldn’t read. Residents wanted to learn, notes historian Donald C. Boyd. Coal and railroads, poised to industrialize eastern Kentucky, loomed large in the minds of many Appalachians who were ready to take part in the hoped prosperity that would bring. “Workers viewed the sudden economic changes as a threat to their survival and literacy as a means of escape from a vicious economic trap,” writes Boyd.

This presented a challenge: In 1935, Kentucky only circulated one book per capita compared to the American Library Association standard of five to ten, writes historian Jeanne Cannella Schmitzer,. It was “a distressing picture of library conditions and needs in Kentucky,” wrote Lena Nofcier, who chaired library services for the Kentucky Congress of Parents and Teachers at the time. Continue reading

Memento

Souvenir.jpg

When we lived in Paris, weekend grocery errands inevitably led us through informal markets where people sold all kinds of old things. One favorite distraction was the vendor of postcards. There was at least one person at any given marketplace who had cards like the ones above, mostly from early 1900s, some going back to the previous century. Usually they were in shoe boxes and never were they organized in any way any of us could understand.  Most but not all were from French travelers sending mementos back to people in France. In just five minutes flipping through the cards we could be transported.

What made this a favorite distraction was as much professional as anything else. Having spent several years studying a place from which countless postcards had been sent starting in the 1870s, I developed an affinity for the choices made by illustrators and photographers in different eras about how to represent a place.

There is also a personal dimension to this affinity, which is that my father was a photographer who in addition to a portrait studio had a postcard business. From 1972 until 1978 if you sent a postcard from just about anywhere in the Finger Lakes region of New York state, it was probably one of his postcards, which means one of his photographs. Starting when I was 10 years old until I was 16 I would accompany him on road trips through that region when he was restocking postcards at hotels and other venues where they were sold. That might explain my favorite distraction in Paris.

Misunderstandings That Become Taken For Granted

Curry.jpg

The Atlantic’s website helps me ensure that I do not miss any intriguing episodes of Gastropod, which I listened to more frequently before we moved back to Costa Rica. Especially when we were in the process of developing 51, a restaurant in the colonial spice-trading district of Fort Cochin, in southwest India. This current headline in the Atlantic, which took me back to those years when delicious misunderstandings were the daily fare, was one I had to surrender to:

The Word Curry Came From a Colonial Misunderstanding

No Indian language uses the term, and the closest-sounding words usually just mean “sauce.”

And over at the Gastropod website, this ensured that I would listen all the way through:

9780465056668_custom-faec8d5203f296c0cc17efb91baa211c41c48a88-s600-c85…According to Lizzie Collingham, food historian and author of Curry: A Tale of Cooks and Conquerors, to trace the origins of curry, we need to go back to when the Portuguese first set up shop in Goa, in the early 1500s. “And they’d say, Oooh, what are you eating?” said Collingham, “And the Indians replied using a word like khari or caril.” At the time, Collingham explained, those words likely referred to a particular spice blend, as well as the finished dish it was used in; the same words are still in use, but they now mean sauce or gravy. Today, that’s Raghavan Iyer’s definition: he authored a doorstop of a cookbook called 660 Curries, and he uses “curry” to refer to “anything that has a sauce or gravy—it can be with or without spices.”…

Hermes, Circa 2019

Vourthonia School.jpg

I have shared the photo above on this platform once before. I wrote a series of reflections on the village where that photo was taken, and today I share a riff on all that. That photo was enlarged to take up an entire wall of our office in India, as a reminder to me each day of the purpose behind what I was doing. Our company’s mission includes education. It is mostly about conservation. That building, which I photographed 10+ years ago, after it had recently been abandoned, has been a reminder for me that one of these days I am determined to share whatever I can from our work in that village.

thumbnail_thumbnail_IMG_0032

This photo was taken of Bangor Vamvakou immigrants in 1949 as they returned to their village. Top left is Nikos Niarchos, a relative of the Greek shipping tycoon. From Top Left, the others are: Vasso Anglesi; George Limberogiannis; Eleni Markos; Panayiotis Servetis; Vasso Kokini; Katsilis Demetrios and Anna Leakou. Middle Row, from Left: Pota Anglesi; Angeliki Skoufi; Eleni Hatzi and Panos Dialialis. At bottom, Left to Right, are Yiannis Limberogiannis and Harris Belbekis.

Thanks to an online publication I follow for news from Greece I found this story that helps explain why I thought of the photo above just now. It gives me both hope and tangible ideas of what might be done. It starts with a group of immigrants in Bangor, Maine whose life trajectory was like that of so many others from the Lakonia region of Greece, including my mother. And the story leads back to a foundation that has been referenced once before in our pages, but this time the foundation’s work hits closer to home:

The saying goes that it takes a village to raise a young person. But sometimes it takes young people to raise up a village, and this is exactly what’s happening in the Laconian village of Vamvakou.

Vamvakou is a short drive from Vourthonia, my mother’s village. So this video below strikes a chord.

 

Some of the images from Mamvakou could as easily have been taken in Vourthonia.

picture1_Responsive.jpg

Source: SNF

Vamvakou-Revival-3_Responsive.jpg

Source: SNF

But it is the story of what is happening in that village that captures my imagination:

Can a once-thriving mountain village, today home to only nine inhabitants, come to life again?

Can it fill with visitors, permanent inhabitants, and model businesses while retaining its traditional character? This is the wager laid by a group of five young people who want to revitalize the village of Vamvakou, 900 meters up the slopes of Mount Parnon in the southeastern Peloponnese.

Vamvakou-Revival-4_Responsive

Source: SNF

To realize this ambitious project, the five friends, Haris Vasilakos, Anargyros Verdilos, Eleni Mami, Tasos Markos, and Panagiotis Soulimiotis established the “Vamvakou Revival” Social Cooperative Enterprise and decided to move to the village. Continue reading

Making Something The Traditional Way

Last week, we visited producers of various arts and crafts on the eastern side of Costa Rica. Our first stop was in the Central Valley, just before crossing over to the Caribbean slope, in a coffee shop. There, a man showed us his ceramic work, which we had seen one example of previously. All of it was beautiful, but the one below was the one we chose to purchase as a sample. And here it is, in the morning sun.

Bandolera.jpg

It brought to mind the old documentary above, which anyone in the USA public school system might have seen in their 7th grade art class. In less than half an hour, that film clinically explains and demonstrates visually what goes into making something the traditional way. This man, here and now in Costa Rica, is hand-crafting these coffee makers. The material is organic, as is the design, which pays tribute to Costa Rican tradition, as well as to pre-Colombian indigenous tradition. The coffee seems to taste the better for it.

Stories Without End – The Grandmother Project

The Ogelthorpe University Museum of Art is one of the gems of the Atlanta area, for good reason. Not only does the museum have its own well curated collections, it receives visiting collections that are timely and powerful.

Tara Rice‘s Grandmother Project photographic series highlights the historically matriarchal influence within African cultures, coinciding with the project based in Senegal “promoting health, well-being and rights of women and children in developing countries through grandmother-inclusive and intergenerational programs that build on communities’ cultural values and resources.”

The photo series dovetails perfectly with the female centric collection of sculptures and masks in the sister exhibit, Stories Without an End.

Stories Without an End: Power, Beauty and Wisdom of Women in African Art of the Mehta Collection

January 18 – April 21, 2018

The exhibition Stories Without an End: Power, Beauty and Wisdom of Women in African Art of the Mehta Collection includes a selection of 50 classically carved wooden sculptures and masks drawn from the collection of Dileep and Martha Mehta.

The exhibition represents art from more than 25 ethnic groups spanning 12 countries. These objects are gathered into thematic groups including women in governance, maternity, idealized beauty, and female ancestors.

OUMA members Dileep and Martha Mehta are collectors of African and Asian arts. Their African art collection, including objects in this exhibit, has greatly benefited from diligent sourcing by and wise counsel of African Art dealers Tamba Kaba and Sanoussi Kalle.

This exhibition was developed by Elizabeth H. Peterson, OUMA director, and organized by Amanda Hellman, PhD, curator of African art, Michael C. Carlos Museum, Emory University.

Stories Without an End was inspired in part by the work of the Grandmother Project (GMP) an American 501(c)(3) nonprofit organization and a Senegalese NGO with representatives throughout the USA and abroad. GMP, with headquarters in Senegal, works with elders in West African villages to fight the maltreatment of young girls. This includes bettering maternal and child nutrition, reproductive health, and marriage standards. The exhibition title is inspired by the GMP initiative “stories without an ending,” which is a tool used to facilitate communication via the elders. For more about the Grandmother Project please visit www.grandmotherproject.org.

The Grandmother Project: Photographs by Tara Rice

January 18 – April 21, 2019

The Grandmother Project (GMP) develops community approaches that promote positive and sustained improvements in the lives of girls, children, women, and families by building on existing cultural and community values, roles and assets in southern Senegal. Continue reading

The Mouth of the Well

The archaeologist Guillermo de Anda next to pre-Columbian artifacts in a cave at the Maya ruins of Chichén Itzá. Credit Karla Ortega/Mexico’s National Institute of Anthropology, via Associated Press

This new discovery in Mexico’s Yucatán Peninsula came to our attention just when we’re on an archaeological roll. It definitely gives us pause that there are still such important finds in the world.

In a cave under the ancient city of Chichén Itzá, Mexican archaeologists discovered a trove of ceramic artifacts that appear to be over 1,000 years old.

Archaeologists announced this week that they had discovered an extraordinary trove of well-preserved Maya artifacts under the ancient city of Chichén Itzá in Mexico’s Yucatán Peninsula.

The artifacts were found in a cave called Balamkú, less than two miles from the famed pyramid known as the Temple of Kukulcan, or The Castle, which sits in the center of the site.

Guillermo de Anda, an investigator with the National Institute of Anthropology and History, said in a statement on Monday that the remarkable discovery could help researchers rewrite the history of Chichén Itzá, which flourished from roughly A.D. 750 to 1200.

The city was built on top of a network of waterways, including sinkholes called cenotes, which the ancient Maya believed were sacred places that provided a portal to the underworld. Its name is sometimes translated as “the mouth of the well of the Itza,” the name of the main ethnic group in the area at the time.

Continue reading

Urban Archaeology

 

We’ve had friends and family members living in Atlanta for close to 30 years, and although I knew it was the hub of important aspects of American history, it never occurred to me to think of it in archaeological terms. At first consideration, I think about archaeology as the study of ancient cultures in far away places. Yet, with family in countries like Greece, I acknowledge that awesome layers of history can be just under the surface, or deeply buried and unearthed as cities grow with constructions of buildings and transit infrastructure.

This piece in the Georgia State University Magazine made that quite clear.

Treasures of Terminus

From its days as a railroad boomtown to Sherman’s tinderbox to one of America’s great cities, Atlanta’s history runs deep. The Phoenix Project, more than 100,000 artifacts collected by a team of Georgia State archaeologist in the 1970s, tells the city’s story through unearthed historical objects.

There is buried treasure at Georgia State University. Stacked high and deep in more than 500 boxes stashed throughout the labyrinths of Kell Hall, more than 100,000 artifacts tell the story of Atlanta’s history.

These boxes contain the lost pieces of a tumultuous past that dates to the city’s earliest days — bullet casings from the Civil War, mystery tonics in antique glass bottles, creepy toys, fashion accessories, ancient grooming tools and much more. Many of them still await examination and haven’t been opened since archaeologists first packed them four decades ago.

This massive array of objects is called the Phoenix Project, and Georgia State professors and students have been methodically studying, cataloging and mapping each item since 2011.

Collected all over the city between 1976 and 1980, the objects belong to the largest archeological collection ever associated with Atlanta. They are the fruit of one of America’s earliest urban archaeological projects — the roving excavation that followed construction crews as the Metropolitan Atlanta Rapid Transit Authority (MARTA) cleared land, leveled blocks and tunneled underground to build the first iteration of its rail system.

Jeffrey Glover, associate professor of anthropology, has curated the Phoenix Project for years in hopes of providing the public with a different kind of city history, a slice of Atlanta’s past through the lens of historical objects.

Catalog No.: P1848/170 Swamp Root Kidney, Liver and Bladder Cure, c. 1890, manufactured by Dr. Kilmer & Co., Binghamton, NY.

Choosing one box among hundreds, Glover removes a small amber bottle that once held Valentine’s Meat Juice, a concentrated beef tonic from the 1870s. Advertisements said it could help with gastroenteritis, dysentery and even cholera.

“It was supposed to bring vitality,” Glover says, “like an early energy drink.”

From another box, he takes out the misshapen head of a porcelain doll. Featuring dark, empty eye sockets and covered in burn marks, the scary toy looks hungry for souls. While Glover affectionately calls it the “creepy doll head,” its official artifact ID is “a3161,” written in impeccable script with archival ink across its neck.

That’s because the archaeologists who bagged all this stuff in the 1970s methodically described and organized each item using a numbering system adapted from the Georgia Department of Transportation. For example, the “a” in “a3161” stands for “general artifact” while the number indicates the item was the 3,161st general artifact to be cataloged from that accession. (And there are about 100 accessions.) Containers, such as glass and pottery, begin with “p,” and building materials with “m.” Plant remains use “eb” for “ethnobotanical” while animal bones start with “ez” for “ethnozoological.”

Just one of the standard cardboard bankers boxes can contain dozens, if not hundreds, of artifacts, each wrapped in brown paper and labeled with a unique artifact ID. Though they’ve all been recorded in a logbook alongside a one-line description, unwrapping each one is like opening a birthday present because you don’t know exactly what you’ll get.

“It’s an excavation of boxes,” says Lori Thompson (M.A. ’16), assistant laboratory director at New South Associates.

Continue reading

Longform & Shortform & Waning & Waxing

p06yh66g.jpgJames Rebanks had come to my attention twice before. I found him compelling both times but because he was described in shorthand as the tweeting shepherd, my interest waned as quickly as it waxed. Now, after listening to him on a third occasion, and because of his music choices (on a show that illuminates a person beyond their words, through their musical taste), he won my attention back.

Mainly, I was intrigued that he brings his experience to bear in a consultancy that sounds like it has plenty of overlap with our own practice. And once I discovered that he had taken a break from tweeting I decided to venture onto that platform, which I rarely do, to try to understand that part of him better. And that led further afield and allows me to suggest that longform communication suits him better than shortform:

Save The Waves, Stop The Seawall

22trump-golf1-jumbo.jpg

Grass bales intended to prevent erosion, in place last month at the Trump resort in Doonbeg, Ireland. Paulo Nunes dos Santos for The New York Times

I cannot explain why of all the mailing lists in all the world, most of which I opt out of preemptively and nearly all of which I opt out of within a week or two–I have remained on this mailing list since its inception. And this call to action catches my attention enough that I am passing it along. I first heard of this issue from Save the Waves a couple years ago. Then I noticed it in the news late the same year (click the image to the left), and again about a year ago there was this from Save the Waves. Now, one more time before it is too late, here is a copy/paste of the email from this week:

The Fight Against Trump’s Irish Seawall.

The ongoing campaign #NatureTrumpsWalls continues! Save The Waves Coalition and local partners urge careful consideration from Ireland’s national planning appeals board in the case against Trump International Golf Links’ seawall in Doonbeg, Ireland.

If approved, the proposed project would allow two seawalls to be built on a public beach to provide ‘coastal erosion management’ for Trump’s private golf resort and cause profound negative impact on Doughmore Beach – a popular surf break and coastline for surfers and beach goers.

The case is still left undecided one year after the appeal. Save The Waves continues to implore the Appeals Board to hear the case and recognize the severe implications of the project on the surrounding coastline.

Learn more about #NatureTrumpsWalls and the appeal here.

Hill Culture Contemplation

surfacing-bothies-1-jumbo-v2.jpg

The Hutchison Memorial Hut, colloquially called the Hutchie Hut, illuminated by moonlight in Scotland’s Cairngorms National Park. Stephen Hiltner/The New York Times

How did Stephen Hiltner know? I was just looking through photos from the 2009 edition of the Patagonia Expedition Race, and remembering the huts along the way. They were perfect places to escape the realities of the rest of the world, in order to contemplate more clearly. With perspective. They could come in handy for plenty of folks these days, I am sure. Seems certain to me now that those huts at the southern tip of the South American continent were built by folks from the hills sampled in the story below:

In Britain, Enraptured by the Wild, Lonely and Remote

Rustic shelters called bothies — more than 100 of which are scattered throughout England, Wales and Scotland — are an indispensable, if little-known, element of British hill culture.

27surfacing-bothies8-jumbo-v3

Warnscale Head at night. Since bothies are often built with local stones, they’re easily camouflaged in their surrounding landscapes. Stephen Hiltner/The New York Times

 

surfacing-bothies-window-6-jumbo-v2.jpg

Shenavall Stephen Hiltner/The New York Times

By the time the tiny hut came into view, nestled high in a corrie in Scotland’s 1,748-square-mile Cairngorms National Park, I’d trekked for nearly nine miles, three of which, regrettably, I’d had to navigate after nightfall. The hike, through a broad valley in the Eastern Highlands called Glen Derry, carried me past groves of Scots pines and over a series of streams, some of which, lined with slick steppingstones, made for precarious crossings. All the while, two rows of smooth, eroded mountain peaks enclosed me in an amphitheater of muted colors: hazel-hued heather, golden grasses. Though much of my walk was solitary, the flickering glow in the hut’s main window, I knew, meant I’d have some company for the night and the warmth of a fire to greet me. Continue reading