Archive for the ‘ Current Events ’ Category

Spiritual movement

“Mandala” is a masterwork of art and stagecraft.

By Merilyn Jackson

For The Inquirer

Dancers use their bodies as instruments, and they need constant training and upkeep, research and inquiry. Over the last two years, dancer/choreographer Kun-Yang Lin put his company of nine through a varied, rigorous training program. Thursday night at the Painted Bride, it premiered the fruit of that program, called Mandala – the intricate, ephemeral, circular sand paintings of Buddhist and Hindu tradition.

As observer and chronicler of the Mandala Project over many months, I had watched KYL/Dancers in rehearsals as well as at workshops with a martial-arts expert, a puppet master, the Dalai Lama’s former ritual dance master, and a teacher from Taiwan’s acclaimed Cloud Gate Dance Theatre. Yet I was still startled to see how Lin wove those investigations into his choreography in final form. Heidi Barr’s exquisite crimson costumes, Stephen Petrelli’s striking lighting, and Jonathan Goldman’s spiritually driven music, along with a gorgeous visual design for the first of the five sections, elevated Mandala to a masterwork of art, spirituality, and stagecraft.

Puppet master HuaHua Zhang had put the dancers through practice in working with objects, investigating how to imbue them with humanity, humor, pathos. Using large swaths of crinkled paper, she worked with Lin, Petrelli, and the dancers to create a wondrous, many-legged, mammoth-like creature by having the dancers manipulate the material around and above themselves. At the end of the beast’s laborious diagonal entrance, the dancers broke out individually to whirl within the paper, which suddenly seemed lustrous and fluid as silk.

To read more:

http://www.philly.com/philly/entertainment/20110212_Spiritual_movement.html#ixzz1DmDbnVzq

Ode to Pork

A couple of Christmases ago, before the Swine Flu outbreak, I gave a foodie friend a book from Italy, Pigs and Pork. Coincidentally, I unwrapped the same book from my husband.  He knows my love for the flesh and skin of pig – not the kind you pass and kick, the kind you slow roast to a snap and a pop of the crackling. The book’s slightly skewered translation says scratchings for what I take to mean cracklings. And the title — how does one separate the pig from the pork? After all, Pigs R Pork.

The book says there are approximately 960 million pigs in the world, roughly a third of them in China. Europe has 243 million and the United States only 95 million. Boiled Pig’s Cheek with Garbanza Beans is just one of the book’s recipes I have yet to make. But now that we’re getting succulent pork dishes in restaurants like Chifa and Lolita, I may not take the time.

In Chinese astrology, I’m a goat and my most compatible match is the pig. Alas, I am married to a rat. But he must have ascendant pig qualities:  nice to a fault, they delight in eating good food and lovemaking, believe in the best qualities of humankind, are highly intelligent, and make wonderful life partners due to their hearts of gold and love of family.

Not only is pork the other white meat, pig is featured in fairytales, cartoons, the Babe movies. Philly’s most celebrated theater company calls itself Pig Iron Theater. And New York’s redoubtable Mabou Mines, does an off-off Broadway production Ecco Porco. Actor Frederic Neumann starred as Gonzo Porco. About a pig by that name, the play runs four hours – enough to roast a suckling in time for an aftermath party.

After seeing the play in the East Village one brittle January night, we found Col Legno’s cozy room still open. We warmed up not far from the brick oven where they bake quail, pizza, and white beans with sage in glass flasks.

I have eaten wild boar throughout Eastern Europe where it is still available in butcher shops and featured on the menus of fine old hotel restaurants. Its musty taste surprised me and reminded me of the deep tones of the marrow sauces of my childhood. In honor of Gonzo, we ordered Col Legno’s Pasta with Wild Boar sauce – a Bolognese with finely chopped boar and sage.

Zimne Nogy (literally, cold feet) is pickled pig’s feet — Souse to y’all. You can go into a bar in Poland and order “binoculars and jellyfish” — two shots of vodka and a small plate of Zimne Nogy. Although I would not eat the stuff as a kid, I now ferret it out wherever I go. Krakus Market in Port Richmond prepares the best I’ve had locally. But I adore the Crispy Pig’s feet at Cochon.  And I’m heading up to Northern Spy in the East Village soon as I can to try their shredded pig’s feet wrapped around mustard greens, breaded, then fried! northernspyfoodco.com.

On cold winter Sundays, my family’s favorite was a huge (and cheap) fresh ham, slow cooked until it fell apart. Pepper, salt, garlic, and maybe ginger or cloves, made up the limited palette of spices in the Polish “Kuchnia.” It was always good enough to eat like Guinea islanders, who, normally vegetarian, annually binge over a three-day feast on the pigs that ferret out their root veggies.

Once, after a visit to Taller Puertoriquenno up at 5th and Lehigh, we stopped into a Puerto Rican restaurant down the street. I looked over the unfamiliar menu, unsuccessful in my attempts to wrest meaning from our surly waiter, who, it later dawned on us, had feigned insufficiency in the Queen’s English.

Cuchifritos are crisply fried pork parts that include ears, tails, and stomach. I used to get them from K-Rico Bakery in Phoenix and they were mouthwatering. Since I’ll eat anything fried, when the word Cuchifritos popped out, I ordered it.

The waiter crooked his eyebrow, smirked, and bowed as he wheeled away to the kitchen.  Shortly, he placed before me a plate of what looked like lukewarm, undoctored, off-brand baked beans with wilted, pasty-looking triangles poking through here and there. He stood at attention, waiting for me to dig in. The first rubbery bite was undistinguishable from an old girdle.

“Do you know what you are eating, Senora?”  I smiled weakly, trying to chew as he hastened to tell me. “Pig’s ears.”

I offered a taste to Herb, a non-practicing Jew, who, nevertheless, does not eat pork. He declined.

“Oh, well, would you mind bringing me the chicken like his and wrapping this up to go?  My husband will love it,” I said with a wink at Herb.

Herb told me a story about a man in Israel who needed a new heart valve, and how the rabbis, after much Talmudic discussion, decided to approve the use of a pig’s valve. Since pigs, like us, are omnivorous and have similar tissue makeup, we use them in medical research. I asked if he’d heard about the researchers’ latest fear, that, like the transfer of the HIV virus from animal to human, something similar could happen with pigs.

“Well,” Herb began after asking the waiter to pack the remains his chicken, “that came from eating monkey. So, if the same hasn’t yet happened from eating pig all these millennia, maybe it’s OK – even though I still wouldn’t.”

At home I placed my foam carton on the counter and turned to read the mail. My husband rummaged behind me. “What did you bring me?”

“Oh, just some leftovers.”

“Well, this is really fall-apart delicious. Best I’ve had.”

I spun around.  The pig’s ears had turned into something other than a silk purse. As I watched my husband tucking into Herb’s chicken, I pictured Herb opening his carton tomorrow. Oink vey!

Posted on Tue, Feb. 8, 2011

By Merilyn Jackson

For The Inquirer

SHARON GEKOSKI-KIMMEL / Staff Photographer

Monk, composer, dancer, and director, completed a residency at Bryn Mawr College Sunday with a performance featuring her “Education of the Girlchild” from 1972.

At Bryn Mawr’s McPherson Auditorium Sunday afternoon, the first dancelike movements Meredith Monk made in her 1972 solo from Education of the Girlchild were small, rhythmic hand movements. They opened up to a still-minimal and unembellished upswept arm, a small bend, and a turn of the knee – not so much dance, but the expression of dance.The performance was the culmination of a weeklong residency in which the Peruvian-born Sarah Lawrence grad and MacArthur Fellow, who was just named one of NPR’s “50 Great Voices,” led workshops that explored her singular brand of vocalese and movement.

Monk, 68, begins Girlchild sitting motionless in whiteface, wearing a gray wig and baggy muslin pants laced with leather strips. Her puppetlike gestures recall younger days, and soon she removes the wig, reverentially kneeling to the age she would become as she loosens her hair and personifies a younger version of herself. With its superb theatricality and stagecraft, the piece gained in poignancy as I realized she is now reaching the actual age she envisioned 40 years ago.

To Read More:

Posted on Sat, Feb. 5, 2011

Photo deleted at photographer’s request.

Pennsylvania Ballet principal dancer Julie Diana and soloist James Ihdein Christopher Wheeldon’s “Polyphonia,” in “Classic Innovations” at the Merriam.

By Merilyn Jackson

For The Inquirer

Fueled by controversy, the public perception of ballet is evolving from girly pink to grown-up sexy. The evolution was evident Thursday night in Pennsylvania Ballet’s presentation of three contemporary works at the Merriam Theater.

The pieces that made up the program, “Classic Innovations,” were 10 to 23 years old, but looked as clean and crisp as spring blossoms. Their vibrance rebutted the death knell that New Republic writer and former dancer Jennifer Homans virtually rang for ballet in her recent book Apollo’s Angels: A History of Ballet. And these dancers looked delightfully human, compared with the obsessive character Natalie Portman portrays in the hit film Black Swan.

To Read more:

http://www.philly.com/philly/entertainment/20110205_Pennsylvania_Ballet_at_the_Merriam_in__Classical_Innovations_.html

Hanging around, dancing

Posted on Thu, Jan. 20, 2011

Local choreographer and spectacle-creator Brian Sanders will celebrate 18 3/4 years with his dance company, JUNK – slithering, sliding, tumbling from all kinds of found objects.

By Merilyn Jackson

For The Inquirer

APRIL SAUL / Staff Photographer

Brian Sanders (upright) with dancer and partner John Luna at a rehearsal for the retrospective shows. Luna will perform Sanders’ “The Grid.”

If you’ve been a regular at the annual Live Arts Festival/Philly Fringe or Shut Up and Dance performances, you probably have been mesmerized by dancers hanging from fences, flipping their bodies in the air like trapeze artists, cocooned in plastic beneath the Benjamin Franklin Bridge, or costumed like liquid robots. This inventive choreography, in such pieces as The Gate, Flushdance, AdShock, Sanctuary, Urban Scuba, and Patio Plastico, is all the work of Brian Sanders, spectacle-creator, repurposer of found objects, and dance-hijinks master.

In the last two decades, Sanders, 44, has become one of Philadelphia’s most enduring and beloved dance-makers. His prolific, daring, and mischievously fun-loving work has endeared him to audiences far and wide, and to the local dance community. Dancers with gymnastic backgrounds or aspirations vie to work with him; other companies commission his choreography; critics fight to review his pieces.

Now, Sanders and his company, JUNK, in typical disregard of convention, are presenting an “18¾ Anniversary Season” through Sunday at the Arts Bank, featuring a work from each of their 18 years since 1992.

To read more:

http://www.philly.com/inquirer/magazine/20110120_Hanging_around__dancing.html

PrimeGlib Editor’s remarks: Below is a post by Marc Kirschner published July 16, 2010 on TenduTV. It is reposted here with permission.  It illustrates the failure of the Dance Critics Association to actively advocate for dance and dance criticism. To see a potent and lively example of how a community of critics can effect the amount of ink an arts media receives, visit http://www.americantheatrecritics.org/ While features like Members Blogs and Links, and Members Milestones offer huge value for current members and encourage new members, other features such as Perspectives in Criticism may be of interest to the general public as well as to the theater community who may wish to know just who their critics are and what qualifies them to write about theater. So…

Back to the Future Part II: Dance Critics and Technology

By Marc Kirschner

Posted by tendutv in Advocacy, Distribution, Newspapers, Technology, TenduTV, The Dance World on 07 16th, 2010 | one response

In my response to the NEA’s Audience 2.0 survey, I listed a number of key technologies that had permeated the consumer market place and changed audience behaviors since the survey began. I also asked a simple, but important question:

“Once a dance company has actionable information and presumably wants to act, can it?”

With the Dance Critics Association (DCA) conference coming up, I decided to implement similar methodologies in evaluating the dance world’s very important “fourth estate”, which has been under extreme pressure over the last few years. Dance critics need to be supported, and we need to preserve this valuable sector of our industry. When intelligent and skilled writers have nowhere to publish, artists and audiences suffer.

It’s time for dance critics to take some steps on their own.

Many critics today, even those with a long-standing online presence, are further behind the technology curve than their artistic counterparts. In some cases, the basic infrastructure and capabilities supporting their websites haven’t been upgraded in over ten years.*

Yet, when we’ve spoken to critics, or listened in on panel discussions, they talk about their websites definitively. They believe that since they have websites, people should be reading their reviews, and since they don’t, there must not be an audience for dance. They never consider that failure to address basic requirements via concepts such as metadata, search optimization, syndication, analytics and even a minimal grasp of aesthetics are all acting against their ability to be seen by their audiences. The facts are beyond subjective. For example, one website doesn’t even resolve its domain name properly – if you type in the web address without typing “www.” before the domain name, you get a three-year old version of the site. Another claims millions of annual hits (a long-discredited metric), while industry-recognized third-party analytics services show fewer 10,000 unique visits (a more credible metric) per year.

This is a troublesome situation. While there certainly are many factors that continue to contribute to the plight of dance critics, a majority of which are out of the criticsphere’s control – for example, short-run seasons that make reviews past news before they’re even printed, what can be done doesn’t appear to be part of the conversation. Organizations continue to host workshop after workshop to empower aspiring writers to hone their craft, nothing is being done to help writers fulfill their purpose. While there is always a concern about cost, many of these websites would take a multi-generational leap forward simply by transitioning to even the simplest free blogging platform. A 1-hour WordPress workshop could do miracles to advance the field.

The DCA needs to take a public leadership role in this area rather continually mourn bygone days and lost jobs, while simultaneously pleading for someone else to pull them to safety (which was the general gist of the DCA panel at the Dance/USA conference – one of the panelists actually said that they needed someone to give them an audience). While the DCA conference is full of planned discussion about a wide variety of styles of dance, there is not a single minute of necessary basic skills training or conversation.

So, where should the DCA go from here? The DCA needs to

• Reach out to and grow its membership to include younger, developing writers who are more adept at using technology. Experienced writers can share their knowledge and developing writers can contribute their skills in exchange.

• Advocate and empower modernization of the infrastructure of digital dance criticism, not only among its members but among funders as well. The DCA should also add a technology advisor to the organization.

• Educate their members on contemporary measurement metrics and analytics packages. It is vital to be able to discuss reach and traffic using the same language and metrics that other stakeholders (advertisers and companies) require.

• Be a part of the conversation, which is already taking place here and here.

There can be no delay. The future must be now.

*In order to look at how websites once were, we used web.archive.org, aka “The Wayback Machine”. We would have gone back in time, but the DeLorean is in the shop.

For more at TenduTV: http://blog.tendu.tv/

http://blog.tendu.tv/2011/01/06/10-things-dance-companies-should-be-talking-about-in-2011-and-how-we-did-in-2010/

http://blog.tendu.tv/2010/07/16/back-to-the-future-part-ii-dance-critics-and-technology/

Nothing’s as Easy as Pie

Or is it? I’ve always wondered where that saying comes from because making a great pie does not come easy to everyone. I come from a family of bakers in Fairmount where we were known for our pies. One aunt for her plum crumb, another for her apple, and my mother for her pineapple walnut chiffon pie, a mouthwatering tart if ever there was one. It’s very hard to make a perfect pie until you get the knack – the feel – of making flaky, crispy, rich crusts.

Today’s Philadelphia Inquirer makes this pie article very timely, stating pie will surpass cupcakes in popularity this year.

Throughout the year I make my crusts with butter, oil or non-hydrogenated vegetable shortening, a good one is in Whole Foods, and if you’re used to soft-supermarket vegetable shortening, be forewarned, this stuff is hard and unmalleable.

But I can’t imagine a holiday apple pie without a lard crust. Find pure leaf lard, not a package that says hydrogenated lard. Hydrogenation is what makes fats unhealthy and turns it into trans-fat. That’s why margarine is so much worse for you than a little butter. If you’ve been following the war against trans-fats, you may know that beef lard contains just 40 percent saturated fat, compared with nearly 60 percent for butter and it’s good fat – monounsaturated.

For a good leaf lard, made from the fat around pork organs, take a fall weekend jaunt to Dietrich’s Meats in Krumsville, PA.  It’s worth finding because nothing else gives apples more authority than lard. It says winter food.

I didn’t get to Dietrich’s this year but spied a package of beef suet up in a Poconos supermarket and remembering how my grandmother rendered her own snow-white lard from beef kidneys, I snatched it up to experiment with. I rendered it over a medium heat straining the melted fat into a metal bowl where it soon hardened. Once I felt I had enough to use as part of the fat for my crust, I studded the remaining few ounces of suet with nuts, pumpkin and sunflower seeds and hung it out on my patio tree for the birds to winter on. They’re having quite a holiday out there and I enjoy watching them while I bake.

For Thanksgiving, I made a butter and non-hydrogenated vegetable shortening apple pie from a 2009 issue of Bon Appetit that made a French guest burst into tears at first bite. Alarmed, I jumped to her side. “I have never eaten such perfection,” she said and kept repeating it until the last bite.

Still, bakers always want to surpass themselves. So I made the same pie with the following slightly altered crust for Christmas day. I baked one and made another which is sitting unbaked in my freezer for later. I liked the general proportions of the Bon Appetit recipe and stuck close to them, substituting just a portion of my beef lard for the butter for that flavor burst. This is the hardest lard I have ever used and when chilled, it was difficult to cut in, so I grated it on the shave side of my grater and it turned out terrific, giving me the sturdy crust I wanted to travel to family on Christmas day without losing the bottom crust to fruit juices.

This makes a large pie with 4 lbs of apples and serves 12. Make this your once a year holiday crust. If you double it, you can have two disks of dough in the freezer. This makes a good single crust for custard pies as it holds its shape beautifully. My next post will be about fillings.

Butter, Vegetable shortening and Lard Crust

Butter a large 10” glass pie pan (Do not miss this step if you want to cut that first piece out without having it fall apart.)

3 cups unbleached flour

¼ cup sugar

1 ¼ t. salt

1 cup unsalted butter – 2 sticks

¼ cup leaf lard

1/3 cup non-hydrogenated vegetable shortening

6+ TBSP ice water

Plastic wrap

Wax paper

Cut the butter and shortening into small pieces. Grate the lard over them and chill in freezer for a few minutes. In a very large wide bowl, whisk sugar and salt into flour and make a well in the flour. Dump all the shortenings in. Run your hands under the cold-water tap for a few seconds to cool your skin and dig into the flour and fats rubbing them quickly together with your fingertips until they break up into small flour-coated bits. Add the first six TBSP of ice-water and combine until you can gently shape the dough into a ball. Only add additional ice-water bit-by-bit as needed – too much and it will be sticky and yucky.

The dough should be malleable, firm and still slightly dry, but wet enough to roll. When it’s right, you’ll feel it.

Divide into two balls and flatten them, wrapping them in plastic wrap. Yeah, the way you’ve seen Martha Stewart do it. Chill for an hour while you make the filling or freeze till you want it.

Pull out a length of wax paper larger than your pie pan, double it and cut it off the roll. Fold that in half and slide your bottom crust inside for easy rolling. When you’ve it a good inch wider than your pan, slide a cookie sheet under it and stick it in the fridge while you roll out the top crust. Put that one in the fridge while you start handling the bottom crust.

The trick is to keep both crusts cold as possible and work fast. The colder the crust is the easier the wax paper will peel off. Peel back the top section of wax paper, lay it back and flip the crust, lay it flat and peel back the other side. Now you have loosely covered crust and you can peel back one side of the paper and easily slam the dough into the center of your prepared pan, pulling off the rest of the paper. Press the dough into the sides gently. Run the tines of a fork gently around the sides and prick the bottom all over. You may sprinkle a TBSP of graham cracker, vanilla wafer or even plain bread crumbs over the bottom to absorb fruit juices. Fill, place top crust on and seal the edges. Make steam slits or holes, glaze with milk or egg wash, and sprinkle with Sugar in the Raw if you like. Place on a four-sided jelly-roll pan or the fats will melt out and make a mess in your oven. Use the lowest rack and bake at 425° 15 minutes; turn oven down to 375° for about an hour longer. Cool for an hour to let the pie set up. This pie or its leftovers can sit out overnight, covered with a bowl. Refrigerating it hardens the crust and you’ll have to let it come to room temp or reheat it to serve again.

Dec 19th, 2010 | By Merilyn Jackson | Category: Dance Headlines

Kun-Yang Lin Dancers by Matthew Wright

At times unfolding like a book, a two-year comprehensive training program devised by Kun-Yang Lin read through meditative arts with Hsu-Hui Huang of Taiwan’s Cloud Gate Dance Theater, the martial arts led by Dr. Chik Qadir Mason and the art of moving with objects with puppet artist, Hua Hua Zhang. Each master wrote a workshop plan that took the dancers of Kun-Yang Lin/Dancers and other participants along a story-line that steeped them in their areas of artistic expression. In November, Losang Samten authored the final chapter in the project with workshops titled Tibetan Sacred Ritual and Dance.

As a child in the late 1950s, Samten escaped with his parents from Tibet to India. A former Buddhist monk, he first came to America in 1988 at the request of the 14th Dalai Lama to demonstrate the sand mandala art form, the first time the Tibetan mandala was seen in the West. In the following year he moved to Philadelphia, founding the Tibetan Buddhist Center here and making the city his home base ever since.

He’s since become a 2002 NEA National Heritage Fellow, a 2004 Pew Fellow, but may be best known for his role in Martin Scorsese’s 1997 film Kundun.  He played the role of Master of the Kitchen and served as religious technical adviser, sand mandala supervisor and, having been the Dalai Lama’s Ritual Dance Master at the Namgyal Monastery in Dharamsala, oversaw the choreography and dancing.

To read more:

http://philadelphiadance.org/blog/2010/12/19/the-culmination-of-the-kun-yang-lin%E2%80%99s-two-year-training-program-but-not-the-end/

By Jennifer Lin

Inquirer Staff Writer

HARRISBURG – After four years, the Pennsylvania Gaming Control Board finally ran out of patience with the Foxwoods Casino project.

In a decision that shocked Foxwoods’ attorneys and left anti-casino activists giddy with victory, the commissioners voted, 6-1, Thursday to strip the project of its $50 million slots license.

What will happen next, no one knows.

Read more: http://www.philly.com/inquirer/local/20101217_Pa__revokes_Foxwoods__casino_license.html#ixzz18Wq6ndjg

And my remarks on it:

Saving the S.S. United States

I couldn’t be more delighted that someone, i.e., Gerry Lenfest, has finally taken up my idea to convert the S.S. United States into a gambling hall (for the news story, click here) rather than allow Foxwoods to impose its imbecilic design further north on Delaware Avenue. (See “A shipboard casino for Philadelphia,” BSR, August 2009.)
If another casino in Philadelphia is inevitable, this ship couldn’t be a better place for it. The United States already has the potential of becoming a fabulously famous tourist attraction. Even at its current berth, it would cause fewer traffic/crime problems in the surrounding neighborhoods, as traffic could be funneled to it from the south, allowing the less used Oregon and Packer Avenues to take the brunt.
I do hope that Lenfest and other investors will prevail and, if so, use some of my visions for the ship as a glamorous, upscale hotel, dining and entertainment destination, rather than just gambling— which, as we are already seeing at Sugarhouse, draws mostly the most desperate. Above all, parking attendants should be at the entrances to ensure that no children are in any cars entering.
Merilyn Jackson
South Philadelphia
December 12, 2010

Pathways to Deeper Dance

Dance writer, Merilyn Jackson chronicles Philadephia Choreographer Kun-Yang Lin’s Innovative Training Program in Philadelphia.

Dec 4, 2010 11:20am

http://www.dance-enthusiast.com/features/125/

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