FALLS VILLAGE — Long-time followers of the Salisbury Winter Sports Association’s ski jumps will remember a youngster named Ariel Picton, who started ski jumping in Salisbury at age nine.
Now married with two children and living in New Hampshire, Ariel Picton Kobayashi is the author of the just-published “Ski Jumping in the Northeast: Small Towns and Big Dreams.”
Kobayashi held a Zoom talk Thursday, Jan. 22, sponsored by the David M. Hunt Library.
She recalled her introduction to the sport as a child, and her work as a coach for SWSA some years later.
The first section of the book is based on her senior project as a history major at the State University of New York — Purchase.
She noted that SWSA is celebrating its 100th year of ski jumping.
The year it all started, 1926, is when ski jumping was becoming popular in the northeastern United States. The original name of SWSA was the Salisbury Outing Club.
There were dozens of small towns with jumps in the Northeast. Colleges had jump hills, and sponsored winter carnival events.
Excursion trains ran from big cities such as New York and Boston, taking urban skiers to the rural towns.
She cited SWSA’s Larry Stone remembering that in the 1950s, Salisbury had eight or nine jumps, including jumps in back yards. Children took to ski jumping the way they did to baseball in the summer.
But over time the clubs faltered and by the 1970s most of the ski jumping venues closed down.
Kobayashi said that one factor in the decline of ski jumping was the famous “Agony of Defeat” television clip that showed a ski jumper in a spectacular crash. This clip was used every Saturday in the intro to ABC television’s “Wide World of Sports.”
“It was shown over and over again,” she said.
Another blow came in 1981, when the National Collegiate Athletic Association (NCAA) dropped ski jumping as a sanctioned college sport.
“This had a ripple effect all the way down to the local level,” she said. Young jumpers no longer had a “clear college pathway,” and the number of jumpers continued to drop.
SWSA was one of the few clubs to survive the decline, which Kobayashi attributed to the strong ties between SWSA and the community as a whole.
Screenshot from Zoom
“I was lucky to have SWSA.”
The book contains a section on hill preparation. “It’s not glamorous, it’s not about individual performance,” she said.
“It’s about everyone working for a common goal.”
The book also addresses women in the sport. Kobayashi said the first documented female ski jumper was Paula Lamberg, an Austrian countess who competed in 1911 wearing a long black dress (and set a record while she was at it).
She said a long-standing myth persisted, that ski jumping was bad for girls because it had a negative effect on their ability to have children.
Things started to change for the better in 2009, with the popularity of alpine skier Lindsey Vonn, and finally, in 2014, female jumpers were allowed in the Olympics.
Kobayashi said this happened because of “persistence, community, showing up when the system isn’t designed for them.”
Contemporary chamber musicians, HUB, performing at The Clark.
MASS MoCA is known for its 20th-century holdings spread throughout a sprawling complex of industrial brick buildings. Installations by Sol LeWitt and James Turrell have permanent homes there. Just down the road in Williamstown, the Clark features masterworks by Winslow Homer, Frederic Remington, John Singer Sargent and Claude Monet.
But what visitors might not immediately associate with those established names is how deeply both institutions invest in art happening right now.
On Saturday afternoon, a panel of young artists discussed their relationships with art, identity and technology as part of MASS MoCA’s “Technologies of Relation” exhibition, which opened that evening. The artists represented a broad range of cultural backgrounds, drawing on ancestry while exploring the future of art and technology.
The work itself ran the gamut: wax relief paintings, stained glass, interactive video and sculptural installations. One immersive piece automated the traditional Armenian practice of reading fortunes from coffee grounds. Particularly striking were Roopa Vasudevan’s hand-drawn QR codes and Taeyoon Choi’s large-scale weavings of binary code.
Opening the same night was Zora J. Murff’s “RACE/HUSTLE.” Through photographs, paintings and installations, Murff explores the wide-ranging and sometimes violent implications of being Black in America today. Each piece — whether confronting the rise of white supremacy or examining stereotypes imposed on Black communities — carries razor-sharp visual commentary designed to unsettle.
Pelenakeke Brown’s “Reverb” (detail) at Mass MoCA. D.H. Callahan
On Sunday, the Clark continued the contemporary thread. A small exhibition of work by Raffaella della Olga, titled “Typescript,” features intricate patterns created using a typewriter on varied paper surfaces. The effect seems almost impossible until viewers watch a video of della Olga loading her typewriter with 140-grit sandpaper and typing in a hypnotic rhythm. Though the typewriter is considered obsolete technology, she continues to find new applications for it, completing some of the works in recent months.
Next door in the Clark auditorium, HUB New Music performed works written specifically for its unusual instrumentation: violin, cello, clarinet and flute. While that combination may not stand out to casual listeners, relatively little classical repertoire exists for it. The ensemble regularly commissions composers to expand the possibilities.
The results were striking. From the opening notes of Francisco del Pino’s “Passacaglia,” the quartet’s command and layered repetition pulled unexpected emotion from the audience.
After three pieces came the world premiere of Daniel Wohl’s “Mirage,” a roughly 25-minute work accompanied by digital blips, static and electronic textures evoking radio transmissions and UFO lore. Hearing four virtuoso musicians extract entirely new sounds from traditional instruments echoed the weekend’s larger theme: old tools made new again.
Like della Olga’s typewriter, Vasudevan’s QR codes or Murff’s charged imagery, the performances demonstrated that contemporary art often grows from familiar materials — reimagined.
The old masters will always draw visitors to these institutions. But when living artists command equal attention, this quiet corner of the Berkshires feels less like the middle of nowhere and more like a creative epicenter.
D.H. Callahan is a voice actor, creative director and trail steward. He lives with his artist wife in West Cornwall, Connecticut.
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