
Tilly Strauss had the foresight to order her baby chicks ahead of time. They arrived by mail a week or so ago and are now getting stronger in a little box in her living room.
Photo by Tilly Strauss
This week’s Nature’s Notebook column includes information and observations from several area nature experts.
Ramps are here!
Jody Bronson, Forest Manager for the Great Mountain Forest in Norfolk and Falls Village, suggests that, “Foraging for ramps is a great spring tonic.
“Ramps (Allium tricoccum) grow in rich soils under mature hardwood trees. These wild leeks are a true sign of spring; their low-growing lance-shaped green leaves jump out at the forager at this time of year. The entire plant is edible — but to harvest them responsibly, use only the leaves and stem; leave the bulb undisturbed, to ensure the population will remain intact. Ramp populations have been destroyed by over-foraging to supply fancy restaurants.
“Their onion-y flavor adds to any recipe. My wife makes ramp pesto; I like ramps sautéed in olive oil and served with brook trout or in an omelet.
“When you find a good population of ramps, keep it a secret!”
Bird bonanza
Eileen Fielding is the Sharon Audubon Center Director and the state Team Leader, Eastern Forests. She sent in a report on the return of birds to the area.
“Any news about recently sighted birds will go out of date very quickly this time of year, as new migrants are arriving daily! You may have heard that Sandhill Cranes have been sighted in Litchfield and Norfolk, or that there is (or was) a Common Eider in Salisbury.
“Besides these more sensational sightings, we’ve had swarms of Juncos coming through en route to more northerly areas. They are sparrow-sized, solid gray or brown above with white bellies, and show a flash of white in their tails when fluttering in fields and the edges of woods. Robins and Bluebirds are suddenly more conspicuous too, although many of them have really been here through the winter, hiding and feeding in dense cover.
“Other new arrivals include Tree Swallows skimming along rivers and lakes for newly hatched insects, and Eastern Phoebes, who can be recognized by their up-and-down ‘feee-bee!’ call, a characteristic up-down tail wag, and presence near a barn, deck, porch or other sheltered spot where they will nest.
“In the woods, listen or look for Winter Wren, Brown Creeper, and both Golden-crowned and Ruby-crowned Kinglet. The Kinglets are even smaller than chickadees, mostly olive-brown, and flutter along branches and twigs, picking off insects.
“If you hear a woodpecker drumming with an irregular beat, you can be fairly sure it’s a newly returned Yellow-bellied Sapsucker, a very handsome bird that’s well worth trying to see. Its name comes from a habit of making rows of holes in tree bark that ooze sap. The Sapsucker can return to these holes to lick up both the sap and the insects it attracts.
“Since more of us are around our houses and yards in this unusual spring, you may find time to watch birds more often, and even to give them a helping hand. Many if not most woodland bird species in northeastern forests are in decline, for a variety of reasons.
“Fortunately, there are fairly simple measures that we can do to help them survive and reproduce successfully. The Salisbury Association Land Trust’s planned spring exhibit, ‘Birds in Crisis: What Can I Do?’ has been transformed into a virtual exhibit that will be available on line at the Salisbury Association’s website shortly.
A live talk by the same name will be given by the Salisbury Association and the Scoville Library on Saturday, April 25, at 4 p.m. I am the speaker and will provide an overview of why our birds are in trouble, but also point out the many ways we can improve their chances. For details, send an email to scovilleadultprograms@gmail.com.
Cows in mud, chickens inside
Artist Tilly Strauss reported from North East (Millerton) on her egg-laying hens, which are hard to come by this year, and life on the farm.
“Spring is a time for action on the farm. So in spite of COVID threats, we are still often busy and outside. Today we noticed a cow sitting deep in the mud by the creek. It was unusual because the rest of the herd could be spied several fields away.
“When we checked on her up close, we noticed she was not sitting! She was standing and deeply stuck in the mud. It took a tractor and chains to pull her free. While doing that, and getting her hay, we found ourselves surrounded by the rest of the herd. They had come straight in a beeline to her and started urging her with noises and nose nudges to stand up.
“Dad got the Skid Steer and went to get gravel to steady up the banks of the creek where the cows get most of their water. We hadn’t noticed the steep erosion and the sludge that would be making access to the water a dastardly sinking hazard.
“Looking across the marsh, past the geese, the ducks and the swallows I see two swans. One is enthroned on a dark reed-and-twig nest that sits almost 2 feet above the water’s surface. The partner is in the water circling close by. It takes 42 days for cygnets to hatch, so we will be on the lookout for babies come the middle of May.
“Meanwhile, the chickens in the living room are now two weeks old. They make a lot of racket. Half downy and half feathered, they can leap from one side of the cardboard box to the other in 9-inch arcs.
“Of course I don’t use the newspaper for their bedding. I prefer using my ancient bank statements for that. The chicks make art or a mess (depending on your outlook).
“It seems chickens are coded in their genes to scratch at the ground, so they make quick work of getting in the feed bowl, kicking both legs back like a bull about to charge forward, and throwing the grain pellets all over the dang space.”
Paquito D’Rivera performs at the Mahaiwe in Great Barrington on April 5.
Natalia Bernal is the Mahaiwe Performing Arts Center’s education and community engagement manager and is, in her own words, “the one who makes sure that Mahaiwe events are accessible to all.”
The Mahaiwe’s community engagement program is rooted in the belief that the performing arts should be for everyone. “We are committed to establishing and growing partnerships with neighboring community and arts organizations to develop pathways for overcoming social and practical barriers,” Bernal explained. “Immigrants, people of color, communities with low income, those who have traditionally been underserved in the performing arts, should feel welcomed at the Mahaiwe.”
Partnerships with organizations like Volunteers in Medicine Berkshires (VIM), the W.E.B. Du Bois Legacy Committee, and Community Access to the Arts (CATA) have helped bridge that gap. But for the Latinx community, there’s an even more targeted effort: the Spanish-language Community Advisory Network (SCAN).
“Six years ago, we started an advisory group of Spanish speakers in the community,” Bernal said. “They tell us what the community wants to see, how they’d like their culture represented. Today, SCAN has 12 members. We meet four times a year and are in constant communication. It’s because of them that we’ve hosted free Spanish-language film screenings and live performances.”
For Bernal, this work is personal. “When I first moved to the U.S. in 2003, it was because I got a Latin American scholarship to study at Berklee College of Music. That first year, I went home to Uruguay for Christmas and saw Paquito D’Rivera perform at a jazz festival. I was determined to meet him, and I did. Later that year, Paquito came to Berklee and invited me on stage.”
Now, two decades and 16 Grammys later, Paquito D’Rivera is coming to the Mahaiwe on April 5, and there’s a chance history might repeat itself. “He saw a post we made about his concert and commented, ‘Ay, chica, que maravilla, are you gonna sing a song with us?’ I almost died,” Bernal laughed. “I don’t know if it will happen, but it would be a dream.”
About the possibility of a guest appearance by Bernal, D’Rivera said, “Natalia is a very dear, valuable colleague, and jazz is about improvisation, so the surprise factor is always part of the fun here.”
D’Rivera’s concert is just one example of how the Mahaiwe is making world-class performances accessible. “My whole day has been about offering ‘pay what you can’ tickets for this show,” Bernal says. “We also issued a 50% discount to our partners. We work with ESL teachers, public libraries, literacy agencies, anyone who can help us get the word out.”
That kind of grassroots effort has been transformative. “Last year, we screened ‘Florencia en el Amazonas,’ the first opera written in Spanish ever performed at the Met,” Bernal said. “I sat in the Mahaiwe in tears. As someone who loves opera, it was the first time I heard one written in my own language. It was so powerful.”
Natalia Bernal, Mahaiwe’s education and community engagement managerPhoto by Martin Cohen
For Bernal, it all comes back to representation, on stage and in the audience. “My son is eight. I bring him to everything I can. Spanish shouldn’t just be something that happens at the dinner table. It should be in the world, in all these shapes and forms.”
And that’s what SCAN is helping build: a future where Latinx voices aren’t just included, they are central. “Our SCAN advisors are volunteers, cultural ambassadors,” Bernal said. “They help us distribute surveys, talk to the audience, and strengthen the community. Nobody should feel alone. Everybody should feel like they belong here.”
Education and outreach are central to D’Rivera’s work as well. He said, “It is an important part of our mission to plant and nurture the seed of quality music in our communities.” He continued to say, “Using our visibility and influence in favor of justice is always a very effective vehicle in denouncing violations of human rights around the world.”
This shared mission of education and social justice extends beyond the Mahaiwe. “We are one of the few arts organizations in a monthly meeting with BASIC (Berkshire Alliance for Immigrant Services). We have direct ties to the Berkshire Immigrant Center, VIM, and others so that we are well-informed and ready to serve,” said Bernal.
That commitment to community, culture, and access is why Bernal’s dream panel—Women in the Music Business—would feature Paquito’s wife and longtime manager, Brenda Feliciano. “She’s a tower of power. She’s been managing his career for at least 45 years. If I could organize an event one day, she would be the cherry on the cake.”
Until then, Bernal will keep doing what she does best: making sure the Mahaiwe is a place where everyone, regardless of language, income, or background, feels at home. And maybe, just maybe, she’ll find herself back on stage with Paquito D’Rivera, just like that first time, all those years ago.
For more info and tickets to Paquito D’Rivera, visit mahaiwe.org
There is magic in a home filled with the things we love, and Mary Randolph Carter, affectionately known as “Carter,” has spent a lifetime embracing that magic. Her latest book, “Live with the Things You Love … and You’ll Live Happily Ever After,” is about storytelling, joy, and honoring life’s poetry through the objects we keep.
“This is my tenth book,” Carter said. “At the root of each is my love of collecting, the thrill of the hunt, and living surrounded by things that conjure up family, friends, and memories.”
The creative director at Ralph Lauren for almost four decades, Carter began writing this book during the pandemic, a time of rediscovering comfort. “I found more time to appreciate those special things that give our homes warmth and connection.” Working with Ralph Lauren, she learned that the best spaces tell a personal story. “His desk was filled with toy cars, miniature shoes, superheroes, English dandies, cowboys on horseback. The walls? A gallery of his children’s paintings, iconic photos of Frank Sinatra and Gary Cooper. Everything told a story.”
Carter acknowledges how homes can become overwhelmed with stuff but sees a difference between clutter and collection. “To live happily, create environments that inspire and comfort rather than encumber you! Look around and ask, ‘What is truly meaningful? What makes you smile? What recalls the people and places you cherish?’” Then, she added, “weed out the rest with discipline and courage!”
Provided
Each home in Carter’s book reflects its inhabitant’s spirit. “The first time I walked into Bethann Hardison’s apartment, I knew right away how authentic it was to who she is.” Hardison’s walls are lined with artwork from friends Keith Haring, Jean-Michel Basquiat, and Haitian paintings, testaments to a life well lived. “Though her mantra is, ‘the lighter the load, the freer the journey,’ she also admits some things ‘delight your environment’ and can’t be parted with. Amen to that!”
Having survived two childhood fires, Carter deeply understands what truly matters. “It’s not the things, but the people and memories they evoke.” She loves her collections, but they don’t possess her. “They make me happy, but they do not define me.”
She delights in how people showcase treasures. Paula Grief, for instance, lives in a ten-foot-wide house and had to part with many books. “She tucks the ones she can’t live without through the rungs of her staircase. I love that ingenuity!”
When asked about her most cherished possession, Carter tells a story of loss and serendipity. A childhood portrait of her in a blue velvet dress was lost in a fire. “Years later, the artist’s daughter found another version. Now, it hangs in our apartment, surrounded by flea market art and one of my favorite saints, Our Lady of Guadalupe.”
Adding to the cozy feeling of this book, Carter’s son, Carter Berg, took the photographs, and her sister, Cary, contributed the illustrations. “Cary once stayed in our apartment and painted a dozen objects from our cluttered kitchen. I hung them immediately. When I started this book, I knew she had to capture my favorite objects.”
Four of the featured homes are local to the Northwest Corner, including Carter’s in Millerton, Joan Osofsky’s in Lakeville, Robin Bell’s in Salisbury, and Paula Grief’s in Hudson. They all gathered at the White Hart/Oblong Speaker Series on March 27.
After perusing the richly colored pages of this book, you may feel tempted to shop. “You don’t need money to create a meaningful home,” Carter insisted. “Some of my favorite paintings cost no more than $10 or $25. Value is personal. It’s not about provenance but the story an object tells you or the one you make up.”
Carter’s advice? “Fall in love with the wackiest thing. Surround yourself with what matters, and you’ll live happily ever after.”
On Saturday, April 5, at 3 p.m., The Triplex Cinema in Great Barrington and Jacob’s Pillow, the dance festival in Becket, Massachusetts, are presenting a special benefit screening of the cinematic masterpiece, “The Red Shoes,” followed by a discussion and Q&A. Featuring guest speakers Norton Owen, director of preservation at Jacob’s Pillow, and dance historian Lynn Garafola, the event is a fundraiser for The Triplex.
“We’re pitching in, as it were, because we like to help our neighbors,” said Norton. “They (The Triplex) approached us with the idea, wanting some input if they were going to do a dance film. I thought of Lynn as the perfect person also to include in this because of her knowledge of The Ballets Russes and the book that she wrote about Diaghilev. There is so much in this film, even though it’s fictional, that derives from the Ballets Russes.” Garafola, the leading expert on the Ballets Russes under Serge Diaghilev, 1909–1929, the most influential company in twentieth-century theatrical dance, said, “We see glimpses of that Russian émigré tradition, performances we don’t see much of today. The film captures the artifice of ballet, from the behind-the-scenes world of dressers and conductors to the sheer passion of the audience.”
Hailed as one of the greatest films about ballet, “The Red Shoes,” 1948, is a dazzling fusion of dance and cinema, featuring a mesmerizing 17-minute ballet sequence performed by Scottish ballet dancer and actress, Moira Shearer. Directed by Michael Powell and Emeric Pressburger, the film’s breathtaking use of Technicolor and evocative storytelling continues to captivate audiences, including legendary filmmakers like Martin Scorsese, Brian De Palma, and Steven Spielberg all of whom have cited the film as an influence on their work.
Garafola recalled seeing the film as a young dancer. “I remember being more taken with the plot then, but seeing it again recently, it was the color, the fantasy, and the glamour that struck me. Given how gray England was after the war, the film’s vibrant costumes and settings create an almost dreamlike escape.”
Owen echoed Garafola’s sentiment. “It’s magical. Color was their thing, and this latest restoration makes it even more breathtaking.”
The film underwent an extensive digital restoration at the UCLA Film and Television archive between 2006 and 2008 and premiered at the Cannes Film Festival in 2009. This is the version of the film which will be screened at the Triplex.
Owen said, “I love the depiction of young ballet audiences racing to their seats. That kind of enthusiasm is contagious. It’s what draws young dancers in.” Both Owen and Garafola epressed hope that young dancers will attend the event, sharing in the film’s enduring inspiration.
Owen and Garafola’s Q&A is sure to be lively and educational as they delve into the film’s legacy in both dance and cinema. “It’s not just a film for dance lovers. It’s a filmmaker’s film, too,” Owen added.
Join The Triplex and Jacob’s Pillow for this rare opportunity to experience “The Red Shoes” on the big screen, a film that continues to enchant, inspire, and ignite artistic passion.
Tickets are available for $75 at www.thetriplex.org.