Buttons are full of mysteries, says Cynthia Bartlett, newly elected president of the New Jersey State Button Society (NJSBS). “I am amazed that after 30 years, I am still curious about buttons, still looking for clues to how each was made.”
The NJSBS will present its Show and Competition on Saturday, September 9, 9 a.m. to 4 p.m. at the Union Fire Company fire hall, 1396 River Road (Route 29), Titusville, NJ 08560, and there is plenty of free parking. Admission is $2 for adults, free for juniors.
Members of the 76-year-old society like to study, collect, and preserve clothing buttons, both old and new. Eager to share their knowledge with those just beginning to collect, they will present a 1 p.m. program entitled “Nancy Drew Button Mystery: clues to materials and histories.“For details contact Cynthia Bartlett at 1-732-356-4132 or email@example.com, or visit http://newjerseystatebuttonsociety.org.
The show attracts antique enthusiasts, quilters, crafters, reenactors, and those seeking special buttons to wear. Anyone who pays the $10 membership fee may enter the NJSBS competitions, which are judged by popular vote. The button artwork category will appeal to quilters, and crafters might choose button wearables or button jewelry. One competition category honors the memory of the late John Sagi; another honors the late button author Anne Flood. Featured will be buttons that show animals, Santa Claus images, and even carrots.
The Union Fire Company & Rescue Squad building is located at the intersection of Route 29 and Park Lake Avenue in Titusville, opposite the Delaware River and D&R Canal State Park (with easy access to the canal park), a half mile north of Washington Crossing State Park in Hopewell Township, and some five miles south of Lambertville and New Hope, PA.
Now edited — I have removed the itinerary from Princeton Comment as of 8-28-17
THIS JUST IN – last minute chance to go to Bali on an insider tour led by Kathleen Winn. A friend who went on this tour last year is “wildly enthusiastic” and she lives in Princeton, hence my excuse for putting it up on Princeton Comment. It’s a last minute chance, if interested contact KathyWin1@verizon.net
From my friend: I’m sure you recall how wildly enthusiastic I was about my trip last August/September. A very similar trip is going this year, again with Indonesia expert / private guide ( with no personal profit -only a love of the the country). Several people just had to drop out for medical reasons, opening up their spaces. The trip costs ~$2,700 including local flights (Bali-Flores round trip), the boat trip – all but airfare , which is about $1,100 right now. Most such trips are double or more, without the personal home visits and connections that are part of Kathy Winn’s trip.
What I found most meaningful were Buddhist Hindi and other ceremonies/visits. It brought far greater understanding of people with different traditions, cultures and religions.
Looking back can be so much fun, especially when your past can encourage someone else’s future. Léni Paquet-Morante, an artist who has kept touch with me over several decades, called with her latest news. I took vicarious joy in what she is doing now.
Morante had been busy with raising three children, volunteering in their schools, rehabbing an historic house, and supporting the successful career of her sculptor husband, G. Frederick Morante. In 1984 they met at the Johnson Atelier, where she did bronze, copper, and clay sculpture. I wrote about her husband’s work for U.S. 1 Newspaper in the late ’80s. His Daedulus remains one of my favorite pieces, and his ‘Relative’ is one of the large bronzes that J. Seward Johnson commissioned for Grounds for Sculpture.
Thirty years later (can it really be that long ago?) I am retired, Fred is on the staff at the Digital Atelier, and Leni has turned the page in her career. With her children grown, she carved out a space next to the kitchen for her studio and declared independence from cooking dinner.
Leni has a solo show opening Wednesday, July 5, at Princeton University’s 113 Dickinson Hall, called “Atmosphere, Place an Time,” described as “paintings that represent familiar local landscapes but which also hint at something more complex.” Best of all, she has an artist residency award at the Lacawac Field Sanctuary in Lake Ariel, PA, and will have two weeks of focused studio and plein-air work next October.
I smiled and smiled when Leni spoke of being recognized with a two-week residency because in 1980 — at almost exactly the same point in my career, I had had a similar opportunity. I landed an NEA Fellowship to a dance critics workshop at the American Dance Festival at Duke University in Durham, North Carolina. Along with a dozen journalist from around the country, I took movement classes, saw concerts, wrote reviews, and was totally immersed in dance.
It was triply sweet.
Barbara Figge at ADF 1960
I could leave family cares behind for three weeks.
It was my second visit to ADF: 20 years before I had gone to ADF when it was at Connecticut College. That summer persuaded me not to a pursue a dance career. Now, three children later, struggling to make my mark as a journalist, I could go back to ADF as a working dance critic.
I returned to my ‘stomping ground.” ADF had moved to my alma mater, Duke University.
So, yes, I can truly rejoice with Leni Morante. She is using every available minute to paint. Right now she has a day job, so she paints on weekends, but in October — I smile and encourage her painting sabbatical. Meanwhile, with vicarious joy, I will admire her work.
“Atmosphere, Place, and Time,” paintings by Léni Paquet-Morante, will be on view starting Wednesday, July 5, at 113 Dickinson Hall. This gallery, curated by Dana Lichtstrahl, is sponsored by Princeton University’s Center for Gender and Sexuality Studies and is open 10 a.m. to 4 p.m. A “meet the artist” reception is Friday, July 14, noon to 2 p.m. Her home-based studio is in Hamilton, NJ. Her portfolio since 1984 includes painting, bronze,copper, and clay sculpture, some of which is represented in NJ corporate collections, private collections locally and internationally, and as public art. A full CV and other works can be seen on her website http://www.lenimorante.com. Requests to meet the artist and/or for additional image files can be made through firstname.lastname@example.org or cell 609-610- 3631.
Something fun to do on Saturday — bring your grandmother’s button box to the New Jersey State Button Society (NJSBS) show and sale on Saturday, May 13, 9 a.m. to 4 p.m. It’s at the Union Fire Company hall, 1396 River Road (Route 29), Titusville, NJ 08560, where there is plenty of free parking. All are welcome; admission is $2 for adults, free for juniors to age 17.
The Union Fire Company, is at 1396 River Road (at the intersection of Route 29 and Park Lake Avenue in Titusville), opposite the Delaware River and D&R Canal State Park (with easy access to the canal park), a half mile north of Washington Crossing State Park in Hopewell Township, and some five miles south of Lambertville and New Hope, PA. There is plenty of free parking. http://newjerseystatebuttonsociety.org.
Jane Austen’s novel “Pride and Prejudice” is set in 1813 Regency England, where passions smolder under the veneer of a determinedly genteel society. As choreographer/librettist Douglas Martin and his team translate that novel, they hit ballet’s sweet spot. Gentility is, after all, basic to classical ballet.
This ground-breaking American Repertory Ballet production, premiered to a packed McCarter Theater on April 21, is a Douglas Martin triumph. No longer do I want to see the movie. Each character portrayed by the dancers is etched in my mind.
Every element of dance theater — character-based movement, mime, juxtapositions, props, exquisitely beautiful designs by A. Christina Gianinni, music played by the Princeton Symphony Orchestra, even a surround-sound score of horses’ hooves and birds singing — helps to tell the story.
With no program synopsis, it helps to know the novel that chronicles the unfolding romance involving the witty and judgmental Elizabeth Bennet and the rich and aloof Fitzwilliam Darcy, though some characters are easy to pick out on stage.
Ballet mistress Mary Barton, wonderful as Elizabeth’s mother, Mrs. Bennet, points to the ring finger of any single man in sight and inserts her dithery head-shaking everywhere she shouldn’t.
Kathleen Moore Tovar, formerly a principal with American Ballet Theater, also shows the young’uns how. As Darcy’s aunt, Lady Catherine, she cuts a skirt-swishing officious swathe, punctuating her snobbish opinions by up-jerking her knee.
Aldeir Montero, new to the company, is obviously Bingley, Darcy’s genial friend. With his every lunge and leap, opening himself to the audience, he exudes friendliness, in contrast to Mattia Pallozzi, who plays Darcy.
At the ball, contemptuously looking over his shoulder, Darcy clings to himself, with one Napoleonic arm in front, the other in back.
Austap Kymko, as the black-clad unctuous clergyman Collins, oozes himself from one hilarious misstep to another
but smooths out some of the clumsiness after he marries Elizabeth’s dear friend Charlotte (Shaye Firer).
Gentility does not always prevail. When giddy youngest sister Lydia Bennet (Nanako Yamamoto) runs off with handsome seducer Wickham (Jacopo Jannelli) their bawdy sex scene rips off the veil of decorum and suddenly we seem to be looking at contemporary dance.
When Elizabeth (evocatively danced by Monica Giragosian) refuses Collins, the pragmatic Charlotte literally jumps on his back to claim him.
Mime? Throughout, and often extended into dance. When Elizabeth questions Charlotte about marrying Collins, the friends circle and touch their hands to the brows, then extend their arms out straight, question, answer, question, answer.
Juxtapositions enable insights.
Charlotte, in a not-so-good marriage, parallels the movement of the eldest Bennet sister, Jane (Lily Saito), who has been moping in a house on the other side of the stage, waiting for a suitor who does not arrive.
And an incident with a prop, a teapot, shrinks a storyline when Elizabeth outwits Lady Catherine, who has determined that Elizabeth will not be the one to pour her tea.
Scenic projections and costumes were beyond splendid. One that helped the story line was the headpiece of Caroline Bingley, which made a tall dancer (newcomer Erikka Reenstierna-Cates) an even taller and more formidable opponent to the success of the Bennet women.
There is much excellent dancing in this 140-minute ballet — lots of women on stage at one time, and many chances for men to do double turns and land on one knee.
Music was by composers that were Austen’s favorites (U.S. 1, April 19). Each worked well for that particular dance and was vibrantly played by the PSO, directed by John Devlin. They did not build to the kind of climax that comes with Tchaikovsky ballets, but at moments of high emotion Martin inserted duets by Schubert or Mendelssohn, played by pianist Jonathan Benjamin with either cellist Michael Katz or violinist Grace Park.
The dramatic climax comes, of course, when Jane and Elizabeth get their men. Jane’s longed-for pas de deux with Bingley is simple joy — quick quivering beats with gentle lifts and expansive arabesques.
Elizabeth, in contrast, has spent most of the evening rejecting Darcy. Conflicted, he rarely offers open gestures and his first proposal is, literally, backhanded. With his back to the audience he twists himself into saying, in tightly gripped movement, that he loves her in spite of himself. She flounces off. Then, when she is devastated by the Wickham scandal, Darcy signals his desire to help with an expressive leg movement — an open rond de jambe — and sets out to fix the situation.
Upon his return, as she stretches arms-wide in longing, he catches her in mid air, and she curls her head on his shoulder in delight. Again, she stretches to the nth, and curls around him.
The once haughty Darcy lies down behind her, his head by her knee, in an act of obeisance, and the audience erupts in applause.
(Addendum: In this video of a rehearsal, the first bit is Elizabeth dancing with the dastardly but charming Wickham. In the second, she dances with Darcy after she loves him. In the fourth scene Caroline obnoxiously separates Elizabeth from Darcy.)
Rarely do I venture out of retirement to write a dance review, but a gaping hole needed to be filled. American Repertory Ballet premiered a full-length ballet about the classic novel “Pride and Prejudice,” and the arts editor of U.S. 1 Newspaper, Dan Aubrey, said “We need to review this” so here it is.
If given more space, I would more strongly emphasize that if you like to know what is going on, you need to study the book carefully. So much happens between so many people that it’s hard to follow. I am not a student of Austen, had not paid attention to any of the pre-event publicity, and barely had time to scan SparkNotes and it wasn’t enough. I’d have done better looking at the pictures, on ARB’s Facebook page, of the characters in costume — as pictured above, the Bennett family in the second scene, Mr. Bennet brandishing the invitation to the ball. In the first scene he visited Bingley and Darcy to obtain it. You’d have been quite puzzled by that scene if you didn’t know the story.
Also hard to fit in the assigned space — the real joy of watching these dancers liberated from tape by the Princeton Symphony Orchestra. The production values were fabulous.
In a NYT article, Choral Music is Slow Food for the Soul, composer Nico Muhly has wise observations about how “the choral tradition operated in a series of interlocking cycles based on the liturgical year, with the music and the musicians playing a role in a larger drama.” Rather than expecting applause, church choir singing is “meant for worship…to be heard in a state of quiet meditation.. to guide the mind out of the building into unseen heights and depths.”
Choristers — and attentive listeners — will agree with Muhly, that the liturgical tradition of choral music brings “sharp pangs of nostalgia, followed by a sense of gratitude that this tradition has been such an important part of my musical world.”
Geographic diversity is connected to something crucial re what journalists need: audience trust in their work. The Columbia Journalism Review takes a hard look at how coastal newsrooms ignore middle america in this article.
When reporters “parachute in” to cover a story, they are likely to miss the nuances.
“Often people outside of these major city bubbles see themselves depicted in print and on television in a sensationalized way, without any nuance,” says a journalist who lives in South Carolina.“The thought is ‘well, if they’re getting depictions of us wrong, what else are they getting wrong?’
We in Princeton recognize that everybody thinks New York is better.Where do we go when we are really sick? What newspaper do we need when we really want the truth? Here is the Saul Steinberg cartoon about that self-effacing city, followed by two journal items inveighing against New York-centric viewpoints.
Journal item #1 : I lived outside the New York sphere when I worked as a freelance dance writer in Philadelphia and then Pittsburgh. For dance critics, even those big cities are considered boondocks. A New York critic’s move to Philadelphia drew condolence letters.
To survive, vampires need blood; dance critics need to see and review dance, and New York is the best place to do it.
Back then, to qualify as a voting member of the Dance Critics Association, you had to have had a review published in a print newspaper during the previous year. Features (advance stories based on a critic’s experience with previous performances) didn’t count.
Fine for New Yorkers and big city papers, but in the boondocks, few newspapers would print reviews. I brought this up so often that I got to be known, somewhat affectionately, as the “lady from Philadelphia” even when I lived in Pittsburgh.
Journal item #2: Reporters treasure good sources. Reporters from small papers — from areas unknown to the “big city guys” — particularly treasure sources that respond with the same attention and respect that they might give to a Washington Post or New York Times reporter.
How I ran across this CJR story was because I follow the path of a former assistant managing editor of the Wall Street Journal, Richard Tofel, who always made himself available when I was a reporter at U.S. 1 Newspaper. (We weren’t a boondocks paper — we delivered to the Dow Jones building on Route 1 North, but it was still gratifying to always get a return call.)
Tofel is now president of the Pulitzer Prize-wining nonprofit newsroom, ProPublica. It’s expanding to Chicago. Not exactly the boondocks, but at least it’s not New York. ProPublica offers a new model for investigative journalism. Whether that comes from New York or the boondocks, we need that now.
Though the ‘regular’ tickets are sold out, there are ‘obstructed view’ seats available and who cares about the view? But the snow will discourage some, and concert series director Marna Seltzer suggests “likely you will be able to move to a better seat.”
3 p.m. – Friendship Concert – Princeton United Methodist Church
• ChildrenSong of New Jersey (Haddonfield, NJ, USA)
• Paduan Suara El-Shaddai Universitas Sumatera Utara (Sumatera Utara, Indonesia)
• Liberty North High School Choir (Liberty, MO, USA)
• Shanghai Jiao Tong University Choir (Shanghai, China)
• Vassar College Majors (Poughkeepsie, NY, USA)