Stanford’s Company of Authors presents Leslie Friedman

Congratulations to Leslie Friedman, Artistic Director of The Lively Foundation!  Stanford University’s distinguished program, Company of Authors, honored her by inviting her to talk about her book, The Dancer’s Garden. Company of Authors presents Stanford related writers to talk about recent publication. The program took place over Zoom on October 24. There were 17 speakers all from a wide variety of fields. Leslie received her Ph.D. in History from Stanford. The event was free and open to the public; only pre-registration was required in order to receive the Zoom code.

The Dancer’s Garden, published in 2019, is available from The Lively Foundation and the Stanford Bookstore.

Response to Leslie’s talk was so positive that she immediately received an invitation to present her new book, The Story of Our Butterflies: Mourning Cloaks in Mountain View, in the next Company of Authors, April 24, 2021. This year’s Company of Authors was originally scheduled for May 2, 2020. It would have been live, in person, and on campus at the Stanford Center for the Humanities. The Stanford campus closed because of the pandemic, the Authors’ program, postponed, became a virtual event. With each author appearing individually from his or her home, the relationship of speaker to listeners became even more personal. The hugely successful event was created by History Professor, Peter Stansky. He serves as the moderator of the program. Professor Stansky gave Leslie an exceptionally generous introduction. Christina Fajardo of Stanford’s Continuing Studies coordinated the program and managed the technical direction.  It was a wonderful experience, and we are looking forward to April 24th next year!

Leslie’s Play, The Panel, Given Reading by Play by Play

Lively’s Artistic Director, Leslie Friedman, wrote The Panel, a one -act play, in 2005. It was accepted for performances at the Marin Festival of New Plays and received awards for Best Play, Best Actor, and Best Director. On September 27, 2020, The Panel was read – online – for an audience, also online, as the September event of Play by Play, an organization based in Oakland that presents readings of new one acts. Play by Play was founded by Judith Offer, herself a playwright and poet.

Please see link below to watch a video of the reading. This will be available for two weeks after the reading, closing, we believe, on October 11.

Originally scheduled for a live presentation in March, 2020, the pandemic forced that date to be canceled. Leslie said, “It was great to receive the invitation from Judith to put The Panel’s reading on Play by Play’s calendar.”  The readers all gave outstanding performances even though they were seen in a small screen instead of on a stage. Here they are:


Readers from top L: Pam Wong (The Young One), Laurie Mokriski (The White Ethnic Dancer), Torey Bookstein (The Great One, and The Jive Person), Paul Harkness (The Old One), Jonathan Clark (The Film Guy), Susannah Wood (The Moderator).

The performances were fantastic. The readers created a theater within the small, electronic box and brought their sometimes troublesome, often funny characters into three dimensional life. It was an exciting event! Some comments from audience: “I loved it!” “I loved it and thought it was perfect!” “We enjoyed it!” “The dialogue is incredibly clever! Thanks for a delightful afternoon.”

Here is a link to the recording of the reading. Please remember that this is a second generation recording and the sound may not be consistent. Thank you for your interest and CONGRATULATIONS TO THE CAST!

Share recording with viewers:
https://us02web.zoom.us/rec/share/zEGhNdHrWYpgk-5c53CR-vfXODBabO1S8tHpzkT7JoIBgIBf5kkxcr9dqm6bnX6a.qzLPJWjNfcNL_0z3 Passcode: !9PW3upU

 

 

 

FULL DAY OF DANCE© RETURNS!!!

The Full Day of Dance© a unique, wonderful feature of the International Dance Festival@Silicon Valley will be back this August 8 & 9. Classes will be offered over Zoom.  ALL CLASSES ARE FREE! This is too good to be true, but it really is true. Lively offers an array of artist-teachers who are gifted dance artists who also excel in the art of teaching. PLEASE NOTE: (1)  Teachers will perform at the end of their class. You will want to sign up for the class to see the performance. (2) Classes are free, however you need to register to get the sign in code. Here are the artist teachers of Full Day of Dance© 2020:

Chrystal Bella Chen & Oscar Adrian Rodriguez are champion ballroom dancers. They will teach ballroom dance on Sunday afternoon, August 9. At the end of the class THEY WILL PERFORM!! You do not have to have a partner to learn the dance steps. No worries, you will enjoy it all!! The music is great, and Chrystal Bella and Oscar will help you improve what you already know or quickly learn what is new to you.

Audreyanne Delgado Covarrubias will teach Tap Dance on Saturday, August 8, and Pilates mat on Sunday August 9. Audreyanne is a MASTER of TAP. Do not miss the chance to learn and dance with her. She is an excellent and attentive teacher. After her class, watch AUDREYANNE PERFORM! You will wonder how she taps when it looks like her feet never touch the ground!!

Shambhavi Dandekar, Founder and Director of SISK in India and California will teach Kathak on August 8th. Kathak is a classical dance of India. All levels are welcome, beginners and experienced artists. Kathak tells stories with rhythmic feet, swirling turns, expressive arms. This is a GREAT opportunity to take a master class from one of the foremost Kathak artists. If you are a beginner, remember you will be at home! No need to be shy or worry about missing a step. This is your chance! Try it! By the way, Kathak and Tap can make a great combination. After her class, see SHAMBHAVI DANDEKAR in PERFORMANCE!

She’s back! Megan Ivey Rohrbacher teaches Physical Comedy on Sunday afternoon, August 9th. Last seen, she was given a going away party after a wonderful workshop she led at IDF@SV, 2018. Immediately after the cake and hugs, Megan went to Hawaii to get married. Now, all the way from Hawaii she will join in Full Day of Dance©.  And MEGAN PERFORMS AFTER HER CLASS!

Etta Walton!! Etta will lead her fantastic LIne Dances class on Saturday, August 8. Etta’s class is fun for everyone, even the person writing this post who is also the person facing the back wall while everyone else faces the front. Great dancing for everyone. Terrific music–western and soul and pop–and ETTA WILL PERFORM AFTER THE CLASS.

Annie Wilson has got that JAZZ! She taught and performed in the 2018 Festival, and we are happy she’s back! She will teach Jazz dance on August 8th. All levels welcome. Get ready for Jazz. At the end of the class ANNIE WILL PERFORM!

PLEASE NOTE:  ALL THE CLASSES ARE FREE, BUT YOU STILL NEED TO REGISTER. AFTER YOU REGISTER AND A FEW DAYS BEFORE THE CLASSES, YOU WILL RECEIVE SIGN IN INFORMATION.  FOR REGISTRATION INFORMATION AND SCHEDULE DETAILS WATCH THIS LIVELYBLOG!

SENATOR CORY BOOKER EXPERIENCED POLICE PREJUDICE

Senator Cory Booker, US Senator from New Jersey, wrote a courageous letter to his followers about the search for social justice and the blockades against achieving it. In his letter, he includes the op-ed he wrote for the Stanford Daily, the student newspaper. He was a columnist in the Daily. His op-ed recounts the life threatening situation he endured in Palo Alto while a senior at Stanford. He was an extraordinary student then as he is an extraordinary national leader now. A stellar student, he was also a star athlete on Stanford’s football team. He was a Rhodes Scholar (Queen’s College, Oxford), received an MA at Stanford and his law degree at Yale.

He wrote the article after the Rodney King verdict ignited protests, especially in the Los Angeles area. Please read it. It gives an immediate, personal description of the emotional turmoil felt by this outstanding man as a student and conveys the fear that he was forced to experience as he was surrounded by Palo Alto police holding guns on him.  I will transcribe it below. The italics are from the article.

Cory Booker: “Why have I lost control?”

1992: Cory Booker: Why have I lost control?

How can I write when I have lost control of my emotions. Not Guilty…Not Guilty…Not Guilty…Not Guilty. Not shocked–Why Not?

“TURN OFF THE ENGINE! PUT YOUR KEYS, DRIVER’S LICENSE, REGISTRATION, AND INSURANCE ON THE HOOD. NOW! PUT YOUR HANDS ON THE STEERING WHEEL AND DON’T EVEN THINK OF MOVING!”

Five police cars. Six officers surrounded my car, guns ready. Thirty minutes I sat, praying and shaking, only interrupted by the command, “I SAID, DON’T MOVE!” Finally, “Everything check out, you can go.” Sheepishly, I asked why. “Oh, you fit the description of a car thief.”

Not Guilty…Not Shocked–Why Not?

In the jewelry store, they lock the case when I walk in. In the shoe store, they help the white man who walks in after me. In the shopping mall they follow me — in the Stanford shopping mall. Last month I turned and faced their surreptitious security: “Catch any thieves today?”

Not Guilty…Not Shocked–Why Not?

September 1991, Tressider Union, back patio. A woman was struggling with her bags. “Can I help you, ma’am?” “Oh, yes, please…WAIT! You’re black!” She hurried away.

Not Guilty…Not Shocked.

I’m a black man. I am 6 feet 3 inches tall and 230 pounds, just like King. Do I scare you? am I a threat? Does your fear justify your actions? Twelve people believed it did.

Black male: Guilty until proven innocent.

Reactions to my kind are justified. Scrutiny is justified. Surveillance is justified. Search is justified. Fifty-six blows…Justified.

Justice? Dear God…

I graduated from Stanford last June–I was elated. I was one of four presidents of my class–I was proud. In the fall, I received a Rhodes Scholarship–I approached arrogance. But late one night, as I walked the streets of Palo Alto, as the police car slowed down while passing me, as his steely gaze met me, I realized that to him, and to so many others I am and always may be a Nigger: guilty till proven innocent.

I’m struggling to be articulate, loquacious, positive, constructive, but for the first time in so long, I have lost control of my emotions. Rage, Frustration, Bitterness, Animosity, Exasperation, Sadness. Emotions once suppressed, emotions once channeled, now are let lose. Why?

Not Guilty…Not Shocked.

The violence did not surprise me. If I were the powers that be, it would not have taken me three days to call the National Guard. But maybe when you’re disconnected from reality you move slowly.

Poverty, alienation, estrangement, continuously aggravated by racism, overt and institutional. Can you leave your neighborhood without being stopped? Can you get a loan from your bank? Can you be trusted at your local store?

Can you get an ambulance dispatched to your neighborhood? Can you get the police to come to your house? Can you get an education in your school? Can you get a job? Can you stay alive past 25? Can you get respect? Can you be heard?

NO! Not until someone catches on video one small glimpse of your everyday reality and even then, can you get justice?

Our inner cities are stacks of dry leaves and lumber, waiting for a spark. This is but a mere campfire compared to the potential inferno awaiting us. Conditions are worsening and the Rodney King verdict is certainly not the most egregious injustice in our midst.

Why have I lost control of my emotions? Why do my hands shake as I write? Tonight, I have no answers.

Dear God…help us to help ourselves before we become our own undoing.

 

 

 

KEEPING QUIET, BY PABLO NERUDA

Now we will count to twelve/and we will all keep still.

For once on the face of the earth,/let’s not speak in any language;/let’s stop for one second,/and not move our arms so much.

It would be an exotic moment/without rush, without engines; we would all be together/in a sudden strangeness.

Fishermen in the cold sea/would not harm whales/and the man gathering salt/would look at his hurt hands.

Those who prepare green wars,/wars with gas, wars with fire,/victories with no survivors,/would put on clean clothes/and walk about with their brothers/in the shade, doing nothing.

What I want should not be confused/with total inactivity./Life is what it is about;/I want no truck with death.

If we were not so single minded/about keeping our lives moving,/and for once could do nothing,/perhaps a huge silence might interrupt this sadness/of never understanding ourselves/and of threatening ourselves with death. /Perhaps the earth can teach us/as when everything seems dead/and later proves to be alive.

Now I’ll count to twelve/and you keep quiet and I will go.

–Pablo Neruda

With thanks to the Center for Biological Diversity which sent this poem by post card with a picture of a red fox.

Pablo Neruda, in Argentina, 1971

Lively Foundation Creates Community: Embarcadero Publishing

This article appeared in Our Neighborhoods: Mountain View and Los Altos, December, 2019, a magazine published by the Embarcadero Publishing Co., which publishes the Mountain View Voice, Palo Alto Weekly, Menlo-Atherton Almanac newspapers. Lively thanks Embarcadero Publishing for recognizing The Lively Foundation as a leader in creating community and selecting us to represent our community.

The first thing Leslie Friedman notices when she enters a room is the floor. Wooden? Concrete? Tiled? Her dancer’s eye is always looking for good floors for dancing. She is also always searching  for ways her work can serve the community. She brings people together to dance, to enjoy dance, to learn about our many cultures, and about each other. Her dance succeeds at building community.
As an internationally touring performer, choreographer, and artistic director of the nonprofit Lively Foundation that operates in Old Mountain View, her deep passion for life and her art energizes her choreography and performances. She is first American dancer or artist of any kind to perform with joint sponsorship of the US State Department and host countries around the world. These “firsts” include performances in Moscow and Leningrad/St. Petersburg, Russia; Beijing, Shenyang, and Shanghai, China; Barcelona and Madrid, Spain; Warsaw, Lodz, Krakow, Poznan, Poland; New Delhi, Bengaluru (Bangalore), Kolkata (Calcutta), Chennai (Madras), India; Bucharest, Romania; Cairo and Alexandria, Egypt; Tunis, Tunisia, and more. Her performances in these cities plus London, Tokyo, Toronto, Seoul, were all given ovations and invitations to return.
She stirs up artistic presence on the Peninsula by inviting renowned dancers to teach and  perform in the annual International Dance Festival@Silicon Valley that she hosts in Mountain View.

Artistic Director, Leslie Friedman
First launched in 2012, the week long festival seeks to create performance opportunities for professional dance artists, offers intensive training for dancers and dance students, and invites the whole community to experience dance in professional performance. “Some audience members would be dance lovers, for some it would be their first time watching, for all we hope to give them the excitement and beauty of dance,” says Leslie. The Festival also attracts adults aged 15 and up to classes in a wide variety of dances and  exposes them to the new choreography created by the teaching artists.  Performances and classes include traditional dances from many cultures flourishing in the Bay Area: Irish set dancing, Salsa, Polish folk dance, Mexican Folclorico, Afro-Haitian, several kinds of classical Indian dances, classical Chinese dance. These are in addition to Ballet, Tap, Line Dances, Contemporary, Jazz, and Ballroom dances.

Crystal Bella Chen and Oscar Adrian Rodriguez perform Ballroom dance in the International Dance Festival@Silicon Valley, 2019

“There is a rich variety of movement styles available for our open Master Classes on the Festival’s Full Day of Dance©,” says Leslie, “We encourage everyone to do what they love and also try something new.” All the classes are mixed levels. That includes beginners and pros.
“A ballerina will have an opportunity to learn Afro-Haitian Dance and love it as a beginner in the class. A complete beginner might have a wonderful time in Line dances or find a gift for Tap,” Friedman explains. “Professional dancers can showcase their work here. It gives them new audiences, a chance  to demonstrate and develop their art.”
Through the IDF@SV, Friedman said she hopes to bring the diversity of arts of different origins while involving the community in dance. She also believes it is possible and important that everyone finds a way to move that they enjoy enough to keep doing.
“Move whatever moves, wiggle whatever wiggles,” she said. “If my work inspires someone to keep moving, wow!”
]ennifer Urmson, a mother of two boys, was happy to endorse the way Leslie Friedman and The Lively Foundation build community. She started taking Friedman’s weekly ballet classes when a friend invited her two years ago. “I had not been dancing for a very long time, and I was nervous about the idea of doing ballet as an adult,” Urmson said, adding that as a child, she was told ballet was for bodies of a certain shape. “But Leslie is wonderful as a teacher, very open and supportive. I was really pleased that after a couple of lessons, I felt myself getting stronger and improving my balance.”
Within Jennifer’s class there was a woman in her early 20s, other moms, and retirees. A few of them were organize activities for their dance class friends outside class, such as going together to attend a ballet performance at the Mountain View Center for the Performing Arts.
Urmson said whether you attend several classes or take part in a single workshop at the Festival, The Lively Foundation seems to have a way of connecting people.
“Months after the dance Festival, you’ll hear people exchanging highlights from the event when they run into one another around town,” she said. “Even if it’s just one class, you see a different side of people. You feel you know them better.” For more information about the International Dance Festival@Silicon Valley, contact livelyfoundation@sbcglobal.net
­—Esther Young, 2019; photo of Leslie Friedman demonstrating a movement for Julie Van Gelder, private student and Festival participant, by Magali Gauthier

The Dancer’s Garden: How to buy it!

Thank you all for your queries about buying The Dancer’s Garden. Your interest is profoundly appreciated. Here is how to buy it:

Buy it directly from The Lively Foundation or online from the Stanford Bookstore.

Choose which edition you prefer. Both have the complete text and more than 60 full color photos by the author, Leslie Friedman, plus 10 by renowned photographer, Jonathan Clark, and one by English actor Dennis Parks. Both are printed on fine, glossy paper. Both are hard back books.

Version A:  Costs $45. That price includes tax and mailing cost.

Version B: Only available from Lively. Costs $75. It is printed on extra heavy paper. It comes with a photographic print by Jonathan Clark. It is signed and suitable for framing. It also can fit into the book. The price includes tax and mailing cost.

Please mail a check made out to The Lively Foundation to The Lively Foundation/550 Mountain View Avenue/Mountain View, CA 94041-1941  OR  go to the landing page of this blog. You will see the PayPal button. You can  purchase through PayPal. Please add $2.00 to the cost of each book: Version A: $47  —  Version B: $77

Stanford Bookstore: 650/329-1217 X456  or www.stanford.edu/group/bookstore/orders.html

We will send you The Dancer’s Garden right away. Thank you again!

 

Artist in Residence: Dr. Leslie Friedman, Dancer, Choreographer, Writer

This is an article by author Don McPhail. It appeared in the November issue of OMVNA (vol. 31, Number 4) which covers the Old Mountain View, CA area.

ARTIST IN RESIDENCE: Dr. Leslie Friedman, Dancer, Choreographer, Writer

With quiet energy and a generous nature, Leslie Friedman is a local treasure. Her willingness to share and motivate other is distinctive. Residents who have participated in Leslie’s dance classes or the International Dance Festival@Silicon Valley which she founded and directs may be surprised to learn that this same unselfish teacher is an award winning, world-renowned dancer and ambassador of art. All of Leslie’s classes, the Festival, and other Lively Foundation events take place at Mountain View’s Masonic Lodge, in the heart of Old Mountain View.

Leslie Friedman’s extraordinary background is documented on The Lively Foundation’s website/blog  www.livelyfoundation.org   Leslie’s remarkable career as a dancer and choreographer has earned her acclaim from audiences and critics alike on four continents. She has performed with the support of the US State Department and host countries in Russia, China, India,England, Spain, Poland, Egypt, South Korea, Japan, and more. A writer and former history professor, she received her Ph.D. in Modern British History from Stanford. She taught at Stanford, Vassar, and Case Western Reserve before returning to dance professionally.

An invitation to introduce American modern dance to the artists of India’s National School of Drama led to a Fulbright Lectureship to support her work and travel. Beginning at Viswa Bharati University, home of Tagore, India’s Nobel winning poet, she performed across India: new Delhi, Bangalore, Madras, Calcutta, and Jaipur. Her work was so well received that each place invited her back for more performances.

Representatives of Indian arts institutions, US consulates or Fulbright in India took her to the next plane or train, but she traveled as she danced: solo. She was welcomed by people with whom she maintains long friendships. On China or Bulgaria she says, “I met wonderful individuals and learned so much.”

The success of her first India trips led to more. She performed and taught in Sri Lanka, Egypt, and Tunisia on that journey. Word of her beautiful dancing and ability to relate to new people and places spread, leading to more journeys touring her art. Next: Budapest, Pecs, and Gyor, Hungary; Barcelona and Madrid, Spain; Moscow and Leningrad, USSR. She knew these were peak experiences and was thrilled to be doing what she loved for appreciative, knowledgeable audiences.

The US State Department and The Place, London’s foremost theater for modern dance, co-sponsored her performances there. She taught her choreography to London’s Ballet Rambert. In China, she taught modern dance and created choreography for the national ballet academies: Beijing, Shenyang, and Shanghai. She introduced modern dance to Poland’s national ballets, making four extensive trips to Poland and Romania performing and choreographing.

Lively Foundation Artistic Director Leslie Friedman

She continued performing concerts across the US and the Bay Area. She and her company performed education performances about the the Gold Rush for thousands of students from San Jose to Marin. She created several firsts: concerts honoring the many holidays at year’s end; benefit concerts for breast cancer patients; Heroic, Beloved, a concert for Women’s History Month performed in multiple states’ universities and arts centers.

For this writer, Leslie Friedman’s delight in sharing her art is most inspiring see in the context of tumultuous historic events going on around her as she keeps dancing.

Current book:  The Dancer’s Garden, published in April, 2019

Current project: International Dance Festival@Silicon Valley, Founder & Artistic Director

MIKA SHIGEMATSU: A Lively Tribute

The Lively Foundation salutes our friend, opera singer Mika Shigematsu. She passed away in October, 2019, so soon after receiving a cancer diagnosis, in September. A mezzo-soprano cheered in performances around the world, The Lively Foundation featured an interview with her in the first issue of The Hedgehog, the international arts review, November, 1996. Ms Shigematsu came to San Francisco early in her career and flourished in the Merola program and as an Adler Fellow of the San Francisco Opera. Here is the cover of the issue with the title article: NEW FACES OF OPERA, the introduction, and the interview. It brings tears to our eyes.

NEW FACES OF OPERA  That beautiful voice you hear singing in Italian may well have come from Osaka, Shanghai, or Atlanta. New voices are revising the operatic images of old: an enormous woman in blonde pigtails and brass breastplates or a handsome, but too well-fed tenor. Opera has grown more popular around the world and through the US. Accessibility through good recordings and TV has created an interest in the extravagant art form and led singers from diverse origins into major American opera companies. Leslie Friedman introduces you to three young singers to watch.*

MIKA SHIGEMATSU: Mika Shigematsu remembers the exact moment she decided to become an opera singer. Watching TV at home in Osaka, she turned the channel to NHK, the national station. The Japanese government broadcast Italian opera from La Scala once every four years, and she had switched it on at just the right time. There were no musicians in her family, no one knew opera, but she decided she must do it.

She played koto and sang in a choir, but she knew she had to learn more. Her school music teacher told her she would need to attend Osaka College of Music. Suddenly, she “needed voice lessons, piano, many tests to enter.” Her family “just hated it” and told her to forget it, but she was persistent. There was only one chance to pass for music college, and she made it.

Looking back, Shigematsu sees the evolution of her own voice. Her success came from working very hard, but also from a breakthrough in understanding how to use her body and voice together to build a new technique. She was not a star in college and took additional lessons to improve. She joined Kansai Nikikai Opera after graduation, but felt that her roles — major ones like Venus in Tannhauser –were not right for her.

She almost gave up. She told her mother she would enter a major competition and either win or quit. She recalls working terribly hard and being embarrassed because she did so poorly. In the process of preparing for the contest, she felt something entirely new develop between her “brain and body.” Rather than quit, she continued and won first prize the next year. She was the first mezzo-soprano to win in 24 years.

She came to the United States in 1989 on a Japanese government scholarship. She studied in New York, where she found part of her training came from hearing many fine artists in concert almost every day. She says her “ear was learning.” Although she was supposed to return after one year, she told her teacher and opera company she would become even better if she stayed longer.

An audition for the San Francisco Opera’s Merola Program was “the key,” says Mika, that opened many stage doors for her–not only to performance opportunities, but “letting me see what I need in the real world.” She was in the Merola training/performing program twice and became an Adler Fellow in 1994, performing the role of Emilia in Rossini’s Otello.

Mika feels that Japanese students may make a mistake by going to Europe for study instead of to the United States. This is where she found real opportunities “to grow, to have the water and sun I need to sing.”

Mika Shigematsu

This sprightly young woman with extraordinary vocal power walked through the huge hall of San Francisco’s Opera House before its closing. She claimed that when she first arrived she felt overwhelmed by the place. To Mika Shigematsu’s audience, it seems just the right size for her. (Future performances include debuts in Seattle as Cherubino in LE NOZZE DI FIGARO and in Genoa as Charlotte in WERTHER. She appears as Rosina in IL BARBIERE DI SEVIGLIA in Tokyo and San Francisco.)

*Pictured on the cover are Scenes from San Francisco Opera productions, clockwise from lower left: Zheng Cao as the Kitchen Boy in Rusalka, with tenor Michel Senechal as the Gamekeeper (1995); St Petersburg Maryinsky Theater Acrobatic Troupe in Fiery Angel (1994); Mika Shigematsu as Rosina in Rossini’s Il Barbiere di Siviglia with tenor Roberto Sacca as Count Almaviva (1996); Pam Dillard as Mercedes in Carmen (1996). Interviews with Pamela Dillard and the late Zheng Cao also in The Hedgehog, Vol. 1, No. 1.

Photos courtesy of San Francisco Opera: cover page photos, upper & lower left, Marty Sohl; upper & lower right, Larry Merkle; Mika Shigematsu, Lisa Kohler.

 

The Dancer’s Garden: Great Review (first published review, too)

The Dancer’s Garden by Leslie Friedman (The Lively Foundation, 2019)

This is a wonderful, quirky, perky series of ruminations on gardens, flowers, plants, trees, cats, people, indeed life. It has magnificent photographs mostly taken by the author herself but also some by her husband, the distinguished photographer and printer, Jonathan Clark, the proprietor of that fine private press, appropriately named The Artichoke Press. Leslie herself, a member of the Institute, is well-known primarily as a dancer and choreographer but is also a fine historian. Some years ago, to an extent sidelined by hip problems, she decided to turn more attention to her garden in Mountain View. In this delightful book she tells us about the various growing things, mostly flowers, that she deals with, their characteristics, difficulties and rewards. She and Jonathan expand their horizons, coping with so many growing things, not only flowers but pine, apple, and orange trees. They rescue abandoned cacti from the neighborhood. The author has an amazingly direct way of dealing with what she is putting into the earth, the satisfactions and beauty (so wonderfully captured in the photographs) when they flourish; the sadness when they die. She makes being a gardener such an immediate, connected, and personal matter.

In the text, Leslie recounts her adventures with a wide range of growing things, most vividly oxalis, chrysanthemums, poppies, narcissus, camellias, primroses, magnolia, all beautifully illustrated. She is very insightful on how to deal with all these and other growing objects, and how they can be menaced by birds, notably crows, as well as by cats, humans, too much water and too little water. There is such a splendid sense of engagement with the ambitious enterprise of having a garden. As she writes towards the end of the text about fruit (but it may be about any of the myriad aspects of nature that she has nurtured): “When I had acquired my first new hip, my first foray into the garden was to see the apple blossoms. The apples would arrive later than the peaches. The oranges come when we run out of apples. We change partners, but it is the same dance.” Leslie Friedman has choreographed a garden and other growing things much as she has both performed and created dance. As she concludes her book: “It is a wonder.” It is an exhilarating read.   Peter Stansky, Frances & Charles Field Professor of History, Emeritus, Stanford University. Professor Stansky is the author of many books, most recent is Leonard Woolf: Bloomsbury Socialist ( Oxford University Press, 2019) with co-author, Fred Leventhal This review appeared in the journal of the Institute of Historical Studies, Vol. 39, No. 2, Fall, 2019

For information about purchasing the book, please contact The Lively Foundation, livelyfoundation@sbcglobal.net