Las Cantigas de Santa Maria 2023

This is the transcript and playlist for my annual radio program called Las Cantigas de Santa Maria, a musical biography of King Alfonso X. One place to hear the music and production is on the world wide web. http://www.hppr.org on December 22 at 2:00 p.m. Central Standard Time.

Opens with Cantiga #1 Des Oge Mais Quer’ eu Trobar

Alvaro Sanchez Guillaumet: 4:35

We began this musical journey with The Learned King declaring himself Mary’s Troubadour who will take her teaching to his Kingdom and beyond. We just heard Alvaro Sanchez Guillaumet performing CSM#1 on the Hurdy Gurdy with frame drums and Oud.

The Cantigas de Santa Maria is a collection of poems put to music. The catalog consists of more than 420 poems set to music beginning with what is called a “cantiga de loor” song of love, and every 10 song is a song of love while the others focus on scenarios related to sins and crimes with their accompanying morality story. Let’s hear the Waverly Consort in their English language interpretation of CSM #1 when the Learned King declares himself the Virgin Mary’s Troubadour and asks the “noble lady” to bestow the inheritance of eternal life and grant Alfonso’s kingdom a place in eternity. 2:43

That was the Waverly Consort led by the late Michael Jaffe with the prologue that precedes CSM# 1. You heard an English translation of the King declaring himself the Virgin’s troubadour. The first time I heard the Waverly Consort’s CSM was a live recording from the Cloisters in NYC presented on NPR. Again, of the more than 420 Marian poems written by King Alfonso X and his assistant scribes, every 10^th poem is a song of love for the Virgin.

Ben Sab à Que Pod è Val “Miragre” (Mirage) Musica Iberica de Holanda (Iberian Music of Holland) 6:54

That was Ben Sab a Que Pod e Val by Musica Iberica de Holanda (Iberian Music of Holland) with a story of power and forgiveness.

King Alfonso ruled his Kingdom of Castile-Leon, now Spain, from 1252 until his death. Scholars and Alfonsine devotees continue to celebrate the Learned King’s birthday on November 23 of each year, this being his 801^st year since his birth.

Let’s discuss, for a moment, the language of King Alfonso X.

In a past interview with Alfonsine scholar, Dr. J. K. Knauss, she noted that the great legacy of El Sabio is that he lived up to his name, “the wise” because he was obsessed with writing everything down. Whether it was mathematics, astronomy, the virtue of playing board games and other leisurely activities to balance hard works, laws to govern his subjects, and teaching morality, he not only wrote continually, but he chose not to write in Latin, the language of Kingdoms of the day. What made his legacy so strong is that he wrote in Galician-Portuguese, the embryonic Castilian, the present-day Spanish. The Learned King is considered the “Father of Castilian.” Was he that much of a visionary? It would seem so since Spanish only trails Chinese as the most common language worldwide, flanked by English, Arabic, Hindi, Bengali, Portuguese, Russian, Japanese, and Lahnda, aka, “Western Punjabi” according to The World Economic Forum.

In a very short phonics lesson, “Cs” and “Zs” were pronounced with a “TH” sound or a lisp, which I illustrate here in one of many miracles of in the Cantigas de Santa Maria. This is CSM#368 Maria de Cordoba y Santa Cruz de Cadiz: A woman, named Mary, lived in Cordoba next to the Church of Holy Mary the Great [the former great mosque]. She believed that she had a snake in her stomach and she travelled through Extremadura and then to Castile.

The abbot of Silos [Santo Domingo?] appeared to her in a vision and instructed her to go there. He said that the Virgin would show her how to get well.

When she got to Silos, she had another vision. This time, she was instructed to visit Santa Maria do Porto. The next day, the woman set off for that place.

When she arrived, she held a vigil and fell asleep in front of the altar. In a vision, the Virgin instructed her to go to the cathedral at Cádiz at daybreak.

She boarded a ship and they put out to see. When the people on board saw Cádiz and the church they praised the God and the Virgin.

Then the woman coughed up a red snake, like a thick eel. Everyone was amazed and praised the Virgin.

Performed by Eduardo Paniagua, the hurdy gurdy master devoted to recording all existing CSMs.

CSM#368 Maria de Cordoba y Santa Cruz de Cadiz. 6:39

END OF SEGMENT ONE

You’re listening to this holiday special Las Cantigas de Santa Maria, the holy canticles of the Virgin Mary and musical biography of Alfonso X, the King of Castile-Leon, now Spain. I’m your host, Debra Bolton.

Alfonso X ruled from 1252 to 1284. To put the world into perspective at the time, the English language continued to change from its Germanic-rooted Olde English of the Beowulf poet (circa 9^th or 10^th century) after the Norman invasion of 1066. In the next century, we hear the English of Geoffrey Chaucer and the Gawain Poet. Europeans now use Arabic numerals in favor of Roman Numerals. In the Mongol Empire, Mongke, officially, marks the worship of his grandfather, Genghis Khan while Buddhism, Islam, and Christianity flourish. The Inca Empire of Peru is thriving. England begins the process of segregation of Jewish peoples, and other countries begin to follow suit. The Mexica people, also known as Aztecs, are building their great city on a lake in what is now Mexico City. King Alfonso X’s bid to be King of the Holy Roman Empire fails in favor of Count Rudolf, bringing prominence to the Habsburg family, Rudolf was considered mediocre as Alfonso was too ambitious and certainly too bright for the Pope of the time.

Let’s begin this segment with Patrizia Bovi Ensemble Micrologus and a song of love for the Virgin Mary 2:32

Cantigos de Santa Maria: Prologue instrumental (Gaita) the Galician Bagpipe: Ensemble Jehan de Channey, Vincent Aliquot, Vincent Barthelemy 1:26

CSM#159: 2:31 Talks about the Pilgrims to Rocamadour whose meat was stolen. Performed by Ensemble Jehan de Channey, Vincent Aliquot, Vincent Barthelemy.

We just heard three pieces: We began with a song of love performed by Patrizia Bovi Ensemble Micrologus and we heard the Prologue performed on the Gaita, the Galician Bagpipe and we heard CSM#159, about the Pilgrim to Rocamadour whose meat was stolen. These stories are presented as miracles that put an end to pain, suffering, and criminal ways after the Virgin intervenes.

You’re listening to Las Cantigas de Santa Maria, a musical biography of King Alfonso X, El Sabio, the wise. I’m your host, Debra Bolton.

Let us turn now to a song of love for the Virgin Mary as envisioned by King Alfonso X. This is called Eno Mome de Maria, CSM#70 performed by Universalia in Re 5:41

That was Universalia in Re performing a song of love for the Virgin Mary. You’re listening to Las Cantigas de Santa Maria, the musical biography of Medieval King of Spain, Alfonso X.

You’re listening to Las Cantigas de Santa Maria, the holy canticles of the Virgin Mary in music, poetry, and art. My name is Debra Bolton. I am your host for this special music. If you go out to my website you will find examples of some of the art that corresponds with the songs and poetry and this narrative with the songs for today’s musical program. The website is https://wordpress.com/post/peopleandcultures.blog/1728

This is CSM 13, the story of A thief named Elbo always prayed to the Virgin and commended himself to her.

One day he was caught stealing and the magistrate ordered him to be hanged.

As Elbo was hanging on the gallows, the Virgin supported his feet so that he did not choke. He stayed on the gallows for three days.

The magistrate passed by, noticed the thief was still alive, and had the rope adjusted. The Virgin continued to protect Elbo.

The thief spoke to the magistrate and his men, explaining that the Virgin had been keeping him alive. The magistrate praised the Virgin and had him taken down from the gallows. Elbo joined a monastery.

Performed by Robin Rolfhamre 5:34

You just heard the oud in that piece. The oud was the precursor to the guitar, oud being the Arabic word for wood. That was the story of Elbo, who changed his thieving ways and joined a monastery. Robin Rolfhamre is a professor of music and researcher in Sweden who plays lute, oud, and psaltry and who investigates the functions and performance of music in France in the 17^th and 18^th centuries.

Next, we’ll explore CSM 77-119, performed by Forfaitz. 5:12

77: A woman was almost entirely paralyzed. Her limbs were shriveled and twisted, and no medicine could cure her. On the Virgin’s feast in August, Mary straightened her limbs. Each of her limbs made a loud cracking sound as the shrunken tendons stretched. The bishop and the people who witnessed her healing wept and gave thanks to the Virgin.

78: The Count of Toulouse favored one of his courtiers. The man was devoted to the Virgin and refused to hear any mass but hers. The other courtiers were jealous of the pious man and plotted against him. They lied to the count, slandering him and accusing him of terrible crimes. The count decided to burn the man. He instructed the lime burner to throw into the fire the first man who came his way. He sent his victim on an errand to the lime burner, but, on his way, the man stopped to hear mass recited at a hermitage. The count, thinking the deed had been done, sent another man to the lime burner. This man was the one who had slandered the Count’s favorite. The lime burner seized him and threw him into the flames. When the count saw the good man alive and learned of the slanderer’s death, he realized justice had been served. He wept, praising the Virgin, and promised to have the miracle proclaimed in all her churches.

CSM 77-119, each tell a story of an afflicted person or one who engages in crimes and how each time the afflicted or the criminal cries out to the Virgin with much contrition, and low, the Virgin saves them from their disease or sentencing.

Forfaitz. 5:12

Quen a omagen – Ansambl Triola 3:04

According to Alfonsine scholar, Dr. J.K. Knauss,

King Alfonso employed artists to create two and three-dimensional works of art to correspond to the poems and songs, which would have made the Learned King an early pioneer in multi-media. Now, here we are putting it all in digital form! Some scholars point of the works of art, the songs and the poems as Alfonso’s way to teach morality to the subjects of his kingdom on many levels. While those in his court were, themselves, learned and well-educated people, there were many in his kingdom who, perhaps, could not read or write. Hence the need for the lessons on morality in more than written forms.

Regarding the language:

The poems and songs employ the language of the time, which is Galician-Portuguese, Medieval Galician, or as some linguists and historians simply call the language, Romance, the root language of Castilian, the language of Spain and its subsequent colonized countries in the Americas.

When we think about world events of King Alfonso’s time, between the 12 and 14^th centuries, there was a sect of Christians called the Cathare, a

fundamentalists sect who believed there were two gods: A good one who presided over the spiritual world, and an evil one who ruled the physical world. Cathars viewed even sex within marriage and reproduction as evil, and so lived strict lives of abstention. Here I present the spoken text of the Papal Bull legislating torture of those practicing Catharism, called “Ad Exstirpanda.” Papal bulls are edicts issued by the Pope of the Catholic Church. We know the one issued in 1492 before the launching of Columbus, the edict of colonizing so called, “Non-Christian” countries and enslaving Indigenous peoples some 200 years after Alfonso X’s rule.

At odds with the Catholic church, The Cathare believed in female deities and believed that Mary Magdalene and Jesus were married. The text is presented in Latin, as the Cathar of the time were in France and Italy.

This lament, performed by Jordi Savall and Hesperion XXI Veri dulcis in tempore” translated “A true Sweet season” of the time from the CD “The Forgotten Kingdom.

Veri dulcis in tempore: 3:57

That was Jordi Savall and his Hesperion XXI performing music of the forgotten Kingdom of the Cathare in France and Italy.

After 1492, in addition to colonizing the lands and its people, Spain, also, colonized the languages of the Americas and the Caribbean. Since the so called, “first contact,” we saw Castilian overwhelming, and often erasing, many Native languages of the islands and the continents, thanks to the Doctrine of Discovery establishing a so called, “spiritual, political, and legal” justification for colonization and seizure of land NOT inhabited by visibly Christian (white) People. Again, the Spanish we hear today differs widely from that of the CSM and Alfonso X’s time. However, you don’t need to understand Galician-Portuguese to enjoy this music, known for its complex musical structures and its use of what we now call, ancient instruments.

Coming up in the next hour of Cantigas de Santa Maria, we will hear more songs and tunes about miracles of the Virgin Mary as we continue this musical biography of King Alfonso X, the wise, of 13^th Century Spain

Go to an instrumental played by the Waverly Consort, Cut #15, to play to the end. 6:43

Hour Two

Hello, I’m Debra Bolton. Welcome to the second hour of Las Cantigas de Santa Maria (The Holy Canticles of St. Mary), songs and poems in praise of Holy Mary – and the poetic/musical biography of Alfonso, “the wise”, The Kind of Castile-Leon, now Spain, and who lived from 1221 to 1284. I appreciate your joining me today.

As we continue in this exploration of this very small part of King Alfonso X’s tribute to the Virgin Mary, my references come from the writings of Dr. J.K. Knauss. In addition, I refer to the writing of Professor Joseph F. O’Callahan, Mr. Andrew Casson, Maestro Jordi Savall, Maestro Eduardo Paniagua, John Esten Keller, Robert I. Burn, Editor of “The Emperor of Culture” and from Oxford Univesity’s CSM database.

From Burn’s edited book, The Emperor of Culture, Ellen Kosmer and James Powers write: The period witnessed a dramatic rise in the growth of European towns. As urban economies prospered, so too did craftsmen [see a] dramatic increase in the thirteenth century. The book trade went from a monastic to a lay enterprise, which mirrored the changing society. Thus, Alfonso’s commission of this literary works, written in a vernacular, the Galician dialect, with its lavish illustrations [and 3-D art]puts him in the company of other great 13^th Century royal patrons, like Louis IX (9^th) of France, the southern courts of Italy, and in English with Henry III and Edward I. The CSM is distinguished from other royal works for its length, depth, and wide range of topics.

Prologue: Ensemble Scandicus : 4:36

SM Strela do dia Apollo’s Fire: 4:22

You’re listening to a musical biography of Spain’s Medieval King, Alfonso X. I’m your host Debra Bolton. We just listened to two pieces: The Prologue was performed by Ensemble Scandicus, a multicultural European group focused on early music.

Also, we heard Apollo’s Fire with Santa Maria do dia. Apollo’s Fire is a Cleveland Ohio-based early music ensemble as part of the Cleveland Baroque Orchestra.

Author J. K. Knauss describes the importance of the Cantigas de Santa Maria saying, “The most appropriate single adjective for the corpus of cultural work produced under Alfonso X is ‘encyclopedic.’” He wrote books of history, astronomy/astrology, law, poetry, board games, and music. Even his written leisure activities continue to survive the vagaries of time, bearing the King’s name as patron or author.”

Here’s the New London Consort with Quen a Virgen Ben Servira. 8:24

That was CSM#103: The Monk who listened to a Bird’s Song for Three Hundred Years, Performed by the New London Consort.

Let’s take a moment to talk about some of the instruments that you’re hearing on this musical journey of 13^th Century Spain, then called, Castile-Leon.

Shawm – 12^th c conical bored double reed instrument of Middle Eastern origin, a precursor of the oboe. Like the oboe, it is conically bored; but its bore, bell, and finger holes are wider, and it has a wooden disk (called a pirouette, on European shawms) that supports the lips

Recorder – Yes. That woodwind instrument that many of us learned in grade school. We hear this in the CSM, usually, on a wider variety of wood recorders.

Organetto – a small portable organ, which you heard performed by Esther Lamandier

Oud – Literally, wood in Arabic, short-necked, pear-shaped with 11 – 13 strings grouped in 5, 6, or 7 courses. A few of the oud players that stand oud are Driss El Maloumi, a group called 3MA and Haik Egitim Merkezi Yalova, both Maloumi and Yalova perform with Jordi Savall’s Hesperion groups. The Oud is considered the most important instrument in Middle Eastern Music.

Qanun (a.k.a., kanun, ganoun, kanoon) an Arabic stringed instrument, introduced to Europe in the 12^th Century. It’s played on the lap with picks that surround both index fingers, and the player can change the pitch of the strings with brass levers.

Hurdy Gurdy, a.k.a. Viola de Rueda, and the Zanfona. Here we hear this instrument in Musica Antigua.

Vielle – the Medieval fiddle with five strings and six tied frets.

Rebec – A three-string “fiddle” often held between the legs as it’s played.

Viola de Gamba – (a.k.a., Viol or gamba), a six-stringed instrument, said to be a precursor of the four-stringed cello. The Gamba, usually, is much larger and has frets, like a guitar.

Gaita – Galician bag pipe, also common in Portugal.

Duduk – Double reed Armenian flute, featuring those mournful, lamenting tones.

You’re listening to a musical journey of 13^th Century Spain’s King Alfonso the X and his devotion to the Virgin Mary, on this public radio station. I’m your host, Debra Bolton, and I appreciate that you’re here with me today. You can see this transcript and photos of the instruments if you go to my blog: https://wordpress.com/post/peopleandcultures.blog/1728

The language of the time, Galician-Portuguese, finds scholars today who argue that Galician and Portuguese are dialects of the same language. It tends to remind one more of Portuguese than of Castilian, the root language of modern-day Spanish. Portugal situated directly south of Galicia, the home of the (K)Celts and the Sephardim of the Iberian Peninsula. Stay with us…

Quarta Espanpie by Ferdinando de Martino Ensemble Comtessa Carmina Gemina: 2:43

End of Hour 2, Segment 1

2:00 minute break.

We continue with Las Cantigas de Santa Maria, the musical biography of Medieval King of Castile-Leon, Alfonso X, the wise and learned. I’m your host, Debra Bolton.

For more perspective of the time, King Henry III ruled England about the same time Alfonso X ruled Castile-Leon, the greater part of what is now known as Spain. While El Sabio ruled his lands with Christians, Muslims, and Jewish peoples living and studying side-by-side with some appreciation and great tolerance, it would not be until 208 years later that Isabella and Ferdinand would expel all non-Christians and the time Christopher Columbus would set sail for Asia but landed in the Americas, which changed extensively the lives that he touched. Before that, well-civilized Indigenous tribes had not yet had contact with European colonialists. The surnames that most people connect with Latin American countries were the surnames of their Spanish conquerors. During and after the inquisition, many non-Christians, Jewish and Muslim people, added the suffixes of –ez, -es, or -os to their surnames. For example, the Muslim man, Alvar, became Alvarez. The Jewish man, Martin became Martinez. Consistent with most surnames, there remained a connection to the family trade or place of origins. The Herrera were Jewish iron-smiths. Those hailing from Galicia, or Galego, were the Galegos. In the present day, an extra “L” was added to make it “Gallegos.”

Santa Maria by Irfan 4:45

CSM #156 by Rocio de Trutos 2:37

You’re listening to Las Cantigas de Santa Maria on this public radio station. I’m your host, Debra Bolton, and I appreciate that you’re here with me today.

We just heard two pieces, Santa Maria by Irfan, a Bulgarian group focused on electro-acoustic music from a variety of genres and musical centuries. Also, we heard Soprano Rocio de Trutos known best for her Bach Cantatas. You’ve been listening to Las Cantigas de Santa Maria, the holy canticles of the Virgin Mary and the musical biography of Medieval King Alfonso X of Spain in music, poetry, and art. I’m the producer and your host, Debra Bolton.

El Sabio, King Alfonso the X ascended the throne of Castile-Leon, now Spain, in 1252 and immediately devoted himself to the creation of new laws, the Siete Partidas (seven parts) and the Fuero Real (Royal Municipal Code), both of which continue to be in effect here in the 21^st Century.

Scholars posit that the CSM continue to be a testament by which the king wished to be remembered after his death. That means that we, also, are part of the intended audience. Knauss continues that the learned king, likely, did not fathom this kind of dissemination, now in this digital age. She says, “With these technologies, it grants scholars who study the CSM a place in his highly exclusive circle of apprentices.”

I began exploring the history of the CSM, because I found the tunes, songs, poems, and art pieces so wonderfully extraordinary with their passion and multimedia approaches. I hope you’ve found this music and its stories interesting. For more information, please visit my blog: https://wordpress.com/post/peopleandcultures.blog/1728

And, if you’d like to hear the show, encourage your local public radio station to run it, and it can be found at the Public Radio Exchange, PRX.

Rosas das Rosas – The New York Consort for Poetry and Music 3:24

CSM #383 Jordi Savall and Hesperion XX 8:14

Rose of Rose CSM Waverly Consort 3:27

Thank you for listening to Cantigas de Santa Maria, I’m Debra Bolton.

Thank you for reading my blog.

The Musical Biography of King Alfonso X, 13th Century Spain

The Following is a transcript of an annual program that I produce for public radio stations who will “purchase” it. At this writing, I do know that High Plains Public Radio, of the Central High Plains will run it on Christmas Day, usually at 9:00 a.m. Central Time. I will update this site as I learn of any station running it.

Hello. I’m Debra Bolton. Welcome to Las Cantigas de Santa Maria (The Holy Canticles of St. Mary), Songs and poems in praise of Holy Mary – and the poetic/musical biography of Alfonso, “the wise”, The King of Castile-Leon, now Spain, and who lived from 1221 to 1284, and for whom we celebrate his 800^th birthday this year. I appreciate your joining me today. We begin this musical journey with The Learned King declaring himself Mary’s Troubadour who will take her teaching to his Kingdom and beyond. Let’s hear…Counter Tenor, Russell Oberlin performing the prologue. Please note, that at the time, the use of counter tenors aka “castrados” would have been the norm, since females were not allowed to perform in a king’s court. :

Prologue: Russell Oberlin, CSM #60 2:37

Camerata Mediterranea CSM52 and instrumental Prelude – 4:05

That was Counter tenor, Russell Oberlin, taking the part of the Learned King as he declares himself the Virgin Mary’s Troubadour and asks the “noble lady” to bestow the inheritance of eternal life and grant Alfonso’s kingdom a place in eternity.

Also, you heard Camarata Mediterranea with an instrumental to highlight El Sabio’s wise welcome to Christian, Muslim, and Jewish musicians in his court, which blended European and Arabic performance and music techniques.

Interesting to note, of the 420 Marian poems written by King Alfonso X and his assistant scribes, about every 10^th poem is a song of love for the Virgin, and since this is not an “official” prologue, since the prologue has the even number #60, it would also be considered a “cantiga de loor” song of love for Mary.

King Alfonso ruled his Kingdom of Castile-Leon, now Spain, from 1252 until his death. Scholars and Alfonsine devotees celebrate the Learned King’s 800^th birthday this past November 23. Alfonsine scholar, Dr. J.K. Knauss, who has written widely on the Learned King, spoke to me about the celebrations across Spain in honor of the King’s birth. Knauss recently released her fourth book about the King. In Our Lady’s Troubadour, Knauss took the poems and corresponding works of art, and put them into narrative stories. Here, Knauss introduces CSM#42 before we hear the piece performed by an early music ensemble called, Sonus.

Insert Knauss’ introduction:

CSM#42 – A Virgen mut groriosa, Sonus 2:38

That was Sonus with CSM#42, the story of Mary as a jealous queen that rebukes those she loves if they refuse her.

Now we turn to the interpretation of CSM#116: A merchant went to Salamanca to trade at the fair. It was his custom to serve the Virgin faithfully and to fast rigorously. On the eve of her feasts, he would not even eat vegetables or fish.

He always used to offer candles at churches dedicated to the Virgin. In Salamanca, he had his servant fetch two large candles that he had brought from Toledo. He had them lit and guarded so that they would not go out. The Virgin let them go out, but then caused them to burn once again.

We hear this performed by Eduardo Paniagua and his Musica Antigua. Paniagua, a musicologist and an early music instrumentalist, devotes much of his time to researching, performing, and recording the vast catalogue of Las Cantigas de Santa Maria, poems and songs in praise of Holy Mary.

That was CSM#116, “The Candles that Miraculously Came Alight” from Musica Antigua on their album, Cantigas de Toledo, where King Alfonso was born these 800 years ago. 6:20

You’re listening to Las Cantigas de Santa Maria, a musical biography of Spain’s King Alfonso X and his praise to the Virgin Mary. I’m your host, Debra Bolton

END OF SEGMENT ONE

(Excerpt of The Prologue from Joseph O’Callaghan’s)

Throughout the life of King Alfonso X, he devoted himself to learning and being surrounded by the learned. He believed a learned King and court with great knowledge of the natural world, mathematics, architecture, human behavior, and great discernment could only benefit the people of his kingdom. Being a pluralist, he employed Christian, Jewish, and Muslim in his court to advance learning.

In a recent interview with Alfonsine scholar, Dr. J. K. Knauss, she noted that the great legacy of El Sabio is that he lived up to his name, “the wise” because he was obsessed with writing everything down. Whether is was about mathematics, astronomy, the virtue of playing board games and other leisurely activities to balance hard works, laws to govern his subjects, and teaching morality, he not only wrote continually, but he chose not to write in Latin, the language of Kingdoms of the day. What made his legacy so strong is that he wrote in Castilian, the present-day Spanish. King Alfonso X is considered the “Father of Castilian.” Was he that much of a visionary? It would seem so since Spanish only trails Chinese as the most common language worldwide, flanked by English, Arabic, Hindi, Bengali, Portuguese, Russian, Japanese, and Lahnda, aka, “Western Punjabi” according to The World Economic Forum.

Let’s turn to the marvelous miracles of Mary found in CSM#11, the Drowned Sacristan. Every night a sinful monk left his monastery to take his pleasure with his mistress. Before he left he would say the Ave Maria.

One night he fell into a river and drowned. Devils and angels argued over his soul. The devils’ case was more convincing, and the angels were about to give in when the Virgin made them recover the monk’s soul. They returned the soul to his body and revived him. The other monks found him alive in the cold water.

We hear CSM#11 interpreted by Ensemble Alcatraz, a San Francisco, CA group dedicated to the research and performance, throughout the world, of the music of Spain, Portugal, and France. This is from their CD Cantigas de Amigo, CSM#11 8:35

That was Ensemble Alcatraz performing Cantigas de Santa Maria #11,

You’re listening to Las Cantigas de Santa Maria, the holy canticles of the Virgin Mary in music, poetry, and art. My name is Debra Bolton. I am your host for this special music. If you go out to my website https://peopleandcultures.blog/2020/10/11/cantigas-de-santa-maria-a-musical-exploration-of-medieval-king-alfonso-x-of-spain/, you will find examples of some of the art that corresponds with the songs and poetry.

When we think about world events of King Alfonso’s time, between the 12 and 14^th centuries, there was a sect of Christians called the Cathar, a

fundamentalists sect who believed there were two gods: A good one who presided over the spiritual world, and an evil one who ruled the physical world. Cathars viewed even sex within marriage and reproduction as evil, and so lived strict lives of abstention. Here I present the spoken text of the Papal Bull legislating torture of those practicing Catharism, called “Ad Exstirpanda.” As a side note, that papal bull also supported colonizing so called, “Non-Christian” countries and enslaving Indigenous peoples, which carried over to the Doctrine of Discovery launching Columbus to the Americas 200 years later.

At odds with the Catholic church, The Cathar believed in female deities and believed that Mary Magdalene and Jesus were married. The text is presented in Latin, as the Cathar of the time were in France and Italy.

Ad exstirpanda” performed by Jordi Savall and Hesperion XXI followed by what sounds like a lament, Veri dulcis in tempore” translated “A true Sweet season” of the time from the CD “The Forgotten Kingdom.

Recitation: 3:14

Veri dulcis in tempore: 3:57

That was Jordi Savall and his Hesperion XXI performing music of the forgotten Kingdom of the Cathar in France and Italy.

After 1492, in addition to colonizing the lands and its people, Spain, also, colonized the languages of the Americas and the Caribbean. Since the so called, “first contact,” we saw Castilian overwhelming, and often erasing, many Native languages of the islands and the continents, thanks to the Doctrine of Discovery establishing a so called, “spiritual, political, and legal” justification for colonization and seizure of land NOT inhabited by Christians. Again, the Spanish we hear today differs widely from that of the CSM and Alfonso X’s time. However, you don’t need to understand Galician-Portuguese to enjoy this music, known for its complex musical structures and its use of what we now call, ancient instruments.

Go to an instrumental played by the Waverly Consort, Cut #15, to play to the end. 6:43

Hour Two

Hello, I’m Debra Bolton. Welcome to the second hour of Las Cantigas de Santa Maria (The Holy Canticles of St. Mary), Songs and poems in praise of Holy Mary – and the poetic/musical biography of Alfonso, “the wise”, The Kind of Castile-Leon, now Spain, and who lived from 1221 to 1284, and for whom we celebrate his 800^th birthday this year. I appreciate your joining me today.

Let’s begin this hour with two miracles performed by the Virgin, as written by King Alfonso X.

“The Girl Who Ate Spiders, CSM #201:

A beautiful noble woman promised to guard her virginity.

The devil tempted her to take a lover, and she lived with her godfather and became pregnant by him. When the baby was born she killed it. She became pregnant a second time and killed her newborn baby yet again. Then she did this a third time. Overcome with despair, and hating herself, she tried to commit suicide. She stabbed herself in the breast, but the knife missed its mark.

Then she swallowed a spider, but it was not big or poisonous enough to kill her. She ate another bigger spider and her body swelled so much she was near death. As she lay dying, she repented and asked the Virgin to forgive her sins.

The Virgin appeared to her and stroked her body, making her more beautiful and fit than she had ever been. The woman entered an order and lived virtuously from that time forth.

Performed by the Martin Best Ensemble (Cut#7) 2:58

You’re listening to this holiday special, Las Cantigas de Santa Maria, a musical biography of 13^th Century King of Spain, Alfonso, the wise. I am Debra Bolton, your host.

As we continue in this exploration of this very small part of King Alfonso X’s tribute to the Virgin Mary, my references come from the writings of Dr. J.K. Knauss, whose books continue to inspire me. On November 18, 2021, Dr. Knauss released a book which put the Cantigas de Santa Maria in narrative form. We did hear Dr. Knauss introduce CSM#42 in the previous hour, from her book, Our Lady’s Troubadour. I now will explore Dr. Knauss’ book, Violence in the Cantigas de Santa Maria. In addition, I refer to the writing of Professor Joseph F. O’Callahan, Mr. Andrew Casson, Maestro Jordi Savall, Maestro Eduardo Paniagua, John Esten Keller, Robert I. Burn, Editor of “The Emperor of Culture” and from Oxford Univesity’s CSM database.

From the book, Violence in the Cantigas de Santa Maria, Dr. Knauss establishes an important beginning that does not have violence to set a calm tone. That would be CSM#97 about a slandered man who was exonerated. However, we move into the violence rather quickly in CSM#233. Knauss mentions this cantiga in her book about violence and in her recent book, Our Lady’s Troubadour, where she writes a wonderfully accessible narrative called, “No-Man’s-Land, ” which regales the story of the good knight, Jacinto (Ha-theen-toe), who while traveling with his men, encounter with Moors, who were so impressed with Jacinto’s faith to the Virgin Mary. The Moors spoke, “We see that you are not of this world, but we don’t think your intensions are evil.” “We honor you because you have been sent by Mary, mother of Jesus. Jacinto held his hand out to the Moorish leader, and they embraced as they forgave one another for their conflicts with one another.

Here we have CSM#233 performed by Elizabeth Pinard. I had a difficult time finding this piece, so I turned to YouTube, and found this incredible interpretation by Ms. Pinard, a Brazilian singer with the most incredible vocal range. Listen for her low notes, and when the choir comes in, Ms. Pinard vocalizes in ethereal high ranges. Go to Youtube and enter “Elizabeth Pinard – Cantiga de Santa Maria 233”

9:11

Let’s take a moment to talk about some of the instruments that you’re hearing on this musical journey of 13^th Century Spain, then called, Castile-Leon.

Recorder – Yes. That woodwind instrument that many of us learned in grade school. We hear this in the CSM, usually, on a wider variety of wood recorders.

Organetto – a small portable organ, which you heard performed by Esther Lamandier

Hurdy Gurdy, a.k.a. Viola de Rueda, and the Zanfona. Here we hear this instrument in Musica Antigua and by a group called, BIDAIA, featuring Caroline Phillips.

Vielle – the Medieval fiddle with five strings and six tied frets.

Rebec – A three-string “fiddle” often held between the legs as it’s played.

Viola de Gamba – (a.k.a., Viol or gamba), a six-stringed instrument, said to be a precursor of the four-stringed cello. The Gamba, usually, is much larger and has frets, like a guitar.

Gaita – Galician bag pipe, also common in Portugal. We’ll hear the Gaita in the next hour of this musical journey.

Duduk – Double reed Armenian flute, featuring those mournful, lamenting tones.

The language of the time, Galician-Portuguese, finds scholars today who argue that Galician and Portuguese are dialects of the same language. It tends to remind one more of Portuguese than of Castilian, the root language of modern-day Spanish. Portugal situated directly south of Galicia, was home to the Celts and the Sephardim of the Iberian Peninsula. Stay with us…

Segment Two Hour Two

Begin with Prologue by Waverly Consort, Cuts 1 and 2: (3:45)

We continue with Las Cantigas de Santa Maria, the musical biography of Medieval King of Castile-Leon, Alfonso X, the wise and learned. I’m your host, Debra Bolton.

We just heard an English interpretation of the prologue, where the wise King announces himself in the role as the Virgin Mary’s troubadourn. The Waverly Consort, founded by Kay and the late Michael Jaffe performed that piece.

J. K. Knauss describes the importance of the Cantigas de Santa Maria saying, “The most appropriate single adjective for the corpus of cultural work produced under Alfonso X is ‘encyclopedic.’” He wrote books of history, astronomy/astrology, law, poetry, board games, and music. Even his written leisure activities continue to survive the vagaries of time, bearing the King’s name as patron or author.”

The next piece takes us to Italy, of the time, with a song, in Latin, praising the Virgin Mary. This piece, Verbum Caro Factum Est, “Word was made flesh” is performed by the Waverly Consort. I offer this to illustrate that there were other parts of Medieval, Romance Europe also praising the Virgin Mary. Again, not in the tradition of Alfonso X, who wrote about people’s interior and exterior lives, from every social class from Spain to other parts of Europe, North Africa, and the Middle East and their relationships to the Virgin in everyday life, according to Knauss.

Verbum Caro Factum Est Waverly Consort ( 4:40) (Verbum Caro Factum Est)

CSM #41/119 Capella Ministeres (4:22)

That was Capella Ministrers, CSM 41/119. CSM#41, the story of a money changer named, Garin. The devil scared him. Garin went mad, and then the Virgen not only restored his senses, she gave him paradise. The story of CSM#119, tells the story of a judge who lived a life of ease. He ate well and collected generous supports, though he did not fulfill his duties and only arrested those who were destitute. The Virgin came to the judge’s rescue when a band of brigands kidnapped him. In the process of killing the judge, Mary intervened. She made the judge confess every one of his sins. He died the next day and angels carried away his soul.

Performed here by Capella Ministrers, CSM 41/119. 4:22

That was Capella Ministrers performing CSM 41 and 119 here on Cantigas de Santa Maria, the musical biography of Spain’s 13^th Century Monarch.

You’re listening to Las Cantigas de Santa Maria, a musical biography of King Alfonso X, I’m your host, Debra Bolton.

Cantigas de Santa Maria: Songs and Images

Alfonsine scholar, Dr. J. K. Knauss describes the importance of the Cantigas de Santa Maria saying, “The most appropriate single adjective for the corpus of cultural work produced under Alfonso X is ‘encyclopedic.’” He wrote books of history, astronomy/astrology, law, poetry and music. Even his written leisure activities continue to survive the vagaries of time, bearing the King’s name as patron or author.”

Now, I’d like to turn to interpretations of the CSM that have a more contemporary feel. Andre Bocelli, a mostly self-taught tenor, provides this wonderful rendition of CSM #57. I think the addition of Spanish guitar and a children’s choir give this interpretation a light and jovial feeling to the subject, “The Robbed Pilgrims to Montserrat.” From Bocelli’s album, “Believe” recorded last year. It features duets with Allison Krauss and opera singer, Cecilia Bartoli, on the Decca label.

Mui Grandes Noit’ e Dia (CSM #57) (4:06)

#CSM 422 Robin Rolfhamre (5:48)

That was Swedish Lutenist, Robin Rolfhamre with CSM 422, The Litany of the Day of Judgement. Mostly, Dr. Rolfhamre focuses on the early music of the 15^th century. His interpretations here features the lute.

You’ve been listening to Las Cantigas de Santa Maria, the holy canticles of the Virgin Mary and the musical biography of Medieval King Alfonso X of Spain in music, poetry, and art. I’m the producer and your host, Debra Bolton. I began exploring the history of the CSM, because I found the tunes, songs, poems, and art pieces so wonderfully extraordinary with their passion and multimedia approaches. I hope you’ve found this music and its stories interesting. For more information, please visit my blog: https://peopleandcultures.blog/?p=1369

And, if you’d like to hear the show, encourage your local public radio station to run it, and it can be found at https://exchange.prx.org/pieces/396349

To take us out, here’s an ensemble called, Calliope with CSM medley. Thank you for listening to Cantigas de Santa Maria, I’m Debra Bolton. (5:51)

A Learner’s Mindset For Understanding Self and Others

My featured image is one I took from a car as I was about to board an airplane from Los Angeles International Airport. At one time, the Mid-century structure was used as a restaurant and remains a symbol of the airport. I like the “Atomic Age” design, which the light poles further establish.

My topic today explores a framework that we can employ in our learning processes of one another. National Geographic Society uses this framework to help people understand the concepts of geographical inquiry. The Society calls it a, “Learning Framework.” I adapted NGS’s framework for teaching self-awareness, which greatly improves how we interact with those who we see different than ourselves. I call it, “A Learner’s Mindset for Understanding Self and Others.”

Did you know there are people who do not recognize that they have a culture? This continues to be a heavy subject in my teaching. Teaching cultural awareness required that I create/adapt this framework. Usually, I present this in a table for easy usage. Here, I present the framework in narrative form. The framework focuses on three elements: Attitudes, Skills, and Knowledge each with three subheadings.

A Learner’s Mindset for Understanding Self and Others

Attitudes

Curiosity: Engage in an on-going process of learning about yourself, about others around you, and about the environments (spaces) you and they inhabit.

Responsibility: Have concern and care for the well-being of other people, their journeys, and their experiences.

Empowerment: Understand your unique lived experience. Developing shared experiences builds self-confidence in social interactions. Empower others by internalizing that “different” is not bad or threatening. State your opinions and listen to others.

Skills

Observation: Create a framework for knowing through the “mental” gathering of data, which informs our daily behavior and interactions. Are you able to observe without judgement?

Communication: Use language and media that speaks to truth, historical uses of words, and implications of wording in spoken language, writing, visual, and audio media. Apply this mindset to advancing learning about self and others.

Relationships: Collaborate across disciplines to advance understanding. Listen to re-state the main points and to find common ground. Above all, build and value your relationships, which dissolve the lines of difference.

Knowledge

Understand the Human Journey: No two humans have the same journey. Share the story of your journey. Listen to the story of another person’s journey. All humans develop their preferences, their ways of knowing, and their observations of others depending on their journeys. Do some humans have an advantage over others based on their journeys?

Understand the Interconnected Human Systems and their Dynamic Forces: Seek and internalize frameworks of information to discern between truth and convenience. Discern the quantities, patterns, rhythms, and symmetry in human systems. How are they unique, and how are they related? How do they change over time?

Acknowledge and Celebrate Human Difference: The social construction of hierarchies, class, and race historically benefit some groups and put others at a disadvantage. We can build relationships across these social barriers to see one another as individually contributing to the social fabric of humanity. Celebrate this.

This may not be the answer to every little thing in human interactions, but I do believe that it can be a start in our interpersonal relationships with those from cultures different than you own. Yes! Every human has a culture! Simply put, our cultures come from our knowledge and beliefs systems. Culture comes from our patterns of behavior learned from childhood, our language, our symbols and institutions. Culture is created, learned, and shared. Thrown together, the definition of “culture” seems to challenge people. To some, “culture” might seem an abstract concept mostly because some do not think about what constitutes “culture”

Sit down and think about your own patterns of behavior. Where did they originate? Human difference is a marvel. Celebrate it.

Thank you for reading me.

What Matters to Me and Why

I work at a university with a leadership studies college. The school invites varying faculty, staff, and administration to talk about personal priorities and interests. As I always say, the more we know about one another, the more that the lines of separation fade. I love this notion of inviting people to talk about themselves. It becomes the living libraries favored by many communities. Here is one of my stories.

My father used to tell me, “Know something about everything and everything about something, and you will always be able to find common ground with another person.” I have a penchant for music, literature, geography, history, art, language, biology, architecture, travel, navigation in air travel, and people. Curiosity was the most important thing to my father. He taught me to be curious, always! Actually, I think my varied interests greatly inform my work in intercultural development, or helping humans find common ground with one another. It’s what I live. It’s what I love. I like to begin my classes, workshops, and presentations with a land acknowledgment:

My homeland is the Uncompahgre Valley in Western Colorado, from where colonial settlers displaced my father’s people (Ute).

In Kansas, I live and work on the ancestral territory of many Indigenous Nations, including the Kaw, the Osage, and the Pawnee. Kansas is currently home to the Prairie Band Potawatomi, the Kickapoo, the Iowa, and the Sac and Fox Nations.

I am grateful to these Nations.

Please remember these truths.

It can be quite enlightening to research and discover what Indigenous Nation occupied the land on which you live, work, and play. We can think about:

Who granted the land?

Who held the land previously?

What was the U.S. Homestead Act of May 1862? Who was given land, and who was removed from said land?

So, I begin all my teaching with this acknowledgment. I am honored and obligated to my ancestors to do it.

Next in my processes of teaching, I acknowledge myself and my identities. Here are a few of the things with which I identify:

•Native (Ohkay Owingeh/Diné/ Uncompahgré) •Human Ecologist/Geographer •National Geographic Society Explorer •Social Researcher •Banjo player •Mother, daughter, friend, spouse, aunt, grandmother, motorcycle rider, writer… •King Alfonso X enthusiast, the original pluralist! •Blogger •Craftsperson •Nature enthusiast.

I could also say, I’m a mother, daughter, friend, spouse, aunt, grandmother, motorcycle rider, and writer.

Embedded in each of these identities that I share with you denotes aspects of my of my culture. However, the most challenging part of working to educate students, especially those from a dominant identity (Anglo-European descent) about culture is that they possess a culture. Many of my students tell me, “I don’t really have a culture. I’m just an American.” That just tells me that they have not thought about their identities.

Each of us, if we think about it, has several identifying factors that contributes to our cultural identity. You have the same sets of identities – each with sets of verbiage, practices, and thought processes that are part of your culture.

Certainly, our environments influence our patterns of behavior, our ways of knowing, our ways of living. I grew up in a mountain environment, as pictured here. We learn certain behaviors to thrive in mountain valleys, which can be different than the tallgrass prairie where I live now. In humans’ cultural practices, we learn, adapt, and adopt, often maintaining our foundational family and community systems.

Prairie or mountains: both are beautiful, and we adapt and adopt the cultural aspects of each geography.

Speaking of geography, I grew up in a household where National Geographic magazine was honored as much as the family bible. My father read them from cover to cover. My brothers saw them as anatomy lessons. I vowed to visit all the places imaginable. My work with National Geographic Society, as an explorer, put me in company with the likes of Maria Mitchell, noted astronomer in the 19^th Century, Munazza Alam, 21^st century astrophysicist searching for Earth’s twin, Harriet Chalmers Adams, journalists in the French trenches of World War 1, and notably, traveled to Africa to see Haile Selassie’s coronation as emperor of Ethiopia. Of course, everyone knows the names of Edmund Hillary, Jacques Couteau, and Alexander Graham Bell as NGS explorers, but I encourage you to seek out the females who made great strides in the name of discovery. Being a NGS explorer is the greatest way I can honor my father’s love of knowledge.

Two of the great products of my NGS funding was developing introductory course in geography for females of color, now in its fifth year, also thanks to our Center for Engagement and Community Development’s incentive grants, I was able to study the women in the African diaspora in rural SW Kansas, which became a chapter in a book recently published. Here’s a picture of the book. My chapter covers the women of the African Diaspora now settled in Southwest Kansas. It tells of the brave women, displaced from their countries by war, worked in the beef packing plants while raising families and navigating health care, educational, and faith systems.

If you have read previous blog entries of mine, you would know that I greatly esteem George Washington Carver, the great genius in botany, invention, music, art, and philosophy.

Carver had a small homestead in Beeler, Kansas. As a child, his slave owners near Diamond, Missouri actually saw his genius in plant pathology. He came to Kansas, finished high school, and applied and was accepted into Highland college until he showed up. Carver was denied a college education in Kansas, because of teh color of his skin.

He found his academic home, first at Simpson College in Indianola, Iowa. Only being allowed to study the fine arts, his art teacher took great interest in his botanical illustration. She connected Carver to her biologist husband who was teaching at what is now Iowa State University. Carver received is Master’s degree there where his brilliance was duly noted by Henry Ford, who had invited him to work since Carver had created rubber out of golden rod. Thomas Edison tried to recruit him as an inventor since Carver was noted as a great inventor, having patents on wood stains made from peanuts and sweet potatoes. Alas, he went to work at Tuskegee “Normal” Institute at the invitation of Booker T. Washington, because it was there that he’d “do the most good.” Carver taught chemistry, botany, and other biology at Tuskegee until his death. I found this picture on the internet with Carver’s rules to live by: “Education is the key to unlock the golden doors of freedom.”

Once a year, I pay homage to King Alfonso X, who ruled Castile-Leon (now Spain) in the 13th Century. Here are a few facts about the “Learned King.”

He ruled from1252 – 1284 13^th C. Medieval – Father of Castilian language, which we now call Spanish. During his time, his language was Galician-Portuguese, also called “Romance”

420 songs, poems, and commissioned 3 dimensional pieces as a way to teach morality to his subjects.

He had just missed being crowned the Holy Roman Emperor because he was “too learned!” according to the Pope of the Catholic Church at the time. I wrote a blog better examining the King last November. No doubt, I will write another about the king in the coming fall.

I like learning about different species in the animal world. I was a volunteer teacher at a zoo in Southwest Kansas. If you want to learn more about a subject, teach it! I was able to handle lots of cool animals. Here I am with a goshawk.

Finally, exploring my Indigenous roots remains an important part of my identity. I still practice the food, the songs, and the rituals of my grandmothers. The fire featured as my main image illustrates one of those practices of cleansing with smoke. I am born for the Ohkay Owingeh and the Dine and born to the Uncompahgre Ute. I have DNA ties to the Athabascan, Alaskan Native. My people, called the San Juan Pueblo by Spanish colonizers of what is now New Mexico. Spaniard plopped right on the Village at the confluence of the Chama and the Rio Grande Rivers. Our villages straddled the rivers, so there was much struggle to keep our culture, our food ways, and our identities as The People of the Strong Land. You can see a stature of our great leader, Popay, in the rotunda of the U.S. Capitol. Despite the push toward erasure, we are still here!

My family remains the most important, my children, grandchildren, spouse, parents, siblings, and extended family, natural and adopted, as I call my dear friends. Find what makes you happy, and develop curiosity about an array of subjects. For me, I can only think knowledge is the best brain food.

Thank you for reading.

Gorilla, My Love: A Commentary

My featured image was painted by one of my best friends and favorite artists, Carole Geier. Her Ribbon Dancer comes later in the narrative, too. I’ve featured her art previously on my blog. It relates to this blog entry as it features a contemplative woman, which may describe me and the main character in the short story of which I will review.

Before I was a geographer and human scientist, I was an English major. It seemed a likely choice given my interest in literature. My love for music also drove my work in public radio. Like comparative analyses that we do in literature, I like to do the same with music.

Toni Cade Bambara, who was active in the 1960s and 1970s as a writer, film-maker, social activist, and college professor, wrote some fabulous short stories. I like that her writing used great rhythms in the narratives. Gorilla, My Love stands out for me, so I share this review that I wrote for Bambara’s narrative about Harlem through the eyes of the young “Hazel.” The story addresses many experiences of the young African American female, including her views of social injustices. This short story brilliantly illustrates a gifted young female, who, for many reasons, does not get her due respect from society.

My commentary is rather dense, so I will break it up with photos that may or may not connect to my narrative.

Gorilla, My Love by Toni Cade Bambara

Critics writing about Toni Cade Bambara’s short story “Gorilla, My Love” agree that her use of language promotes positive images about black urban life, and teaches important lessons without becoming preachy. Ruth Burks, Elliott Butler-Evans, Klaus Ensslen and Madhu Dubey point to no weaknesses in Bambara’s story. Rather the weaknesses lie in their criticism because of detachment from Bambara’s characters’ culture, misuse of words, and faulty interpretation of the text. The critics, rightly, cite Bambara’s use of a young female as a brilliant tool to give the story the ability to address social injustices without heavy-handed didacticism (Dubey 19), but they show disconnectedness with the writer’s culture, for example, by not recognizing the difference between street-wise and precocious when describing Bambara’s main character, Hazel. Each espouses strong opinions about a culture that perhaps none truly understands. The four critics each agree that Bambara’s language received heavy influence from the music of black Americans. They don’t; however, appear to know what elements in the music Bambara imitates when she writes. For instance, they use terms interchangeably, like jazz and Negro spiritual, when explaining the rhythm of Bambara’s story. The faulty criticism, however, does not lessen the strength of Bambara’s tale because the overall tone of the critics’ ideas stayed supportive.

Burks, Butler-Evans, Ensslen and Dubey each cite Bambara’s use of Black urban vernacular as a successful way to give readers a realistic picture of a black child’s life in her neighborhood and community. Elliott Butler-Evans describes Hazel’s speech patterns and delivery as a “restricted linguistic code of Black urban life” (94). His narrow vision doesn’t consider that some of Hazel’s verbal expressions come from immature language development and have nothing to do with her ethnicity. For instance, she uses the term “scary” for scared. She contracts the demand, “let me” to “lemme.” She calls Big Brood’s Spaulding basketball or baseball glove a “Spaudeen” (Prescott 676). She uses incorrect placement of a possessive in, “And I’m flingin’ the kid in front of me’s popcorn” (Prescott 677). While many might point to Hazel’s dialect as “the language of lazy or under-educated Americans,” that illustrates the dominant dialect in the United States. For example, she uses contractions of words heard in everyday speech: cause for because, musta for must have, and most noticeable, she leaves the –ing sound off many words like grabbing, flinging, something and throwing. African-American vernacular does not claim exclusivity to these terms. Bambara mixes the black vernacular with the immature child’s linguistic skills to address social issues through the eyes of innocence.

None of the critics’ main points appear to be original since they mostly agreed that Bambara’s strengths lie in her use of language. No opinions strongly oppose each other. The critics strayed when they stated their opinions without support from the text, cultural insights, or background. Klaus Ensslen attributes to Hazel, supposedly between the ages of eight and 12, the power of profound insight. For instance, Ensslen notes that Hazel’s term for Brandy’s friend, Thunderbuns, refers to “the borrowed or relegated thunder of her authority” (48). This shows detachment to the culture of youth and to the mind of a precocious girl. Hazel attributes to Brandy and Thunderbuns slothful, animal features to show inferiority to her own energetic, intelligent self. Hazel likes to pop empty potato chip bags so that “the matron come trottin down the aisle with her chunky self” (Prescott 676). Later Hazel reminds the reader that Thunderbuns “do not play and do not smile” (Prescott 677). Hazel does not possess the idea that the name, Thunderbuns, comes from the thunder of borrowed authority. In her youth, she attacks physical elements of the two adults with less-than-authoritative airs by condescending to them and by using names that describe their physical appearances. This instance illustrates Hazel’s youthful intelligence.

As if to say that a young, black girl could only get her intelligence from the streets, Dubey and Burks refer to Hazel as “streetwise.” The term streetwise usually refers to one with enhanced survival skills from living in the streets, which does not appear to be Bambara’s intention for her young character. Hazel does not come from the streets. She lives surrounded by a close-knit, loving family, which does not usually describe a child with street smarts. Hazel reads maps, asserts herself to protect her loved-ones, shows self-confidence in her knowledge, and asks intelligent questions. By reading maps, not a usual skill of a pre-pubescent child, she directs the pecan-gathering trip. She protects Big Brood in the park and protects the money from bullies by putting it in her shoe (Prescott 676). She asks for ticket reimbursement from the theater manager claiming false advertisement, which is good insight for a preteen. Her questions, apparently, threaten teachers since she often hears that they are out of line. Hazel expresses confidence in her consummate knowledge of things by proclaiming, “When in reality I am the smartest kid P.S. 186 ever had in its whole lifetime and you can ax anybody” (Prescott 678). Burks and Dubey wrongly assume that Hazel gains her intelligence from the streets, which further shows a misunderstanding of her youth and the culture.

The four critics of record hit the mark with their highlighting Bambara’s strengths in language use. Each takes a different approach, however. Burks sees the story as having more anger, sadness and negative points. Her notion of “incongruity of language” (50) sheds a dark light on Hunca Bubba’s not waiting for Hazel to grow up to marry him. The conflict of the story does not lie in Hazel’s misunderstanding with her uncle’s false marriage proposal. It lay in her friction with the theater manager and the school. Hazel’s experiencing disappointment with a family who loves her does not need to be ranked with the injustices of false advertising to children and teachers who ignore a precocious child because she’s black. The family offers support to a disappointed child, but the schools and theater are less likely to show empathy. Perhaps Klaus Ensslen meant to say the same thing when he noted that Bambara used “family and friends as a social backdrop” (44). Incongruity of Language describes the conflict with those outside the family, and that language shows differences from the dominant culture, as Butler-Evans charges. It seems more likely that Bambara wanted to emphasize conflict of blacks with the dominant culture rather than conflict within the family, which would be a less positive approach.

Ensslen, Dubey and Butler-Evans look at Bambara’s short story with optimism toward Bambara’s linguistic genius. Butler-Evans and Dubey agree that Hazel’s vernacular paints her as a cultural insider and note that her speech is accessible even to those outside the culture. It has reach outside the culture. How else would Bambara make her political statements? Hazel’s voice lends credibility to the story with her view on social injustices. Told by an older person, the same views would be construed as observations made by an under-educated, embittered and angry adult: “…grownups playin’ change-up and turnin’ you round every which way so bad. And don’t even say they sorry” (Prescott 680). This supports Dubey’s claim that, “Hazel’s voice functions as the sharpest linguistic weapon allowing Bambara to attack social issues without heavy-handed didacticism”(19). Ensslen called Bambara’s “didactic impulse” usable lessons in a committed life(41). This strength and the multi-layered use of language in Bambara’s short story stand out as the hallmark of “Gorilla, My Love,” according to Burks, Butler-Evans, Dubey and Ensslen, but the points missed with Hazel’s linguistic voice parallel the critics’ misunderstanding of the elements that make Bambara’s writing emulate jazz.

Burks and Ensslen refer to the music of Black Americans when describing Bambara’s written cadences, but they appear to be unsure of the elements that make it jazz. In referring to the rhythm and musicality of Bambara’s story, Ensslen notes that her improvisational use of oral forms of expression owes much to the black music especially to the bebop of the postwar decades, as she herself acknowledged” (42). He alludes to an interview in which she credits bebop jazz musicians Charlie Parker and Dizzy Gillespie for her literary voice. Ensslen merely alludes to one of the strongest elements of Bambara’s story, perhaps, because he doesn’t fully understand how “Gorilla, My Love” truly parallels an improvisational jazz piece. Consider Parker and Gillespie’s tune, “Night in Tunisia.” The tune, played by their jazz quartet, begins with the string bass introducing the theme, which is then joined by Dizzy Gillespie’s trumpet, which takes the lead while being accompanied by Parker’s alto saxophone, the bass and drums (recording). The introduction in “Tunisia” parallels Hazel’s opening “That was the year Hunca Bubba changed his name.” Both introduce a theme. The quartet broadens its theme within several bars and measures, so does Hazel name the characters to set the story’s stage. Staying in the same musical key, Charlie Parker departs from the main theme to improvise his musical self-expression the same way Hazel uses an image in the photograph, one of many sub-themes, as a springboard to relay her story about an experience at the Washington Theater. In the jazz piece, Dizzy Gillespie’s trumpet overtakes a slight nod to the theme with a second improvisation. Gillespie’s improvisation parallels Hazel’s story within her story, Big Brood up on the cross, because it represents additional expression influenced by the original theme. At the end of Gillespie’s ad-libbing, the remainder of the quartet rejoins him with the original theme like Hazel who brings her two stories, the theater and crucifixion, to an end with her yelling, “Shut is off.” If Ensslen understood jazz improvisation, he may have been more successful in connecting Bambara’s strong sense of rhythm and pace with jazz improvisation.

Ruth Burks makes a similar mistake by lumping all black music into one category to describe Bambara’s cadence. Burks likens the tempo of Bambara’s story to Negro Spirituals, which is incorrect. Burks declares that the plaintive voice of spirituals permeated “Gorilla, My Love.” Consider the spiritual, “Swing Low, Sweet Chariot.” The song opens with a slow-moving theme followed by a sorrowful response, “Comin’ for to carry me home.” The song continues with call and response, short statement with repetitious reply, through to the end (Quick 184). Unlike jazz, no one leaves the theme to improvise another musical interlude or uses the theme as a launching pad to tell a story within the story. Bambara’s “Gorilla, My Love” possesses very little elements of the Negro Spiritual. In contrast to the spiritual, Gorilla moves quickly as several vignettes unfold within the story. The energy is high since it’s told from a young, precocious girl’s point of view. Quick beat and high energy hardly describe Negro spirituals with their slow cadences and, often, melancholy themes. Burks’ allusion to, “constant repetition” (49), connotes jazz improvisation, but she describes Bambara’s pace as Negro spiritual because of unfamiliarity with jazz and with Bambara’s influences. The mistakes still don’t detract from the over all positive tone of the criticism, however.

The four critics, Burks, Butler-Evans, Dubey and Ensslen, all in all, like Bambara’s writing. They agree that her use of language promotes positive images about black urban life while teaching life’s important lessons without proselytizing. They find no weaknesses, but their own lack of knowledge, regarding black culture, weakens their interpretation of the story through misuse of words. The critics’ own stereotyping of the black culture becomes evident when they don’t recognize the difference between street-wise and precocious when describing Bambara’s main character, Hazel. Butler-Evans confuses black linguistic patterns with the speech skills of a preteen. Ensslen gives Hazel’s coping mechanism of name calling an adult’s scrutiny by charging her with deeper thought than one her age may practice. Dubey and Burks miss the mark by equating Hazel’s intelligence to the survival skills of a child from the streets. Finally, the four critics each agree that Bambara’s language received heavy influences from the music of black Americans. They don’t, however, appear to know what elements in the music Bambara imitates when she writes. The intent of the critics appears supportive of Bambara’s message, but faulty interpretation of the text lessens their credibility.

So, find the short story by Bambera. then find Dizzy Gillespie’s “Night in Tunisia,” or one of Charlie Parker’s upbeat Jazz pieces, and experience the rhythms for yourself. I find it most pleasurable.

Thank you for reading.

The Language We Use

Before I get into this very deep subject, I share with you one of the blooms of my hibiscus shrub. I have it pruned into a topiary shape, and it gives us two to three blooms a day. We eat our breakfast on the front patio with the blooms in the morning in order to begin the day with its joyous brightness.

I work in education, and have done for nearly 30 years. My focus continues to be advocating for underrepresented populations in education. At one time, I worked in adult education. Then I worked in community education and research. Today, my title is director of intercultural learning. That means I teach around a variety of topics to “normalize” human difference. I offer these concepts to get them out into the world:

Language Used That Further Separates Us

Preface: It is not about “saying the right thing.” Rather we must understand the meaning (etymology) or the semantics (formal, lexical, and conceptual) in the words we use. We tend to think that language is fluid. Meaning of words takes on different meanings in different eras. Systemic words tend to carry historical influences. When certain words become part of the lexicon, they tend to be “normalized” to the larger society, whether or not they have negative connotations.

Not an exhaustive list, I present the concepts of the following words to give us pause and to allow us to think of their historical meanings in our work to increase representative demographics in our students, faculty, staff, and administration at KSU. After all, the intended outcome of our work focuses on erasing the barriers to acquiring college degrees and thriving in global economies who have historically excluded identities.

We are not here to “deal with diversity and inclusion.” We are here to build relationships with one another to support students for maximal academic and social experiences.

“Minority” – The term further minoritizes historically excluded populations. Could we use the term, “historically excluded populations?” The word, “minority” suggests “lesser than.” No one wants to be referred as a psychologically pejorative term, “lesser than.” It sets a life of low self-esteem and low social expectations of those in a majority.

“Marginalized” – A dominant power minoritizes groups by setting a standard for social, financial and governing expectations from an individualistic cultural pattern vantage point. Groups from individualistic societies tend to marginalize groups from collective societies because of different approaches to social and economic “norms.” See Kluckhohn and Strodtbeck’s Values Orientations. As we know, majority powers set the cultural and behavioral norms for all the people living in such a society, with the exception of Apartheid era South Africa. In that case, the non-majority White power worked to set a social standard for the majority demographic.

“Inclusion” – In order to advance the concept of “inclusion,” we must understand the history of exclusion with its laws, policies, and practices that exclude one population in favor of another as an active part of societal and institutional cultures. Some of those historical and present laws include Extreme Climate Theory, Doctrine of Discovery, Manifest Destiny, Indian Removal Act of 1830, Homestead Act of 1862 (You must be Christian in order to receive and own land), Japanese Relocation Act, Redlining in housing, and the 21^st Century Muslim ban, etc.

When we speak of being a Land Grant Institution, think of what we say. From a historical point of view, the Land Grant Act of July 1862 promoted that it was “Education for the common man.” Who was the “common man?” Natives were not labeled “human” until 1873 and not allowed to be citizens until 1924. President Lincoln issued The Emancipation Proclamation six months later, January 1, 1863. In both cases, the majority referred to men as “bucks.” Women had equally dismissive labels, such as “squaws and apes.”

When we say, equitable representation across human identities, we do not assign a majority power. Instead, we demonstrate an authentic desire to assure that all voices and identities contribute to institutional and cultural structures.

When we use the word, “inclusion,” it denotes a dominant or majority power or culture allowing others to participate in power, cultural, and social structures. Perhaps we can strive for building a culture of “belonging” for our students and other.

As school psychologist, Bengu Erguner-Takinalp, says, Belonging is more than ‘tolerance,’ accepting,’ or ‘inclusion.’ Belonging means we feel connected, important, valued, part of a group, which we call, ‘our group,’ ‘our program,’ ‘our community!’”

“Diversity” – This term tends to be synonymous with people of color and leaves out other historically marginalized groups (LGBTQ, physical and mental disability, etc.). May we discuss simple human difference, and the thought that, “I am not different from you. I am different like you” (Octavius Black).

In her article about educational and retail institutions, Jennifer Rittner writes, “Diversity itself is a numbers game, easily addressed through clever, conspicuous hiring practices and even more clever promotional photography. Representation means that because we may not always be physically present, but our pedagogies, industry spaces, and frameworks are activated in our interests.” Rittner reiterates, “Inclusion is about more than just those of us who have achieved the platform for speaking out. Representation requires that we all stay vigilant and attentive to all of those not represented in our own work”.

“Culture” – Those practices, beliefs, behaviors, and ways-of-knowing of each human being. Every human possesses cultural identities. Culture is not something to denote ethnicity or people from another country. We develop as human beings, and that development comes from family, community, state, national, and world cultures.

“Multi-cultural” – Since the word, “culture” has come into the lexicon meaning, students of color, this term tends to feed the notion that people of color are the only people who have a culture! Since every human has many cultural identities, we could say that everyone is multi-cultural. Using this term, also, can exclude others with historically excluded or under-represented identities, i.e., LGBTQIA, those with different physical and learning abilities, and others with whom we do not include when we say, “multi-cultural.”

Race

Race In everyday discourse, the word race invokes phenotypical features such as skin color, eye shape, hair texture, facial features, and so on. However, scientists generally agree that race is not a concept determined by biological evidence. In other words, categorization of different races cannot be verified by biological constructs such as genetic characteristics. Arguing that any differentiation of races, if they exist at all, depends on relative, rather than absolute, constancy of genes and raising a problem of classifying the human species in racial terms, Goldberg (1993) states: Human beings possess a far larger proportion of genes in common than they do genes that are supposed to differentiate them racially. Not surprisingly, we are much more like each other than we are different. It has been estimated that, genetically speaking, the difference in difference — the percentage of our genes that determines our purportedly racial or primarily morphological difference — is 0.5 percent. (p. 67)

More recently, the Human Genome Project has shown that human beings share 99.9% of their genes, leaving only 0.1% for potential racial difference in a biological sense (Hutchinson, 2005).

References

Allan, B. & Smylie, J. (2015). First Peoples, second class treatment: The role of racism in the health and well-being of Indigenous peoples in Canada. Toronto, ON: the Wellesley Institute.

Ergüner-Tekinalp, B., Ilieva, V., Williams, K. (2011). Refugee Students in Public Schools: Guidelines for Developing Inclusive School Counseling Programs. Journal of Counseling Research and Practice, 28, 2.

Kubota, R. and Angel Lin. (2006). Race and TESOL: Introduction to Concepts and Theories.

TESOL Quarterly. Vol. 40, No. 3.

Martinez, E. (1998). De colores means all of us: Latina views for a multi-colored century. Cambridge, MA: South End Press.

Middleton, R.A., Ergüner-Tekinalp., B., Williams, N., Stadler, H., & Dow, J . (2011). Racial Identity Development and Multicultural Counseling Competencies of White Mental Health Practitioner. International Journal of Psychology and Psychological Therapy, 11, 2, 201-218.

Hills, M. D. (2002). Kluckhohn and Strodtbeck’s Values Orientation Theory. General Psychological Issues in Cultural Perspectives. 3.

Wilcox, Jill. (2016). The hijacking of the words, diversity and inclusion. ( I am not able to insert the URL here)

Millennials have a different definition of diversity and inclusion

https://www.fastcompany.com/3046358/millennials-have-a-different-definition-of-diversity-and-inclusion

The Meaning of Safety in Common Spaces

I work at a university as a teacher of intercultural learning and development. That means I work with students to learn about their own cultures so that they are better prepared to understand other cultures. You see, we want to graduate students who are globally marketable and are able to think past their own identities.

I have developed many workshops over the years to address such learning outcomes. One of the developmental workshops/classes is called Safe Zone. It was developed by Anthropologist, Dr. Susan Allen, among others, originally to address sexual minorities, and then began to include intersectional identities deemed, “Not in the mainstream.” That was back in the 1970s, and we continue this important work of building allies today.

With the recent focus on inequities across all social constructs, there remains a focus to help institutions build community, foster a sense of belonging for all, and address emotional well-being. As I continue to say, it’s a life-long journey. When one asks me, “How long with this take?” My favorite answer is, “A life time.”

I have a class called, History of Exclusion, Implicit Bias, Aggression, and Language. I present this here as a way for us to think about the environments that we build in order to exclude, which is the opposite of building community. Here is a quick primer:

Justification:

As with any intercultural learning processes, all students , no matter who you are, must understand and internalize the benefits of being globally aware, confident and competent. This learning is not a “check box,” nor is it a “once and done” process.

The goal is for a us to move toward “allyship,” with historically excluded groups with “Authentic Allyship.” For example:

“Performance Allyship,” i.e. extrinsically motivated and tends not to be sustainable. Rather is tends to be “a means to an end.”
“Authentic Allyship,” intrinsically motivated and tends to promote positive and sustainable change in systemic exclusion.

If we are asking ourselves and teaching our children to function in a global society, we must model that same “self and other” awareness. Here’s a way to begin:

Learn about your own identity and the characteristics that make up your culture.
Learn about the identities of others and what about those identities that make up their cultures.
Internalize how this understanding contributes to cohesion and the equitable representation of multiple identities in the class (room), in community, and in societal settings.

Intended Outcomes: Participants in this practice internalize their personal journey in Authentic Allyship with persons who identify with populations not part of a dominant. Practitioners of allyship understand how their own stories influence how they view the “other.” Practitioners of allyship find common ground to learn the stories of “others” and build relationships. Ultimately, practitioners of allyship advance the concepts of “Community, Belonging, and Emotional Well-being” for all.

As you look for readings, look for key words in the following topics.

Topics Covered:

History of the exclusionary acts that contribute to racism and other “-ism” constructs
Understanding Implicit biases and its effects in building relationships
Understanding different types of aggressions: how do they affect the relationship between the aggressor and their “targets,” including:
- Micro-invalidations
- Micro-insults
- Micro-assaults
Understanding the language that further “minoritizes” and separates one group from another.

Again, we promote: “Community, Belonging, and Emotional Well-being”

This is what I want for us:

Thank you for reading.

My Favorite Words

I snapped the featured image at my former house in another part of the state in which I lived. I love the way the foliage framed this bird, which now I can’t remember if it is a robin. The color is not there, and I am looking at backside of the feathered creature. Of course, my featured images do not necessarily have anything to do with my story. I just like to post interesting pictures. Today, I shall discuss language.

Language is a beautiful thing, no matter the mother tongue. I continue to be amazed at the sounds, the phonemes of languages. The way the words tumble in the throat, the mouth, on the tongue, and over the teeth are like music to me. One time I was at an international bike race in Madrid, Spain. I stood in a crowd of spectators. I heard Castilian, French, German, Portuguese, and Italian! Total ear candy to hear and experiences all those wonderful languages. That was more than 10 years ago, and that was about the time I began to collect words. I have a little book in which I often write some of those words. I don’t always have the book with me, so it’s missing many great words. Most of the words are in English, but many are in other languages. Then, the English language dictionary is a product of, roughly, 75 different languages. I learned this phrase from a friend, Linda, who is a writer: “English doesn’t borrow from other languages. English follows other languages down dark alleys, and knocks them over, and goes through their pockets for loose grammar!” I don’t know who originated this thought, but it does explain why speakers of other languages often struggle with phonetics and grammar when learning English.

When I collect words, often, I write them in this little book I carry in my hand bag.

Here are some of my words. Say them, and think of how they sound, and what parts of your mouth, tongue, throat, lips, or teeth you use when saying them.

Clostridium Botulinum – the bacteria that contributes to food poisoning

Senegalese – People from Senegal (Beautiful people from a Francophone country in Africa)

Evapotranspiration – The process of water transferring from land to the atmosphere, from soil, surfaces, and plants.

Heuristic – Hands-on learning

Agitized Dolomite – Simply, flint. There is a great place north of Amarillo, Texas, called the Alibates Flint Quarries. It’s a great place to see this lovely mineral.

Monongahela – One of the rivers that converge around Pittsburgh, Pennsylvania. It meets the Allegheny (another one of my favorite words), and the Ohio rivers. Pittsburgh is a lovely city, and the rivers offer a spectacular view! The names of the rivers likely come from Indigenous languages of the Lenape peoples.

Hamor Gador – This is Arabic for “You big donkey!” Be sure to roll your “Rs” when you say the term.

Epigentics – (Spell check does not like these words!) – It’s the study of changes in organisms that do not involve alterations to the DNA sequence.

Be assured, that I’m not an expert in all the discipline from which I gather these words. I have picked them up along the way of my reading.

Forsythia – A lovely, yellow bush that blooms in the spring. It’s in the olive family.

Crepuscular – For 22 years, I was a volunteer teacher at a zoo. My specialty was birds and geographical distribution of animals. Some of our education animals (we called them, “ambassadors”) were active, primarily at twilight (dawn and dusk). They included hedgehogs and chinchillas. Other animals, not in our education program, include skunks and bobcats. I am a hunter, and the best time to harvest a deer is at dawn and dusk.

Geosynchronous – Awww…One of my most favorite, being a geographer, is when a satellite’s orbit is with that of earth’s rotation. (Geo, meaning earth). Another one of my favorite geography words is, Cartography, map-making.

Shukriya – is Urdu for “thank you.” It’s pronounced Shoe-cree-yah. Lightly roll the “r.” It’s a lovely sound. I learned a few Urdu words from a group of Pakistani farmers visiting the experiment station where I used to work. It was great fun working with them.

Yikes! – This is American English slang for “Oh, my!” Perhaps it can be likened to the Swedish, “Ufda!” or the Yiddish, “Oy Vey!” Some of the others are escaping me at the moment.

Sebastian Cabot – This is the proper name of a British actor who no longer lives among us. I saw him in a weekly television show called, Family Affair. He played the butler to the bachelor who inherits a deceased relative’s children. I just like the poetry in the sound of the name, Sebastian Cabot.

Speaking of names, I have a friend who recently married (I was the officiant of said marriage!). Anyway she took the name of her spouse, and her name became, Christina Rose, and that’s another given name that has a nice rhythm to it. I feel like one could conduct, with a baton, when one utters this name.

I like the rhythm of names, bi-nomial-ly speaking, especially when there two syllables to one of the names followed by one syllable or vice versa. For example, my own children’s names are Stevie Dean and Riki Lee (may her name be for a blessing). I’m not sure that I did that deliberately (since it was nearly 4- years ago), but I know I’ve always liked the rhythm of words and names.

There are all forms of words and their sounds. Perhaps another blog could focus on words that phonetically imitate sounds that describe them. One of my favorites is oink! It’s the sound a pig makes, but when one says it, it’s hard not to think of a pig’s, sort of, greeting!

As long as I’m going for random, here’s a picture of another favorite: rock hunting. I snapped this photo while rock hunting on the Arkansas River in Colorado, not far from the headwaters of this river that starts in Colorado, runs through Kansas to Arkansas (Ar-can-saw). Kansans call it the “Ar-Kanzaz” river, which took me a bit to get used to when I moved to this state 30 years ago.

Thank you for reading. Next time, I will tell you about some of my latest kitchen tests.

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: