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Sunday, June 2, 2019

Mother Lines Genealogy - Part 1 - by Savvy Mom Ruth Paget

Mother Lines Genealogy – Part 1 – by Savvy Mom Ruth Paget

Anyone who has done genealogy as a hobby knows how exciting it is to find the name of a man’s wife.  A whole new branch on the family tree opens above her.

Unfortunately, most of the research centers on her father, because details about a woman’s life are usually limited to her birth (or christening), marriage, and death.

“Would I want my life reduced to those dates alone?” I asked myself as I was putting together family trees to give out as Christmas presents as well as Photostats of family photos with identifications photographed along with them. 

I have hedged my bets against this happening by keeping journals since the age of ten when I began doing genealogy for a school project, which included interviewing and taping grandparents and parents.

However, I wanted to do something for the women on my family tree chart to flesh out their existence a bit.

I thought of doing research on food, since almost all women in the past had responsibility for cooking it or supervising staff who did. 

Best of all, I could make use of my family’s treasure to do the initial research: 103-year-old Aunt Winnie, my grandfather’s sister, who had gone to college at the University of Wisconsin – Whitewater to earn a teaching degree along with her older sister. 

(My great-grandfather William Sawle, a ship captain turned famer, thought educating women was more important than educating men, because they raised children.)

Aunt Winnie would use any pretext for entertaining guests and immediately invited me over for the weekend.  After working her crossword puzzle in the morning after my arrival, she told me that I would have to measure out the various ingredients, because she did everything “by eye.”

Her living room sized kitchen had a real iron, wood burning stove and a six-foot gray marble counter top in the pantry.

Even though I was in my thirties, Aunt Winnie still called me her “little lemonade maker,” because that is what I begged to do every time I went to visit “the farm,” whose name was Rosevale.  Lemonade was the only beverage served on the screened in back porch where we ate “dinner” at lunch time and “supper” at dinner time.

The official lemonade recipe I measured out follows:

-one cup of sugar
-juice of two lemons
-3 quarts of water

Aunt Winnie shared a trick for adding flavor to this basic preparation:

Slice the lemon rind in ringlets and crush them to release their oil.  The lemon ringlets look festive in the glasses as well.

What Aunt Winnie was most popular for were her cookies.  She kept them in a stemmed glass bowl on low, marble topped table for children on the back porch.  The anise, sorghum, and molasses cookies she kept there intrigued generations of Sawle family children.  (Sawle is my mother’s maiden name.)

I refused to believe that the anise cookies I loved as a child were related to black licorice, a candy I still dislike.  I thought the cookies were made with vegetable shortening like Crisco.

“You really don’t use Crisco to make those cookies, do you?” I asked a few times.

“Lard isn’t Crisco,” Aunt Winnie finally responded. 

“Real lard is good for you,” she continued.

“What is lard made of?” I asked.

“Lard is the rendered fat of a pig,” Aunt Winnie continued with her real world food lesson.

She was ignoring me and answering my question at the same time.

“I wish they had invented plastic wrap when my mother was alive.  Whenever we butchered a pig, there was so much blood, and mother kept changing the sheets to keep everything clean.  She would have loved throwing away plastic wrap,” Aunt Winnie said.

Aunt Winnie could tell I was squeamish about these food details, but later in life I am happy to say that my ancestors could butcher a pig like Italy’s famous Norcian butchers.

End of Part 1.

To be continued.


By Ruth Paget, author of Eating Soup with Chopsticks and Marrying France

Click here for:  Ruth Paget's Amazon Books

Wednesday, May 29, 2019

The Black Madonna Phenomenon - Part 2 - by Savvy Mom Ruth Paget

The Black Madonna Phenomenon – Part 2 – by Savvy Mom Ruth Paget

Malgorzata Oleskiwicz of the University of Texas – San Antonio researches the concept of personal geography and the role of black Madonnas in Latin American and Eastern European liberation movements.

The brown Virgen of Guadalupe figures into the “Black Madonna” pantheon according to Oleskiwicz.  Filming religious ceremonies of Brazilian descendants of Yoruban slaves from Western Africa (primarily modern-day Nigeria), Oleskiwicz was struck by how similar the iconography and religious practices were between Yoruban and Polish worshipers.

Why so many people are drawn to black Madonnas was discussed by Lucia Chiavola Birnbaum of the California Institute for Integral Studies and China Galland of the Graduate Theological Union.  Both emphasized that we must respond to this phenomenon with academic rigor.

Birnbaum happily told the group, “Male geneticists and anthropologists have pinpointed the origin of human life in Africa.  And, migrating Africans took their goddess with them.”

Galland pointed out that despite our common genetic origins, the manifestations of the black Madonna are as different as the cultures within which they develop.

For Galland, the black Madonas beckon us to defend life on Earth.  She stressed that our real enemies are not people, but greed, hatred, delusion, and jealousy.

Galland encouraged participants to have everyday spiritual practices such as prayers, caring for plants, preparing family meals, and outdoor walks to bring love into our lives.  These acts allow us to transform anger and act with compassion and levelheadedness.

The birth of Chicana artist Rosa M’s son prompted her to literally deconstruct the Virgen of Guadalupe down to the bones.  She left only the heart inside a painting of the Virgen, wanting to pass on to her son something that would reflect both their Indian and European heritage.  She left the heart to show that “We mature as individuals, when we sacrifice ourselves for others.

Anne-Marie Sayers, founder of the Costanoan Indian Research Center and chronicler of the persistence of culture offered wise remarks about resilience:  When the ceremonies stop, so does the Earth.”

By Ruth Paget, author of Eating Soup with Chopsticks and Marrying France

Click here for:  Ruth Paget's Amazon Books



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The Black Madonna Phenomenon - Part 1 - by Savvy Mom Ruth Paget

The Black Madonna Phenomenon by Savvy Mom Ruth Paget

In addition to reviewing restaurants for the Monterey County Weekly (Circulation: 200,000 – California’s Central Coast), I also wrote several art reviews and covered the 9th annual Virgen of Guadalupe Conference organized by Dr. Jennifer Colby of California State University – Monterey Bay.

The conference was held in San Juan Bautista, California and began with an extensive discussion of the Virgen of Guadalupe and led to the topic of Black Madonnas worldwide.

The article I wrote follows with a few edits:

Mary, Mary, Quite Contrary

The Virgen of Guadalupe’s mythic story has roots that reach back centuries and still moves believers.  It begins when the Indian Juan Diego first sees the Virgen on Tepeyac Hill outside Mexico City, a site sacred to the Aztec goddess Tonantzin.

The Virgen asks Juan Diego to have the Catholic bishop build her a shrine.  When the bishop refuses, the Virgen makes Castille roses bloom in December.  Juan Diego takes these to the bishop.

When Juan Diego removes the cloth holding the roses, an image of a finely featured woman with brown skin appears.  She wears a blue mantle decorated with stars.  A golden aureole radiates behind her.

The Virgen of Guadalupe’s influence continues to this day, and her presence radiated throughout the 9th Annual Virgen conference that Dr. Jennifer Colby organized last weekend in San Juan Bautista, California.

Working in the fields as an activist, Colby witnessed firsthand how the Virgen galvanizes and sustains farmworkers. 

Conference attendee Shirley Flores pointed out that it took the Catholic Church hundreds of years to accept the Virgen of Guadalupe as she is.  Even now, the Virgen of Guadalupe occupies back chapels and is considered as “the other” Madonna.

CSU-Monterey professor Amalia Mesa-Baines summed up why we become attached to images like the Virgen of Guadalupe’s:

The spiritual belongs to us at all moments.  She is everywhere.  But, when we are weak, we need an icon.  The icon is not the spirit, but it calls it up.

Mesa-Baines added that the Virgen functions through geography.  Virgin sightings happen near trees, rivers, and circles of stones.  We make pilgrimages to these sites.  Local shrines are erected where an accident or death occurred.  A picture of the Virgen always decorates these spots.

End of Part 1.


By Ruth Paget, author of Eating Soup with Chopsticks and Marrying France

Click here for:  Ruth Paget's Amazon Books

Tuesday, May 28, 2019

Film Club for French Language Students by Savvy Mom Ruth Paget

Film Club for French Language Students by Savvy Mom Ruth Paget

The inspiration for a small (4 – 6 people) French Film Club came to me when I lived in Stuttgart (Germany) for five years.

The German government sponsors film clubs throughout the country in movie theatres.  A small film club in a home should not charge admission, but you can seek direction on the issue of performance rights from the Motion Picture Association of America (MPAA).

While watching contemporary films, I have put together suggested study group guidelines for viewing films.  This film club does not replace film studies in a university.  However, a student coming into a university course with a good background in film can augment classroom studies to find industry entry-level jobs.

As a librarian, my film study group to go along with a French Film Club unashamedly requires reading books to organize your learning of history and techniques.  Studying technical solutions to filming problems in the past might save you money, if you are making your own film now.

Introduction to Film Criticism

Everyone wants to be a film critic, but you should know the difference between a film reviewer and a film critic first.

A reviewer has learned the techniques of a review, but usually lacks an extensive background in the history of film to make reference back to older films that helped create the environment for the current one to exist.

You usually start as a reviewer and become a critic as your knowledge of film history increases.

A critic knows film history, refers to film history in reviews, and will fight to preserve art that exemplifies the best aspects of human civilization.  (If you need to know what human civilization is read some anthropology books; I am a scientist.)

The two books that I like as an introduction to understanding all aspects of making a film and judging narrative (storyline with a climax and dénouement) follow: 

Level 1 – Introduction to Film Making

-Read Understanding Movies by Louis Gianetti

-Read The Power of Film by Howard Suber

Level 2 – Film Reviewing Books and Criticism

-Read A Short Guide to Writing about Film by Timothy Corrigan

-Read Cahiers du Cinéma: The 1950s: Neo-Realism, Hollywood, New Wave by Jim Hillier

-Read Cahiers du Cin̩ma: 1960 Р1968: New Wave, New Cinema, Reevaluating Hollywood by Jim Hillier

Level 3 - Film History Books

-Read The Oxford History of World Cinema by Geoffrey Nowell-Smith

When I began learning about film, I read this chapter by chapter and noted the names of all the films mentioned in each chapter to plan films to rent from Netflix at the time.

Level 4 – French Film History Books

-Read the French Cinema book by Michael Temple
and make notes of films to rent and watch

-Read The Writer’s Journey: Mythic Structure for Writers by Christopher Vogler

This section is also a good place to define the difference among the terms movies, motion pictures, cinema, and film:

Movies = motion picture

Motion pictures = movies as a genre (type of art) or entertainment

Cinema = motion pictures collectively as an art form

Film = motion picture industry

Level 5 – Understanding Scripts

Scripts are like blueprints for a house.  The shooting script a director uses is very different from the “dialog script” with minimal directions that you send to Hollywood readers on staff for agencies or directors.  To write your first script, the following books and magazines are helpful:

-Read Screenwriter Magazine

I subscribed to Screenwriter magazine for my daughter Florence, so she could learn about writing and selling scripts to encourage her to read and write.

She read that magazine for ten years and was later accepted into and graduated from Juilliard’s playwrighting program.  I think they did a good job explaining technique and business for this reason.

-read The Screenwriter’s Bible: A Complete Guide to Writing, Formatting, and Selling your Script by David Trottier  - (Better for dramatic films)

-read Documentary Directing and Storytelling: How to Direct Documentaries and More - (Better for Documentaries)

-read The Hollywood Standard: The Complete and Authoratative Guide to Script Format and Style by Christopher Riley

-read The Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives by Lajos Egri

Level 6 – French Film Club Activities

-Activity 1 – French Speaking Activity

Using Lajos Egri’s book The Art of Dramatic Writing analyze the film you are watching to identify the “I-must-have-this-or-die” theme and present your point of view with examples from the film to back up your position in French.

-Activity 2 – French Speaking Activity

Speak in French and tell your film group what 3 conditions would have to exist for you to change your position about your interpretation of the film.

Hold a discussion in French with your film group to see if alternate interpretations of the film exist starting with your conditions.

-Activity 3 – French Writing and Speaking Activity

Using Corrigan’s A Short Guide to Writing about Film, watch a French film twice as he advises and use his shorthand to write a review of the film in French.

Once the reviews are written, go around the club and read the reviews.

Discuss the reviews, if you have time.  If you do not agree with someone, have 3 examples to back up your argument against the person’s conclusions.

-Activity 4 – French Speaking Activity

Discuss in French what kinds of people or markets this kind of film would appeal to for writing up in a marketing plan.

-Activity 5 – French Speaking Activity

Discuss in French how a market for this film would find out about your film. 

Where would these people buy the films?  Red Box outlets? 

Are there any payment impediments?

Are there impediments for getting merchandise to outlets like Red Box?

-Activity 6 – Trade Show Presentation in French Activity

Write up a sales presentation for your film in French for a trade show.  Pretend you are at the Cannes Film Festival.

Take turns presenting your film and answering questions about it.

Ask people asking questions, what kind of distribution network they represent. 

How many movies theatres do they have? 

How many seats could they fill for a 6-month run with full occupancy? 

How many homes do they serve with their satellites for movie downloads?

Do they have Red Box like distribution points at rural grocery stores, hotels, and gas stations?

-Know what your minimum sales figure is.  Production costs with a mark up by 4?  For example, $10,000 x 4 = $40,000. 

You have to remember to make sales that are profitable and you must know how much it cost to make your film to do this.

- Activity 8 – French Speaking and Writing Activity

Watch a French film and make a list of all items in it to do merchandise sales associated with the film.

Translate the names of the items from English to French.  (This is harder than it sounds.)

Prepare a sales presentation in French of merchandise associated with the film in groups of 10 items each with different branding associations.

As a group, make a 1 sentence “log line” to describe the film and sell it with “queen of cool” brio.

Do a trade show role play.  Have 1 person be the film salesman and another will be the merchandise salesman.  The other two people in the group will be customers.

Do the role play for 15 minutes.  Take notes on what you learned.  Look up phrases you needed to know and repeat the trade show a few times.

Take notes on what you learned in French.

Bonne Continuation.

By Ruth Paget, author of Eating Soup with Chopsticks and Marrying France

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