Category Archives: Culture

Ben Vereen Honored with Lifetime Achievement Award in Kickoff to 9th Annual Gold Coast International Film Festival

Gold Coast Arts Center, Long Island, honors Actor, Entertainer Ben Vereen with Lifetime Achievement Award at opening of 9th Annual Gold Coast International Film Festival © Karen Rubin/goingplacesfarandnear.com

by Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Actor, entertainer Ben Vereen, honored with a Lifetime Achievement Award by the Gold Coast Arts Center, Long Island, at the opening of its 9th Annual Gold Coast International Film Festival, Nov. 4, 2019, brings a spiritual message to the arts which explains why he has been such a strong advocate for arts education, mentor and humanitarian.

“If you would ask, ‘Why is life so important to you?’ I would say, ‘In the beginning God created.’ It’s not ‘in the beginning God manufactured’. We are living, walking, talking art pieces of the One who created us. Our job is not just performing arts, but one aspect of life itself. Life is an art piece for everybody to see. We’re supposed to care for each other, love each other, show the wonders of creation – this building, these seats – didn’t just come here, they came from thought. A thought and we bring forth that which is manifested. 

“Arts have saved people throughout the centuries. Art has calmed people from war. Art is here to embrace our lives. We are healed through the arts.”

Vereen tells the audience which included the young people from Uniondale High School who performed in their nationally acclaimed choir, Rhythm of the Knight, “Go play in hospitals. When someone would come to do art, music, singing, the vibration in building is higher. It’s important we support – we call it the arts- what it really is is ‘Let’s support life,’” he said to applause.

“The arts. Change the name to life – arts of life, the teaching part of life, the engineering part of life is all art.

If we give our children arts from the beginning, they will be better at school.”

And what do you tell a young person about pursuing a career in arts? Dilla asked. “Know thyself, study you, who you are, you are that art you would bring forth. Be conscious of who you are. It’s okay to take baby steps, eventually you will get you there. Don’t take rejection as a ‘no’ to your life – your life isn’t over, just a steppingstone to your higher self. Keep stepping up.

“We need you. Your form of art may not be on stage, it may be going to government. Your art might not be an interviewer like Frank Dilella, it might be to head a country and make the world a better place for everybody. Know thyself and to thine own self be true.”

Vereen offered insights into his life in a conversation with Frank DiLella, Emmy Award winning host of On Stage on Spectrum News NY1.

Lifetime Achievement honoree Ben Vereen with Gold Coast Arts Center and Film Festival Founder & Executive Regina Gil, and Frank Dilella, host of Stage on Spectrum News © Karen Rubin/goingplacesfarandnear.com

Vereen was honored for his epic performances that have been woven into the fabric of the nation’s artistic legacy – first coming to worldwide attention as Chicken George in the ground-breaking television series, Roots for which he won an Emmy nomination in 1977. He won a Tony Award as well as the Drama Desk Award for Best Actor in A Musical in 1973 for Pippin; and starred in Jesus Christ Superstar, Fosse, Hair, Jelly’s Last Jam, Chicago, I’m Not Rappaport and Wicked; and films including Sweet Charity and All that Jazz

Vereen’s recent projects include the TV series Bull and Magnum PI, FOX’s Star, produced by Lee Daniels, Sneaky Pete with Bryan Cranston, Rocky Horror Picture Show, Time Out of Mind with Richard Gere, and Top Five with Chris Rock. He is currently working on his new Broadway musical, Reflections, written by Joe Calarco, to be directed by Tony nominee Josh Bergasse with music by Stephen Schwartz.

Vereen is heralded for promoting the talents and careers of young people – through education and access to the arts – wherever he gives concerts he holds master classes and in past concerts has provided the opportunity for a talented newcomer to make their debut on stage with him – and for his humanitarian work for which he has received numerous awards including Israel’s Cultural and Humanitarian Award, three NAACP Image Awards, Eleanor Roosevelt Humanitarian Award and a Victory Award.

In 2016, he signed with Americans for the Arts, the largest advocacy group of Arts in America and has spoken before Congress defending funding for the National endowment for the Arts.

Ben Vereen spoke of his career and his calling in a conversation with Frank Dilella:

Asked about how he got started in show business, a boy of modest means from Brooklyn, he said, “This career chose me.

“This career was handed to me. In my community in Brooklyn going to the High School of Performing Arts was like being a prodigal son. It is hard to say when I chose this, because it chose me. I would never have left Brooklyn except for performing arts school – –known as the Fame School.

Apparently he got into trouble, because he was placed in a so-called “three-digit school”.

“I was placed in class with Mr. Hill, the director of theater. I was with guys named Killer, Shank Diablo. Mr. Hill said he wanted me to do King and I. I went to the Brooklyn Academy of Music – they had an all-African American company – 100 musicians – and did King and I. That was it – that was the bug.

Vereen attended the High School of Performing Arts from the age of 14 – where he studied dancing with stellar choreographers Martha Graham, George Balanchine and Jerome Robbins.

He was 18 years old when he made his New York stage debut off-off-Broadway in The Prodigal Son at the Greenwich Mews Theater. The following year he was in Las Vegas performing in Bob Fosse’s production of Sweet Charity

He describes the audition for Sweet Charity.”Every dancer was on stage to audition – Bob Fosse was the coolest, he moved so smooth. He did the combination, smoked cigarettes, the ashes wouldn’t fall. He made the cut of dancers. Then it was time to sing. I had never seen a Broadway show.” He had nothing prepared but mimicked another and got the part anyway, going on to tour with the production from 1967-68.

He made his Broadway debut in original production of Hair. “It was a groundbreaking show, it made history.”

A real breakthrough was meeting Sammy Davis Jr. He reflected how important an influence Sammy Davis Jr. was to him. “Sammy was the first African American that I watched on tv. My father loved tv. One night Sammy was on the Ed Sullivan show.

Sammy saw Vereen at an audition. “I had attitude – Sammy Davis Jr saw it. He invited me to have dinner and hired me for Golden Boy. That’s where it began. I followed him, wanted to be like him, dress like him, the coolest cat. He loved everybody. People don’t give Sammy enough credit – he wasn’t just a song and dance man, but a great humanitarian. He died penniless because gave all his money to everybody.”

Davis took him on tour of Golden Boy to London when he was 25. That’s when he discovered he was adopted by James and Pauline Vereen, when he applied for a passport.

Vereen went on to be cast opposite Sammy Davis Jr. in the film version of Sweet Charity, and then as Davis’ understudy in Golden Boy in England.

His life changed – and nearly ended – on one fateful day in 1992 when he had three accidents the same day that put him in an ICU for 42 days when doctors thought he might never walk again.

“I don’t remember being hit by a car. The interesting thing about the spirit which inhabits this body, it decides to take a break, ‘but I’ll be back’. All I remember – Pamela [Cooper, his manager] told me this – I was driving and hit a tree, which damaged an artery in my brain. I was walking home, got a stroke, and was hit by an SUV. Amazingly, it was somebody I knew – David Foster, who I had met in Canada, a famous songwriter who wrote for Whitney Huston, Celine Dion, who had said, “We should get together.’  He could have left me and I wouldn’t be sitting here today but he stayed; he called 911, cradled me, waited for paramedics. They flew me to the hospital ICU. They told me I had a broken my left leg, suffered a stroke on right side, took out my spleen, I had an apparatus attached to my head, and a trach. The last thing I remember was getting into my car.”

“[In my mind I am thinking] what happened, why am I here? I can’t talk. All these things are going through your mind – this can’t be happening, I have show on Saturday.

“They told me it will be at least three years if you’ll ever walk again. At that point, I had just met a wonderful woman, Rev. Doctor Johnnie Coleman in Chicago [known as the “First Lady of the New Thought Christian Community]  who taught metaphysics and would say,  ‘Whenever you have something negative coming at you, learn this mantra, Cancel. That’s only man’s perception. Cancel.”

Meanwhile, he reflected, people crowded the hospital lobby praying for him. “There were letters, boxes of letters come in. Looking at boxes, thinking were bills, but they were from you [the fans].”

“[The doctors were saying] ‘We think you should think about another occupation.’ So when they sent in an occupational therapist, I thought they were to get me a new occupation instead of teaching me fine motor skills. Cancel, Cancel – I couldn’t talk.

“I said to myself if I can’t walk again, Lord, whatever you want me to do I’ll do… I had to show up – I couldn’t just lay there and ask God to heal me. I got to show up.”

“The thing about prayer, how it works – the doctor instinctively knew where to cut- spirit is always working in our favor. Steven Hawkins became my hero – if you can do that with Steven Hawkins, here I am.”

At the rehabilitation center in Kessler, NJ, he recalls, “There was a young man who had been shot named Michael Jackson, an orderly called Juice because he delivered the juice but his real name was Glen Miller, a therapist named Jerry Lewis.

“You don’t have the luxury of a negative thought. But I did what no one thought I could do, get back on Broadway.”

He was told there would be a part for him in Jelly’s Last Jam if he could be ready.

The therapists from Kessler went to show, and said, “We can do this, and a few months later, I walked on stage in Jelly’s Last Jam.

“Hear what that story is really about: the inner spirit is stronger than our physical human understanding of who we are. The idea, called surrender, take me as I am, I will go.”

Asked what he considers the highlight of his career, he reflects back to Roots.

“I heard about a show, Roots. Every African American in the world wanted to be a part of that. I go back to the same agent who said Pippin won’t make it and told him ABC was brave enough to put on show, Roots and I wanted to be a part. ‘Be real,’ he said. ‘They’re looking for actors. You’re song and dance man. So I went to Chicago –I was introducing Sister Sledge – then went to Savannah,Georgia. I did a character Bert Williams – African Americans in show business had to wear blackface and Williams made it art form. I did a tribute to him. [Roots’ producer] Stan Margulies knocked on my door and said he loved the show. ‘We’re shooting Roots for ABC, I want you to be my Chicken George.’ I fired my agent and off to Hollywood I went.”

In being awarded a Lifetime Achievement Award from the Gold Coast Arts Center, Ben Vereen is in good company. Previous honorees and special guests of the Gold Coast International Film Festival include film industry VIPs Francis Ford Coppola, Hugh Grant, Robert Wagner, Jill St. John, Baz Luhrmann, Brian Dennehy, Paul Sorvino, Ed Burns, Bruce Dern, Isabella Rossellini, Lou Diamond Phillips, Morgan Spurlock, Eli Wallach, Gabriel Byrne, Jacques Pepin, Bill Plympton, Phil Donahue, Phylicia Rashaad, Joan Allen, Jay McInerney and Michael Cuesta, as well as composer Morton Gould, artists James Rosenquist, Oleg Cassini, Edwina SandysandBob Gruencomedian Susie Essman, Broadway stars Kelli O’Hara, Melissa Errico andSavion Glover, and 4-time Oscar winner for production and costume design Catherine Martin. 

Ben Vereen with another Gold Coast Arts Center Lifetime Achievement honoree, artist Edwina Sandys, who is Winston Churchill’s granddaughter © Karen Rubin/goingplacesfarandnear.com

The 9th annual Gold Coast International Film Festival taking place From November 4-13, 2019, presents more than 80 feature-length and short films in venues throughout North Hempstead, Long Island and an opportunity to

This year’s highlights include The Two Popes, starring Anthony Hopkins and Jonathan Pryce; which will be the Festival’s Closing Night Spotlight Film. Other films of note this year include Marriage Story, starring Scarlett Johansson and Adam Driver, Portrait of a Lady on Fire, the winner of the Best Screenplay at this year’s Cannes Film Festival and Clemency, starring Alfre Woodard, which won the Grand Jury Prize at the 2019 Sundance Film Festival. The Festival will also be screening By the Grace of God, the Grand Jury Prize winner at the 2019 Berlin International Film Festival.

“Films are a unique art form, bringing together drama, dance, music, art in 90 minutes. It’s one of the most accessible and affordable art forms. You come together with 200 others, smile, laugh, cry, think, learn, and sometimes be moved to action. How often do you get to hear from artists and creators how and why they made the film?” reflected Caroline Sorokoff, the festival director.

Among the narrative films that will provoke thought and action, “Wasted! The Story of Food Waste” from executive producer Anthony Bourdain, co-sponsored by Island Harvest, the first film in a new Gold Coast series spotlighting social issues of concern to Long Island.

Uniondale High School’s Show Choir, Rhythm of the Knight, performs as Gold Coast Arts Center, Long Island, honors Actor, Entertainer Ben Vereen with Lifetime Achievement Award at opening of 9th Annual Gold Coast International Film Festival © Karen Rubin/goingplacesfarandnear.com

The Gold Coast Arts Center is a nonprofit 501(c)(3) organization dedicated to promoting the arts through education, exhibition, performance, and outreach. Located on the North Shore of Long Island, it has brought the arts to tens of thousands of people from toddlers, tweens, teens to totterers throughout the region for 25 years. Among the Center’s offerings are its School for the Arts, which holds year-round classes in visual and performing arts for students of all ages and abilities; a free public art gallery; concerts and lectures; film screenings and discussions; the annual Gold Coast International Film Festival; and initiatives that focus on senior citizens and underserved communities. These initiatives include artist residencies, after-school programs, school assemblies, teacher-training workshops, and parent-child workshops. The Gold Coast Arts Center is an affiliate of the John F. Kennedy Center for the Performing Arts Partners in Education program, and the National Gallery of Art in Washington, D.C. More information can be found at www.goldcoastarts.org.

Gold Coast Arts Center President Jon Kaiman and Founder and Executive Director Regina Gil (center) with North Hempstead town Councilwoman Viviana L. Russell, North Hempstead Supervisor Judi Bosworth and Nassau County Executive Laura Curran. The Gold Coast Arts Center, Long Island, honored Actor, Entertainer Ben Vereen with Lifetime Achievement Award at opening of 9th Annual Gold Coast International Film Festival © Karen Rubin/goingplacesfarandnear.com

For information about upcoming films in the Festival’s year-round film screening program plus the latest news on the 2019 Festival visit www.goldcoastfilmfestival.org 516-829-2570.

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Feeling Like a Foreigner in my Hometown: Global Scavenger Hunt Ends in New York City

Feeling like a foreigner in my own hometown, I undertake my last scavenge of the 2019 Global Scavenger Hunt at the Metropolitan Museum of Art in New York City, to uncover art from five of the countries we visited on our 23-day around-the-world mystery tour © Karen Rubin/goingplacesfarandnear.com

by Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

The Global Scavenger Hunt teams arrive in New York City for the last leg of the Global Scavenger Hunt, a mystery tour that has taken us to 10 countries in 23 days.

Bill Chalmers, the ringmaster and Chief Experience Officer of this around-the-world mystery tour, has designed the rules, challenges and scavenges to get us out of our comfort zone and immerse us in a culture, fine-tune our skills as world travelers, and most significantly, “trust in the kindness of strangers.”

Back in New York, he is delighted all 10 teams circumnavigated the world “in one piece” without dramatic incident, in this, the 15th annual Global Scavenger Hunt competition.

There is one more challenge in New York (an easy urban Par 1), and even though, based on points and placement, the winners of the 15th annual, 2019 edition of the Global Scavenger Hunt have been determined, still the teams go out and give it their all. The four teams still in contention must complete at least one of the scavenges in New York, and complete their time sheet and hand in by the 4 pm deadline.

Paying tribute to John Lennon at Strawberry Fields, in Central Park, one of the New York City scavenges on the Global Scavenger Hunt (c) Karen Rubin/goingplacesfarandnear.com

Examples of the scavenges: take in a Yankees game or a Broadway show (actually difficult because of the deadline of 4 pm); have one of each of following: a New York bagel, a New York hot dog, a New York deli sandwich, a slice of New York pizza, New York cheesecake, a New York egg cream, or an old-fashion Manhattan; locate five pieces from five of the nations you just visited in the Met; visit Strawberry Fields to pay John Lennon tribute; do one scavenge in each of the five boroughs of New York City.

A native New Yorker, this is really my turf, though there is the oddest sensation of feeling like I am in a foreign place, reminding myself of what is familiar and not having to think twice about things like language, currency, drinking water from the tap, eating raw vegetable, the street grid).

In fact, that is the genius of the way the Global Scavenger Hunt is designed – we are supposed to feel off-balance, disoriented because that’s when you focus most, the experiences are more intense, you are out of your comfort zone and need to rely on the kindness of strangers, as opposed to the style of travel where you stay long enough to become familiar, comfortable in a place so it (and you) no longer feels foreign.

On the hunt for an object from Morocco, in the Metropolitan Museum of Art © Karen Rubin/goingplacesfarandnear.com

I elect to take up the challenge of going to the Metropolitan Museum of Art to seek out objects from five of the countries we visited (Canada, Vietnam, Myanmar, Thailand, Abu Dhabi, Jordan, Greece, Morocco, Gibraltar, Portugal, Spain). Greece will be easy, of course, but Morocco and Jordan (Petra), Vietnam and Myanmar (Burma) are trickier. It is Chalmers’ way of making us experience things on a different level, and for me, it brings together so much of what we’ve seen, learned and experienced along the way. I have a context in which to appreciate the artifacts, dare I say a personal connection. Indeed, the Metropolitan Museum of Art enables you to travel around the world, be transported over millennia, within the confines of its walls.

I first join a docent-led Highlights Tour, knowing from past experience that these always lead me to parts of the museum I am unfamiliar with, and enlighten me about aspects of art and culture with the in-depth discussion of the pieces the docents select to discuss.

The Three Graces, a Roman marble statue from 2nd C AD copying a Greek theme from the 2nd C BC, is repeated throughout Western civilization, on view at the Metropolitan Museum of Art, NYC © Karen Rubin/goingplacesfarandnear.com

The docent, Alan, begins in the Greco-Roman exhibit with a stunning marble sculpture of the Three Graces, showing how this theme – essentially copied from the Greek bronzes (which no longer exist because the bronze was valuable and melted down for military use) – was repeated over the eons, into the Renaissance and even beyond. Greece. One down.

Obviously, finding an object from Greece would be easy, and I hope to find objects from Vietnam, Myanmar (Burma), and Thailand in the Asia wing where there is a massive collection of Buddhist art (it proves just a tad more difficult, but I succeed).

An object from Burma (Myanmar), at the Metropolitan Museum of Art, NYC © Karen Rubin/goingplacesfarandnear.com

Morocco and Jordan (Petra) prove trickier than I expected, but bring me to an astonishing, landmark exhibit, “The World Between Empires: Art and Identity in the Ancient Middle East,” with an extraordinary focus on the territories and trading networks of the Middle East that were contested between the Roman and Parthian Empires (ca. 100 BC and AD 250) “yet across the region life was not defined by these two superpowers alone. Local cultural and religious traditions flourished and sculptures, wall paintings, jewelry and other objects reveal how ancient identities were expressed through art.”

This is a goldmine for my hunt. Featuring 190 works from museums in the Middle East, Europe and the United States, the exhibition follows the great incense and silk routes that connected cities in southwestern Arabia, Nabataea, Judea, Syria and Mesopotamia, that made the region a center of global trade along with spreading ideas, spurring innovations (such as in water control), and spawning art and culture. It is a treasure trove for my scavenger hunt.

It is the most incredible feeling to come upon the objects from Petra, having visited the site (was it only 10 days ago?) and having a context for seeing these isolated objects on display. I recall seeing their counterparts in the newly opened Archaeological Museum at Petra.

The Greek sun god Helios, from Petra, 1st C BC – 1st C AD, found at Qint al-Bint temple in Petra, visited on the Global Scavenger Hunt © Karen Rubin/goingplacesfarandnear.com

The World Between Empires

The landmark exhibition The World between Empires: Art and Identity in the Ancient Middle East (unfortunately it is only on view through June 23, 2019), focuses on the remarkable cultural, religious and commercial exchange that took place in cities including Petra, Baalbek, Palmyra and Hatra between 100 B.C. and A.D. 250. “During this transformative period, the Middle East was the center of global commerce and the meeting point of two powerful empires—Parthian Iran in the east and Rome in the west—that struggled for regional control.”

The Magdala Stone, 1st Century, Migdal, Synagogue, on the Sea of Galilee. The stone, whose exact function is uncertain, dates to a time when the temple in Jerusalem still stood. One short side features a 7-branched menorah – the earliest such image known in a synagogue – flanked by amphorae and columns. The Migdal synagogue would have been in use during the lifetime of Jesus, whom the Gospels describe as preaching in synagogues throughout Galilee © Karen Rubin/goingplacesfarandnear.com

Among the highlights is a Nabataean religious shrine, reconstructed from architectural elements in collections in the United States and Jordan; the unique Magdala Stone, discovered in a first-century synagogue at Migdal (ancient Magdala) with imagery that refers to the Temple in Jerusalem; and wall paintings from a church in Dura-Europos that are the earliest securely dated images of Jesus.

Sculptures from Baalbek illuminate religious traditions at one of the greatest sanctuaries in the ancient Middle East, and funerary portraits from Palmyra bring visitors face to face with ancient people. The exhibition also examines important contemporary issues—above all, the deliberate destruction and looting of sites including Palmyra, Dura-Europos, and Hatra.

Wall Painting of Christ Healing the Paralytic/Wall Painting of Christ Walking on Water, ca 232, Dura-Europos, Christian building, considered the world’s oldest surviving church. The paintings include images of Jesus Christ performing miracles, and are the earliest securely dated representations of him © Karen Rubin/goingplacesfarandnear.com

“The compelling works of art in this exhibition offer a view into how people in the ancient Middle East sought to define themselves during a time of tremendous religious, creative, and political activity, revealing aspects of their lives and communities that resonate some two millennia later,” stated Max Hollein, Director, The Metropolitan Museum of Art, in a video that accompanies the exhibit.  “Further, in focusing on an area of the world that has been deeply affected by recent conflicts and the destruction of sites, monuments, and objects, this show also engages with complex questions about the preservation of cultural heritage.”

The exhibition evokes a journey along ancient trade routes, beginning in the southwestern Arabian kingdoms that grew rich from the caravan trade in frankincense and myrrh harvested there and used throughout the ancient world. Camel caravans crossed the desert to the Nabataean kingdom, with its spectacular capital city of Petra, which I have just visited, walking through very much as the caravan travelers would have.

From here, goods traveled west to the Mediterranean and north and east through regions including Judaea and the Phoenician coast and across the Syrian desert, where the oasis city of Palmyra controlled trade routes that connected the Mediterranean world to Mesopotamia and Iran and ultimately China. In Mesopotamia, merchants transported cargoes down the Tigris and Euphrates rivers to the Persian Gulf, where they joined maritime trade routes to India. These connections transcended the borders of empires, forming networks that linked cities and individuals over vast distances.

3rd C biblical wall paintings discovered in the Dura-Europos synagogue were exceptional because they demonstrated that early Jewish art included figural scenes. © Karen Rubin/goingplacesfarandnews.com

“Across the entire region, diverse local political and religious identities were expressed in art. Artifacts from Judaea give a powerful sense of ancient Jewish identity during a critical period of struggle with Roman rule. Architectural sculptures from the colossal sanctuary at Baalbek and statuettes of its deities reveal the intertwined nature of Roman and ancient Middle Eastern religious practices. Funerary portraits from Palmyra represent the elite of an important hub of global trade. Wall paintings and sculptures from Dura-Europos on the River Euphrates illustrate the striking religious diversity of a settlement at the imperial frontier. And in Mesopotamia, texts from the last Babylonian cuneiform libraries show how ancient temple institutions waned and finally disappeared during this transformative period.”

From my visits in Athens and Petra, particularly, I appreciate this synergy between trade, migration, environmental sustainability and technology (in Petra’s Archaeology Museum, you learn how the ability to control water supply was key to the city’s development) and the links to economic prosperity and political power, and the rise of art, culture, and community. (I recall the notes from the National Archaeology Museum in Athens that made this very point.)

The docent’s “Highlights Tour” brings us to Assyria at the Metropolitan Museum of Art, New York City © Karen Rubin/goingplacesfarandnear.com

It is rare (if ever) for the Metropolitan Museum to venture into the political, but a key topic within the exhibition is the impact of recent armed conflicts in Iraq, Syria, and Yemen on archaeological sites, monuments, and museums, including deliberate destruction and looting. Some of the most iconic sites affected—Palmyra, Hatra, and Dura-Europos—are featured in the exhibition, which discusses this damage and raises questions regarding current and future responses to the destruction of heritage. Should the sites be restored or will they now only exist “on paper”? How much money and resources should go to restoring or excavation when villages and homes for people to live in also need to be rebuilt?

There is a fascinating, if frantic, presentation of three archaeologist/historians speaking about what the destruction by ISIS and Islamic fundamentalists of Palmyra, Eura-Europos and Hatra – what it means to destroy a people’s heritage, their cultural identity. “It may seem frivolous to focus on [archaeological sites] when people are enslaved, killed…but to wipe out, destroy culture is a way of destroying people.”

Happening upon this exhibit made the travel experiences we had to these extraordinary places all the more precious.

It is a humbling experience, to be sure, to go to the origins of the great civilizations, fast forward to today. How did they become great? How did they fall? Greatness is not inevitable or forever.  Empires rise and fall. Rulers use religion, art and monuments to establish their credibility and credentials to rule; successors blot out the culture and re-write history.

Central Park, NYC. Experiencing my hometown like a tourist. © Karen Rubin/goingplacesfarandnear.com

I peek out from the American Café windows to Central Park and see sun and the early spring blossoms on the trees, and dash out to walk through my other favorite New York City place. There is nothing more beautiful than New York City in the spring – brides are out in force taking photos; there are musicians and entertainers. There is a festive atmosphere as I walk through the park toward the Palace Hotel in time for our 4:30 pm meeting.

Plan your visit and get information on current exhibits, www.metmuseum.org.

Plan your visit to New York City, www.nycgo.com.

15th Annual Global Scavenger Hunt Winners Crowned

And now, drumroll please, Chalmers announces the winner of the 2019 Global Scavenger Hunt: “Only one team wins. The competition was fierce.”

Third place winners of the 2019 Global Scavenger Hunt third place is Order & Chaos, Sal  Iaquinta & Vivian Reyes with Bill Chalmers © Karen Rubin/goingplacesfarandnear.com

In third place is Order & Chaos, Sal  Iaquinta & Vivian Reyes, doctors from San Francisco.

Second place winners of the 2019 Global Scavenger Hunt, Lazy Monday, Eric & Kathryn Verwillow with Bill Chalmers © Karen Rubin/goingplacesfarandnear.com

In second place, Lazy Monday, Eric & Kathryn Verwillow, computer networking and think tank professional of Palo Alto, California “I am in awe of how hard working, beginning to end – embracing the spirit,” Chalmers says.

2019 Global Scavenger Hunt “World’s Greatest Travelers,” Lawyers Without Borders, Zoe Littlepage and Rainey Booth © Karen Rubin/goingplacesfarandnear.com

And the World’s Greatest Travelers of 2019: Lawyers Without Borders, Rainey Booth and Zoe Littlepage of Houston, who have competed in the Global Scavenger Hunt 12 times, and win it for their 6th time. “You embody the spirit of the event, to go out of your comfort zone.” (You can follow Zoe’s blog of her experience to get a sense of how strenuous, outrageous, and determined the team was in accumulating their points: https://zoeandraineygreatescape.blogspot.com/2019/05/gsh-2019)

We celebrate at a final bon voyage dinner.

The Global Scavenger Hunt is the brainchild of Bill and Pamela Chalmers, who in addition to forging understanding and bonds among travelers and the people in the destinations visited, use the program to raise money for the GreatEscape Foundation and promote voluntourism – one of the scavenges in Yangon, Myanmar is to volunteer at an orphanage or school; past GSH travelers visited and helped out at Tibetan refugee camps in Nepal, orphanages in Laos, hospitals in Cambodia, homeless schools in India, hospices in Manila, disabled facilities in Sri Lanka, Ethiopian schools, the slums of Nairobi.

“The foundation is one of main reasons we do the event,” Chalmers says at our final meeting before going out for a celebration dinner. The foundation has raised money to build 12 schools (1 each in Niger, Haiti, Ecuador, India & Ethiopia; 2 each in Sri Lanka & Sierra Leone, and 3 in Kenya), helped build the Tamensa Medical Clinic in Niger for migrating Tuareg nomads which serves as a midwives & nurse training center too. “We know that we saved lives and bettered the lives of hundreds. We have helped over 2400 families in more than 60 countries (mostly women entrepreneurs) with our interest and fee free micro-loans (96% of which have gone to women with a 99% repayment).”

Through the event this and last year, the foundation will build 2 more co-ed elementary schools , in Ethiopia and Haiti.

2020 Global Scavenger Hunt Set for April 17-May 9

Chalmers has just set the dates for the 23-day 2020 Global Scavenger Hunt: April 17-May 9, 2020. Entry applications are now being accepted.

Eager Indiana Jones-types of adventurers and curious travelers wanting to test their travel IQ against other travelers in an extraordinary around-the-world travel adventure competition that crowns The World’s Greatest Travelers, can apply at GlobalScavengerHunt.com

The 2020 event will pit savvy international travelers against each other by taking them on A Blind Date with the World, visiting ten secret destinations without any prior preparation, and then have them unravel a constant blitz of highly authentic, participatory and challenging culturally-oriented scavenges along the way, like: meditating with monks, training elephants, taking flamenco lessons, cooking local dishes with local chefs, searching out Lost Cities, cracking sacred temple mysteries, joining in local celebrations, and learning local languages enough to decipher their scavenger hunt clues. Trusting strangers in strange lands will be their focus as they circle the globe for three weeks. Over the past 15 years, the event has touched foot in 85 countries.

The title of The World’s Greatest Travelers and free trip around the world to defend their titles in the 2021 event await the travelers worthy enough to win the 16th edition of the world travel championship.    

Event participation is open but limited; the $25,000 per team entry fee includes all international airfare, First Class hotels, 40% of meals, and special event travel gear. All travelers are interviewed for suitability and single travelers are welcome to apply. For additional information visit GlobalScavengerHunt.com, or contact GreatEscape Adventures Inc. at 310-281-7809.

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© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Unraveling Marrakesh’s Old City Maze Before Tackling the Global Scavenger Hunt 4-Country Challenge

The colorful stalls of the souks in Marrakesh © Karen Rubin/goingplacesfarandnear.com 

by Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Bill Chalmers, the “ringmaster” and CEO (Chief Experience Officer) of the Global Scavenger Hunt, launches us our biggest, most ambitious and difficult leg of the 23-day, around-the-world mystery tour: a Par 6, in which our challenge is to get from Marrakesh through four countries – Morocco, Gibraltar, Spain and Portugal with scavenges in each to win points – in five days, meeting at 11:30 am in Porto, Portugal, when we will fly out to New York, our final destination and the final and decisive leg of the competition to be crowned “World’s Best Traveler”.

“Now for your final exam, when all the skills you have learned come together while your situational awareness is peaking and the Travel IQ ready for action,” Chalmers tells us as we gather together in the lobby of the Savoy Le Grand in Marrakesh, Morocco. “The Big multi-country adventure of the Par 6 North Africa/Iberian Peninsula leg.

“There are over 150 scavenges with 19 Bonuses, 3 Team Challenges and a whole lotta good eating; six exciting days of buses, trains, ferries, camels, trams, bikes and funiculars; four diverse country stops over 1,400 km (870 miles) lay between here in Marrakesh and there in Porto. Oh yea, did I mention May Day!?”

Teams are handled $300 to cover their best-guess transportation costs and told we are required to secure our own lodgings for three nights (we are given an allowance of $200 per team per night) “all depending on your risk/reward course of action. We will see you Friday at 11:30AM in the lobby of our Porto, Portugal hotel. Good luck to everyone, be safe, be smart.”

Chalmers allows these rule changes for this climatic leg:
1) Teaming up allowed, but only in Morocco!
2) Car rentals allowed, but only once, and only within one single country where the rental must be both picked-up & returned.
3) Use of smartphones allowed.
4) Airbnb & Uber allowed.

There are some 150 scavenges in this leg (a challenge is to figure which ones to do for points and logistics), including mandatory ones like #51 (“Within the bowels of Fes el-Bali, visit the Baab Bou Jeloud gate”). It is also mandatory to complete at least one scavenge in all four primary countries: Morocco, Gibraltar, Spain and Portugal. Other mandatory challenges have to do with eating, since food is such a window to culture and tradition, and also brings people together.

There are scavenges that earn bonuses. In Morocco: either camp out in the desert one night or stay in traditional riad; venture to the Atlas mountains to visit Berber villages, Ait Souka/Kasbah Dutoubkal, or Aghmat/Oureka; visit the blue city of Chefchaouen; visit Volubilis to see something old & Roman; visit nearby sacred village Moulay Idriss.

We have arrived at Savoy Le Grand  – a massive modern resort-style hotel with multiple pools, sandwiched between a major modern mall and a casino, about a half-mile from the gate to Marrakesh’s Old City – at midnight local time, about 2 am for us having come from Athens. Bill recognizes the need for a break so essentially gives us the morning off, so we can meet at 11:30 am in the lobby to launch us on the challenge he has termed “our final exam.”

Le Savoy Grand, Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

The hotel is a bit garish (it makes me think of the Concord in the Catskills) but actually quite nice. Still, Bill actually apologizes that he couldn’t get us into something more “authentic”. Because of the wedding between British actor Idris Elba and model Sabrina Dhowre (former Miss Vancouver), they had to research over 50 properties before they could get us into Savoy Le Grand Hotel for two nights.

My teammate, Margo, and I are not competing so have the advantage of being able to get advice from the concierge and use hotels.com to book hotels in the places we want to overnight. Even so, it takes from noon to about 5:30 pm to work out an outline for how we will cover the distance – set up the first train ticket from Marrakesh to Fez (we give the concierge the money to buy the ticket) and book hotels in Fez and Gibraltar (another team has gotten names for a traditional riad in Fez and a hotel in Gibraltar which three teams decide to book).

Margo decides to spend an extra day in Porto, Portugal, but I set my sights on Seville, and organize a hotel there and a flight from Seville to Porto (which wouldn’t be allowed if I were competing), so we will travel together from Marrakesh to Fez to Gibraltar and then travel independently until Porto (if we were competing, we would have to do everything as a team).

By 5:30 pm, I still haven’t figured out how to get from Fez to Gibraltar and Gibraltar to Seville, but I am frustrated and angry not actually seeing Marrakesh, and drop everything so we go into the Old City. The other two teams which are following much the same itinerary are content to just wing it once we get to Fez.

Right at the gate to the old city is the famous, five-star La Mamounia Palace  hotel – a hotel since 1923, but with a history that extends back to the 12th century. Its magnificent gardens were a wedding gift to Prince Al Mamoun in the 18th century.

Koutoubia Grand Mosque, Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

Margo and I walk to the famous Koutoubia Grand Mosque that so dominates the city (It turns out that everything we do could earn scavenge points).  The largest mosque in Marrakesh, the Koutoubia is not only its spiritual center but an architectural trend-setter. that was adopted in buildings in Spain (Giralda of Seville) and Rabat (Hassan Tower), which were built in the same period. 

Koutoubia Grand Mosque , Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

The mosque is ornamented with curved windows, a band of ceramic inlay, pointed merlons, and decorative arches; it has a large plaza with gardens, and is floodlit at night. The minaret tower, standing 253 feet high, has a spire and orbs. The mosque was completed under the reign of the Berber Almohad Caliph Yaqub al-Mansur (1184 to 1199).

Founded in 1062, Marrakesh was once the capital of a vast trading empire that stretched from Toledo to Senegal. You get a sense of this at Marrakesh’s main square, Jemaa el Fna, which I learn, was once a medieval trading square where public executions took place (why it is called the Assembly of the Dead).

Jemaa el Fna,Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

As soon as we enter the massive square, there is a cacophony of sounds, a blur of motion and color. And activity – snake charmers, acrobats, henna artists, musicians, Berbers (who demand money for photo even if you only look at them), merchants hawking every kind of item – snake-oil salesman selling men’s fertility.

Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

There are scores of “restaurants” – stalls, really, with long tables under canvas like picnics, with their representatives with numbered signs identifying their location, recruiting new customers – when one sits down, they serenade in triumph.

The souks radiate off the square with tiny alleyways.

Before it gets too dark, we make our way through the souks to find the Mellah, the Jewish Quarter and the synagogue (which happens also to be one of the scavenges).

We weave through the maze – asking people who point us in a direction (just as we are supposed to do under the Global Scavenger Hunt) – a kindly fellow leaves his stall to lead us down narrow alleyway to Laazama Synagogue, which is still a functioning synagogue but also serves as the city’s Jewish Museum.

The Laazama Synagogue, founded in the 16th century, in the Jewish Quarter of Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

After Jews were expelled from Spain by Queen Isabella and King Ferdinand in 1492, Rabbi Yitzhag Daloya came to Marrakesh. He became president of the court and head of the “deportee” community in Marrakesh and founded the “Tzlat Laazama,” Synagogue of Deportees”, shortly after his arrival.

But the Moroccan Jewish community is much older than the Spanish Inquisition– dating back to King Solomon and the Roman period. Marrakesh was founded in 1062 by Joseph Ibn Tasifin, ruler of the Halmorabidim, who allowed Jewish settlement in the city. The Jewish community was “renewed” in 1269, headed by Rabbi Yahuda Jian, originally from southern Spain. The Atlas Jews remained the majority of the community even after the Jews from Spain and Portugal settled in Marrakesh.

The situation changed in the 16th century when Marrakesh became a major center for Marranos (secret Jews) who wished to practice Judaism openly. Spanish and Portuguese Marrakesh Jews lived in their own neighborhoods until all local Jews, some 35,000, were collected by order of the King, in 1557, and resettled in the Mellah (a walled community). In the 19th century, the population increased in the Mellah after refugees from the Atlas Mountains arrived, becoming the largest Jewish community in Morocco. At one time, there were 40 synagogues here.

The synagogue is beautifully decorated with tile, a courtyard ringed with study rooms, a music room, living quarters. There is a video about history of Jewish community in Marrakesh. The photos on the walls are interesting – the faces of the Moroccan Jews are indistinguishable from the Arab Moroccans.

Moroccan Jews have also left the country – the Moroccan Jewish Diaspora counts more than 1 million members in four corners of the world, “a diaspora that continues to cultivate ties to their homeland, Morocco.” Indeed, we come upon a woman with her sister-in-law and mother who left Marrakesh first for Casablanca and now lives in Paris; her brother is still a member of the synagogue’s leadership – she shows us his chair. Her grandfather is buried in the nearby Jewish cemetery.

From the synagogue, we walk to the Jewish cemetery, Beth Mo’ed Le’kol Chai, which should have been closed, but the guard lets us in.

Marrakesh’s Jewish cemetery, Beth Mo’ed Le’kol Chai, founded in 1537, has 20,000 tombs including 60 saints © Karen Rubin/goingplacesfarandnear.com

Founded in 1537, the cemetery spans 52 hectares and is the largest Jewish burial site in Morocco, with some 20,000 tombs including tombs of 60 “saints” and devotees who taught Torah to the communities of Marrakesh and throughout Morocco.

The arrangement of the graves is “unique” to the city of Marrakesh. There is a children’s section, where 7000 children who died of Typhus are buried; a separate men’s section and a woman’s section while around the perimeter are graves of the pious, the judges and scholars of the city who are believed to provide protection for all those buried.

Margo hails a taxi to head back to the hotel, and I walk back to the main square through the markets (the tricky part is less about getting lost than avoiding the scooters that speed through the narrow alleyways), and get the real flavor of this exotic place and dusk turns to darkness and the neon-colored lights come on.

Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

Here you can see a huge variety of Moroccan craftsmen and tradesmen, organized by profession, under a roof of reeds, hawking leather goods, fabrics, kettles, pottery. The Dyers’ Souk, has colorful skeins of wool hanging out to dry on its walls, while the Blacksmiths’ Souk (souk Haddadine) displays a wide variety of metalwork.

Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

Back in the bustling Jemaa el Fna square, I see a crowd of men gathered around one fellow with a lizard, selling a miracle cure. When I ask a fellow what it is about, he grins and I get the idea. No different than the snake-oil salesmen of old.

Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

It’s dinner time, neon lights have come on, and I go to the section of the square  where there are dozens of outdoor restaurants. Guys wave a placard with their stall number which are their ID and do a sales pitch (“Remember #1, Remember 35”, “Air-Conditioned!” they say with a grin). Then when you stop, fellows come by and sing to draw in customers. It is all very good natured. I find a stall to have dinner – seated on a bench with others who have come here from around the world and local neighborhoods.

Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

It should be noted that Marrakesh has bike share, bike lanes, pedestrian crossings, is clean, with lots of police and auxiliary, striking new buildings, and the people are very helpful and hospitable.

Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com
Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

Marrakesh, a thousand-year old city, has just been designated African Capital of Culture 2020, a a showcase of today’s urban Africa, highlighting the diversity of African culture.

Marrakesh, Morocco © Karen Rubin/goingplacesfarandnear.com

The next day we are up at 4:30 am, breakfast is delivered at 5 am, and we take a five-minute cab ride to a gorgeous train station, to catch the  6 am train, riding in a first-class compartment for a wonderful 6 ½ hour trip to Fez.

The Global Scavenger Hunt is an annual travel program that has been operated for the past 15 years by Bill and Pamela Chalmers, GreatEscape Adventures, 310-281-7809, GlobalScavengerHunt.com.

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© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at      facebook.com/NewsPhotoFeatures

Global Scavenger Hunt, Leg 5: Discovering Abu Dhabi

View of the Grand Mosque from the Souk at Qaryat © Karen Rubin/goingplacesfarandnear.com

by Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Abu Dhabi is one of those places where the impression you have is either completely wrong or nonexistent. At least for me. Coming here on the Global Scavenger Hunt is yet another instance of proving what travel is all about: seeing, learning, connecting for yourself, and undoing stereotypes and caricatures.

Yes, Abu Dhabi is about conspicuous ostentation. That part of the pre-conception seems validated.

But what I appreciate now is how an entire nation state was built relatively recently out of a chunk of desert. The skyscrapers and structures have grown up here in a matter of decades, not centuries.

Fort Hassan, the oldest structure in Abu Dhabi, is an excellent historical museum © Karen Rubin/goingplacesfarandnear.com

My first awareness comes visiting Fort Hassan, the original defensive fort and government building, and later the sheik’s residence built around (it reminds me of the White House, which is both the home of the head of government and government office). Fort Hassan has been restored (not rebuilt) and only opened to the public in December 2018. It provides the history of Abu Dhabi (https://qasralhosn.ae)

Qasr al Hosn, as it is properly called, is the oldest and most significant building in Abu Dhabi, holding the city’s first permanent structure; the watchtower. Built around the 1790’s, the commanding structure overlooked the coastal trade routes and protected the growing settlement established on the island.

Fort Hassan, the oldest structure in Abu Dhabi, is an excellent historical museum © Karen Rubin/goingplacesfarandnear.com

It consists of two major buildings: the Inner Fort (originally constructed in 1795) and the Outer Palace (1939-45). Over the centuries, it has been home to the ruling family, the seat of government, a consultative council and a national archive; it now stands as the nation’s living memorial and the narrator of Abu Dhabi’s history.

Transformed into a museum in 2018 after more than 11 years of intensive conservation and restoration work, Qasr Al Hosn is a national monument that encapsulates the development of Abu Dhabi from a settlement reliant on fishing and pearling in the 18th century, to a modern, global metropolis, with displays of artifacts and archival materials dating back to as far as 6000 BC.

Fort Hassan, recently opened after restoration, tells the history of Abu Dhabi, ringed by modern skyscrapers © Karen Rubin/goingplacesfarandnear.com

You see photos of how the fort/palace looked in 1904, with nothing but desert and a couple of palm trees around it. Today, it is ringed (yet not overwhelmed) by a plethora of skyscrapers, each seeming to rival the next for most creative, most gravity-defying, most odd and artful shape. It is like a gallery of skyscrapers (New York City Museum of Skyscrapers take note: there should be an exhibit) – for both their art and engineering. I note though that as modern as these structures are, they basically pick up and mimic some of the pattern in the old fort. And the building boom just seems to be going on.

And then you consider this: it’s all built on sand (and oil). “In 500 years from now, will these be here?” Bill Chalmers, the organizer of the Global Scavenger Hunt for the past 15 years, remarks. We had just come for Bagan, Myanmar, where the temples have been standing since the 11th century despite earthquakes and world events, and Yangon, where we visited the Schwedagon Pagoda that dates back 2,500 years.

At the Hall of Artisans at Fort Hassan, Abu Dhabi, you can watch people doing traditional handicrafts © Karen Rubin/goingplacesfarandnear.com

There is also a Hall of Artisans which begins with an excellent video showing how the crafts reflected the materials that were at hand (eventually also obtained through trade) and then you see women demonstrating the various crafts, like weaving. (Indoors, with very comfortable air-conditioning and facilities.)

At the Hall of Artisans at Fort Hassan, Abu Dhabi, you can watch people doing traditional handicrafts © Karen Rubin/goingplacesfarandnear.com
 
At the Hall of Artisans at Fort Hassan, Abu Dhabi, you can watch people doing traditional handicrafts © Karen Rubin/goingplacesfarandnear.com

From there, I walk to a “souk” at the World Trade Center that had stalls of some traditional items – wonderful spices for example – but in a modern (air-conditioned comfort!) setting, and directly across the street from a major modern mall promising some 270 different brand shops. Souks are aplenty here.

Visit to a souk, Abu Dhabi © Karen Rubin/goingplacesfarandnear.com

My walk lets me revel in the skyscape. I come upon an intriguing road sign pointing toward the Federal Authority for Nuclear Regulation.

Visit to a souk, Abu Dhabi © Karen Rubin/goingplacesfarandnear.com

Falcon Hospital

I find myself dashing to get to the Abu Dhabi Falcon Hospital, where I had pre-booked the 2 pm tour. I didn’t realize how far it is from downtown – a 35-minute drive. The taxi driver, who I learn was recruited to come work in Abu Dhabi from his home in Ghana along with many other young men, and lives in an apartment building with other migrant workers, has to stop for gas and I worry I will miss the tour altogether.

Prized falcons wait patiently for their appointment at the Abu Dhabi Falcon Hospital © Karen Rubin/goingplacesfarandnear.com

The visit to the Falcon Hospital is truly a highlight of a visit to Abu Dhabi. It is fascinating to learn how these prized birds are handled. We are taken into the treatment area, surprised to see a couple of dozen hooded falcons, waiting patiently in what is a waiting room for their “appointment”. Their owners drop them off for the day for whatever checkup or healthcare they require; others stay in the falcon hospital (the biggest in Abu Dhabi and one of the biggest in the world), for months during their moulting season, when, as wild falcons, they would otherwise live in the mountains for six months. They are provided the perfect cool temperatures they would have in that habitat, before coming to the desert in spring to hunt, and later to breed.

A doctor anesthetizes a falcon being treated at the Abu Dhabi Falcon Hospital © Karen Rubin/goingplacesfarandnear.com

We get to watch a falcon being anesthesized – they quickly pull off his hood, at which point he digs his claws into the gloved hand holding him, and his face is quickly stuffed into the mask and put to sleep. His claws, which normally would be shaved down in the wild, become dangerously overgrown in captivity; the falcon doctor also shows how they can replace a feather that has become damaged, possibly impeding the bird’s ability to fly or hunt (they can carry prey four times their weight). The feather has to be an exact match, which they match from the collection of feathers from previous moultings. Then we get to hold a falcon. Not surprisingly this is one of the scavenges on the Global Scavenger Hunt (worth 35 points in the contest to be named “World’s Greatest Traveler”).


A falcon being treated at the Abu Dhabi Falcon Hospital © Karen Rubin/goingplacesfarandnear.com

We learn that the Abu Dhabi Falcon Hospital (ADFH) is the first public institution in the United Arab Emirates providing comprehensive veterinary health care services exclusively for falcons. It was established by the Abu Dhabi’s Environment Agency and opened in October 1999. The Abu Dhabi Falcon Hospital has become the largest falcon hospital in the United Arab Emirates and in the world, caring for 11,000 falcons a year and more than 110,000 patients since its opening.

A falcon being treated at the Abu Dhabi Falcon Hospital © Karen Rubin/goingplacesfarandnear.com

From being established as a purely veterinary facility, the ADFH has expanded in the fields of education and awareness, training and research. Due to the huge demand the falcon hospital has became a full-fledged specialized avian hospital for all kinds of birds and poultry species in 2006. In 2007, it added services for a wide variety of VIP pets and in 2010 opened an animal shelter. In 2011, it began its own falcon breeding program and breeds Saker falcons for the H.H. The Late Shk Zayed Falcon Release Program.

In 2007, ADFH opened its doors to what has become an award-winning tourism program and has become the most important tourist attraction in Abu Dhabi – for good reason.

Abu Dhabi Falcon Hospital has become one of the most visited attractions in Abu Dhabi © Karen Rubin/goingplacesfarandnear.com

It is a thrilling and unique experience. I meet a woman from Switzerland who is engaged in a four-week internship at the falcon hospital, learning how to handle and care for the falcons – information she will bring back as a high school teacher. She tells me the falcons are very kind and gentle and bond with their owner. The feeling is clearly reciprocal – these prized falcons, which can cost up to $1 million, can fly on an airplane in the first class cabin with their owner (they have to have their own passport to prevent illegal trafficking), have their own seat and their own menu (fresh killed meat).

The Grand Mosque

Next I go to the Sheikh Zayed Grand Mosque – an experience that is not to be believed. If you thought the Taj Mahal was magnificent, a wonder of the world, the Grand Mosque which was built in 1999 and uses some of the same architectural and decorative design concepts, vastly surpasses it, in architectural scale and in artistic detail. Not to mention the Taj Mahal is basically a mausoleum, while the Grand Mosque is a religious center that can accommodate 7800 worshippers in its main sanctuary, 31,000 in the courtyard and altogether up to 51,000 worshippers for such high holy days as Ramadan. At more than 55,000 sq. meters it is the largest mosque in the United Arab Emirates and one of the largest in the world. And every cubic meter of it spectacularly decorated – the courtyard is one of the largest mosaics in the world.

The Sheikh Zayed Grand Mosque, Abu Dhabi © Karen Rubin/goingplacesfarandnear.com

I time the visit to arrive about 4:30 pm in order to be there at dusk and sunset – and go first to what is labeled “the Visitors Happiness Desk” – how could I resist? The two gentlemen who manned the desk (surprisingly who are natives of Abu Dhabi when 88 percent of the population here come from some place else) are extremely well suited to their role – extremely friendly, helpful. As I am asking my questions, who should come down the escalator but my Global Scavenger Hunt teammate (small world!), so we visit together.

Your visit to the Sheikh Zayed Grand Mosque, Abu Dhabi starts at the Visitors Happiness Desk© Karen Rubin/goingplacesfarandnear.com

The experience of visiting is surprisingly pleasant, comfortable, welcoming – not austere as I expected (especially after having visited Buddhist temples in Myanmar where even when the stones are hot enough to fry an egg, you have to walk completely barefoot). Women must be fully covered, including hair, but they provide a robe (free). (I look like Mickey Mouse in the Sorcerer’s Apprentice.)

Indeed, the Sheikh Zayed Grand Mosque “aims to cultivate interaction between Islam and world cultures… Sheikh Zayed’s vision for the Grand Mosque was to incorporate architectural styles from different Muslim civilizations and celebrate cultural diversity by creating a haven that is truly diverse and inspirational in its foundation. The mosque’s architects were British, Italian and Emirati, and drew design inspiration from Turkey, Morocco, Pakistan, and Egypt among other Islamic countries, to create this glistening architectural marvel accommodating 40,000 worshippers and visitors at a time. 

The Sheikh Zayed Grand Mosque, Abu Dhabi © Karen Rubin/goingplacesfarandnear.com

“The open-door policy invites tourists and celebrants from all around the world who can witness the spectacular onion-top domes, the reflective pools that engulf the courtyard and the iconic prayer hall, which not only overflows with blissful sunlight, but also houses the world’s biggest chandelier and carpet, both meticulously handmade. Be sure to spot the calligraphy encircling the hollows of the domes, etched with verses from the Quran and painted with gold leaves in An-Naskh lettering.”

The Sheikh Zayed Grand Mosque, Abu Dhabi © Karen Rubin/goingplacesfarandnear.com

When you arrive at the Visitors Center, which is at some distance from the mosque, you walk underground to where there is an air-conditioned mall, with restaurants and shops, then go through a tunnel like an airport (an electric cart is available for those who can’t walk distances; it kind of reminded me of how Disney moves its visitors into its attractions).

Definitely take the public tour of The Sheikh Zayed Grand Mosque, Abu Dhabi © Karen Rubin/goingplacesfarandnear.com

The public tour (an absolute must) is also free, indeed, the admission ticket to the Grand Mosque is free. (Fortunately, Margo manages to get us on the last public tour of the day which had already left, getting the guard to let us slip under a barrier.) Our guide is a delightful young woman who cheerily walks us through and points out the amazing art and details. The mosque is massively large in scale, but looks remarkably delicate.

The Sheikh Zayed Grand Mosque, Abu Dhabi © Karen Rubin/goingplacesfarandnear.com
The Sheikh Zayed Grand Mosque, Abu Dhabi © Karen Rubin/goingplacesfarandnear.com
The Sheikh Zayed Grand Mosque, Abu Dhabi © Karen Rubin/goingplacesfarandnear.com

Just as we leave a touch of sunlight breaking through clouds that make the structures even more beautiful, if that were possible. By the time we get outside, the lights have come on (www.szgmc.gov.ae/en/Home ).

The Sheikh Zayed Grand Mosque at dusk © Karen Rubin/goingplacesfarandnear.com

I ask the Happiness guys where to go for the best view of the Grand Mosque after dark, and, instead of the adjacent hotel where I had first been directed, they point us to The Souk at Qaryat (Al Beri), just across the water from the mosque. Sure enough, the view is spectacular.

View of the Sheikh Zayed Grand Mosque from the Souk at Qaryat © Karen Rubin/goingplacesfarandnear.com

Global Scavenger Hunt Challenges

We had arrived in Abu Dhabi about midnight local time the night before, after having left our hotel in Myanmar at 5:15 am, flying an hour to Bangkok where we had an eight-hour layover challenge (I only managed to do a water taxi on the canal and explore the Golden Mountain and some buildings and watched preparations for the King’s coronation (I later heard it was for a parade that day). Then flew six hours to Abu Dhabi where we gained 3 hours (that is how we make up the day we lost crossing the International Dateline and why it is so hard to keep track of what day or time it is), so for us, midnight was 3 am. Bill Chalmers, the organizer, ringmaster and Chief Experience Officer of the Global Scavenger Hunt tells us this was the most arduous travel day we would have (and the 18 hours travel from Vancouver to Vietnam was the longest airline trip).

We have had a full day in Abu Dhabi to do our scavenges. Tonight’s scavenger hunt deadline is 10 pm, when we will learn where our next destination will be on the 23-day day mystery tour. Only five of the original nine teams are still in contention to win the title, “World’s Best Traveler” (and free trip to defend the title next year).

The scavenges are designed to give us travel experiences that take us out of our comfort zone, bring us closer to people and immerse us in cultures. In Abu Dhabi, one of the experiences that would earn 100 points is to be invited for dinner with a family in their home. “It is always a good thing to be invited for dinner with a family in their home. If you are, and you do – please do bring something nice for them, be patient and be gracious. Of course, we want proof.”

Another is to “hold an informal majlis with actual locals (people actually from UAE and not at any hotel) over an Arabica coffee; talk about a few things like the future of Abu Dhabi, oil, tourism, arranged marriages, Western values, etc.” That would earn 35 points.

View of the Presidential Palace at night, from the roof of the St. Regis © Karen Rubin/goingplacesfarandnear.com

Other possibilities: ride “the world’s fastest rollercoaster” (75 points – Paula and Tom, the SLO Folks and returning champions, did that and said it felt like 4G force); walk the Emirates Palace from end to end and have a “golden cappuccino” (they literally put gold flakes in the cappuccino, this is Abu Dhabi after all) for 35 points; take in the grandeur of the Presidential Palace, only recently opened to the public, and visit Qasr Al Watan, a building within the compound dubbed “’Palace of the Nation” (complete with huge white domes, lush gardens and dramatic chandeliers, the new landmark is intended to give visitors a stronger understanding of the UAE’s governing traditions and values. There is also a spectacular nightly show.)  (50 points).

Many of the scavenges (including mandatory ones) have to do with local food, because foods and food preparations are so connected to heritage, culture and environment and bring people together. One of the scavenges here is to assemble three flavors of camel milk from a grocery store and do a blind taste test (35 points).

Unfortunately, an attraction we all wanted to visit, the Louvre Abu Dhabi, was closed. The museum, which opened in November 2017, is a collaboration with the famous Louvre of Paris, France, and intended to be a “universal museum in the Arab World,” focusing on “what unites us: the stories of human creativity that transcend individual cultures or civilizations, times or places.”

The pioneering cultural project combines “the UAE’s bold vision of cultural progression and openness with France’s expertise in the world of art and museums.” The museum was expected to exhibit Leonard Da Vinci’s Salvator Mundi, considered the most expensive painting in the world (purchased for $450 million at auction in November 2017, believed by Saudi Crown Prince Mohammed bin Sulman), but delayed the exhibition. (www.louvreabudhabi.ae)

A lasting impression that I will carry away from this brief visit to Abu Dhabi is that its theme this year is “Year of Tolerance” which also goes to what we have experienced here: attractions and programs intended to promote understanding of Islamic history, heritage and culture.

Our accommodation in Abu Dhabi is the five-star St. Regis (just about all the accommodations arranged for the Global Scavenger Hunt are five-star), which serves the most extravagant breakfast. Purposefully, our ringmaster and Chief Experience Officer, Bill Chalmers, has arranged it so we will have two, lavish breakfasts here, much to our collective delight.

Grand lobby of the St. Regis Abu Dhabi hotel © Karen Rubin/goingplacesfarandnear.com

The hotel has a stunning rooftop pool and bar (what a view!) and is connected by a tunnel under the busy boulevard to the beach on the Persian Gulf.

We gather together at 10 pm in the lavish lobby of the St. Regis, excitedly trade stories about our travel adventures during the day. Inevitably, I am jealous of the things I didn’t do, couldn’t fit in to do – like visiting the Fish Market, the Iranian Souk, the Presidential Palace! (can’t believe I missed that), built for the tidy sum of $5 billion (open til 7 pm, then a lightshow at 7:30 pm).

And then we learn where we are going next: Jordan!

More information on visiting Abu Dhabi at https://visitabudhabi.ae/en/.

The Global Scavenger Hunt is an annual travel program that has been operated for the past 15 years by Bill and Pamela Chalmers, GreatEscape Adventures, 310-281-7809, GlobalScavengerHunt.com.

________

© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Global Scavenger Hunt, Leg 3: Back in Yangon, Myanmar

Shwedagon Pagoda in Yangon is Myanmar’s most sacred and impressive Buddhist site. Dating back almost 2500 years, the pagoda enshrines strands of Buddha’s hair and other holy relics; its dome is gilded with 60 tons of gold, and the top has an orb with 4531 diamonds. It is breathtaking © Karen Rubin/goingplacesfarandnear.com

by Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Another perfect day in Myanmar – our fourth and final day on Leg 3 of the Global Scavenger Hunt, in which we set out from Yangon to travel about the country, making a triangle that takes me to Bagan and Inle Lake and back to Yangon to fulfill the Par 5 challenge on this a 23-day around-the-world mystery tour.

The 45-minute taxi ride from the delightful, five-star Sanctum Inle Resort on Inle Lake is wonderful – I catch people driving oxcarts and donkey carts and people riding the backs of trucks, villages and pagodas. But I have some trepidation about Heho Airport because of the snafu in booking my ticket, resolved long-distance by text to my son in New York to phone the online booking agent, as I bounced around on the overnight bus from Bagan to Inle Lake. But I arrive, am checked in to Golden Airlines without incident, and relax during the 45-minute flight back to Yangon.

The morning flight gives me time to explore Yangon which I didn’t have when we first arrived on Leg 3 of the Global Scavenger Hunt from Vietnam, and were given our challenges, to travel around Myanmar and return to the Sule Sangri-la Hotel by the 6 pm deadline.

Leaving the airport, I attempt to take the public bus back into downtown, but after two buses pass me by, I take a taxi instead.

Riding back, I review a brochure I picked up at the airport which mentions a synagogue in Yangon – in fact, the last synagogue in Myanmar. So I resolve to find it.

It turns out it is only a 15-minute walk from our hotel, the Sule Sangri-la, bringing me through various bustling market streets and shopping districts. The Musmeah Yeshua Synagogue itself is set on a busy market street where there are chickens and fish for sale – the chickens clucking, the fish squirming to get out of their container (I see one jump out of its container), the rich scent of spices, and every other manner of item you can imagine.

Musmeah Yeshua Synagogue, Yangon, Myanmar’s last synaoguge © Karen Rubin/goingplacesfarandnear.com

By the time I arrive at Musmeah Yeshua Synagogue, it is 1:40 pm – which proves extremely lucky because it closes to visits at 2 pm (open daily except Sunday). Inside, it is a lovely synagogue in the Sephardic style, built in 1896. At one point, the Jewish community in Yangon numbered 2500 before the mass migration of WWII; today, there are only 5 families (about 30 people). The Samuels, one of the last remaining Jewish families, has maintained the synagogue for generations, a plaque notes.

One of the bustling street markets in Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com
One of the bustling street markets in Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com
Street market in Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com
Street market in Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com

Perhaps not surprising, a short distance from the synagogue is Bogyoke Aung San Market, which since 1926 has been the city’s major marketplace. I am surprised to see all the sellers of jade and jewelry (which is what the market is known for), as well as traditional longyi, and just about anything else you can think of. I come upon a seller of interesting post cards, and find the post office on the third level (one of my traditions of travel is to send home postcards, which not only have stamps, but mark the date and give some visual and personal notes). Also, I have been impressed by the absolute lack of political messaging in the streets, but here in the market is one art seller who has images of Myanmar’s most famous leader, Aung San Suu Kyi. Wondering about the name, I later learn that Bogyoke Aung San market is named for her father, Bogyoke (General) Aung San.

Bogyoke Aung San Market, Yangon’s major marketplace since 1926, is named for Prime Minister Aung San Suu Kyi’s father, Bogyoke (General) Aung San © Karen Rubin/goingplacesfarandnear.com
Bogyoke Aung San Market, Yangon, Myanmar’s major marketplace since 1926 © Karen Rubin/goingplacesfarandnear.com
A likeness of Prime Minister Aung San Suu Kyi for sale at Bogyoke Aung San Market, Yangon’s major marketplace since 1926, named for her father, Bogyoke (General) Aung San © Karen Rubin/goingplacesfarandnear.com

Shwedagon Pagoda

I walk back to the hotel, just a few blocks away, to refresh (it is 104 degrees), in order to prepare for a visit to Shwedagon Pagoda, which I have been saving for the late afternoon (one of the mandatory scavenges of the Global Scavenger Hunt is to visit at dawn or dusk), so that I will be there at dusk (but back at the hotel by the 6 pm deadline for the scavenges), but nothing could have prepared me for the experience of seeing it.

Just as I am about to leave, my teammate, Margo, who had traveled to Mandalay when I went on to Inle Lake, walks in. She relates that after a snafu with her airline ticket, she had to hire a taxi to drive her back to Yangon (ironic because I couldn’t get the airline to cancel my ticket when I changed my plan to go to Inle Lake instead, but such mishaps turn into marvelous adventures). We go off together to Shwedagon Pagoda, which is located west of the Royal Lake, on the vast, 114 -acre Singuttara Hill.

Margo cleverly hires a guide to show us around this vast, vast complex and it is fascinating: this was the first pagoda in the world, he tells us.

Shwedagon Pagoda in Yangon is Myanmar’s most sacred and impressive Buddhist site. Dating back almost 2500 years, the pagoda enshrines strands of Buddha’s hair and other holy relics; its dome is gilded with 60 tons of gold, and the top has an orb with 4531 diamonds. It is breathtaking.  © Karen Rubin/goingplacesfarandnear.com

Indeed, the Shwedagon Pagoda is Myanmar’s most sacred and impressive Buddhist site. Dating back almost 2500 years, the pagoda enshrines strands of Buddha’s hair and other holy relics. It is breathtaking.

Workman restore the gold to the Shwedagon Pagoda’s dome © Karen Rubin/goingplacesfarandnear.com 

The Shwedagon Pagoda stands 326 feet high, its dome covered in 60 tons of gold (we watch  workmen on scaffolding replacing some of the gold plates). At the very top, too small to be appreciated from where we stand at the base, is an orb, 22 inches high and 11-inches wide, encrusted with 4531 diamonds, the largest of which is a 72 carat diamond. The base is surrounded by 64 small pagodas with four larger ones in the center of each side. There also are four sphinxes, one at each corner, with six leogryphs (a lion-like creature). Projecting beyond the base of the Pagoda. are Tazaungs (shrines) in which are images of the Buddha and where offerings are made.

There are also figures of elephants crouching and men kneeling and pedestals for offerings all around the base. In front of the 72 shrines surrounding the base of the Pagoda, there are images of lions, serpents, ogres, yogis, spirits, or Wathundari. Among the most dazzling art is a Jade Buddha. There are also mystical and mysterious places, like the well where Buddha’s sacred hair was washed and Buddha’s foot print.

Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 

Representing the highest achievements of Myanmar’s sculpture, architecture and art, there are hundreds of colorful temples, stupas and statues spanning nearly 2500 years. It is known as Shwedagon, “the Sanctuary of the Four,” because it contains relics of four Buddhas who had attained Enlightenment.

Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 

We move among the bustling activity of devotees and monks washing the statues, offering flowers, worshiping, and meditating. 

Most interesting is coming upon a procession of families celebrating the induction of two young boys into the monastery.

Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 
Shwedagon Pagoda, Yangon, Myanmar © Karen Rubin/goingplacesfarandnear.com 

(The Sule Pagoda which I visited the evening we arrived in Yangon – was it just four days ago? – was also magnificent, but Shwedagon is on a different scale of magnificent.)

(See more information on visiting Schwedagon Pagoda, www.shwedagonpagoda.com).  

You could easily spend hours here, but we must dash back in a taxi to get back to the Global Scavenger Hunt group, arriving a few minutes past the 6 pm deadline (we aren’t competing to win the challenge to be the “World’s Best Travelers,” so we did not have to turn in our scorecards documenting our scavenges, though, in fact, we have been doing as many as we can.

At a hosted dinner at a Japanese restaurant, all of us trade our stories of adventure and exploration from Yangon and some combination of Bagan, Mandalay and Inle Lake. One of the scavenges invited the teams to take part in a volunteering opportunity and Lawyers Without Borders, the team from Houston, volunteered at a Youth Development monastery in Yangon.  “The monks take in, house, feed and educate orphans from far-flung and remote villages around the country,” Zoe Littlepage writes on her blog (http://zoeandraineygreatescape.blogspot.com). “My favorite part was eating lunch with the kids. They sing their prayers before they can start eating.. magical.” (Zoe Littlepage and Rainey Booth, of Houston, are on their 12th Global Scavenger Hunt, and are five-time champions, and their law firm helps support the philanthropic works of the Global Scavenger Hunt Foundation.)

We return to the hotel to get our four-hour notice and learn where our 23-day “Blind Date with the World” mystery tour continues next: an eight-hour layover challenge in Bangkok and then on to Abu Dhabi – essentially having breakfast in Myanmar, lunch in Thailand and dinner (or nightcap?) in the United Arab Emirates.

We are out the door at 5:15 am (the hotel sends us off with breakfast boxes), to get to the airport.

It is worth noting that in addition to having a unique alphabet and language, Myanmar (formerly Burma) asserts its identity by keeping its clocks half-hour different from its timezone.

I realize that time is really fluid – not really stable or fixed ordering our day, a concept rather than an invention. We lost a full day crossing the timezone during that first flight of more than 14 hours, and have been picking up an hour or so here as we go.

Global Scavenger Hunt teams Lawyers Without Borders (from Houston) and Order & Chaos (doctors from California) do their peer review at the airport © Karen Rubin/goingplacesfarandnear.com

At the end of this Par 5, Leg 3 dash through Myanmar, SLO Folks, a team from central California who are the returning champions from last year’s Global Scavenger Hunt, earned the second most points with 37 scavenges in Yangon, Bagan and the point rich area of Inle Lake for 2,055 points; and Lawyers Without Border, a team from Houston on their 12th Hunt (they have won it five times) had the most, completing 52 scavenges in Yangon, Bagan & Inle Lake earning 2,745 points.

More Myanmar travel information is at http://myanmartravelinformation.com/top-destinations/yangon.html.

The Global Scavenger Hunt is an annual travel program that has been operated for the past 15 years by Bill and Pamela Chalmers, GreatEscape Adventures, 310-281-7809, GlobalScavengerHunt.com.

________

© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Global Scavenger Hunt, Leg 3 Continues: The Enchantment of Inle Lake, Myanmar

Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

by Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

My perfect day in Inle Lake, Myanmar, on Leg 3 of the Global Scavenger Hunt, a 23-day around-the-world mystery tour, begins the night before, on the JJ Express bus that leaves the temple city of Bagan at 10 pm and arrives at the bus stop (literally in the middle of the street in a small village) at 4:30 am. It is complete darkness, not a sound or stirring besides ourselves as the bus pulls away, leaving us there. For a moment, we feel stranded. Then, out of the shadows, two tiny jitneys – like small tut-tut open-back vehicles – appear. The drivers ask which hotels we are bound for so we divide up based on which side of Inle Lake we are staying. We settle the fare (we are in a very limited position to negotiate) and climb in.

The jitney drops us at the Sanctum Inle Resort at 5:30 am, where the kindly hotel clerk calls in housekeeping early so we could get into our rooms by 6 am (when 2 pm would have been normal check-in time). This five-star resort makes me feel like I have been dropped into paradise.

Sanctum Inle Resort, Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

I am traveling on my own at this point, though at least one other of the 10 teams, SLO Folks, on the Global Scavenger Hunt are here  – my teammate went on to Mandalay with another team who decided not to compete for points. SLO Folks (last year’s “World’s Greatest Travelers” GSH champion) has been scrupulous about following rules of the contest (no using computer or cell phone to make bookings or to get information; the trip is designed to “trust strangers” and engage with local people) so they arrive in Inle with no hotel, not even a decent map to start planning how they will attack the scavenges (challenges) and accrue the most points in the limited amount of time.

Indeed, this challenge, Leg 3 of our trip, is to depart Yangon (the city formerly known as Rangoon when the former British colony was known as Burma) and complete a triangle of cities (Bagan, Mandalay, Inle Lake), allowing only two legs by air and return to Yangon by 6 pm on Saturday, making our own arrangements for transportation and hotel (we are reimbursed $200/night/team). I had planned to go from Bagan to Mandalay with my teammate, but after hearing about Inle Lake from another team (Lawyers Without Borders, a Houston team that has done the Global Scavenger Hunt 12 times) who had been here before, I was enchanted to see it; then, overhearing SLO Folks planning to take the overnight bus, I was determined to see it for myself.

The description enchanted me: Located in the middle of Myanmar, in the Shan State, Inle Lake is set in a valley between two mountain ranges, with whole villages of wooden houses built on stilts in the middle of the lake, floating gardens, boatmen who steer standing up, wrapping one leg around a tall oar. There are 10 different Shan ethnic groups living around the lake and the surrounding hills, home to many different minorities who come down to sell their goods in the villages – like the Long Neck Ladies. Inle Lake was designated a wetland wildlife sanctuary in 1985.

Inle Lake feels like a different world to the rest of Myanmar, indeed, it seems like an enchanted Sangri-la.

The Sanctum Hotel (Maing Thauk Village, Inle Lake, Nyaungshwe, Myanmar) is on the list of suggested accommodations provided by the GSH “ringmaster” and Chief Experience Officer, Bill Chalmers, and because I am not competing, have booked on hotels.com ($101 for the night). I am delighted to find it is an absolutely gorgeous five-star luxury resort (the infinity pool on the grounds with views to the lake is breathtaking), and just being here fills me with a contented peace.  But that is only the beginning.

The kindness of the hotel manager is immensely appreciated. For me, it means I am able to take advantage of the hotel’s 8 am boat tour (that means a traditional wooden boat with the modern convenience of a power motor as well as the boatman’s long oar) because most of Inle Lake’s special attractions are literally on the lake – whole villages, in fact, are built on stilts on the lake; there are floating gardens which are really aquatic farms; floating markets; the fishermen fish in a distinctive fashion with nets and the boatmen paddle standing up, with their leg wrapped around the tall oar. The temples and other major attractions – silversmiths, weavers, boatmakers – are all reached by the boat.

Sanctum Inle Resort, Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

The full-day tour will take me to the Five Day Market, Phaung Daw Oo Pagoda, Inn Paw Khone Village, Ywa Ma Village, Nam Pan Village (where we visit workshops to see crafts – silversmithing, weaving, boatmaking), Floating Gardens, Nge’ Phe’ Chaung Monastery and Indein Pagoda – essentially enabling me to see all Inle Lake’s highlights in a one-day visit ($35), though there is so much to see, Inle Lake is worth a two or three day stay.

The Sanctum Inle Resort is situated on the bank of Inle lake – a shallow lake that’s over 13.5 miles long and 7 miles wide – and to begin the tour I have booked (because I’m not competing, I can book a hotel tour, while the competing team cannot, so they go off to find where the boatmen keep their boats), I am escorted down to the hotel’s dock where the boat and the boatman is waiting. It turns out I am the only one, so this is essentially a private tour. The boatman, a young fellow named Wei Mo, speaks only limited English – enough to tell me where I am going – but it is sufficient, I just don’t expect to get any commentary.

Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

It is an amazing experience – gliding across the lake, the fresh air and cool breeze rushing over me, especially after the debilitating 108-degree heat of Bagan. Inle Lake is notable for the Intha, lake dwellers who have a distinctive way rowing their wooden boats by wrapping their leg around a tall oar. At first, the mechanics make no sense. But I realize it is a way of standing and using such a tall oar and keeping the weight balanced on the tiny boats.

Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

During the course of the boat tour, I encounter a young fellow fishing (though you have to get out pretty much at sunrise to see the fishermen), boat people harvesting from the lake, go through an entire village built on stilts, where there are also numerous craftsmen and workshops we visit. One stop provides an opportunity to visit with the Long-Neck Ladies (actually only one), who come down from their secluded village to pose for photos with tourists for money. We also visit important pagodas and temples on the lake.

Long Neck Lady, Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

It is remarkable to see how the Inthar make the most out of the lake – even creating farmland where none existed. They build floating gardens out of lake-bottom weeds and water hyacinth and grow crops like squash and tomatoes, anchoring them with bamboo poles. I learn that these floating islands can be cut, dragged by boats and even sold like a plot of land. Floating gardens can be found mostly in Kaylar, Inchan and Zayatgyi villages.

Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

I love visiting the various workshops in the various villages – it seems each has a specialty. We visit a silversmith workshop where I watch the intricate process before being led into (what else) an elaborate shop, filled with stunning creations.

Making thread from lotus flower, Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Making thread from lotus flower, Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

Wei pulls up to Inn Paw Khone Village, famous for its weaving workshops, but most notably, weaving silk from lotus. Silk weaving in Inn Paw Khon began 100 years ago. At first, they wove from cotton fiber and then changed to silk and finally lotus fiber. and I am told that the technique of making silk from lotus was begun by a woman now more than a century old.  I get to watch how a woman delicately pulls a strand from the lotus plant which is wound on a spindle into thread.

Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

At the boatmakers, I learn how each one is designed differently for their purpose – a family boat, a fishing boat (7.8 meters), a boat designed for the Long Neck people. “A boat lasts 25 years. Only men make the boats, they need to be strong. It takes 20 days to make a boat; they make lacquer from a tree to paint, wood powder and cotton. It takes two people to cut the teakwood,” she tells me. There are absolutely stunning wood carvings to purchase. But I must travel light.

We stop in several of the region’s most important pagodas.

Shwe Indein Pagoda Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

Shwe Indein Pagoda is the most impressive of the attractions visited. You walk up a covered walkway lined with beautifully painted columns, up a hill, flanked by an astonishing 1,600 Buddhist stupas, some of stone, some intricately carved, some gilded. Many have been restored but you also see many crumbling with age and being reclaimed by the jungle.  (There is a camera fee, 500 kyat, which works out to about 30 cents).

Shwe Indein Pagoda on Inle Lake, has an astonishing 1,600 Buddhist stupas © Karen Rubin/goingplacesfarandnear.com Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

According to atlasobscurba.com, “These structures date from the 14th to the 18th centuries and are typical of Burmese zedi. Like others found across the region, the stupas feature fantastical creatures like chinthe – mythic lion-like beings that protect sacred spaces. These were (and remain) sites for contemplation and meditation and many contain relics inside their bases. The first stupas at Indein were likely commissioned during the reign of King Narapatisithu, although according to legend, it was King Ashoka – the Indian emperor responsible for spreading Buddhism across much of Asia – who first designated this as a site of particular spiritual importance. Hundreds of years later, that distinction is completely obvious. The sea of ornate spires coupled with the view over the lake and surrounding calm lend this spot an unquestionably mystic, reflective air.” (www.atlasobscura.com/places/shwe-indein-pagoda) It is breathtaking to see. Inside, people are gathering for a communal feast.

Phaung Daw Oo Pagoda, one of the famous principal shrines in Myanmar, © Karen Rubin/goingplacesfarandnear.com
Phaung Daw Oo Pagoda, one of the famous principal shrines in Myanmar, © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

We come Phaung Daw Oo Pagoda, one of the famous principal shrines in Myanmar, just crammed with boats and worshippers. The pagoda houses five small Buddha images which are much revered by the lake-dwellers. Once a year, in late September-early October, there is a pagoda festival when four of the five Buddha images are taken on an elaborately decorated barge towed by several boats of leg-rowers, rowing in unison, and other accompanying boats, making an impressive procession on the water.

Ngaphechaung Monastery, Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

Ngaphechaung Monastery is a beautiful wooden monastery built on stilts over the lake at the end of the 1850s, the biggest and oldest monastery on the lake. The monastery is known for a collection of old Myanmar’s Buddha images from different eras.  It is also notable because the monks have taught a few of the many cats living with them to jump through hoops (that is the reputation, but I don’t get to see any cats).

I skip stopping for lunch so am able to condense the tour somewhat, which brings me back to the hotel at 2:30 pm.

Sanctum Inle Resort’s infinity pool, Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

I indulge in Sanctum Inle Resort’s utterly stunning pool – I would rank one of the best resort pools in the world – an infinity pool of black and silver that shimmers as you swim, magnificently set with a view down to the lake, richly landscaped, a great size for actually swimming as well as playing around. It is also one of the most magnificent places just to lounge. I meet families from around the world.

I am back in my room by 5 pm, to walk about a mile up the road from the resort into the nearby village of Maing Thauk. I am bound for the Friendship Bridge where one of the scavenges is to watch the sunset. I love to see the Burmese alphabet, with its circles and curley-cues, on signs (few have English translation, except for the Noble Aim PreSchool, my Rosetta Stone, and a traffic sign with a drawing of a parent holding a child’s hand, indicating a school crossing). I come upon a school holding a sports competition that has drawn a tremendous audience. Even though hardly anyone speaks English, we manage to chat (icebreaker: What is going on? Where is the bridge?). It’s a good thing I ask the fellow if I was going the right way to get to the Friendship Bridge I am looking for, because he directs me to turn left on the next corner (I would have gone straight).

Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

The Bridge connects many structures and from which people can get onto the scores of wooden boats that gather here, especially to offer sunset “cruises”, as well as walk to several restaurants. The views and the evening activity are just magnificent. It’s like watching the entire community walk by.

Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

What I’ve noticed during this incredibly brief visit is exactly what GSH’s organizer Bill Chalmers had hoped when he dealt with a question of whether we should be in a place that has earned worldwide condemnation for human rights abuses. Travel is about seeing for yourself, but also gaining an understanding of one another, disabusing stereotypes or caricatures, and most significantly, not seeing others as “other”, which works both ways. In very real ways (and especially now), travelers are ambassadors, no less than diplomats. Boycotting destinations because of their governments, isolating people from one another, cutting off the exchange of ideas and people-to-people engagements is not how change happens – that only hardens points of view, and makes people susceptible to fear-mongering and all the bad things that have happened throughout human history as a result. “See for yourself,” Chalmers tells us.

Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com
Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

What I see in the people I’ve encountered is a kindness, a warmth of spirit, a sweetness among the people here. I see it in how parents hold their children, how the boatman, Wei Moi, shows such etiquette among the other boatmen, how helpful people are.  And how readily they smile.

This leg has been a Par 5 in difficulty (Par 6 being the most difficult during this, the 15th Global Scavenger Hunt) – which has entailed us going out of Yangon to Bagan, Mandalay and/or Inle Lake (many more rules on top of that, including no more than 2 flights), taking overnight bus or hiring a taxi or train, and so forth. But Chalmers devious design has worked – in just these four days, we really do immerse ourselves in Myanmar, though our itinerary most properly should be done in 11 days (there are several operators who offer such trips).

The challenge of the Global Scavenger Hunt is important to mention because Inle Lake is worth at least a two or three day stay to be completely immersed in its spell. There is a tremendous amount to do and experience.

You can reach Inle Lake by air, bus (Joyous Journey Express, known as JJ Express, provided excellent service; travel on the first-class bus geared to tourists, www.jjexpress.net), or hire a driver to Inle Lake from various other major destinations in Myanmar (Bagan, Mandalay, Yangon). The closest airport to Inle Lake is Heho airport (HEH) which is 45 minutes away from the lake.

The final challenge of this leg is to get back to our hotel, the Sule Shangri-la, in Yangon by 6 pm, and for those competing to hand in their scorecards and proof of completing the scavenges. That’s when we will learn where in the world we will go next, and where we will all compare experiences.

See more travel information, http://myanmartravelinformation.com/where-to-visit-inle/.

The Global Scavenger Hunt is an annual travel program that has been operated for the past 15 years by Bill and Pamela Chalmers, GreatEscape Adventures, 310-281-7809, GlobalScavengerHunt.com.

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© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Global Scavenger Hunt: ‘World’s Greatest Travelers’ Winners Crowned in New York

The Three Graces, a Roman marble statue from 2nd C AD copying a Greek theme from the 2nd C BC, is repeated throughout Western civilization, on view at the Metropolitan Museum of Art, NYC © Karen Rubin/goingplacesfarandnear.com

by Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

The Global Scavenger Hunt teams arrive in New York City for the last leg of the Global Scavenger Hunt that has taken us to 10 countries in 23 days. Bill Chalmers, the ringmaster and Chief Experience Officer of this around-the-world mystery tour, in which the challenges and scavenges are designed to get us out of our comfort zone and immerse us in a culture, fine-tune our skills as world travelers, and most significantly, “trust in the kindness of strangers.” Back in New York, he is delighted all 10 teams circumnavigated the world “in one piece” without dramatic incident, in this, the 15th annual Global Scavenger Hunt competition.

The leading teams vying for the title of “World’s Greatest Travelers” as we enter this final leg of the contest in 4th place, SLO Folks from California with 96 points (where the low-score wins); in 3rd, Order & Chaos, doctors from San Francisco with 81 points; in 2nd place, Lazy Monday, computer networking consultant and think tank professional from California with 46 points, and Lawyers Without Borders, from Houston, with 33 points, five-time winners who are competing in the Global Scavenger Hunt for the 12th time.

There is one more challenge in New York (an easy urban Par 1), and even though, based on points and placement, the winners of the 15th annual, 2019 edition of the Global Scavenger Hunt have been determined, still the teams go out and give it their all. Those in contention must complete at least one of the scavenges in New York, and complete their time sheet and hand in by the 4 pm deadline.

Examples of the scavenges: take in a Yankees game or a Broadway show; have one of each of following: a New York bagel, a New York hot dog, a New York deli sandwich, a slice of New York pizza, New York cheesecake, a New York egg cream, or an old-fashion Manhattan; -locate five pieces from five of the nations you just visited in the Met; visit Strawberry Fields, pay John Lennon tribute; do one scavenge in each of the five boroughs of New York City.

A native New Yorker, this is really my turf (though there is the oddest sensation of feeling like I am in a foreign place, reminding myself of what is familiar like language, money, streets, drink water, eat salad), and I delight in walking up Madison Avenue to 82nd Street to the Metropolitan Museum of Art on Fifth Avenue.

Hunting for an object from Morocco, in the Metropolitan Museum of Art © Karen Rubin/goingplacesfarandnear.com

I elect to take up the challenge of going to the Metropolitan Museum of Art to seek out objects from five of the countries we visited (Canada, Vietnam, Myanmar, Thailand, Abu Dhabi, Jordan, Greece, Morocco, Gibraltar, Portugal, Spain). Greece will be easy, of course, but Morocco and Jordan (Petra), Vietnam and Myanmar (Burma) are just a bit trickier. It is Chalmers’ way of making us experience things on a different level, and for me, it brings together so much of what we’ve seen, learned and experienced along the way.

An object from Thailand, at the Metropolitan Museum of Art, NYC © Karen Rubin/goingplacesfarandnear.com

I first join a docent-led Highlights Tour, knowing from past experience that these always lead me to parts of the museum I am unfamiliar with, and enlighten about aspects of art and culture with the in-depth discussion of the pieces the docents select to discuss.

Not easy to find to complete the Global Scavenger Hunt: an object from Vietnam, at the Metropolitan Museum of Art, NYC © Karen Rubin/goingplacesfarandnear.com

The docent, Alan, begins in the Greco-Roman exhibit with a stunning marble sculpture of the Three Graces, showing how this theme – essentially copied from the Greek bronzes (which no longer exist because the bronze was valuable and melted down for military use) – was repeated over the eons, into the Renaissance and even beyond.

The Magdala Stone, 1st Century, Migdal, Synagogue, on the Sea of Galilee. The stone, whose exact function is uncertain, dates to a time when the temple in Jerusalem still stood. One short side features a 7-branched menorah – the earliest such image known in a synagogue – flanked by amphorae and columns. The Migdal synagogue would have been in use during the lifetime of Jesus, whom the Gospels describe as preaching in synagogues throughout Galilee © Karen Rubin/goingplacesfarandnear.com

Obviously, finding an object from Greece is going to be easy, and I hope to find objects from Vietnam, Myanmar (Burma), and Thailand in the Asia wing where there is a massive collection of Buddhist art (it proves just a tad more difficult, but I succeed). Morocco and Jordan (Petra) proved trickier than I expected, but brought me to an astonishing exhibit, “The World Between Empires: Art and Identity in the Ancient Middle East,” with an extraordinary focus on the territories and trading networks of the Middle East that were contested between the Roman and Parthian Empires (ca. 100 BC and AD 250). “yet across the region life was not defined by these two superpowers alone. Local cultural and religious traditions flourished and sculptures, wall paintings, jewelry and other objects reveal how ancient identities were expressed through art.”

The Greek sun god Helios, from Petra, 1st C BC – 1st C AD, found at Qint al-Bint temple in Petra, visited on the Global Scavenger Hunt © Karen Rubin/goingplacesfarandnear.com

The exhibit features 190 works from museums in the Middle East, Europe and the United States in an exhibition that follows the great incense and silk routes that connected cities in southwestern Arabia, Nabataea, Judea, Syria and Mesopotamia, that made the region a center of global trade along with spreading ideas, spurring innovations (such as in water control), and spawning art and culture.

It was the most incredible feeling to come upon the objects from Petra, having visited the site (was it only 10 days ago?) and having a context for seeing these isolated objects on display.

The World between Empires

The landmark exhibition The World between Empires: Art and Identity in the Ancient Middle East, which is on view through June 23, 2019, focuses on the remarkable cultural, religious and commercial exchange that took place in cities including Petra, Baalbek, Palmyra and Hatra between 100 B.C. and A.D. 250. “During this transformative period, the Middle East was the center of global commerce and the meeting point of two powerful empires—Parthian Iran in the east and Rome in the west—that struggled for regional control.”

The exhibition focuses on the diverse and distinctive cities and people that flourished in this environment by featuring 190 outstanding examples of stone and bronze sculpture, wall paintings, jewelry, and other objects from museums in the United States, Europe, and the Middle East.

Wall Painting of Christ Healing the Paralytic/Wall Painting of Christ Walking on Water, ca 232, Dura-Europos, Christian building, considered the world’s oldest surviving church. The paintings include images of Jesus Christ performing miracles, and are the earliest securely dated representations of him © Karen Rubin/goingplacesfarandnear.com

Among the highlights is a Nabataean religious shrine, reconstructed from architectural elements in collections in the United States and Jordan; the unique Magdala Stone, discovered in a first-century synagogue at Migdal (ancient Magdala) and whose imagery refers to the Temple in Jerusalem; and wall paintings from a church in Dura-Europos that are the earliest securely dated images of Jesus. Sculptures from Baalbek illuminate religious traditions at one of the greatest sanctuaries in the ancient Middle East, and funerary portraits from Palmyra bring visitors face to face with ancient people. The exhibition also examines important contemporary issues—above all, the deliberate destruction and looting of sites including Palmyra, Dura-Europos, and Hatra.

Ossuaries, Israel, excavated at Azor, Chalcolithic period, early 4th millennium BC © Karen Rubin/goingplacesfarandnear.com

“The compelling works of art in this exhibition offer a view into how people in the ancient Middle East sought to define themselves during a time of tremendous religious, creative, and political activity, revealing aspects of their lives and communities that resonate some two millennia later,” said Max Hollein, Director, The Metropolitan Museum of Art.  “Further, in focusing on an area of the world that has been deeply affected by recent conflicts and the destruction of sites, monuments, and objects, this show also engages with complex questions about the preservation of cultural heritage.”

Dead Sea Scroll Jar and Lid, ca 2nd Century BC, found in the Qumran caves, the documents now known as the Dead Sea Scrolls represent biblical texts and Jewish religious practices in the last centuries BC and first century AD. © Karen Rubin/goingplacesfarandnear.com

The exhibition evokes a journey along ancient trade routes, beginning in the southwestern Arabian kingdoms that grew rich from the caravan trade in frankincense and myrrh harvested there and used throughout the ancient world. Camel caravans crossed the desert to the Nabataean kingdom, with its spectacular capital city of Petra, which I had just visited, walking through very much as the caravan travelers would have.

Statuette of nude goddess, 2nd C BC-2nd C AD, Ctesiphon © Karen Rubin/goingplacesfarandnear.com

From here, goods traveled west to the Mediterranean and north and east through regions including Judaea and the Phoenician coast and across the Syrian desert, where the oasis city of Palmyra controlled trade routes that connected the Mediterranean world to Mesopotamia and Iran and ultimately China. In Mesopotamia, merchants transported cargoes down the Tigris and Euphrates rivers to the Persian Gulf, where they joined maritime trade routes to India. These connections transcended the borders of empires, forming networks that linked cities and individuals over vast distances.

3rd C biblical wall paintings discovered in the Dura-Europos synagogue were exceptional because they demonstrated that early Jewish art included figural scenes. © Karen Rubin/goingplacesfarandne

Across the entire region, diverse local political and religious identities were expressed in art. Artifacts from Judaea give a powerful sense of ancient Jewish identity during a critical period of struggle with Roman rule. Architectural sculptures from the colossal sanctuary at Baalbek and statuettes of its deities reveal the intertwined nature of Roman and ancient Middle Eastern religious practices. Funerary portraits from Palmyra represent the elite of an important hub of global trade. Wall paintings and sculptures from Dura-Europos on the River Euphrates illustrate the striking religious diversity of a settlement at the imperial frontier. And in Mesopotamia, texts from the last Babylonian cuneiform libraries show how ancient temple institutions waned and finally disappeared during this transformative period.

In Athens and Petra, particularly, you appreciate this synergy between trade, migration, environmental sustainability and technology (in Petra, the ability to control water supply was key), economic prosperity and political power, and the rise of art, culture, and community.

Bearded God, ca 1st C, Dura-Europos © Karen Rubin/goingplacesfarandnear.com

It is rare (if ever ) for the Metropolitan Museum to venture into the political, but a key topic within the exhibition is the impact of recent armed conflicts in Iraq, Syria, and Yemen on archaeological sites, monuments, and museums, including deliberate destruction and looting. Some of the most iconic sites affected—Palmyra, Hatra, and Dura-Europos—are featured in the exhibition, which discusses this damage and raises questions regarding current and future responses to the destruction of heritage. Should the sites be restored or will they now only exist “on paper”? How much money and resources should go to restoring or excavation when villages and homes for people to live in also need to be rebuilt?

There is a fascinating, if frantic, presentation of three archaeologist/historians speaking about what the destruction by ISIS and Islamic fundamentalists of Palmyra, Eura-Europos and Hatra – what it means to destroy a people’s heritage, their cultural identity. “It may seem frivolous to focus on [archaeological sites] when people are enslaved, killed…but to wipe out, destroy culture is a way of destroying people.”

Happening upon this exhibit made the travel experiences we had to these extraordinary places all the more precious.

It is a humbling experience, to be sure, to go to the origins of the great civilizations, fast forward to today. How did they become great? How did they fall? Greatness is not inevitable or forever.  Empires rise and fall. Rulers use religion, art and monuments to establish their credibility and credentials to rule; successors blot out the culture and re-write history.

(“The World Between Empires” is featured on The Met website as well as on FacebookInstagram, and Twitter using the hashtag #WorldBetweenEmpires.)

I peek out from the American Café windows to Central Park and see sun and the early spring blossoms on the trees, and dash out to walk through my other favorite New York City place. There is nothing more beautiful than New York City in the spring – brides are out in force taking photos; there are musicians and entertainers. There is a festive atmosphere as I walk through the park toward the Palace Hotel in time for our 4:30 pm meeting.

Spring in Central Park, NYC © Karen Rubin/goingplacesfarandnear.com

15th Annual Global Scavenger Hunt Winners Crowned

At the end of the New York City leg:

1st Lazy Monday, completed 10 scavenges earning 385 points

2nd SLO Folks with 6 scavenges, 250 pts

3rd Lawyers, with 150 pts

4th Order & Chaos

And now, drumroll please, Chalmers announces the winner of the 2019 Global Scavenger Hunt: “Only one team wins. The competition was fierce.”

3rd – Order & Chaos, Sal  Iaquinta & Vivian Reyes, doctors from San Francisco

2nd – Lazy Monday, Eric & Kathryn Verwillow, computer networking and think tank professional of Palo Alto, California (“I am in awe of how hard worked beginning to end – embraced the spirit,” Chalmers says.

1st Lawyers Without Borders, Rainey Booth and Zoe Littlepage of Houston, who have competed in the Global Scavenger Hunt 12 times, and won it for the 6th time. “You embody the spirit of the event, to go out of your comfort zone.” (You can follow Zoe’s blog of her experience to get a sense of how strenuous, outrageous, and determined the team was in accumulating their points: https://zoeandraineygreatescape.blogspot.com/2019/05/gsh-2019)

We celebrate at a final bon voyage dinner.

The Global Scavenger Hunt is the brainchild of Bill and Pamela Chalmers, who in addition to forging understanding and bonds among travelers and the people in the destinations visited, use the program to promote voluntourism (one of the scavenges is to volunteer at an orphanage or school during our stay in Yangon, Myanmar, and in the past travelers visited & helped out at: Tibetan refugee camps in Nepal, orphanages in Laos, hospitals in Cambodia, homeless schools in India, hospices in Manila, disabled facilities in Sri Lanka, Ethiopian schools, the slums of Nairobi) and raised money for the GreatEscape Foundation.

“The foundation is one of main reasons we do the event,” Chalmers says. The foundation has raised money to build 12 schools (1 each in Niger, Haiti, Ecuador, India & Ethiopia; 2 each in Sri Lanka & Sierra Leone, and 3 in Kenya), helped build the Tamensa Medical Clinic in Niger for migrating Tuareg nomads which serves as a midwives & nurse training center too. “We know that we saved lives and bettered the lives of hundreds. We have helped over 2400 families in more than 60 countries (mostly women entrepreneurs) with our interest and fee free micro-loans (96% of which have gone to women with a 99% repayment).”

 Through the event this and last year, the foundation will build 2 more co-ed elementary schools , in Ethiopia and Haiti.

TheGlobal Scavenger Hunt travel adventure competition is aimed at returning the romance of travel while testing the travel IQ of the most travel savvy of globetrotters. The travelers (who must apply and be accepted to compete) completed a series of highly participatory, authentic and challenging cultural site-doing scavenges in ten secret countries over a 23-day circumnavigation between April 12 and May 4, 2019 designed to bring people out of their comfort zone and trust strangers in strange lands.

 “The Global Scavenger Hunt covers a lot of extraordinary travel bases,” says Chalmers, who dubs his mystery tour, “A blind date with the world.”

For more information, contact GreatEscape Adventures at 310-281-7809, or visit GlobalScavengerHunt.com.

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© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

First Look at The Shed, NYC’s Newest Iconic Cultural Center Bent on Using Art for Social Action, Public Good

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

 

The Shed is notable for a design based around flexibility; the new cultural arts center is adjacent to the Highline and The Nest and is the “beating heart” of the new Hudson Yards development on New York City’s West Side © Karen Rubin/goingplacesfarandnear.com

Imagine a structure 120 feet high that can fit 2000 people for a concert, but that can move, expand, shrink or be completely removed to expose an open-air plaza. An “anti-institution” cultural institution to provide a home and nurture the full spectrum of the arts, where emerging artists, local artists, and established artists have parity, and audiences represent the diversity and inclusivity of New York with low-priced ticket holders dispersed throughout the house.

This is The Shed, the newest cultural center to open in a city which prides culture above all, sure to be gain a place among the pantheon of iconic art institutions, along with its leading-edge approach to harnessing the arts as a force for social action and public good, its astonishing architecture, flexible, versatile and adaptable enough to enable artists of today and tomorrow and fulfill their vision to be a platform across multi-disciplines.

It’s “the Swiss army knife” of culture,” said Daniel L. Doctoroff, chair of the board, during a press preview prior to the April 5 grand opening, when the principals involved with the genesis of the project spoke of what The Shed, and its mission, meant to the city and society.

Indeed, they noted, in a city of 1200 cultural attractions, The Shed had to be different, beginning with its commitment to commissioning new works, creating a platform – the space and place – for artists across disciplines, engaging audiences across a spectrum of backgrounds and interests, but most significantly, creating a building, that like a “living organism” would keep morphing to accommodate artists’ visions today and decades from now, accommodating the unimaginable ways art and culture might change over time.

Six and a half years ago, after seeing a 60-second animation of what The Shed could be, purpose-built to house various forms of culture and building would move, John Tisch, vice chair of the new institution, told his wife, “The Shed is about future of NYC and we need to be involved.”

“6 ½ years later, here we are discovering the future of NYC and how we as citizens and creators of this institution will discuss culture and humanity, how we all need to be together in the 21st century in NYC.

 “There are many cultural institutions – many are about the past. The Shed is about the future.”

“The dictionary defines ‘shed’ as an opened-ended structure with tools,” said Doctoroff. “We designed The Shed as a platform, uniquely adaptable, to liberate artists to fulfill their dreams.”

More than a dozen years ago, Doctoroff said, The Shed “started as small square on map, a placeholder for To Be Determined cultural institution.

“Mayor Bloomberg said ‘Make it different from anything else in New York City.’ That’s not easy in a town of 1200 cultural institutions. It had to play a role in a new edge of New York City, keeping New York City as leading edge of the cultural world.”

The principals of The Shed, NYC’s newest iconic cultural institution housed in an architectural marvel: Hans Ulrich Obrist, David Rockwell, John Tisch, Dan Doctoroff, Liz Diller and Frank H McCourt, Jr. © Karen Rubin/goingplacesfarandnear.com

Liz Diller of Diller Scofidio + Renfro, lead architect, and David Rockwell of Rockwell Group, collaborating architect, responded to the mandate for flexibility, a one-of-a-kind structure.

“Just as it was to be designed to be flexible, we wanted it to be of and for our time and inclusive of artists across all disciplines,” Doctoroff said. “We proposed commissions of emerging artists across all art forms – the mission drives our work.

“It is a remarkable public/private investment of $500 million to design and construct building and create original works of art.

“New York City continues to be perfect partner under Mayor DiBlasio. The city provided $75 million and the land.

“We are standing in The McCourt, a spectacular space that can do anything an artist can imagine. It was named for the Board member who gave $45 million.

“Griffin Theater was named for one of most generous philanthropists, Ken Griffin, who gave $25 million.

“Altice USA is the founding fiber network partner – so that The Shed is an accessible arts organization with global reach, the first cultural institution with connectivity partner.

“Above all, Mayor Bloomberg, who had vision to transform West Side and create cultural institution as beating heart. The Shed is housed the Bloomberg Building, named for Mayor Bloomberg.

“It’s been a 14-year journey – kind of crazy, new kind of cultural institution in a completely new building in new part of town, new board, new team, performing miracles every day, producing our own work.

“Great architecture demands great purpose,” Doctoroff said. 

Alex Poots, on stage in The McCourt: “The Shed is place for invention, curiosity where all artists and audiences can meet.”  © Karen Rubin/goingplacesfarandnear.com

Alex Poots, the Artistic Director and CEO, said, “I started to imagine the possibilities: a flexible building, built on city land. That was the draw to lure me from England –a  public purpose. It was a no brainer, building on what I had been doing for 15 years. [Poots is also involved with the Manchester Festival and with the Park Avenue Armory.]

“Parity among art forms; the ability to commission art – visual and performing arts. And it would not matter if the artist were emerging, established, or a community artist – we don’t need a false hierarchy.

“The Shed is place for invention, curiosity where all artists and audiences can meet.

Alongside all the venerable institutions of city, we hope The Shed can add something.

“It’s rare for a place to be open in the day as a museum, and in the evening a performance center.”

Alex Poots, Artistic Director and CEO of The Shed © Karen Rubin/goingplacesfarandnear.com

First Commissions

Poots introduced the 2019 inaugural season’s first commissions (and the press were able to watch some rehearsals):

Soundtrack of America, a new live production celebrating the unrivaled impact of African American music on art and popular culture over the past 100 years, conceived by acclaimed filmmaker and artist Steve McQueenand developed with music visionaries and academic experts including Quincy Jones, Maureen Mahon, Dion ‘No I.D.’ Wilson, Tunji Balogun and Greg Philliganes, is a five-night concert series (April 5-14) celebrating the unrivaled impact of African American music on contemporary culture, with performances by emerging musicians.

The opening commissions at The Shed feature the world premiere of Reich Richter Pärt, an immersive live performance installation from iconic artists Steve Reich, Gerhard Richter, and Arvo Pärt, featuring new works by Richter and a new composition by Reich, performed with the Choir of Trinity Wall Street, here in rehearsal, that showcase The Shed’s support for mixing cultural disciplines © Karen Rubin/goingplacesfarandnear.com

Reich Richter Pärt, a live performance/exhibition pairing works by master painter Gerhard Richter with a new composition by Steve Reich and an extant composition by Arvo Pärt, performed by The Choir of Trinity Wall Street (April 6-June 2).

Norma Jeane Baker of Troy, a reinvention of Euripides’ Helen by poet Anne Carson, starring Ben Whishaw and the opera singer, Renée Fleming (April 6-May 19).

Björk’s Cornucopia, the multidisciplinary artist’s most elaborate staged concert to date, directed by Lucrecia Martel (May 6-June 1).

Chen Shi-Zheng discusses “Dragon Spring Phoenix Rise,” a futuristic kung fu musical conceived © Karen Rubin/goingplacesfarandnear.com

Dragon Spring Phoenix Rise. a futuristic kung fu musical conceived by Chen Shi-Zheng and Kung Fu Panda screenwriters Jonathan Aibel and Glenn Berger, with songs by Sia, choreography by Akram Khan, and production design and costumes by Tim Yip (June 22–July 27);

There are also, expansive exhibitions devoted to extant and newly commissioned work by trailblazing artists Trisha Donnelly and Agnes Denes; and an unprecedented opportunity for New York City-based emerging artists of all disciplines to develop and showcase their work throughout The Shed’s spaces via an Open Call commissioning program.

Beneath the stands and stage in The McCourt is the only permanent art installation, “In Front of Itself,” a large-scale, site-specific work by artist Lawrence Weiner embedded into the plaza. It serves as a walkable outdoor area when the movable shell is nested over the fixed building, or as the base of The McCourt when the shell is extended to the east. The 20,000-sq. ft. work features the phrase, “In front of itself” in 12-foot high letters fabricated with custom paving stones.  

These first commissions, Poots said, “shows the range of The Shed.” The flexibility of the building makes it possible to transform from one show to the next in just two days.

Dan Doctoroff, Alex Poots and Tamara McCaw discuss community outreach and the Open Call © Karen Rubin/goingplacesfarandnear.com

Art as Social Action

Tamara McCaw, Chief Program Civic Officer, is responsible for fulfilling the mission of The Shed to use art as social action.

“It is my responsibility to serve the community, particularly those under stress or have barriers [to artistic expression]. ]

McCaw oversees the Open Call program, an unprecedented opportunity for 52 New York City-based emerging artists and collectives to develop and showcase their work throughout The Shed’s primary spaces, free to the public (May 30-August 25) and continuing in 2020.

The 52 artists were selected from 930 applications in its first open call. Alex Poots said that The Shed will embark on its next round of emerging talent in 5-6 months.

The Shed has year round social justice residencies, serving 700 students a year

 “We are providing a platform for local and emerging artists – selected by diverse panel and Shed staff (2 are on the panel – to present in principal spaces, plaza, theater.” These performances and exhibits will be free to public.

“It is our civic responsibility to reflect, respond to the diverse communities of NYC – with affordable tickets ($10; free for 18 year olds and under and CUNY students), and reserve 10% of low-income seats that will be distributed throughout house (not the back or nosebleed section)

Addressing how The Shed intends to be responsive to diverse audiences, Doctoroff noted that the building is open – the restaurant, café and lobby. Anyone can come through without a ticket, and every gallery and theater can be separately ticketed. The goal is to make access to exhibits and performers and accessible as possible.

McCaw added, “People from public housing are already are coming because they are of process. We did outreach for open call. There are artists who live in public housing here. When you come with respect, people want to be involved.

“We are creating inventive new work, supporting creative expression, cultural equity and belief in power of art to effect social change.”

Ticket prices are intentionally low. Every gallery show – except Richter – is $10 ticket and free for those under 18. Open call programs are free (18 weeks of programming)

At the end of the first year, he expects that half  the entire audience will be admitted for $10 or free.

The Shed, a not-for-profit arts institution, expects to operate at a loss.

“That means we have to raise money,” Doctoroff said. “But we regard it as investing in society, not as a loss. The less box office, the more generous we are. There are high ticket prices for those who can afford it and low for those who can’t – low cost tickets are equally dispersed through theater, to promote equity.”

The Tisch Skylights © Karen Rubin/goingplacesfarandnear.com

A good source of real money, though, could be in renting out space in The Lizzie and Jonathan Tisch Skylights and The Tisch Lab  on the top floor, Level 8, where there is a 1,700-square-foot creative lab for local artists, a 3,300-square-foot rehearsal space, and a 9,500-square-foot flexible, multipurpose space for events.

“The Top floor is engine for that flexible space – dinners, small performances – will be rented year round while operating as not-for-profit art center.”

Frank H. McCourt Jr. reflected, “There is something else here – civic imagination, ideas put into action to serve people – address societal issues, change lives, make a better nation, a better humankind.” © Karen Rubin/goingplacesfarandnear.com

Frank H. McCourt Jr., Shed board member and entrepreneur, reflected, “There is something else here – civic imagination, ideas put into action to serve people – address societal issues, change lives, make a better nation, a better humankind.

“It is artistic creation but also social innovation. Human creativity for the greater good. My hope for The Shed is that it is home for both art and other intellectual activities. This place, including the institution created to animate it, is a bold, living example of civic action. An idea put into action for greater good.

“It’s not finished, just getting started. This week a milestone. In a world replete with cynicism, The Shed is the opposite.”

An Architectural Marvel

“We started the project 11 years ago – when it was a dotted line on a satellite photo and a question mark. It was the 2008 recession,” reflected Liz Diller, lead architect, who described what it was like to design a building around a mission.

“Arts in New York are siloed – dance, theater, music, visual. That’s not how artists think today, but how will artists think in one or two decades? We can’t know. We started a project without a client, an anti-institution institution, to serve artists of all kinds in a future we could not predict.

“How could architecture not get in the way of that? Art is in flux, so the building had to be able to change on demand, be flexible without defaulting.”

What she and collaborating architect David Rockwell devised is a fixed building with column-free exhibit and performance space, the Bloomberg Building.

Architectural discussion with David Rockwell, Dan Doctoroff and Liz Diller © Karen Rubin/goingplacesfarandnear.com

The Shed’s Bloomberg Building—an innovative 200,000-square-foot structure designed by Diller Scofidio + Renfro, Lead Architect, and Rockwell Group, Collaborating Architect—can physically transform to support artists’ most ambitious ideas. Its eight-level base building includes two levels of gallery space; the versatile Griffin Theater; and The Tisch Skylights, which comprise a rehearsal space, a creative lab for local artists, and a skylit event space.

The McCourt, an iconic space for large-scale performances, installations, and events, is formed when The Shed’s telescoping outer shell is deployed from over the base building and glides along rails onto the adjoining plaza. The McCourt can have theater seating for 1400, or open the glass wall to expose the balcony for 300 seated and have 2000 on the floor.

The Plaza: When the movable shell is nested over the base building, the 20,000-square-foot Plaza will be open public space that also can be used for outdoor programming; the eastern façade can serve as a backdrop for projection with lighting and sound support. The Plaza is equipped with a distributed power supply for outdoor functions. Oversize deliveries can be brought by truck up Hudson Yards Boulevard and loaded directly onto The Plaza and into the base building or the shell when deployed. Those doors can be opened while the audience is under cover, for an open-air effect.

“It is the architecture of infrastructure:  all muscle, no fat,” Diller said. “Alex, an inspirational alchemical force, challenged the building to be smarter, more flexible, agile. This is a perpetual work in progress – always getting smarter more agile.

It will respond to the challenge of artists and challenge the artists back.”

“New York is so defined by art and its artists. Art creates community, at its best, and empathy with audiences,” said Architect David Rockwell.

 “What we created is a Swiss Army knife of culture,” said Doctoroff. “A beautiful design with practicality to respond to the notion that we don’t know where art will go, or where artists will be in 200 years.”

Gerhard Richter’s work is on view in The Gallery, a massive column-free space © Karen Rubin/goingplacesfarandnear.com

The Shed’s eight-level base building includes two expansive, column-free galleries totaling 25,000 square feet of museum-quality space; a 500-seat theater that can be subdivided into even more intimate spaces; event and rehearsal space; and a creative lab.

A movable outer shell can double the building’s footprint when deployed over the adjoining plaza to create a 17,000-square-foot light-, sound-, and temperature-controlled space, named The McCourt, for large-scale performances, installations, and events for audiences ranging from 1,250 seated to 3,000 standing (when combined with space in the two adjoining galleries of the base building). When space is not needed, the movable shell can nest over the base building, opening up the plaza for outdoor use and programming.

Diller explained how the movable shell travels on a double-wheel track based on gantry crane technology commonly found in shipping ports and railway systems. A rack-and-pinion drive moves the shell forward and back on four single-axle and two double axle bogie wheels that measure six feet in diameter; the deployment of the shell takes approximately five minutes.

The exposed steel diagrid frame of the movable shell is clad in translucent pillows of durable and lightweight Teflon-based polymer, called ethylene tetrafluoroethylene (ETFE). With the thermal properties of insulating glass at  1/100th of the weight, the translucent ETFE allows light to pass through and can withstand hurricane-force winds. Measuring almost 70 feet in length in some areas, The Shed’s ETFE panels are some of the largest ever produced.

“Systems were adapted from other things but it is novel in the way we put together,” Diller said, adding that the architecture is “based on industrial crane technology, brought to 21st century” with an emphasis on functionality. But there were no real models among arts institutions.

“It was a constant process of invention, reinvention,” said Doctoroff. “We have 14 blackout shades. We had to rethink the system of shades – particularly when Alex came and knew he wanted concerts. They needed to also provide sound protection. We went to the sailmakers who designed sails for America’s Cup boats to design shade system. Extra performance capability of holding back 108 decibels (loud). The thickness, density had to be able to roll up.”

Form and function: the back wall of McCourt can be removed to open up a balcony © Karen Rubin/goingplacesfarandnear.com

Asked why New York needed another cultural institution, Doctoroff retorted, “Why have we been so successful raising money? Because people sense New York does need this. The criteria was that this had to be different from anything else in New York. We went to talk to artists and leaders of cultural institutions around the world to ask what do they not have and need. There were similar themes –the internet era gives artists the capacity of collaborating across distances and disciplines, but also producing work that didn’t fit in traditional institutions. Out of that came idea of flexibility.

“This is different: our mission of inclusivity embedded in value system,” said Doctoroff, said in a small discussion group with journalists.

“We prove it every day. This is personal for me: 36 years ago I imagined a new West Side – saving the Highline [now one of the most popular attractions in NYC, with 8 million visits a year], the subway. I always believed having a cultural heart to the new West Side was critical and would need to change over time to keep New York leading edge in culture. I believe cultural institutions are critical to New York,” said Doctoroff, who is also chairman and CEO of Sidewalk Labs, an Alphabet company that looks at sustainable solutions to designing urban communities.

“The Shed will never be finished,” said Doctoroff. “The word ‘unfinished’ ends with ‘shed’. It will always be evolving because what we’ve done is created a platform for artists to use as their own. The building enables their vision – they will push, stretch us in ways we can’t imagine, they can’t imagine today. The Shed is an organism that keeps morphing.”

And that’s how Liz Diller expects not to go through post partum blues. “We will respond to the challenge of artists and challenge artists back.”

See also: The Shed, New York’s Newest Iconic Cultural Center, Opens April 5 with Commissioned New Works

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© 2019 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Nassau County Museum of Art Becomes Destination for Arts Education with Opening of Manes Center

Ribbon-cutting ceremony of the Manes Family Art & Education Center with Dr. Harvey Manes and grandchildren. The new center gives the Nassau County Museum of Art, housed on the former Childs Frick estate in Roslyn Harbor, Long Island, a new dimension in arts education, spanning ages and abilities © 2017 Karen Rubin/goingplacesfarandnear.com

 

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

 

Housed in what was Childs Frick’s natural history laboratory where he studied paleontology, the newly opened Manes Family Art & Education Center on the grounds of the Nassau County Museum of Art – Frick’s former estate – gives the museum a new dimension in arts education and appreciation.

The Manes Center, named in recognition of Museum Trustee Dr. Harvey Manes and the Manes Foundation’s $1 million gift, gives the museum the space to offer a dynamic and creative environment in which audiences of all ages and abilities can find creative engagement through a variety of activities, classes and projects. This includes new hands-on programs for children as young as 3, adults from beginners to skilled, and an ambitious curriculum for autistic individuals.

The environment is special: Childs Frick, the son of Henry Clay Frick, was a vertebrate paleontologist and a trustee of the American Museum of Natural History. The center has repurposed Frick’s labs into art “labs,” each dedicated to a specific type of art learning, to address the multiple learning styles, interests and abilities of adults and children: Hands-On Studio Lab, Indoor/Outdoor Lab, Reading Resource Lab and Design Tech Lab, as well as additional exhibit space.

This means that for the first time, the Museum will be able to offer hands-on multi-day workshops across the visual arts disciplines.

Dr. Harvey Manes, with Nassau County Museum of Art Director Karl E. Willers and Board President Angela Susan Anton, at the opening of the Manes Family Art & Education Center. “Art is my passion,” Dr. Manes said. “I believe in promoting peace through art and education.” © 2017 Karen Rubin/ goingplacesfarandnear.com

“Family programs at the Manes Center provide children and the adults in their lives the opportunity to take time from their busy schedules to reconnect while talking about and making art together. Each week we offer projects that encourage curiosity and experimentation, and creative thinking through a variety of experiences and materials inspired by current exhibitions.”

“Before, we always scrambled for space in order to run programs at the museum,” commented NCMA Director Karl E. Willers at the ribbon-cutting ceremony, August 3. “This facility allows us to enhance and expand all kinds of classes… Programs can be geared to exhibits as well as to open to the surrounding landscape. Many art programs integrate science and the natural world. It adds a new dimension to our educational offerings – extended hands-on workshops, more events going on simultaneously spanning age and ability groups, when before we were limited by the space availability in the mansion.”

The building, which was designed for Charles Frick’s paleontology research (the specimens he collected are now at the Museum of Natural History), is a series of laboratories that are being repurposed for making art in all its forms. The floors are finished to accommodate workshops and there are sinks!

“We can offer proper professional art spaces for people to look at and make art in contemporary studio facility,” said Reem Hussein, who was brought in to manage the center. We are bringing in technology – i-Pads to create art with technology. But we are mindful of people who want traditional art making.

“These are programs we don’t offer now. We will able to offer more series programs, rather than one-shots and lectures.”

She said that the rooms are called “labs” to pay homage to Frick. 


NYS Assemblymembers Charles Lavine and Michaelle C. Solages, and NYS Senator Carl L Marcellino with NCMA trustee, Dr. Harvey Manes whose $1 million donation made the Manes Family Art & Education Center possible © 2017 Karen Rubin/goingplacesfarandnear.com

The New American Garden Inaugural Exhibit

The public is invited to preview the Manes Center and take in its inaugural exhibit, “The New American Garden: The Landscape Architecture of Oehme, van Sweden.”

Organized by The Cultural Landscape Foundation, The New American Garden is a traveling photographic exhibition which chronicles the careers and influence of Wolfgang Oehme and James van Sweden who revolutionized landscape architecture with the creation of a type of garden characterized by large swaths of grasses and fields of perennials. The gardens are the penultimate merger of man and nature, and the ultimate in “installation” art’s ephemeral quality. Indeed, 10 of the gardens that are immortalized in the photographs are gone, and many others are in jeopardy.

During this introductory period, through September 7, admission to the Manes Center is free (free admission offer does not include the main building, the Saltzman Fine Art Building).

The building now looks as a low-level white box, but that will soon change. The pop/surrealist modern artist Kenny Scharf is being invited to paint the exterior. After that, it is anticipated that the landscape architects Oehme, van Sweden will create a new garden.

Pop Artist Kenny Scharf, at the opening of his exhibit at the Nassau County Museum of Art in 2016, will transform the exterior of the new Manes Family Art & Education Center © 2017 Karen Rubin/goingplacesfarandnear.com

 

The focus on gardens for the inaugural exhibit at the Manes Center is also appropriate for this grand estate.

Most of the 145 acres originally belonged to poet, lawyer, conservationist, political activist, patron of the arts and preservationist William Cullen Bryant, who settled in Roslyn in 1843. The long-time editor of the New York Post built is home, Cedarmore, and founded Roslyn’s public library. In 1862, he built a cottage for his friend and fellow poet, Miss Jerusha Dewey (you can see the cottage when you explore the hiking trails on the grounds). In 1900, Lloyd Stephens Bryce purchased Bryant’s ‘Upland Farm’ and commissioned architect Ogden Codman, Jr. to design Bryce House, the present mansion. Henry Clay Frick, co-founder of US Steel Corporation purchased Bryce House in 1919 as a gift for his son, Childs Frick, a Princeton graduate who became a vertebrate paleontologist and naturalist.

For museum-goers, the estate grounds also offer:

Sculpture Park: Approximately 30 works, many of them monumental in size, by renowned artists including Fernando Botero, Tom Otterness, George Rickey and Mark DiSuvero among others, are situated to interact with nature on the museum’s magnificent 145-acre property.

Walking Trails: The museum’s 145 acres include many marked nature trails through the woods, perfect for family hikes or independent exploration.

Gardens: From restored formal gardens of historic importance to quiet little nooks for dreaming away an afternoon, the museum’s 145 acre property features many lush examples of horticultural arts. Come view our expanded gardens and beautiful new path to the museum.

Childs Frick’s mansion home is now the Saltzman Fine Art Building of the Nassau County Museum of Art, Roslyn Harbor, Long Island © 2017 Karen Rubin/goingplacesfarandnear.com

Today, Frick’s mansion is the Saltzman Fine Arts Building, home to the Nassau County Museum of Art, which has put on world-class exhibitions and has a notable collection, including 150 Tiffany paintings and drawings which were bequeathed to the museum.

Currently on exhibit in the Saltzman Fine Art Building (through November 5, 2017)

“New York, New York”: From its earliest years, New York City was the stage on which the transformation of America played out, reflecting economic and historic upheavals that led to the city’s place as the financial and art capital of the world. This exhibition, guest curated by Director Emerita Constance Schwartz, portrays the city’s grit and glamour, its excitement and bustle, the heartbeat of a great metropolis, through more than 140 works by artists such as John Sloan, Reginald Marsh, Childe Hassam, Red Grooms, Robert Henri, Fairfield Porter, Berenice Abbott, Milton Avery and Georgia O’Keeffe among many others.

“Glamour Icons: Marc Rosen”: Through the work of the award-winning designer Marc Rosen, Glamour Icons celebrates fragrance and cosmetic packaging as an art form. This retrospective spanning the designer’s 40-year career includes many of his most iconic designs as well as some vintage 20th-century perfume bottles from Rosen’s personal collection. The designer’s work has been recognized with many industry awards and is also in the permanent collections of the Museum of Modern Art in New York and Musée de La Mode in Paris.

Family Sundays – 1– 4 pm (free with admission): Be inspired by an exhibition based gallery conversation, then explore new art materials and learn new art-based vocabulary and ideas in the studio with our museum educator.

Super Family Sundays – 1-4 pm (admission plus $10 materials fee):

Families immerse themselves in artmaking and exploring the Museum, the grounds, and sculpture collection during Super Family Sundays. Multiple activities are offered in collaboration with teaching artists in a variety of media, from performance to monumental cardboard constructions. Themes connecting the artmaking activities are inspired by the art on view in our galleries, the Museum’s history or the changing seasons on display in its forests and gardens.

Preview of Educational Programs at Manes Center

Among the arts education programs that will be available at the Manes Center beginning this fall:

Early Childhood Programs: Programs for young children and their adult companions at the Manes Center are all about discovery. Both in the galleries and in the art studio, children find opportunity for self-expression, socialization, and experimentation, through creative play and exploration through open ended developmentally appropriate experiences. Looking at and talking about art fosters visual literacy in young children.

Programs include:

Story Time for 3 to 5 year olds, featuring gallery exploration and hands-on art activities.

Young Artists (ages 3-5) programs for children and their adult companions consist of hands-on activities designed to experiment and become familiar with art materials and processes.

An Outdoor Classroom program will offer guided and self-guided activities for children to encourage the exploration of the natural environment through experiences that make the connection between art and science. Activities are designed to encourage open air exploration and imaginative play.

New outdoor education programs will encourage children to explore NCMA’s natural environment and make the connection between art and science © 2017 Karen Rubin/goingplacesfarandnear.com

A drawing class geared to children 8-11 years old, to learn the rules of traditional drawing by practicing line, shading, and perspective through drawing in the studio and gallery and using experimental materials.

A program tentatively titled “Imagine, Design & Build,” for children 11-15 to experience the design process through sketching and building as they dive deep into creative thinking and problem-solving to explore the connections between design, art, science, and technology.

A program for teens 13-17 is aimed at supporting high school students who are preparing portfolios as part of their college applications. Group and individual instruction focus on elements and principles of art and design through application to students’ own work and conversations about art work in the museum’s galleries. Student will have the opportunity for work with live models, critique sessions, and portfolio reviews. 

Adult Programs

Hands-on studio programs are being designed for adults of all levels of art making experience, taught by experienced artists. The programs focus on group and individual projects to help adults explore and learn art skills and processes, and have opportunities for personal expression. Adults will learn techniques of drawing & painting, sculpture, and printmaking and have opportunities to draw from live models. 

“The Creative Process” dovetails with every changing exhibition in the Manes Center’s contemporary art gallery: visitors are invited to create in response to the art on view through hands on activities that focus on artists’ themes, processes, and materials. Projects are designed to pique curiosity and inspire creativity, and gain new insights into the creative process. 

Life drawing at the Manes Center will present the opportunity to draw from a live model through gesture sketches and longer duration poses under the guidance of a teaching artist.

Adults can learn the basics of drawing and painting and explore materials such as graphite, charcoal, and conté crayon, watercolor and acrylic paint. Projects will be inspired by art history and current gallery exhibitions.

The center will also offer programs in using digital art tools to create traditional and experimental works of art. 

Art Talks for adults invited scholars, academics and exhibiting artists to introduce and discuss topics in the field of art with visitors in an intimate salon style setting.

Programs for Special Needs

Art education programs are also being designed for children, teens and adults with special needs. 

One program invites families affected by autism into the galleries and art studio to talk about and make art. Throughout the course of this program parents and caregivers will gain skills in behavioral methods that they can employ when bringing their child into a community setting. Families will join the Art Educator trained in Art Therapy in fun interactive gallery experiences that provide opportunities for everyone to look at and talk about art in a group setting. Then off to the studio for hands on art making activities that encourage experimentation with new materials, processes and creative play.

Another workshop is aimed at building social and vocational skills for teens and young adults with autism through arts-based workshops. During this workshop series, teens will receive hands on training in basic artistic processes that can be translated into practical job skills. Based on current exhibitions in the galleries at Nassau County Museum of Art, these workshops will encourage participants to explore different methods of art making and design and how a museum can be a resource for creative inspiration. Students with autism will have the opportunity to apply their artistic skills and functional academic learning in a real world setting.

Explore picture & art books and related resources about art history and museum exhibitions. This space is equipped with manipulatives and simple drawing materials for young children.

The Manes Center will also be available for birthday parties, with appropriate art project activities.  Party bookings are available on Saturdays 12:30 – 2 pm.

The Nassau County Museum of Art is on the 145-acre grounds of the former Childs Frick estate in Roslyn Harbor, Long Island © 2017 Karen Rubin/ goingplacesfarandnear.com

Nassau County Museum of Art, consisting of the Saltzman Fine Art Building and The Manes Family Art & Education Center, is located at One Museum Drive in Roslyn Harbor, just off Northern Boulevard, Route 25A, two traffic lights west of Glen Cove Road. The Museum is open Tuesday-Sunday, 11 a.m.-4:45 p.m. Admission is $12 for adults, $8 for seniors (62 and above) and $4 for students and children (4 to12). During the August 3-September 10 preview of the Manes Center, there is no admission fee (this does not include admission to the Saltzman Fine Art Building). Members are admitted free. Docent-led tours of the exhibition are offered at 2 p.m. each day; tours of the mansion are offered each Saturday at 1 p.m.; meet in the lobby, no reservations needed. Tours are free with museum admission. Family art activities and family tours are offered Sundays from 1 pm; free with museum admission. Call (516) 484-9338, ext. 12 to inquire about group tours. The Museum Store is open Tuesday through Sunday, 11 a.m. to 4:30 p.m. Call 516-484-9338 for current exhibitions, events, days/times and directions or log onto nassaumuseum.org.

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© 2017 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com,  www.huffingtonpost.com/author/karen-rubin , and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Send comments or questions to FamTravLtr@aol.com. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

 

 

Mansions on Fifth Historic Hotel is Steps Away from Pittsburgh’s Top Cultural Attractions

A parting shot of the Carnegie Museum of Art © 2017 Karen Rubin/ goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

I must admit to relishing my stay in Pittsburgh’s Shadyside neighborhood, where I am staying at Mansions on Fifth, two mansion homes originally built in the early 1900s by Willis F. McCook, a prosperous attorney and legal counsel to steel and coke magnate Henry Clay Frick for himself, his wife Mary and their 10 children, that have been turned into a boutique hotel. The neighborhood was also home to most of the city’s (and therefore, the nation’s) leading industrialists, innovators and bankers, including George Westinghouse, Frick, Andrew Mellon, Andrew Carnegie and the rest of Pittsburgh’s exceptionally wealthy families of the era, and boasts stunning mansions, churches as well as some of the city’s most important cultural attractions.

Staying at the mansion, you really feel part of that whole privileged Gilded Age society.

A young woman from the hotel spends a lot of time with me suggesting how to best spend my afternoon exploring. It turns out, the hotel (a true mansion) is only a short walk to the Carnegie Museum of Art. She also tells me about the Cathedral of Learning a few blocks beyond, in what is technically the Oakland neighborhood.

The neighboring mansion to Mansions on Fifth in Pittsburgh’s tony Shadyside neighborhood © 2017 Karen Rubin/goingplacesfarandnear.com

I set off for the short walk to Carnegie Museum of Art (it is attached to the Carnegie Museum of National History, two of four Carnegie museums; the others are the Carnegie Museum of Science and the Warhol Museum, downtown), dazzled when I pass the neighboring mansions along Fifth Avenue. It reminds me of Newport or Palm Beach.

The Carnegie Museum of Art is arguably the first museum of contemporary art in the United States, collecting the “Old Masters of tomorrow” since the inception of the Carnegie International in 1896 – held at various times, from which much of the present museum’s collection came (there are notes that say if the painting was in an exposition).

“While most art museums founded at the turn of the century focused on collections of well-known masters, Andrew Carnegie envisioned a museum collection consisting of the ‘Old Masters of tomorrow.’ In 1896, he initiated a series of exhibitions of contemporary art and proposed that the museum’s paintings collection be formed through purchases from this series. Carnegie, thereby, founded what is arguably the first museum of modern art in the United States. Early acquisitions of works by such artists as Winslow Homer, James McNeill Whistler, and Camille Pissarro laid the foundation for a collection that today is distinguished in American art from the mid-19th century to the present, in French Impressionist and Post-Impressionist paintings, and in significant late-20th-century works. Today the International remains an important source for the museum’s acquisitions of contemporary art. Presented every three to five years, it features works by contemporary artists from around the globe.”

Some of the galleries at the Carnegie Museum of Art are organized as you might expect the Carnegie International exhibits of a century ago © 2017 Karen Rubin/goingplacesfarandnear.com

It is a stunning collection – much of it coming out of annual Carnegie International Art Expositions, or from other important benefactors including Mellon and Scaife. Some of the galleries are arranged much like those expositions, with multi-levels of paintings; some of the rooms are more intimate, like private collections, and some are more institutional. The notes and themes that accompany the rooms and individual pieces are wonderful.

Just about every artist of note is represented with at least one piece – including a superb collection of Impressionists and Post-Impressionists.

I take particular note of Childe Hassam’s snow scene, “Fifth Avenue in Winter,” of New York City, painted circa 1892, when here I am on Fifth Avenue, Pittsburgh.

The entire museum, though, is a reminder of how an economy that is designed to bestow such riches on a small segment, at the expense of the vast majority produces a society in which “the public” depends on the kindness and charity of the ultra-wealthy.

“The Chariot of Aurora,” an Art Deco bas-relief masterpiece, was a gift to the Carnegie Museum of Art by the renowned collector Frederick K. Koch in 1994 © 2017 Karen Rubin/goingplacesfarandnear.com

This juxtaposition was absolutely clear in one room where the massive (18 feet high and 26 feet long) gilded and lacquered relief, The Chariot of Aurora, takes up an entire wall. The stunning example of Art Deco was a gift of the renowned collector Frederick K. Koch in 1994 (brother of billionaires Charles and David Koch, who have their names on the Metropolitan Museum of Art, the Smithsonian, PBS, and scores others, as well as significant donors to political candidates and entities).

Pittsburgh artist Raymond Simboli’s “Pinkerton Riot” is an homage to the Homestead Strike at the Carnegie & Frick steel mills so brutally put down in 1892 © 2017 Karen Rubin/goingplacesfarandnear.com

Just next door is a room devoted to Pittsburgh artists, including Raymond Simboli,, whose “Pinkerton Riot” depicting the Homestead Strike at the Carnegie & Frick steel mills so brutally put down in 1892, uses the dress is of the 1940s. Another artist, Sam Rosenberg, similarly paints from the perspective of working class Pittsburghers in such stark contrast.

I set out for the Cathedral of Learning and find myself in the Carnegie Library, another cathedral of Learning, just across the street from the academic tower.

Truly an inspiring place, Pittsburgh’s Cathedral of Learning looms large over the city – in fact, I am told, the largest academic structure in North America.

The Cathedral of Learning, Pittsburgh Historic Landmark, 1926-37, Charles Z. Klauder, Architect © 2017 Karen Rubin/goingplacesfarandnear.com

It is part of the University of Pittsburgh which “was well on the way to becoming an acropolis of neoclassical buildings on an Oakland hillside when John G. Bowman became the University’s 10th chancellor in 1921. In those years following World War I, student enrollment had dramatically increased, causing a critical shortage of space. A 14-acre plot known as Frick Acres, which housed residences, gardens, and tennis courts, became the focus of Dr. Bowman’s plans to erect a monumental building. A structure expanding upward, though unorthodox, would solve the growing University’s problems of space and distance. More important, a tower would be a visible inspiration to all who approached the city. It would carry the message that education was the result of aspiring to great heights. The parallel lines of the truncated Gothic form, never meeting, would imply that learning is unending. The sweeping proportions would symbolize the spirit and achievement of Pittsburgh.  Architect Charles Z. Klauder translated these concepts into drawings that guided the placement of steel and stone.”

Chancellor John Gabbert Bowman, himself, offered the reasoning behind designing such a dramatic tower: “The building was to be more than a schoolhouse; it was to be a symbol of the life that Pittsburgh through the years had wanted to live. It was to make visible something of the spirit that was in the hearts of pioneers as, long ago, they sat in their log cabins and thought by candlelight of the great city that would sometime spread out beyond their three rivers and that even they were starting to build.”

The Cathedral of Learning is as much a monument to the immigrants who flooded its halls in their quest for education as a ticket to the American Dream.

Following World War I, Chancellor Bowman was charged with developing a great university in a city richly populated with first-generation immigrant families. He wanted to provide students with unique classrooms which would reflect a highly-creative period in the motherlands of Pittsburgh’s new citizens. He conceived the idea of inviting community representatives of diverse nations to plan and build classrooms depicting an era or aspect of the heritage they had brought to America – known today as the Nationality Rooms – appointing Ruth Crawford Mitchell as his special assistant. It took 30 years.

Peeking through peepholes to the Irish Room, one of dozens of Nationality Rooms in Pittsburgh’s Cathedral of Learning © 2017 Karen Rubin/ goingplacesfarandnear.com

At the Cathedral of Learning, I seek out the “Nationality Rooms” – each one for a different nationality, such as Irish, Hungarian, Polish, Armenian, of ethnic groups who settled in Allegheny County. Rooms were subsequently added – like the Israel Room, in 1987 after a 30-year hiatus, which is modeled after a 1st-century stone dwelling in Galilee.

Unfortunately, when I get to there, the rooms are locked for the weekend, but I get to peek through peep-holes to the Irish room (the other rooms have peep holes much too high).

Members of Quo Vadis, a student organization, conduct guided tours for nearly 30,000 visitors each year. Special interpretations are adapted for children, senior citizens, the handicapped, and groups with special interests such as architecture, interior design, art, mythology, or religion. (See http://www.nationalityrooms.pitt.edu/content/touring-options-requesting-group-tours ).

 

Pittsburgh Neighborhoods

Shadyside has been Pittsburgh’s premier upscale address for more than a century. It is fairly obvious that this was once home to Pittsburgh’s robber barons – who could enjoy the clean, cool air well away from the choking smoke belching from their steel mills that shrouded the rest of the city – and now features a legacy of stunning housing on leafy green streets, awe-inspiring churches, and two active and growing business districts (Walnut Street and Ellsworth Avenue) with retail stores and eating and drinking establishments, including several that are considered among the best in the city. Shadyside is also home to Carnegie Mellon University, Chatham University, Shadyside Hospital of UPMC, and the Hillman Cancer Center.

I take my bike for a spin around the neighborhood and am dazzled by the architecture.

Shadyside is distinguished with stunning homes built by Pittsburgh’s high society © 2017 Karen Rubin/goingplacesfarandnear.com

The large residential area includes beautifully restored Victorian mansions alongside modern homes and condos (I notice that many of the houses have lawn signs stating in three languages, “No matter where you are from, we are glad you’re our neighbor.”)

Shadyside is also walking (or an easy bikeride) distance from two other distinctive Pittsburgh neighborhoods:

Home to prestigious museums, world-class hospitals and universities and international cuisine, Oakland is considered the cultural, academic and medical center of Pittsburgh, where you will find the Carnegie Museums of Art and Natural History, the Carnegie Library and Cathedral of Learning, among other cultural venues.. It is also one of Pittsburgh’s liveliest neighborhoods, with cool coffee shops, multi-cultural eateries and interesting specialty shops alongside grand architecture. Oakland offers all of the attractions of a major university in terms of concerts, lectures, theater and other entertainment, along with a wide variety of retail offerings, bookstores, restaurants and bars (ethnic and otherwise). (onlyinoakland.org)

I am particularly intrigued as I drive to Mansions on Fifth from the highway, to pass a synagogue. This is Squirrel Hill, one of the fastest growing sections of Pittsburgh, which has also been a home to Pittsburgh’s Jewish community for many years. That history is reflected in the storefronts of the neighborhood’s two main business streets, Forbes Avenue and Forward Avenue, which feature a variety of grocery stores, retailers and restaurants honoring the Jewish heritage. But Squirrel Hill is also one of Pittsburgh’s most delightfully diverse neighborhoods as well, with residents (many connected to nearby universities and hospitals) from all over the world, reflected in the diversity of the cuisine of the various restaurants and eateries. Five minutes from downtown Pittsburgh, Squirrel Hill combines tree lined residential streets, a bustling business district, internationally recognized educational institutions, and two large public parks spanning 1100 acres.

Mansions on Fifth, 5105 Fifth Avenue, Pittsburgh, PA 15232, 412-381-5105, 800-465-9550, http://mansionsonfifth.com/.

For more information, contact Visit Pittsburgh, 412-281-7711, 800-359-0758, 877-LOVE PGH (568-3744), info@visitpittsburgh.comwww.visitpittsburgh.com.

See also:

Mansions on Fifth Historic Boutique Hotel in Pittsburgh’s Shadyside Sends You Back to Gilded Age

One Day, Two Nights in Pittsburgh: From Grey to Green, A Proud City Revitalized

36 Hours in Pittsburgh: Point State Park Proves Highlight of Walking Tour

36 Hours in Pittsburgh: Andy Warhol Museum is at Center of Revitalized City

36 Hours in Pittsburgh: Strip District Exemplifies City’s Past, Future

Two Nights, One Day in Pittsburgh: Historic Omni William Penn Hotel Connects to City’s Proud Heritage

Rails-to-Trails Conservancy’s BikeTour on Great Allegheny Passage Highlights Benefits of RailTrails

Rails-to-Trails Conservancy’s Sojourn Biketour on Great Allegheny Passage Showcases Forgotten Towns

‘World’s Largest’ Glass Sculpture with Trump Connection is Boon for Dunbar, Pennsylvania

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