Category Archives: Culture

Beyond Van Gogh, Beyond Monet Immersive Experiences Offer New Way to Appreciate Masters and Their Masterpieces

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, www.goingplacesfarandnear.com

What the leading edge technology of Beyond Van Gogh: The Immersive Experience does is to turn a static, albeit emotional, experience of appreciating a painting, into an active, dynamic, cinematic one.

On view at Samanea New York Mall, Westbury, Long Island only until January 2, in the course of 40-minutes, you see some 300 of Van Gogh’s paintings surrounding you, projected on all four walls and the floor in a 30,000 sq. ft. space the size of a basketball court. The paintings fill the entire wall, large enough to walk into, become animated, turning stills into images that grow, change, emerge, ripple, wave, flow and blossom over you – in essence, animating the movement that Van Gogh so powerfully created with his paint strokes.

It is as if you see the painting develop from Van Gogh’s perspective, his mind’s eye and hand.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

And I have to say, it is more stirring to see his works this way, than when I have seen “Starry Night Over the Rhone” which attracted the biggest crowds in a room in the Musée d’Orsay in Paris, or “Sunflowers” at the Museum of Modern Art, or his famous self-portrait at the Metropolitan Museum of Art. Is it blasphemous to say that these manifestations are more emotionally captivating than the original? Or is it enough to say, the paintings presented this way are as emotionally captivating but in a different way that adds cinematic drama.

The other benefit is that you see in this incredible 40-minute presentation some 300 of Van Gogh’s paintings – and not just zipping in front of your eyes, but well paced, magnificently and respectfully presented, each scene staying long enough to absorb what you are seeing all around you, to music perfectly curated to convey mood and emotion, before changing again.

It begs for active engagement in the sense of walking around, changing your visual perspective, even as the scene changes. There is a sense of immediacy as well as immersion.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

Timed tickets, the vast openness of the space and enormous scale of the paintings almost insure you will have enough space to feel yourself a part of the paintings, large enough as if you could walk into any scene.

The music that provides the backdrop for the different scenes and themes of the works presented are equally well curated.

You are in tune with Vincent, as well, because the paintings seem to originate as if from his own hand – the basis are these sensitive quotes that mostly come from the letters between Vincent and his loving brother Theo, which document how he came to his artistic expression.

the heart of man is very much like the sea, it has its storms, it has its tides and in its depths, it has its pearls too,” he wrote Theo from Isleworth in 1876.

“…in all of nature, in trees for instance, I see expression and a soul, as it were,” Vincent writes Theo in 1882.

“I don’t know if you’ll understand that one can speak poetry just by arranging colours well, just as one can say comforting things in music,” he writes his sister Willemien from Arles, in 1888.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

Van Gogh’s biography is very much abbreviated – the focus is on his art and creativity. But there are these important nuggets that provide a context for better appreciating the paintings, that come from revealing quotes from the letters between Vincent and his loving, supportive brother Theo, which document how he came to his artistic expression and what art, color, light, nature meant to him.  I had no idea he came so late to being an artist, beginning when he was 27, in fact, the vast majority of his 1000 canvases, painted in only a decade, were painted in the last three years of his life, or that he became an art dealer like his brother, Theo, then, briefly studied to become a preacher, before devoting himself to his art.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

But it is intensely personal – throughout the exhibit, you see and hear snippets of Van Gogh’s letters to his brother, Theo, that provide such insights into Van Gogh’s essence, and burst the monotone myth of a man in a constant state of anguish: “the heart of man is very much like the sea, it has its storms, it has its tides and in its depths, it has its pearls too,” he wrote Theo from Isleworth in 1876.

 “In life and in painting too,” he writes Theo in 1888 from Arles, “I can easily do without the dear Lord, but I can’t, suffering as I do, do without something greater than myself, which is my life, the power to create.”

Paintings emerge like brush strokes, or like ripples of hot air, or like waves that wash over the canvas, splashing across the floor.

Sometimes the paintings themselves are made to animate, like the smoke that rises from the pipe he smokes in a self-portrait; and a windmill’s fans actually turn (a game for the viewer, a device to engage).

The scenes unfold, linger long enough to be appreciated, then another scene emerges.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

It is stunning to see his famous “Starry Night Over the Rhone” (1888) take over the walls and splash over the floor, the reflections of light in the water not at all static but shimmering, glittering and rippling.

 “..the sight of the stars always makes me dream…” Vincent writes Theo from Arles in 1888.

In another scene, trees grow up with springtime blossoms multiply,  blow in the wind, gathering more and more, becoming a storm of petals. You hear the wind.

Another display imagines a score of canvases stacked up against the wall – then transmute to stilllifes.

A roomful of the portraits he painted is profound – going beyond their surface image to create these characters.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

When a whole roomful of his self-portraits unfold, you are struck by the honesty. “It is difficult to know oneself, but it isn’t easy to paint oneself either,” he writes from Saint-Remy in 1889

Van Gogh didn’t sell any of his art during his lifetime. He suffered from clinical depression that in those days, had no medical treatment. But he seemed to have a desperate desire and even an inclination that his works would survive him, as when he refers to his subjects as becoming “ghosts” visiting future viewers.

An artist who today is considered one of the greatest of all time was considered a failure (as an artist). In this, Van Gogh gives hope and inspiration to every other failed, un- and under-appreciated artist.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

The show, brilliantly, sensitively, imaginatively done, is itself a work of art – multi-media, performance art – because it takes all of these works and creates something new, a new way to experience the paintings, that will engage young people being introduced to art as well as devotees, artists and academics.

“I came to recognize and appreciate that the world was witnessing the cusp of a new art form- a reinterpretation of the fascinating narrative between master and masterpiece,” writes Gilles Paquin, Founder, Chairman, Executive Producer of Paquin Entertainment Group, Inc., in the forward to the show’s publication. “Combining fine art and artifacts with music and cinema, curated, staged and presented in a way that can be enjoyed by an audience so diverse it transcends the confines of age, gender and cultural demographics.”

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

“At the start of this creation, we searched for a refreshing perspective of Van Gogh’s vision of the world,” writes Mathieu St-Arnaud, Creative Director & Art Direction, Normal Studio. “What we found was unexpected and captivating: we were met with Vincent, a human being like all of us, an artist devoted to his craft, yearning for beauty and moved by purpose. It became a personal journey for us, one that we wanted to extend to audience members around the world: to go beyond the myth that is Van Gogh and instead meet Vincent, the man behind the vision. Wielding colour and light, Vincent transformed hardship and darkness into light and joy, infusing his work with a contagious sense of hope that it still exudes today. Amidst the challenges of today, there’s something truly inspiring in Vincent’s will to focus on the wonders of the world and his determination to both capture and share them with all of us. In more ways than one. Vincent is the artist we need right now.”

The end of the loop is a series of Vincent’s famous signature that emerge from scores of his paintings – we learn that he only signed “Vincent” because he feared his surname would be too difficult to pronounce. “yours very truly, Vincent.”

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

This scene is like Van Gogh’s final word as if to say, “This is me. This is what I created. This is what I have left to the world.”

Vincent Van Gogh left this world in 1890, 37 years old, just as his work was gaining critical recognition. “to succeed, to have lasting prosperity, one must have temperament different from mine,” he writes Theo in 1889. “I make a point of telling myself, yes I am something, I can do something.”

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

Beyond Monet: The Immersive Experience

Long Islanders are lucky because Beyond Van Gogh: The Immersive Experience which was brought back after a hugely successful run through the holidays, alternates days with Beyond Monet: The Immersive Experience.

Beyond Monet: The Immersive Experience gives guests a glimpse into the emotions and perspectives of the leading figure of Impressionism: Claude Monet, with some 400 of his works. Taking inspiration from Musée de l’Orangerie in Paris, the designated home of Monet’s masterpieces, guests can freely roam the Infinity Room to absorb the artist’s bright and colorful paintings. Monet’s stunning imagery encompasses every surface of the room, transporting guests inside the paintings themselves. It is a haven for awakening the senses as the ebb and flow of the artwork is accompanied by the rhythm of an original score.

“When you stand inside Beyond Monet, you truly feel like you are part of Monet’s passionate quest for the effervescent beauty of the world,” Beyond Monet Art Historian Fanny Curtat said. “Experiences like these create fresh and original perspectives, allowing us to form new relationships with notable masterpieces in dynamic and fascinating ways.”

Beyond Monet: The Immersive Experience © Karen Rubin/goingplacesfarandnear.com

“Through cutting edge technology, Beyond Monet: The Immersive Experience is redefining what art means to people,” stated Paquin Entertainment Group’s President of Exhibitions and Theatrical, Justin Paquin “It has elevated artwork to the next level, allowing us to form new relationships with notable masterpieces that were just not possible in previous years.”

Ideal for enjoying through the holidays (both Beyond Van Gogh and Beyond Monet end the Long Island presentation on January 3), but there are other cities where the exhibitions are on view or will be).

Beyond Van Gogh: The Immersive Experience has sold over 6 million tickets worldwide and may be seen in San Diego and Tulsa and will be coming to Baltimore, Dayton, Grand Forks, Tallahassee, Tucson, Ventura, Washington DC, West Palm Beach.

See schedule and purchase timed tickets to Beyond Van Gogh: The Immersive Experience in advance at www.vangoghlongisland.com (on Wednesdays and Fridays) alternating with alternating with Beyond Monet The Immersive Experience at www.monetlongisland.com (on Thursdays, Saturdays and Sundays), at Samanea New York, 1500 Old Country Road, Westbury, NY.

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© 2023 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. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/KarenBRubin 

New Brunswick Roadtrip: Exploring French Acadia’s Culture, Heritage by Bike!

Biking the beautiful boardwalk in Shippagan, New Brunswick © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, with Dave E. Leiberman & Laini Miranda

Travel Features Syndicate, www.goingplacesfarandnear.com

Our New Brunswick roadtrip that has so enthralled us with the natural wonders of the Bay of Fundy, now takes us to the Acadien Peninsula, where its French heritage is most pronounced and you really feel you are in another country. We are also excited to explore a portion of a marvelous new cycling trail, the Veloroute Peninsule Acadeienne, which opened in 2019, consisting of 14 cycling circuits, totaling 379 miles, that go through 14 coastal French fishing villages and communities. 

Because the Veloroute is so new, it seems, it is not well set up for a supported, self-guided multi-day trip, so we stitch together our own, with the help of Neil Hodge at New Brunswick Tourism. Neil arranges a multi-day bike rental for us from the Villegiature Deux Rivieres Resort (more geared for day rental), and an itinerary that follows the C15 circuit. Fortunately, Laini prefers to spend the day painting, so volunteers to drive the car to the next stop and then take my bike for a shorter ride with Dave at the end of the day. And we have to ferry the bike back to the rental shop (not really difficult, it is less than one hour’s drive back to Tracadie, and we’ve prepared by taking our bike rack). It is exciting to feel like we are pioneering a new biking destination.

This is an opportunity to take advantage of what is best about cycling (and clearly, this is an extremely popular activity throughout New Brunswick and Quebec): you ride at a perfect pace through local communities, small villages, see where and how people live. And there is such freedom during the day, to stop and explore, and really be immersed in a place.

Biking the New Brunswick’s new cycling trail, the Veloroute Peninsule Acadeienne,  from Tracadie to Shippagan © Karen Rubin/goingplacesfarandnear.com

This first day, we bike on the trail 22 miles from Tracadie at one end of the circuit, to Shippagan, riding mainly through woods and then along marshes, arriving at Shippagan at about 2:30. We have a delightful late-lunch in a Mediterranean-style restaurant, Chez Aicha (197 Bd J. D. Gauthier, +1 506-336-8989), then Dave and I continue exploring Shippagan, picturesquely set between Saint-Simon Bay and the Chaleur Bay inlet that goes into the Gulf of St. Lawrence, stopping at its most popular beach, Le Goulet.

Shippagan, New Brunswick’s beautiful boardwalk © Karen Rubin/goingplacesfarandnear.com

We discover the boardwalk along Shippagan’s waterfront, and that we can bike all the way to Point Brule, the road that leads us to the cottage Laini has booked for two nights on Airbnb. We calculate we cycled 40 miles for the day.

Our charming Airbnb cottage on Point Brule, Shippagan © Karen Rubin/goingplacesfarandnear.com

Dave and I are giddy with delight when we see the sweet, cozy aquamarine-colored cottage and how it is poised on the tip of Point Brule, perched on a ridge with our own ladder to the beach into the bay.

Who can resist? We quickly change and play in the water (surprisingly not too cold), then set out to watch the sunset on Miscou Island, which sits between the Bay of Chaleur and the Gulf of St. Lawrence, at its magnificent historic lighthouse.

The picturesque Miscou Lighthouse © Karen Rubin/goingplacesfarandnear.com

We reach the Miscou Island Lighthouse on the northeastern tip of the island, just before sunset. The lighthouse was built in 1856 and designated a National Historic Site of Canada in 1974.

The picturesque Miscou Lighthouse © Karen Rubin/goingplacesfarandnear.com

It is surprising how long (how far) Miscou Island actually is (24 km long by 16 km wide – small for an island but a good distance by bike), because this is the route we are supposed to bike tomorrow. Even on our itinerary, the route is 26 miles each way, hilly, on a two-lane, windy road. But Miscou is fabulous to explore – for birds and wildlife (we see a family of foxes), peat bogs, and not to be missed.

Steve of the popular Terasse a Steve restaurant on Miscou Island © Karen Rubin/goingplacesfarandnear.com

Our plan is to have dinner at Terasse à Steve a fun, rustic place so beautifully set overlooking the Miscou wharf that is legendary in the community, but when we pull up, we discover Steve has closed early (for mosquitoes!).

That means we have to race back to Shippagan before the restaurants close (at 8:30 pm). We’ve called ahead to Pinokkio’s who tell us to just get there by 9 pm. We race back, arriving at 9 pm on the dot, and sure enough, they seat us. The wood-fired pizzas (fungi pizza, margarita), with the freshest, most flavorful ingredients, are fantastic. ((Pinokkio Pizzeria Resto-Bar, 121 16e rue, Shippagan, 506-336-0051, www.pinokkio.ca).

Sunset from our cottage on Point Brule, Shippagan © Karen Rubin/goingplacesfarandnear.com

Instead of biking back to Miscou Island (Veloroute map shows the Miscou route as 41 km just on the island), Dave and I decide to explore Lameque Island, which is in between Shippagan and Miscou (so glad we toured by car).

We set out again from the cottage on the road that leads to the entrance to the beautiful wooden boardwalk and connects to our biking routes, winding passed the colorful marina, then over the bridge to Lameque.

Biking around Lameque, on the Acadian Peninsula, New Brunswick © Karen Rubin/goingplacesfarandnear.com

We first find a lovely bike trail in the woods that parallels the busy Route 113, cross another small bridge, and then find a beautiful, if short, trail along the water. But when that ends, we ride on the shoulder of Route 113, which serves as a bike path. We come upon an eco-park on Lameque, and explore that before continuing our cycling,

Enjoying a meal at Steve’s Terrasse on Miscou © Karen Rubin/goingplacesfarandnear.com

We are determined to dine at Steve’s Terrasse on Miscou, which is just on the other side of the (high) bridge from Lameque. Laini pulls away from her painting and meets us there for a late lunch – a sensational meal of lobster with spaghetti, pesto and parmesan; steamed clams; and a whole lobster (9650 route 113, Miscou, +1 506-344-7000)

Biking around Lameque, on the Acadian Peninsula, New Brunswick © Karen Rubin/goingplacesfarandnear.com

Biking back to Lameque (back again over the steep bridge!), we follow a route that takes us along the eastern side of the island along the road (with ups and downs, unlike the bikeway) – it is marked in purple on the map – that give us some lovely views of the water as we ride through neighborhoods. (Amazingly, we don’t find actual stores or restaurants, absolutely nothing for the people to do except for some churches).

Each day, our ride begins and ends on the Shippagan boardwalk, my favorite part of the ride.

Enjoying a second dinner in a row at Pinokkio, Shippagan © Karen Rubin/goingplacesfarandnear.com

By the time Dave and I get back to our cottage in Shippagan, we calculate we’ve biked 45 miles. But now we have to race back into town to find a restaurant. The recommended places we call are all booked solid (it’s graduation day), so we (happily) call again to Pinokkio, and sure enough, they are booked too, but make room for us. The mushroom risotto is sensational. (Pinokkio Pizzeria Resto-Bar, serving up wood-fired pizzeria, appetizers, salads, pasta, seafood, steak, international cuisine, wine list, selection of domestic and imported beers, and decadent desserts, 121 16e rue, Shippagan, 506-336-0051, www.pinokkio.ca).

Biking Shippagan, New Brunswick’s beautiful boardwalk © Karen Rubin/goingplacesfarandnear.com

We really have to pull ourselves away from Shippagan (regrettably we don’t have time to visit the Aquarium which we keep passing on the boardwalk, 100 Aquarium St., Shippagan, 506-336-3013, [email protected], aquariumnb.ca).

(Shippagan, https://tourismepeninsuleacadienne.ca/en/region-shippagan/, 506.336.3900).

Caraquet

Biking the new cycling trail, the Veloroute Peninsule Acadeienne, along New Brunswick, Canada’’s Acadian Peninsula, from Shippagan © Karen Rubin/goingplacesfarandnear.com

Today’s ride takes us back onto the delightful Veloroute to Caraquet, 20 miles on the trail. Basically we back track from Shippagan 10 miles to a fork in the trail and then back up 10 miles to Caraquet, most of it in the trees (so refreshing).

We find our way to a charming waterfront village of cute shops, a small artist’s collective, eateries and a picturesque wharf and marina, where we have lunch.

An artisan village within Caraquet © Karen Rubin/goingplacesfarandnear.com

We consider biking back the 20 miles from Caraquet to Tracadie to return the bikes, but realize we would be doubling back 20 miles on the trail we had already taken, and prefer instead to spend the afternoon exploring the rest of the trail, 7 miles further along Caraquet Bay to where it ends at Bertrand.

Biking along the shore from Caraquet © Karen Rubin/goingplacesfarandnear.com

It is the best choice! This part of the trail is particularly scenic, hugging the coast along Caraquet Bay (an inlet of Chaleur Bay), passing some gorgeous houses and views of the water, adding about 14 miles to our total for the day. We then drive the bikes back Tracadie, racing to get to the rental shop by closing time.

(Veloroute de la Peninsule acadienne, 506-336-4116, [email protected], www.veloroutepa.ca)

Caraquet is an extremely nice place to live, and clearly, very popular for tourists, judging by the string of hotels along the main street.

My hotel is the Super 8 By Wyndham (9 Avenue du Carrefour, 506-727-0888), is ideally located right in the waterfront village, alongside the coastal trail.

Returning the bikes the afternoon before works out superbly for me, because it gives me time to visit Caraquet’s major, not-to-be missed attraction, the Historic Acadian Village, which proves such a highlight of our New Brunswick roadtrip.

“Leave the 21st Century behind at Historic Acadien Village”

“Leave the 21st Century behind at Historic Acadien Village” a highlight of our visit to New Brunswick © Karen Rubin/goingplacesfarandnear.com

Historic Acadien Village is an open air living history museum with costumed (fully bilingual) interpreters who recreate the roles of real people. What makes this place so extraordinary, though, is that you walk a 2.2 km circuit through 200 years of history – the 40 buildings represent a different time, the oldest from 1773 up to 1895, then, you walk through a covered bridge built in 1900 into the 20th century village where the buildings date from 1905 to 1949.

As you walk about, you literally feel yourself stepping across the threshold back in time.

Walking through this idyllic village, looking at the goats, the sheep, the cows which supply the milk, meat, fiber for clothes, the fields and streams for fish, you would imagine they had everything they needed, life was tranquil, sustainable. But I soon learn from my conversation with the interpreter in the 1852 Cyr house that it was a daily struggle for survival.

An idyllic Acadien village masks how hard life would have been like for the Acadiens Brunswick © Karen Rubin/goingplacesfarandnear.com

This arises when I watch her sewing and she says she baked 25 loaves yesterday, enough that would have lasted her family of 8 including grandparent and a farmhand, a week (but actually supplies the village restaurants which serve menus appropriate to the time). I suggest that must be a lot of work. She tells me that her children help. Don’t they go to school? “The children don’t go to school, they are needed at home. It’s a question of surviving. We would have been too isolated to go to school in winter, and they are needed in summer.” Homeschool? “We cannot read; we depend on the priest to read any letter that might come.”

On the stove, she is preparing a pie with pork, onion, turnip, potato. “The pot is on legs so it doesn’t burn; we put wood chips on top so the food cooks from the top and bottom.”

This house came from Saint-Basile, New Brunswick, near the St. John River near Maine/Quebec. I observe that it seems quite large. “We’re not rich, but there was enough wood to build.”

What she tells me next seems to explain why the French Acadiens are so fiercely French (and why, as we travel, we see many flags of French Acadia but few of New Brunswick or Canada):

It was during the French and Indian War, when Britain battled France for control of the New World colonies. “In 1755, the British took the French men in one boat and women and children in another – they didn’t want families together. They felt there were too many Acadiens in same place and would be able to fight British. They made the Acadiens sign a contract to be British, not French, and those who refused were sent away. The boat took them far away – they didn’t know where they were going- some were sent to Charleston, South Carolina, to Louisiana.”

Seeing how life would have been like over 200 years at the living history museum, Village Historique Acadien, Bertrand, New Brunswick © Karen Rubin/goingplacesfarandnear.com

The war ended with the Treaty of Paris in 1763, with France giving Great Britain its colonial possessions in North America, except the islands of St. Pierre and Miquelon, off the coast of Newfoundland (which remain French colonies even today). In 1764, the British allowed Acadians to return in small isolated groups, but by then as many as 18,000 had been forcibly removed and thousands more killed. (See: https://www.cbc.ca/acadian/timeline.html)

Seeing how life would have been like over 200 years at the living history museum, Village Historique Acadien, Bertrand, New Brunswick © Karen Rubin/goingplacesfarandnear.com

She says that when the French colonists were kicked out of Nova Scotia, they would send word to each other to come “a Cadia” (“to Cadia”), a name derived from an Indian word meaning “the place.”

Indeed, all these buildings were collected from other places in New Brunswick during the mid-1970s, creating a what appears to me to be an idyllic “Pleasantville” community.

I continue my walk through these fascinating homesteads. You also get to visit the chapel (1831), post office, general store (1889), tavern (1880), blacksmith’s shop and forge (1874), all with interpreters demonstrating their crafts.

The 1867 printing office at the living history museum, Village Historique Acadien, Bertrand, New Brunswick © Karen Rubin/goingplacesfarandnear.com

My personal favorite: the newspaper/printing office (1867), which had been owned by Israel Londry who had five employees putting out 2000 copies of a four-page weekly paper (delivered to the post office), that would cost $1 for a six-month subscription. There are copies you can read.

There is also a one-room schoolhouse (1869), where the teacher tells me that on any day, she might have 20 students or 2, depending upon whether they were needed at home. “Before 1941, there were no mandates to attend school – children stayed home as free labor. It was a matter of survival.”

The one-room schoolhouse where the teacher could have 2 or 20 children a day depending if they were needed on the farm © Karen Rubin/goingplacesfarandnear.com

I love seeing the machinery of the 1895 grist mill. Originally it would have milled flour, sawed wood, made cedar shingles, serving a 50-mile radius. The miller would keep 10% of the flour, which he would trade for something else. “There was not much currency,” the miller tells me.. But in 1918, the miller closed the flour mill over a dispute of $125 from a bill for repair parts that went back to 1890, when new repairs were needed in 1914, and the $125 was again added to the bill, he shut it down, but kept the saw mill, carting machine and cedar shingles.

Cross the Kissing Bridge into the 20th century to visit the Irving Gas Station at the living history museum, Village Historique Acadien, Bertrand, New Brunswick © Karen Rubin/goingplacesfarandnear.com

Then you walk across the covered bridge (1900), called “the Kissing Bridge,” and you are in a 20th century town. There is an Irving Gas Station with antique cars; a saw mill (1949), general store (1924), tinsmith’s shop (1905) where you can buy a stove, cobbler’s shop (1945), a railroad station (1930). The Thomas Cooperage that dated from 1937 actually made barrels until 1980, employing 60 people who made 200 a day, until plastic barrels made the wood ones obsolete.

The Irving Gas Station at the living history museum, Village Historique Acadien, Bertrand, New Brunswick © Karen Rubin/goingplacesfarandnear.com

You not only visit but can actually book a room to stay at the Hotel Chateau Albert (1910). Albert opened hotel in 1870 but had financial problems from the beginning and was put out of business by Canadian Pacific railroad.. The building was destroyed in a fire in 1955, and restored using the original plans. It now offers 14 rooms (with bathrooms) that you actually can book to stay overnight. (hotelchateaualbert.com, 506-726-2600).

You can stay over in the Village Historique Acadien, at the Hotel Chateau Albert © Karen Rubin/goingplacesfarandnear.com

There is a really nice café in the (modern) visitor center before you go back in time, plus a restaurant in the historic village serving a menu appropriate to the period.

Plan on staying at least three hours. Open June through mid-September.

Historique Acadien Village, 5 rue du Pont, Bertrand, NB, 1-0877-721-2200, [email protected], villagehistoriqueacadien.com  

Travel planning assistance from Tourism New Brunswick, 800-561-0123www.tourismnewbrunswick.ca.

See also:

NEW BRUNSWICK ROADTRIP BEGINS IN ST. ANDREWS

NEW BRUNSWICK, CANADA ROADTRIP: SAINT JOHN, CITY OF FIRSTS, OLDESTS, AMAZEMENTS

NEW BRUNSWICK ROADTRIP: DISCOVERING FUNDY TRAIL PARKWAY, FUNDY NATIONAL PARK, CAPE ENRAGE

NEW BRUNSWICK ROADTRIP: MESMERIZING HOPEWELL ROCKS

NEW BRUNSWICK ROADTRIP: METEPENAGIAG HERITAGE CENTER HIGHLIGHTS MIRAMICHI VISIT

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© 2023 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. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/KarenBRubin 

Granville Island, Vancouver’s Nearby Getaway, is Cornucopia of Art, Culture

One of the most photographed scenes in Vancouver: “The Giants” at the cement factory on Granville Island, painted by Brazilian graffiti artists Gustavo and Otavio Pandolfo (known as OSGEMEOS). Granville Island is a mecca for arts and culture © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

I have cleverly arranged for a late flight from Vancouver, so I would have a whole day to continue to explore.

Indigenous Tourism BC which has arranged my itinerary has offered a number of suggestions: rent a bike and riding around the seawall at Stanley Park; visit the Vancouver Art Gallery (750 Hornby St, Vancouver); visit Museum of Vancouver (1100 Chestnut St, Vancouver) to see Indigenous micro-exhibition Spirit Journeys: Walking with Resilience, Wellbeing and Respect; visit Granville Island.

Rick, the Skwachàys Lodge manager, just the evening before, had raved about how much he loves visiting to Granville Island – it has the best public market – and was planning to go himself.

I map out a delightful 3.3 km walk from the hotel to David Lam Park where I hop the cute Aquabus ferry for the few minutes ride to Granville Island. (Aquabus, $6/roundtrip, which also offers a 40-minute ferry ride tour)

Arriving on Granville Island by ferry © Karen Rubin/goingplacesfarandnear.com

As soon as I climb the stairs from the ferry dock, I appreciate why Granville Island very properly boasts of being a “magical escape within a city.” I would add: playful, whimsical, fantastical, a place of endless delight, a non-stop smile.

The public market on Granville Island is one of the best, most fun in the world © Karen Rubin/goingplacesfarandnear.com
The public market on Granville Island is a place of endless delight © Karen Rubin/goingplacesfarandnear.com

The charm of Granville Island lies in its unexpected mix of uses which reveal themselves as you simply wander around. People come for the most spectacular public market (open daily 9am-7pm) with 70 purveyors of all manner of fresh produce and fine foods (some famous, like Lee Donuts, where as Rick tells me to expect, there is a line outside to get in).

People queue up to enter Lee’s Donuts in the public market on Granville Island © Karen Rubin/goingplacesfarandnear.com
Bringing his child back to the Granville Island public market he enjoyed as a child © Karen Rubin/goingplacesfarandnear.com

There is the Net Loft featuring “offbeat artisan goods” and marvelous boutiques and shops with local creations and imported crafts from Latin America, Asia and Africa like Mondo Company (“Step into our world and discover fairly traded, ethically sourced, handcrafted products from artisans around the globe”, www.mondoandcompany.com); a bustling Artisan District where you see and meet artists at work in their studios and galleries; a children’s district (toy stores!); and performance venues (Ballet BC coming to Granville Island), plus special events and festivals, all taking over vacated (and for a time decrepit) industrial buildings. There is even a hotel.

Granville Island has an entire Children’s District © Karen Rubin/goingplacesfarandnear.com
Silk weaving on Granville Island © Karen Rubin/goingplacesfarandnear.com

Art (and music) is everywhere- even the cement factory (one of the few industrial uses that remains) has painted “Giants”on its gi-normous silos (painted by Brazilian graffiti artists Gustavo and Otavio Pandolfo, known collectively as OSGEMEOS (Portuguese for THETWINS), which was commissioned in 2014 by Vancouver Biennale as part of an open-air museum, and were only expected to be up temporarily. It cost $180,000 and 1400 cans of spray paint and costs $17,000 a year to maintain. (https://www.atlasobscura.com/places/giants-on-granville-island-silos)

One of the most photographed scenes in Vancouver: the Giants at the cement factory on Granville Island painted by Brazilian graffiti artists Gustavo and Otavio Pandolfo, known as OSGEMEOS © Karen Rubin/goingplacesfarandnear.com

But before Granville Island was a cultural mecca, before it was an urban wasteland, before it was an industrial hub, it was the meeting place for three First Nations summer potlatch.

“The xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) peoples are indigenous to the area around Vancouver and have lived on these lands for thousands of years…” Chief Janice George, Skwxwú7mesh, writes. “The Salish, the Indigenous people of the area, used a large sand bar (later filled in to become an Industrial Island, then Granville Island), and the surrounding areas for traditional purposes such as hunting, gathering, travel, and everyday living and cultural activities. The resources were so plentiful, the Salish people had a saying, ‘when the tide went out, the table was set,’ meaning that when the tide went out, they could walk with the tide and have enough food for their families.”  

Re-creating the meeting place the indigenous people who occupied this land for thousands of years, on Granville Island © Karen Rubin/goingplacesfarandnear.com

As Vancouver was colonized in the 1860s, it became shipping port (there are still the railroad tracks), but as industries shuttered, it descended into a derelict industrial wasteland from 1950-60s. A few artists squirreled away, making art in studios within the Quonset huts.

Silk weaving on Granville Island © Karen Rubin/goingplacesfarandnear.com

A historic marker notes that Granville Island was created between 1913 and 1916 when the government of Canada and the newly created federal Vancouver Harbour Commission contracted to pump and dredge over 1 million cubic yards from the bottom of False Creek and deposit the material behind pilings ringing several sandbars and First Nation fishing weirs. “Over the next 50 years, heavy industry waxed and waned” on Granville Island. By the early 1960s it had become a squalid, seedy and derelict industrial area.” For the next 10 years, while politicians debated, four entrepreneurs began buying up four buildings which they renovated into “The Creekhouse,” interestingly, retaining the industrial look.

“Creekside” that spurred the repurposing and redevelopment of Granville Island, from a dilapidated industrial wasteland to a mecca for culture and art  © Karen Rubin/goingplacesfarandnear.com
Granville Island has been redeveloped and repurposed from a dilapidated industrial wasteland to a mecca for culture and art, food and fun © Karen Rubin/goingplacesfarandnear.com

In the 1970s, MP Ron Basford arranged for the Canadian government to buy the land and experiment with public spaces and venues for food, culture, and  artists. Today, Granville Island provides space for 300 businesses employing more than 3,000 people and is “an active public space showcasing Vancouver culture to locals and rest of world,” a marker states.

On Granville Island you see artists and artisans at work in their studios, like this art glass studio © Karen Rubin/goingplacesfarandnear.com

In the Artisan District, I meet artists Cheryl Hamilton and Michael Vandermere in their enormous, factory-sized studio space, ie creative artworks (her imaginative sculptures lately have been themed about climate change); BC Blacksmith Miran Elbakyan (www.bcblacksmith.com); Benjamin Kikkert who works in hot glass and mixed media sculpture; carver Todd Woffinden; silk weavers (www.silkweavingstudio.com), broommakers Mary and Sarah Schwieger (broomcompany.com). There are also indigenous art galleries.

One of the indigenous art galleries on Granville Island © Karen Rubin/goingplacesfarandnear.com

At my last stop, I find myself in front of a gold plaque identifying this place as the site of renowned artist Bill Reid’s studio, where he created the sculpture that is now at Vancouver Airport.

A gold plaque marks the former studio of acclaimed Haida artist Bill Reid where he created some of his famous monumental works© Karen Rubin/goingplacesfarandnear.com

This is now the Nutter Studio, where glass artisan John Nutter does the etching in glass that many of the indigenous artists design. He even created the glass windows for Young Israel Synagogue in Hillcrest, Queens NY (my old neighborhood!) and seven windows for Atlantic Beach Jewish Center on Long Island (my brother’s neighborhood!) Small world! (www.johnnutterglassstudio.com).

Glass craftsmanJohn Nutter now occupies Bill Reid’s studio © Karen Rubin/goingplacesfarandnear.com

We have a vigorous discussion of art versus craft, the revival of indigenous arts (or is it crafts?) and artists who feel obligated to re-create traditional symbols, images and techniques, versus developing their own style and statement.

Glass craftsman John Nutter now occupies Bill Reid’s studio © Karen Rubin/goingplacesfarandnear.com

Throughout Granville Island, there are homages to its Indigenous origins, and the website offers this statement: CMHC-Granville Island would like to acknowledge that we are located on the traditional territory of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) First Nations.

Glass craftsman John Nutter, whose studio is the site of Bill Reid’s studio on Granville Island, shows a $20 bill featuring Bill Reid’s famous “The Spirit of Haida Gwaii” © Karen Rubin/goingplacesfarandnear.com

Check the Granville Island website for events (Sunset Dragonboat and Saturday Dragonboat drop in Sessions!), https://granvilleisland.com/

Skwachàys Lodge, Canada’s First Aboriginal Art Hotel

Staying at the Skwachàys Lodge – Canada’s first Aboriginal Art Hotel – enhances my experience in Vancouver with this immersion into local Indigenous art and culture.

Vancouver Native Housing Society (VNHS opened the Skwachàys Lodge, the Urban Aboriginal Fair-Trade Gallery, and the Artists in Residence Program in June 2012, transforming a derelict SRO hotel into a social enterprise consisting of a boutique hotel with a street-level art gallery and on-site housing and studio space for 24 Indigenous artists © Karen Rubin/goingplacesfarandnear.com

Vancouver Native Housing Society (VNHS opened the Skwachàys Lodge, the Urban Aboriginal Fair-Trade Gallery, and the Artists in Residence Program in June 2012, transforming a derelict SRO hotel into a social enterprise consisting of a boutique hotel with a street-level art gallery and on-site housing and studio space for 24 Indigenous artists.

“VNHS identified the vulnerability of many urban Indigenous artists – artists in need of housing, artists who for various reasons are not able to properly represent and market themselves or their work. Often these artists are commercially exploited through a long established ‘street or underground’ market that takes advantage of their vulnerability. They try to live ‘off their work’ by selling on the street or in the bars or through the commercial dealer network that purchases original, gallery quality art for, at times, only five or ten cents on the dollar,” the notes state.

“By creating a live/work supportive complex with a built-in gallery and community production space, VNHS took a lead role in addressing the social and economic inequities that Indigenous artists can face.”

The Artists in Residence Program provides up to three years of affordable housing, 24/7 access to workshops, and opportunities for personal and professional development that help artists develop their craft and move into the next phase of their careers. To date, 110 Indigenous artists have participated in the program.

The Lodge, the Urban Aboriginal Fair-Trade Gallery and production space are operated as a self-sustaining social enterprise. Artists are paid a fair price for their work (30%-60% of the retail price depending on the artist’s reputation and the cost that is underwritten by the gallery (framing, marketing and promotional expenses).

The gallery at Skwachàys Lodge is part of the social enterprise that supports indigenous artists © Karen Rubin/goingplacesfarandnear.com

In this way, each hotel guest’s travel dollars, and each purchase of art at the Skwachàys Lodge has a social impact.

“A simple purchase fights cultural misappropriation and ensures that Indigenous artists are paid fairly for their work. Cultural tourism is one of the fastest growing segments of the tourism sector and there is absolutely a place for our urban Indigenous artists to participate in this industry as a means of reclaiming their lives and independence.”

Skwachàys Lodge goes way beyond living in and supporting art – there are also opportunities for guests to engage in authentic Indigenous cultural experiences  

Sweat Lodge Ceremony: Skwachàys has a traditional First Nations Sweat Lodge and offers private Sweat Lodge Purification Ceremonies lead by a Sweat Lodge Keeper. The Sweat Lodge, located in the rooftop garden, is a domed structure constructed from inter-woven willow branches symbolizing Mother Nature’s womb. During the ceremony, the Keeper places heated rocks –known as “grandmothers and grandfathers” – to cleanse and purify the participant’s heart, soul and spirit, bringing life balance and connection to Mother Nature.

Traditional Smudge Ceremony:  Skwachàys has an authentic Indigenous Smudge Room on its Raven Level. In a Smudging Ceremony, sacred plants are burned, surrounding the participants’ body and senses in the aromatic smoke to purify body, spirit and home. Three different kinds of plants are used: cedar bows are burned for cleansing; sage to drive out ill feelings or influences, protecting the place of ceremony; and sweet grass, one of the most sacred plants, is burned to bring in positive influences and energies.

These ceremonies are personal and private, so arrangements must be made in advance. A minimum number of people is required. (For more information and costs, [email protected]).

Studio Visits With Artists: Visitors can also arrange studio visits with Indigenous artists in residence. Artists including jewelers, painters, carvers, sculptors work on projects in the shared Artist Studio, located in the basement  throughout the year.

Kayachtn Room (the Salishan word for “welcome”) is a space where the Lodge community can come together to connect, create memories and share a meal – and is where breakfast is served at Skwachàys Lodge © Karen Rubin/goingplacesfarandnear.com

The Skwachàys Lodge has a Kayachtn Room  (the Salishan word for “welcome”), a space where the Lodge community can come together to connect, create memories and share a meal – and is where breakfast is served.

“Indigenous culture rests on a communal social structure, one that values living in harmony with one another, as well as with the natural world.”

Skwàchays Lodge 31 W Pender St Vancouver, BC V6B 1R3 604.687.3589,   1 888 998 0797,   [email protected], https://skwachays.com/.

Indigenous Tourism BC

With 204 Indigenous communities and more than 30 Indigenous languages – about one-third of Canada’s First nations population – British Columbia offer extensive authentic Indigenous experiences on reserves, in remote areas and even cities like Vancouver.

The best guide to these experiences is Indigenous British Columbia, a tourism development and promotion organization that connects visitors with Indigenous-owned, operated and staffed lodges, museums, culture centers, restaurants, wineries, hiking (indigenous guide), bear viewing, whale watching, outdoors adventures, wellness and other experiences.

Indigenous Tourism BC connects visitors to experiences such as Vancouver’s only indigenous restaurant, Salmon n’ Bannock Bistro © Karen Rubin/goingplacesfarandnear.com

In addition to the experiences I have (the Bill Reid Gallery, Talaysay Tours, Salmon n’ Bannock Bistro, Granville Island, the Skwàchays Lodge in Vancouver, and the Squamish Lil’wat Cultural Centre and the Audain Art Museum in Whistler), other entities include:

  • Takaya Tours: Open during summer, guests can experience an array of tours, from cultural experiences, to canoe tours and even multi-day experiences
  • Great River Fishing Adventures: Another great tour company where guests can learn about the history of BC, as it started in this area from the mining era. A top experience is going sturgeon fishing, and these are not normal-sized fish!
  • Gulf Island Seaplanes: New this spring, they have introduced scenic cultural tours which involve a flight over Vancouver, along with the history and story-telling of the land

Multi-day itineraries are available. For example, a two-day Kamloops-Chase-Barriere-Merritt itinerary features a stay at Quaaout Lodge and Spa on Little Shuswap Lake in Squilax (Chase, British Columbia), Indigenous fusion cuisine, golf and spa facilities, visit to Tsutswecw Provincial Park and a 14-km Moccasin Trails Canoe Journey from Lafarge Landing to Valleyview with a local knowledge guide, down the South Thompson River along the traditional Secwepemc water route to Tkemlups.

“Immersive Indigenous destinations and experiences are expansive and transformational. Augment your reality with an Indigenous point-of-view and see old places with new eyes. By their nature, Indigenous perspectives cannot be understood as a bystander or simple witness. Step out of ordinary time and daily routine with Indigenous hosts around BC,” the tourism office says.

Indeed, the indigenous peoples’ respect for Mother Earth that is so fundamental to their culture and society – that the colonizers so intentionally sought to eradicate – is being validated as human-caused climate change is wreaking disaster after disaster. It is important that this sensibility, these philosophies, this approach to living in the world be elevated and embraced in modern terms. Travel helps us see and experience and take lessons back to our own homes and communities.

Indigenous Tourism BC offers travel ideas, things to do, places to go, places to stay, and suggested itineraries. Download a trip planning app (https://www.indigenousbc.com/indigenous-bc-trip-planner-app/)

Indigenous Tourism BC, 100 Park Royal S #707, West Vancouver, BC V7T 1A2, 604-921-1070, https://www.indigenousbc.com

See also: 

ON THE TRAIL TO DISCOVER VANCOUVER’S REVIVED INDIGENOUS HERITAGE

WALKING TOURS, DINING EXPERIENCES REVEAL VANCOUVER’S REVIVED INDIGENOUS HERITAGE

TRAIL TO DISCOVER BRITISH COLUMBIA’S INDIGENOUS HERITAGE WEAVES THROUGH WHISTLER-BLACKCOMB

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© 2023 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. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/KarenBRubin 

Trail to Discover British Columbia’s Indigenous Heritage Weaves Through Whistler-Blackcomb

Audain Art Museum, Whistler, is a world-class art museum with one of finest collections of indigenous masks going back to mid-1800s and British Columbia artists © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

My whirlwind odyssey to learn about the renaissance of British Columbia’s indigenous heritage takes me to Whistler-Blackcomb, the world-famous ski resort. The mountain resort, one of the largest in North America, is on First Nations land and is where a cultural center, a joint endeavor of the Lil’wat and the Squamash nations, has opened.

I hop the Skylynx shuttle bus, packed with skiers, that leaves from the Hyatt Regency Vancouver downtown (also close to the Bill Reid Gallery and the Fairmont Hotel) for a pleasant, scenic two-hour ride to Whistler Village Centre.

The skiing even this late in the season looks fantastic but I am here to continue my study of the indigenous heritage – past and present – that permeates this place. The spirit is very strong here in Whistler. While the skiers all head to the gondola, I find my way to a trail that leads to the Squamish Lil’wat Cultural Centre.

The idea for a world-class cultural center originated with the Resort Municipality of Whistler in 1997, which met with the Lil’wat Nation to discuss its participation and presence in Whistler. Mindful of its historic collaboration and shared interest in land stewardship with the Squamish Nation, in 2001, the two nations signed a historic Protocol Agreement, the only one of its kind in Canada. The Squamish Lil’wat Cultural Centre opened in 2008. In 2020, a framework Agreement was signed between the Nations and the Resort Municipality of Whistler, providing for collaborations on economic development, tourism and promotion of cultural awareness.

Dalilah conducts a “What We Treasure” tour of Squamish Lil’wat Cultural Centre © Karen Rubin/goingplacesfarandnear.com

The building is a beautiful space with floor-to-ceiling windows that look out to the woods. I join nine others for the center’s signature tour, “What We Treasure,” which are led by cultural ambassadors who share their own stories and first-hand cultural experiences. The tour begins with an excellent 15-minute orientation film.

Our guide is Dalilah, whose Lil’wat name is T’ac T’ac , or “sweet sweet” like sweetie or sweatheart. She is a 17-year old high school student interning on her spring break. She begins by singing in her native language, “We belong to the land, the land is our people, we belong to the land.” We view artifacts and hear stories that give us a sense of the past and present way of life of the Squamish and Lil’wat peoples. 

It is fascinating to seen the differences in clothes at the Squamish Lil’wat Cultural Centre © Karen Rubin/goingplacesfarandnear.com

As we go through the center, I am struck by how different the clothes, foods and therefore the traditions and daily habits are for these two peoples who live “where rivers and mountains meet.”  It is starkly clear how culture and lifestyle is linked to the ecology and topography of their land and the materials and resources at hand. The Squamash are coastal, the Lil’wat live on the mountain.  Culture is a manifestation of the ecosystem we inhabit – even and especially today.

It is fascinating to seen the differences in clothes at the Squamish Lil’wat Cultural Centre © Karen Rubin/goingplacesfarandnear.com

It is these traditions and lessons of living in close harmony with nature (Mother Earth), to the point of spiritual devotion, that the indigenous people impart today, all the more relevant in light of the climate disasters of a planet out of sync with nature.

The displays are less historic artifacts and more contemporary examples of the traditional arts and crafts being revived; often these are not just re-creations of centuries-old design and form, but with modern twists.

We learn how their societies were so careful to live in harmony with their environment – their canoes are made from red cedar bark, but they only harvest a precise section of the tree – hugging the tree so that there are two hand-widths.

“We make sure to only take a piece of the tree so we don’t kill it. We are connected to the cedar through the things we make with it,” notes Joy Joseph-McCullough, a Squamish weaver.

Squamish Lil’wat Cultural Centre © Karen Rubin/goingplacesfarandnear.com

There is an element of mythology, mysticism, handed down from the ancients, that continues to underpin their worldview, reflected in the urgency to save language, and the oral tradition, and resurrect traditional arts and crafts.

It is reflected in Joy McCullough-Joseph’s notes about the traditional Coast Salish Blanket she named “The Message.” “I twilled and twined on a Traditional Coast Salish Loom. I named my blanket, “The Message’ because the design for the blanket came to me in a dream. In my dream our Ancestors told me to weave in Mother Earth to remind us of our responsibility to the Earth. The second message is to honour and remember the sixteen families that amalgamated to form the Squamish Nation. The last message is to honour our Ancestors who were weavers.”

Another note reads “when you wear the blankets, you feel the protection of all who have been called to protect you… We feel the prayers offered by the weaver and our ancestors, when we wear the robes.”

You have to wait a year before you can weave cedar bark and it can three apprentices six months to weave a cedar mat, Dalilah tells us. “When we are sad, we don’t weave, otherwise it would transfer negative thoughts.”

Dalilah the importance of weaving at the Squamish Lil’wat Cultural Centre © Karen Rubin/goingplacesfarandnear.com

We learn how mountain goat wool was used in Salish weaving, an ancient art form that dates back to the ice age. A mountain goat wool blanket in those times could mean the difference between surviving or succumbing to the elements. The inner wool of the mountain goat was gathered during spring molt, collected off of bushes from wool shed by the goat or from harvested animals. “It takes 5 to 10 years to collect enough for a blanket,” she tells us.

The wool was mixed with hair from a specially bred dog. Natural dyes were derived from plants, berries and clays. Intricate geometric designs reflected elements of nature and families held the rights to use those designs.

I am lucky to see a special photography exhibit on view: “Unceded – Photographic Journey into Belonging”. This temporary exhibit makes graphic the meaning of “unceded” – land that was considered stolen, taken by force, without a legal treaty. The photos show contemporary indigenous people in places like downtown Vancouver. But it is actually speaking more to the First Nations people, prodding them to see themselves in this modern world, but retaining their connection to their heritage. Unceded “doesn’t mean our people aren’t still there.”

“As urban cities, farmland, towns, and recreation parks built up around us, our Ancestors are still here, living in the blood of the people of this land. While pop culture, fashion trends and global connection are influencing how people move through society, people residing on and off reserve are living deeply in their culture, engaged socially and politically with the world around them, reviving ancient traditions, re-enforcing a stewardship that guides their climate and lands safely through the first 50 thousand years before contact.”

I have a delightful lunch at Thunderbird Café, and survey a marvelous gift shop at the center before heading off to do a bit of sightseeing on Whistler’s famous Peak 2 Peak Gondola.

Squamish Lil’wat Cultural Centre, 4584 Blackcomb Way, Whistler, 1 866 441 SLCC (7522), https://slcc.ca/.

Peak 2 Peak Gondola

Considering how vast Whistler-Blackcomb is, it is actually surprisingly easy to get around (once I figure it out).

Whistler-Blackcomb, the site of 2010 Winter Olympics events, is a world-class ski resort and one of the biggest in North America © Karen Rubin/goingplacesfarandnear.com

I take the Blackcomb Gondola from the base of Blackcomb Mountain for the ride to the top of Blackcomb Mountain. From here it is a short walk – skirting the skiers and snowboarders – to the Peak 2 Peak Gondola which links Blackcomb Mountain to Whistler Mountain. I’m feeling jealous of the skiers but I am sightseeing today and this is an absolutely gorgeous ride. A man I ride up the Blackcomb Gondola with tells me to look for special sightseeing gondolas that have a plexiglass bottom you can look through – we sightseers stand on a separate line so we get first dibs when the car comes around.

Sightseeing on the Peak 2 Peak Gondola linking Whistler and Blackcomb mountains © Karen Rubin/goingplacesfarandnear.com

After opening on December 12, 2008, the massive gondola revolutionized the way skiers, riders and hikers experienced the mountains. The Peak 2 Peak Gondola, as part of the world’s longest continuous lift system, isn’t just to move skiers, it also gives summer guests access to Whistler Blackcomb’s high alpine for sightseeing, hiking and mountain-top dining.

The Peak 2 Peak Gondola travels a span of 2.73 miles giving sightseers and hikers a serene aerial flight showcasing flora and fauna (even black bears in their protected habitats), Whistler and Blackcomb Mountains; the Coast Mountain Range’s many glaciers and peaks; and Whistler Village, surrounded by lakes.

Sightseeing on the Peak 2 Peak Gondola linking Whistler and Blackcomb mountains © Karen Rubin/goingplacesfarandnear.com

It is notable that Whistler Blackcomb (now part of Vail Resorts, which means the resort is part of the Epic Pass) is consistently ranked one of the top ski resorts in North America. With more than 8,100 acres of terrain, variety is an understatement: there are steeps, deeps, chutes, bowls, glades, long cruisers, and high alpine and gentle rollers. And the numbers speak for themselves: one vertical mile drop; two side-by-side mountains connected by a pedestrian village, more than 200 trails, three glaciers, 37 lifts, and 16 alpine bowls – all of it top quality.

Sightseeing on the Peak 2 Peak Gondola linking Whistler and Blackcomb mountains © Karen Rubin/goingplacesfarandnear.com

Even this late in the season, the snow looks great and the trails look gorgeous– plenty of easy, intermediate runs!

Riding the Peak 2 Peak Gondola is such fun and the view so beautiful, that I actually ride it back and forth and back again for an hour before downloading via Whistler Village Gondola into Skiers Plaza in Whistler Village. (Whistler Blackcomb, https://www.whistlerblackcomb.com/)

Audain Art Museum

Audain Art Museum, Whistler, is a world-class art museum with one of finest collections of indigenous masks going back to mid-1800s and British Columbia artists © Karen Rubin/goingplacesfarandnear.com

Back down in the charming village, I pass lovely shops and eateries on my way to the Audain Art Museum. Outside is the invitation to see the “Masters of Print: Rembrandt and Beyond”- a clue that this is a world-class museum. I did not expect to see Rembrandt prints at Whistler. Nor did I expect to see what is arguably the world’s finest collection of First Nations masks, dating from the mid 1800s.

Sure enough, the Audain Art Museum delivers on its promise of a transformative experience for appreciating the art of British Columbia as well as exhibitions from around Canada and around the world. It’s in this part of the world but very much of the world. It is as local as local can be but brings the reaches of the globe into this small section of it.

The Audain Art Museum’s Permanent Collection of some 200 works  – nearly all of it from the collection of Michael Audain and his wife, Yoshiko Karasawa, or purchased with their funding – is a visual journey through the history of art from coastal British Columbia.

Audain Art Museum, Whistler, showcases one of finest collections of indigenous masks going back to mid-1800s © Karen Rubin/goingplacesfarandnear.com
Audain Art Museum, Whistler, showcases one of finest collections of indigenous masks going back to mid-1800s © Karen Rubin/goingplacesfarandnear.com

Most astonishing is the room housing Audain’s collection of Northwest Coast First Nations masks. They are extraordinary because you see the individualism of the artist as well as the subject (many seem to be representations of actual people rather than mythic figures) and different techniques. I wonder if this reflects changes over time (spanning the mid 1800s to the present), regional differences and styles or perhaps just the artist’s own creativity.

Audain Art Museum, Whistler, showcases one of finest collections of indigenous masks going back to mid-1800s © Karen Rubin/goingplacesfarandnear.com
Audain Art Museum, Whistler, showcases one of finest collections of indigenous masks going back to mid-1800s © Karen Rubin/goingplacesfarandnear.com

A truly monumental piece, an exquisitely carved red cedar “Dance Screen” (2010-2013) by Haida Chief 7idansuu (James Hart) who was a friend and collaborator of Bill Reid, takes up an entire wall of this room.

James Hart’s striking ‘The Dance Screen (The Scream Too)’, 2010-2013, red cedar panel takes up an entire wall at the Audain Art Museum Collection, gift of Michael Audain and Yoshiko Karasawa © Karen Rubin/goingplacesfarandnear.com

The next room has a huge collection of a beloved British Columbia artist, Emily Carr. You see her in her Impressionist phase, when she studied in France in 1911; how she incorporated First Nations elements into her landscapes when she returned in 1912. There are also post-war modernists including E.J. Hughes, Gordon Smith and Jack Shadbolt as well as works by internationally renowned, contemporary British Columbia artists including Jeff Wall, Dana Claxton, Marianne Nicolson, Rodney Graham and Stan Douglas.

Emily Carr is a beloved British Columbia artist who studied impressionism in France, then integrated indigenous subjects into her landscapes when she returned © Karen Rubin/goingplacesfarandnear.com
Audain Art Museum, Whistler, showcases a stunning collection of Emily Carr’s work © Karen Rubin/goingplacesfarandnear.com

I’m told that Audain had never even been to Whistler before, but his friend, who designed Whistler Village in the 1980s, encouraged him that he could build a museum in Whistler which would connect to nature, where people could quietly contemplate art. They worked with award-winning architects John and Patricia Patkau. The museum opened in 2016. (Open Thursday to Monday 11am – 6pm).

It is fascinating to see traditional symbols, subjects reflected in contemporary indigenous British Columbia artists work, on view at the Audain Art Museum, Whistler © Karen Rubin/goingplacesfarandnear.com
It is fascinating to see traditional symbols, subjects reflected in contemporary indigenous British Columbia artists work, on view at the Audain Art Museum, Whistler © Karen Rubin/goingplacesfarandnear.com

The website includes this statement:  “Audain Art Museum is grateful to be on the shared, unceded territory of the Sḵwx̱wú7mesh (Squamish) Nation and Lil̓wat7úl (Lil’wat) Nation.”

Audain Art Museum, 4350 Blackcomb Way, Whistler, British Columbia, Canada, V8E 1N3,  [email protected]  604-962-0413, https://audainartmuseum.com/

The stunning design of the Audain Art Museum, Whistler, provides an exquisite ambiance to experience art © Karen Rubin/goingplacesfarandnear.com

I have a rushed dinner at Caramba! Restaurant (#12 4314 Main Street (Town Plaza), Whistler, BC V0N 1B0 Phone: 604.938.1879 www.carambarestaurant.com/), a fun, casual place before I get back on the Skylynx shuttle for the 7 pm departure back to Vancouver (get there early because the bus fills up), arriving back to downtown Vancouver at 9:30 pm.

Indigenous Tourism BC offers travel ideas, things to do, places to go, places to stay, and suggested itineraries and a trip planning app (https://www.indigenousbc.com/)

Next: GRANVILLE ISLAND, VANCOUVER’S NEARBY GETAWAY, IS CORNUCOPIA OF ART, CULTURE

See also: 

ON THE TRAIL TO DISCOVER VANCOUVER’S REVIVED INDIGENOUS HERITAGE

WALKING TOURS, DINING EXPERIENCES REVEAL VANCOUVER’S REVIVED INDIGENOUS HERITAGE

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© 2023 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. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/KarenBRubin 

New-York Historical’s ‘I’ll Have What She’s Having’ Examines How Jewish Delicatessens Became a Cornerstone of American Food Culture

I’ll Have What She’s Having’: The Jewish Deli exhibit at New-York Historical Society tells a deeply moving story about the American experience of immigration—how immigrants adapted their cuisine to create a new culture that both retained and transcended their own traditions © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

New-York Historical Society’s exhibition “I’ll Have What She’s Having”: The Jewish Deli, is a fascinating exploration of the rich history of the Jewish immigrant experience that made the delicatessen so integral to New York and American culture. On view through April 2, 2023, the mouth-watering and culturally significant exhibition, organized by the Skirball Cultural Center in Los Angeles (where it is on view through September 18), examines how Jewish immigrants, mostly from Central and Eastern Europe, imported and adapted traditions to create a cuisine that became a cornerstone of popular culture with worldwide influence.

The exhibition explores the food of immigrants; the heyday of the deli in the interwar period; delis in the New York Theater District; stories of Holocaust survivors and war refugees who found community in delis; the shifting and shrinking landscapes of delis across the country; and delis in popular culture. You get to see iconic neon signs, menus, advertisements, and deli workers’ uniforms alongside film clips depicting delis in popular culture and video documentaries.

Laura Mart, co-curator of I’ll Have What She’s Having”: The Jewish Deli, now at the New-York Historical Society, explains the transition from pushcart to delicatessen, along with the fortunes of Jewish immigrants from Eastern Europe © Karen Rubin/goingplacesfarandnear.com

Some 2 million Jews came from Eastern and Central Europe to the United States between 1880 and 1924, when nativist anti-immigrant furor shut down immigration (there is a display showing some of the anti-immigrant propaganda). New York was a stopover but also a destination for millions and they brought with them their food culture, which, of necessity, was adapted.

“Why make a museum show out of the Jewish deli – which is a specific and unusual topic? The ‘deli’ allowed us to explore themes of how people of different backgrounds relate to one another” in such a melting pot as New York, said Laura Mart, one of the curators. “It shows how Jewish-American culture was created and maintained through generations. And it is also about joy, more important than ever. Museums are a place for joyful learning.”

“It’s a story of tradition and change, adaptation and resilience,” said Lara Rabinovitch.

“It’s our great pleasure to present an exhibition on a topic so near and dear to the hearts of New Yorkers of all backgrounds,” said Dr. Louise Mirrer, president and CEO of New-York Historical, herself waxing nostalgic. I’ll Have What She’s Having’: The Jewish Deli tells a deeply moving story about the American experience of immigration—how immigrants adapted their cuisine to create a new culture that both retained and transcended their own traditions © Karen Rubin/goingplacesfarandnear.com

“It’s our great pleasure to present an exhibition on a topic so near and dear to the hearts of New Yorkers of all backgrounds,” said Dr. Louise Mirrer, president and CEO of New-York Historical. ‘I’ll Have What She’s Having’: The Jewish Deli tells a deeply moving story about the American experience of immigration—how immigrants adapted their cuisine to create a new culture that both retained and transcended their own traditions. I hope visitors come away with a newfound appreciation for the Jewish deli, and, with it, the story of the United States.”

“Whether you grew up eating matzo ball soup or are learning about lox for the first time, this exhibition demonstrates how Jewish food became a cultural touchstone, familiar to Americans across ethnic backgrounds,” said co-curators Cate Thurston and Laura Mart. “This exhibition reveals facets of the lives of Central and Eastern European Jewish immigrants in the late 19th and early 20th centuries that echo in contemporary immigrant experiences. It shows how people adapt and transform their own cultural traditions over time, resulting in a living style of cooking, eating, and sharing community that is at once deeply rooted in their own heritage and continuously changing.”

I’ll Have What She’s Having is co-curated by Skirball curators Cate Thurston and Laura Mart along with Lara Rabinovitch, renowned writer, producer, and specialist in immigrant food cultures. It is coordinated at New-York Historical by Cristian Petru Panaite, curator of exhibitions. The exhibition explores topics including deli culture, the proliferation of delis alongside the expansion of New York’s Jewish communities, kosher meat manufacturing, shortages during World War II, and advertising campaigns that helped popularize Jewish foods throughout the city.

As is typical of New-York Historical’s exhibits, expanded presentation from its own collection and local twist includes additional artwork, artifacts, photographs of local establishments, and objects from deli owners, as well as costumes from The Marvelous Mrs. Maisel, a mouthwatering interactive, and a Bloomberg Connects audio tour.

A soldier fighting in Italy during World War II writes to his fiancée that he “had some tasty Jewish dishes just like home” thanks to the salami his mother had sent, a confirmation of the success of the “Send a Salami to Your Boy in the Army” campaign © Karen Rubin/goingplacesfarandnear.com

Highlights include a letter in New-York Historical’s Patricia D. Klingenstein Library collection from a soldier fighting in Italy during World War II writing to his fiancée that he “had some tasty Jewish dishes just like home” thanks to the salami his mother had sent—confirmation of the success of a famous “Send a Salami to Your Boy in the Army” campaign. (Panaite painstakingly poured over a huge collection of World War II letters, one by one, to find it.) 

There are photos of politicians and other notable figures eating and campaigning in delis, including then-US Senate candidate Hillary Clinton at Ben’s delicatessen in Greenvale, Long Island. Movie clips and film stills include the iconic scene in Nora Ephron’s romantic comedy When Harry Met Sally…, which inspired the exhibition title. This and other movie scenes underscore the prominent role of Jewish delis in American popular culture.

Special to New-York Historical’s presentation is a closer look at the expansion of Jewish communities at the turn of the 20th century, not just on the Lower East Side but also in Brooklyn, Queens, and the Bronx. In the 1930s, some 3,000 delis operated in the city; today, only about a dozen remain. 

I’ll Have What She’s Having’: The Jewish Deli at the New-York Historical Society will evoke nostalgia in native New Yorkers, as well as a craving for a pastrami sandwich on rye © Karen Rubin/goingplacesfarandnear.com

The exhibition gives special attention to dairy restaurants, which offered a safe meatless eating experience; a portion of the neon sign from the Famous Dairy Restaurant on the Upper West Side is on display. Salvaged artifacts, like the 2nd Avenue Delicatessen storefront sign and vintage meat slicers and scales from other delis, are also on view, along with costumes by Emmy Award-winning costume designer Donna Zakowska from the popular Prime Video series The Marvelous Mrs. Maisel.

Visitors are invited to build their own sandwiches named after celebrities, such as Milton Berle, Sophie Tucker, Frank Sinatra,  Ethel Merman, and Sammy Davis Jr., in a digital interactive inspired by menu items from Reuben’s Deli and Stage Deli (the menus are on display). 

On the Bloomberg Connects app, exhibition goers can enjoy popular songs like “Hot Dogs and Knishes” from the 1920s, along with clips of Mayor Fiorello La Guardia discussing kosher meat pricing, 1950s radio ads, and interviews with deli owners forced  to close during the pandemic lockdown.  

It’s a trip down memory lane for so many of us native New Yorkers – with the neon signs from popular delis and suppliers (Hebrew National), menus (there is one from Reubens, the home of the Reubens sandwich, which was a very popular venue for my family).

The roots for Jewish Deli cuisine were the fermentation, the types of foods, the technology of food, that originated in Europe, but the hallmarks of the Jewish Deli culture go beyond the food – to the booths, the waiters, the zeitgeist of the deli. We learn that that ambiance evolved – first from pushcarts on the streets of the Lower East Side (street food), to stools, to counter-style take-away shops, to finally having seating in full-fledged restaurants.

Case in point: Joel Russ founded his appetizing store out of a barrel in 1907 in Manhattan. He moved up to selling herring and other salt-cured and smoked fish out of a pushcart and finally opened a brick-and-mortar store in 1914.His daughters, Hattie, Ida, and Anne, worked in the store from the time they were 11 and 12. In 1935, he renamed the store Russ & Daughters, and are known as the “Sturgeon Queens.”

The delis introduced Americans to borscht (Slavic), gefilte fish, kishke (Slavic), vereniki (Ukrainian), kasha varnishkes (Russian), herring and chopped liver (“What am I, chopped liver?”). Also latkes (Ashkenazi), blintzes, knishes, rugelach and babka. Cheesecake is actually an American innovation.

The industrialization of beef production and processing actually made Kosher beef more desirable, hence Hebrew National’s slogan, “We answer to a higher authority.” © Karen Rubin/goingplacesfarandnear.com

Interestingly, the rise of industrial food processing and cattle production (which mass produced beef and discouraged pork consumption) actually increased the desirability of Kosher food – certified as meeting religious standards, hence the Hebrew National slogan, “We answer to a higher authority.”

Jewish entrepreneurs in Chicago capitalized on the opportunity to produce kosher beef, but ultimately, what became the Jewish Delicatessen was American.

I’ll Have What She’s Having’: The Jewish Deli at the New-York Historical Society traces how Jewish cuisine was assimilated into American culture © Karen Rubin/goingplacesfarandnear.com
 

“Meat was expensive in Europe. Jews couldn’t own land and meat was a luxury. But in the United States, meat became central to deli food.” At first, there was strict separation between deli restaurants like Katz’ and dairy restaurants, like Ratner’s – because Koshruth forbids the mixing of meat and milk – but over time, and with assimilation, even delis would offer items like cheesecake as dessert after a corned beef sandwich.

We learn about the Vienna Beef factory, founded in 1893 by Jewish Austro-Hungarian immigrants Emil Reichel and Sam Ladany. They first sold frankfurters at the 1893 World’s Columbia Exposition in Chicago, then expanded to include Vienna sausages, pastrami, corned beef and salami.

A photo of Katz’ Delicatessen, circa 1900, one of the artifacts on view at I’ll Have What She’s Having’: The Jewish Deli at the New-York Historical Society tracing how Jewish cuisine was assimilated into American culture © Karen Rubin/goingplacesfarandnear.com

Katz’s Delicatessen, likely the oldest continuously operating deli in the US, was founded in 1888 by two brothers named Iceland. The Katz family became business partners and by 1917, bought out the brothers. At a time when most deli food was being sold from carts and barrels on the street, Katz’s was a brick-and-mortar delicatessen.

In 1916 on Coney Island, Polish immigrant Nathan Handwerker began building his empire by selling franks for five cents and undercutting his competition, Feltman’s.

And then there is this intrigue: fraud and corruption became pervasive in the kosher meat industry. In 1925, an estimated 40 percent of meat sold as “kosher” was non-kosher. In 1933, the NYC Department of Health and US Department of Agriculture raided Jacob Branfman & Son, one of the city’s main kosher delicatessen manufacturers, and seized over 1,400 pounds of nonkosher beef briskets. The owner was sentenced to 30 days in the infamous city workhouse.

A sign from Katz Delicatessen from the World War II-era campaign © Karen Rubin/goingplacesfarandnear.com

During World War II, Jewish delis promoted a campaign to “Senda Salami to Your Boy in the Army” (the slogan was developed by Sixth Avenue Delicatessen waiter Louis Schwartz) and used by delis including Katz’s. The slogan became so popular that comedian Jerry Lewis used it in the film, “At War with the Army” (1950).

Louis G. Schwartz, aka “Louie the Waiter,” helped raise more than $9 million in war bonds – that paid for 66 P-47 Thunderbolt fighter planes, each which bore the moniker, “Louie the Waiter.” Schwartz developed a rhyme to inspire patrons to buy the bonds, “you’ll buy war bonds sooner or later, so get them from Louis the Waiter!”

Al Hirschfeld’s caricature of Sixth Avenue Deli’s Louis G. Schwartz, aka “Louie the Waiter,” helped raise more than $9 million in war bonds and created the slogan, “Senda Salami to Your Boy in the Army”.

Most interesting is to learn about some of the people who found refuge in the delis – as owners or workers. Paula Weissman, born in present-day Ukraine, survived Auschwitz and Bergen-Belsen concentration camps. She arrived in New York in 1948 with two dollars. After working in a Brooklyn girdle factory, she was hired as a temporary waitress at Fine & Schapiro Kosher Delicatessen on West 72nd Street. The 7-day temp job turned into 30 years.”In her black uniform and white shoes, Paula took the orders of Zero Mostel, Molly Picon, Rita Moreno and many other Broadway stars.”

Rena Drexler was liberated from Auschwitz in 1945 and moved to Munich, Germany, where she and her husband, Harry, began their new lives working in a deli. The couple moved to Los Angeles in 1951 and opened Drexler’s Deli on Burbank Boulevard in 1957, selling kosher meals and products for the Orthodox Jews who settled in the neighborhood.

Paula Weissman, one of the Holocaust survivors who made a new life at Jewish delicatessens © Karen Rubin/goingplacesfarandnear.com

The original owner of the Second Avenue Deli, Abe Lebewohl, was a Holocaust refugee. Upon arriving in America and not even speaking the language, he took his first job in a Coney Island deli as a soda jerk, graduating to counterman and over the next few years, learning the secrets of superb pastrami and other traditional Jewish delicacies. In 1954, with a few thousand dollars he managed to set aside, Abe took over a tiny 10-seat luncheonette on East Tenth Street—the nucleus of the 2nd Ave Deli. Working around the clock for years—often filling in as cook, counterman, waiter, and even busboy—he put all his time and energy into making a success of his tiny establishment. “He never turned anyone away for lack of funds, he fed striking workers, homeless.” In 1996, he was robbed and murdered when making a bank deposit; the case unsolved.

In a nostalgic tribute to departed delis that continue to hold a place in the hearts of many New Yorkers, photographs show restaurants that closed in recent years. Eateries include the Upper West Side’s Fine & Schapiro Kosher Delicatessen, Jay & Lloyd’s Kosher Delicatessen in Brooklyn, and Loeser’s Kosher Deli in the Bronx. An exuberant hot dog-shaped sign from Jay & Lloyds Delicatessen, which closed in May 2020, and folk artist Harry Glaubach’s monumental carved and painted signage for Ben’s Best Kosher Delicatessen in Queens, also pay tribute to beloved establishments. The exhibition concludes on a hopeful note, highlighting new delis that have opened their doors in the past decade, such as Mile End and Frankel’s, both in Brooklyn, and USA Brooklyn Delicatessen, located steps from the site of the former Carnegie and Stage Delis in Manhattan.

Ben’s, still a force on Long Island and Manhattan is illustrative of the changes in the Jewish Deli that followed changes in the lives of American Jews. To be blunt, in the mid-20th century, restrictive covenants that barred Jews (and Blacks) from living in certain neighborhoods were lifted, and American Jews were flocking to the suburbs. The delis followed.

What I found fascinating was that the Jewish deli grew up as the American industrialized cattle industry grew – displacing home-grown pork – making beef plentiful and giving rise to the sky-high thick pastrami and corned beef sandwiches that would never have been available to Jews in their European shtetls, where meat would have been a cherished rarity.

Folk artist Harry Glaubach’s monumental carved and painted signage for Ben’s Best Kosher Delicatessen in Queens is on view at I’ll Have What She’s Having’: The Jewish Deliat the New-York Historical Society © Karen Rubin/goingplacesfarandnear.com

The exhibit ponders how it was, why it was that Jewish deli became so much a part of American pop culture.

“There is no definitive answer as to why the deli has inspired generations of Jewish filmmakers, comedians, musicians and writers. Perhaps it is because so many Jewish creatives got their start in New York City, where they frequented Jewish delis and later infused these experiences into their work. Or maybe it is because the Jewish deli is one of the most public secular environments in Jewish American life. It is a place where characters can demonstrate or celebrate their Jewish identity outside of private or religious spheres. Whatever the reason, the deli continues to have significant influence on Jewish artists.”

The fifth generation “Katz,” Jake Dell, alongside a model of his family’s delicatessen and a video of the famous scene in “When Harry Met Sally” movie which provides the title for the New-York Historical Society’s exhibit, at I’ll Have What She’s Having’: The Jewish Deli. © Karen Rubin/goingplacesfarandnear.com

The better question has to do with how Jewish cuisine has become as integrated into in American culture as bagels (with or without lox). And that’s because so many of the creatives – in Broadway theater, film – were Jewish.

But Jewish delis, themselves, are struggling today, particularly after the coronavirus pandemic, but also because of changing economics – the cost of that two-inch high pastrami on rye, the rent. The sandwich that used to cost $1.95 (see the Reubens menu), now costs $25. The fifth generation “Katz,” Jake Dell, on hand at the press preview, spoke of the changing economics, he said that they don’t even make a profit on a $25 pastrami sandwich. “The profit is in the soup.”

Programming: Private group tours can be arranged throughout the run of “I’ll Have What She’s Having”: The Jewish DeliFamily programming includes a food-focused family day celebrating foodways brought to New York City by immigrants from around the world. Living History programs bring to life the stories of proprietors, patrons, and staff of New York City’s Jewish delis. Visit nyhistory.org for dates and details.

“Confronting Hate 1937-1952”

“Confronting Hate 1937-1952” exhibit at New-York Historical Society documents the American Jewish Committee’s groundbreaking campaign to combat anti-Semitism and ultimately to fight all forms of hate and bigotry © Karen Rubin/goingplacesfarandnear.com

After enjoying the joyful “I’ll Have What She’s Having,” go up to the second floor of the historical society for another, more serious, exhibition that is so timely in the here and now: “Confronting Hate 1937-1952” about the American Jewish Committee’s groundbreaking campaign to combat anti-Semitism and ultimately to fight all forms of hate and bigotry. To reach as many Americans as possible in the period leading up to the Holocaust, World War II and the aftermath, the agency embraced new mass communication technologies and partnered with talented allies – artists, writers, political leaders, church groups, politicians, magazine and newspaper editors. They produced comic books, ads, articles. Among the celebrities who joined a “Speaking for America” poster campaign in 1946: Bob Hope, Frank Sinatra, Judy Garland and Danny Kaye, plus President Harry Truman and Admiral Chester Nimitz.

New-York Historical Society, New York’s First Museum

At the New-York Historical Society, New York’s first museum, you experience 400 years of history through groundbreaking exhibitions, immersive films, and thought-provoking conversations among renowned historians and public figures. A great destination for history since 1804, the Museum and the Patricia D. Klingenstein Library convey the stories of the city and nation’s diverse populations, expanding our understanding of who we are as Americans and how we came to be. Ever-rising to the challenge of bringing little or unknown histories to light, New-York Historical will soon inaugurate a new annex housing its Academy for American Democracy as well as the American LGBTQ+ Museum. These latest efforts to help forge the future by documenting the past join New-York Historical’s DiMenna Children’s History Museum and Center for Women’s History.

Digital exhibitions, apps, and For the Ages podcast make it possible for visitors everywhere to dive more deeply into history. Connect at nyhistory.org or at @nyhistory on FacebookTwitterInstagramYouTube, and Tumblr.

The New-York Historical Society is located at 170 Central Park West at Richard Gilder Way (77th Street), New York, NY 10024, 212-873-3400, nyhistory.org.

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© 2022 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. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Long Island Has New Destination Attraction: Long Island Music & Entertainment Hall of Fame Opens in Stony Brook

Guitarist Randy Jackson, bassist Felix Hanemann and drummer Guy Gelso of Zebra perform under a vintage poster from way back when, at the opening of the Long Island Music & Entertainment Hall of Fame and Museum © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Your eyes open wide as you enter the new, permanent location of the Long Island Music & Entertainment Hall of Fame, housed in a former Ward Melville Historical Organization building in historic Stony Brook Village, and realize the prominent musicians who grew up, got their start, built their careers on Long Island. That is, the whole of Long Island, from Queens and Brooklyn through Nassau and Suffolk.

While the Hall of Fame has been inducting honorees since 2004, this is its first permanent home, so is the first opportunity to really see the breadth and depth of the talent nurtured on the island. And it is so much fun to see the original posters, costumes, musical instruments, memorabilia from inductees including Twisted Sister, Zebra, Blue Oyster, Public Enemy, Vanilla Fudge, even Billy Joel’s actual motorcycle and Joan Jett’s 1983 Jaguar.

Dee Snider, frontman of Twisted Sister, donated 12 costumes that hadn’t been seen in years, designed by Suzette Snyder © Karen Rubin/goingplacesfarandnear.com

Jay Jay French, founding member and bassist of the heavy metal band Twisted Sister, manager and record producer, went so far as to declare, “Without Long Island, Brooklyn and Queens, you got nothing.  The circuit never existed before, and will never exist again.”

Jay Jay French of Twisted Sister; Kevin O’Callahan, Hall of Fame creative director and board member;  and Ernie Canadeo, LIMEHoF chairman © Karen Rubin/goingplacesfarandnear.com

That might be hyperbole, but he can be forgiven when you go up to the second floor, where there is the “Hall of Fame” with plaques and exhibits that recognize over 120 inductees, displayed across the walls the inductees year by year. In fact, you can easily imagine they will soon run out of wall space entirely when beginning next year, they also induct people from television and film. There are also cases chock full of memorabilia such as Perry Como’s Emmy (you have to really search – it’s like an attic).

An eclectic assemblage of memorabilia from Long Island Music and Entertainment Hall of Famers © Karen Rubin/goingplacesfarandnear.com

There are also areas for a library, classrooms for educational programs, and master classes, a surround sound theater, and a gift shop with music and entertainment-themed memorabilia.

Having an actual space means that the Hall of Fame also can present special exhibits.

Created by renowned designer Kevin o’Callaghan, “Long Island’s Legendary Club Scene – 1960s-1980s” is laid out to be like a club crawl, sparking those pangs of nostalgia for those places © Karen Rubin/goingplacesfarandnear.com

Its first exhibit now on display re-creates those cherished clubs. Created by renowned designer Kevin o’Callaghan, “Long Island’s Legendary Club Scene – 1960s-1980s” is laid out to be like a club crawl, sparking those pangs of nostalgia for those places. The exhibit features replicas of clubs – My Father’s Place, The Mad Hatter in Stony Brook, Oak Beach Inn, Malibu in Lido Beach, Speaks in Island Park and Pips Comedy Club in Brooklyn -with videos of artists performing, ads, posters, instruments. There is also a replica of a typical 1960s stage, complete with vintage equipment and sound system (donated by Zebra).

At the opening, guitarist Randy Jackson, bassist Felix Hanemann and drummer Guy Gelso of Zebra performed on that stage with the very sound equipment they used at clubs in the 1970s and donated to the museum (in order to better re-create the sound), and below a poster which showed their 1970s selves. Surreal time warp.

Blue Öyster Cult perform at the opening of the Long Island Music & Entertainment Hall of Fame and Museum © Karen Rubin/goingplacesfarandnear.com

Also performing, bassist Joe Bouchard and drummer Albert Bouchard of Blue Öyster Cult, Paula Janis and Carole Demas of “The Magic Garden,” singer/songwriter Elliott Murphy, and Jen Chapin, daughter of Harry Chapin.

The newest honoree in the Hall of Fame, Wayne Robins, had to wait two years (because of COVID) to officially be inducted. At the official opening, Robins, who for more than 50 years has been a leading music and pop culture journalist, waxed nostalgic as he recalled being at Shea stadium for the Beatles Concert, Diana Ross sitting in his lap at her concert at Westbury Music Fair, using fake ID to get into music venues before he was 18. He began his career in 1972 at CBS Records, then writing for Rolling Stone, the New Musical Express, Melody Maker, the Village Voice and Creem Magazine before joining Newsday in 1975 as its pop music writer, where he worked for the next 20 years.

The 2020 inductee to the Long Island Music & Entertainment Hall of Fame is Wayne Robins, a longtime music and culture journalist, who was presented with his award by Norm Prusslin and Chairman Ernie Canadeo © Karen Rubin/goingplacesfarandnear.com
 

Throughout, there are compelling visual elements and artifacts on display. Among the inducted artists who have donated memorabilia, are Billy Joel, Joan Jett, Debbie Gibson, Blue Oyster Cult, Twisted Sister, and the families and estates of Harry Chapin, Guy Lombardo, John Coltraine. Donations include various musical instruments, performance outfits, vintage automobiles and motorcycles, rare posters and photos, and handwritten lyrics.

Jen Chapin, daughter of Harry Chapin, performs at the opening of the Long Island Music & Entertainment Hall of Fame and Museum © Karen Rubin/goingplacesfarandnear.com

Dee Snider, frontman of Twisted Sister, donated 12 costumes that hadn’t been seen in years, designed by Suzette Snyder. Suzette was 15 years old when she first met Dee, having borrowed her cousin’s ID to sneak into a show. She designed an outfit – pink with fringes – and created the ‘Twisted Sisters look’.”

Suzette was 15 years old when she first met Dee Snider. She designed an outfit – pink with fringes – and created the “Twisted Sisters look” © Karen Rubin/goingplacesfarandnear.com

The opening night event included performances by guitarist Randy Jackson, bassist Felix Hanemann and drummer Guy Gelso of Zebra, bassist Joe Bouchard and drummer Albert Bouchard of Blue Öyster Cult, singer/songwriter Jen Chapin, Paula Janis and Carole Demas of “The Magic Garden,” singer/songwriter Elliott Murphy, and Jen Chapin.

Rich L’Hommedieu, one of the co-founders of the Long Island Music & Entertainment Hall of Fame and Museum © Karen Rubin/goingplacesfarandnear.com

Rich L’Hommedieu, one of the co-founders, said, “The music industry started on Long Island – song sheet sellers came from Manhattan, Jazz musicians who couldn’t afford Manhattan had homes in Queens. Duke Ellington, Louie Armstrong. Then there were the street corner doo wop groups, the hip hop. Garages in suburbia incubated rock bands.

It’s mind-bending to realize how many music groups and musicians have ties to Long Island © Karen Rubin/goingplacesfarandnear.com

In fact, every musical genre is represented among the122  honorees (so far) – there’s Aaron Copland, Brooklyn (2008), Barbra Streisand, Brooklyn (2008), Beverly Sills, Brooklyn (2008), Eddie Palmieri, Queens (2010, George Gershwin, Brooklyn (2006), George M. Cohan, Kings Point (2006), Carole King, Brooklyn (2008), Ervin Drake, Great Neck (2012), Cyndi Lauper, Brooklyn/Queens, (2006), Guy Lombardo, Freeport (2008), Marvin Hamlisch, Westhampton Beach (2008), Morton Gould, Queens/Great Neck (2010, Oscar Brand, Brooklyn/Great Neck (2010), Perry Como, Port Washington (2006), Simon & Garfunkel, Queens (2008), Steve Martin, Long island (2010), Tony Bennett, Queens (2006), Vince Giordano, Brooklyn/Hauppauge (2016), William “Count” Basie, Queens (2008), and Cousin Brucie Morrow, Brooklyn (2018), Arlo Guthrie, Coney Island (2008), LL Cool J, Bayshore (2008) (The full list is mind-blowing.)

It’s mind-bending to realize how many music groups and musicians have ties to Long Island © Karen Rubin/goingplacesfarandnear.com

Among the groups with roots on Long Island: Gary U.S. Bonds; the Lovin’ Spponful; Johnny Maestro & the Brooklyn Bridge; Public Enemy; Salt-N-Pepa; The Ramones; The Shangri-las; The Tokens; Twisted Sister, Vanilla Fudge, Zebra, Blue Oyster Cult, little Anthony and the Imperials

Also among the honorees: My Father’s Place, Dream Theater, WALK 97-5 FM, Westbury Music Fair, Jones Beach theater, Stony Brook University, CSS Security Service.

The idea for the Hall of Fame originated with co-founders Jim Faith, Rich L’Hommedieu and Norm Prusslin, who met at Stony Brook University in the fall of 2003 and by January 2004, launched the nonprofit without any government assistance at all, but with lots of volunteer help.

It was created as a place of community that inspires and explores Long Island music in all its forms. In addition to the Hall of Fame, the organization also offers education programs and scholarships to Long Island students, sponsors the Long Island Sound Award, and features traveling educational exhibits, including a state-of-the-art mobile museum.

Billy Joel’s motorcycle is on view at the Long Island Music & Entertainment Hall of Fame and Museum © Karen Rubin/goingplacesfarandnear.com

In 2014, when the Billy Joel Band was inducted into the Long Island Music and Entertainment Hall of Fame, Billy Joel said this in a statement: “After The Stranger was released, people began to recognize that the ‘Long Island Sound’ wasn’t just a body of water.” Indeed, it isn’t. Over the years, Long Island has produced some of the most talented and accomplished musicians and has become a respected music scene.

But, according to the museum’s history, it didn’t start off that way.

In the late 1960s and early 1970s, the Long Island music landscape was rather barren and more of a stepchild to that of New York City, which had become a focal point of the music industry, with recording sudios and iconic music venues such as Max’s Kansas City, Fillmore East, and Electric Circus. Beside some local bars, schools and Westbury Music Fair (which had sporadic star performances, such as Judy Barland in 1967, The Who in 1968 and Bruce Springsteen in 1975), there were few live venues on Long Island.

Paula Janis and Carole Demas of “The Magic Garden” at the opening of the Long Island Music & Entertainment Hall of Fame and Museum © Karen Rubin/goingplacesfarandnear.com

According to Norm Prusslin, music historian and a founding member of the Long Island Music and Entertainment Hall of Fame, in the late 1960s Stony Brook University, emerged as an important venue to bring music to Long Island.

FM radio stations began popping up on Long Island, giving national recording artists Long Island airplay, and college radio stations began to showcase Long Island’s burgeoning musicians.

 “Long Island college radio stations were important in bringing to the airwaves local musicians of all genres, and that certainly contributed to Long Island artists getting heard and getting spoken about,” Prusslin stated.

Joan Jett’s jaguar is on view at the Long Island Music & Entertainment Hall of Fame and Museum © Karen Rubin/goingplacesfarandnear.com

At the same time,  Long Island-based publications, such as Good Times magazine, began pioneering local music coverage and talking up Long Island artists. And venues, such as My Father’s Place in Roslyn, brought in a lot of local bands who didn’t have the opportunity for commercial exposure before.

By the early 1980s, some of the commercial radio stations, particularly WLIR and WBAB, began to follow Long Island college radio’s lead, focusing on Long Island artists.

An eclectic assemblage of memorabilia from Long Island Music and Entertainment Hall of Famers © Karen Rubin/goingplacesfarandnear.com

By the early 2000s, Long Island had become a hotbed for upcoming musicians as well as a sophisticated music scene. It now had its own music festivals, such as the Great South Bay Music Festival (established in 2006) and the Long Island Bluegrass Festival (which premiered in 2002), as well as the establishment of music-specific societies and organizations such as the Long Island Blues Society and the Long Island Traditional Music Society.

Co-founder Norm Prusslin reflects on how the Long Island Music and Entertainment Hall of Fame came to be © Karen Rubin/goingplacesfarandnear.com

In August 2003, Prusslin had been reading an editorial in a local music magazine written by Richard L’Hommedieu—who would go on to become the founding chairman of the Long Island Music and Entertainment Hall of Fame—about the new Georgia Music Hall of Fame, which had opened in 1996. L’Hommedieu wrote that it would be great if Long Island had its own music hall of fame.

In January 2004, this enterprising group of founding members including Prusslin, L’Hommedieu, and other music educators, held an event at the Patchogue Theater announcing the creation of “a nonprofit organization that would recognize, honor, and preserve Long Island’s longstanding and diverse music heritage—a heritage that fought its way out of the shadow of New York City and would go on to inspire generations of music lovers.”

The Long Island Music and Entertainment Hall of Fame was born.

“This is your home, your place, personal space, when can come and remember where great music came from on Long Island,” Jay Jay French said. “It’s your legacy.”

LIMEHoF is open Wednesday-Sunday, 12-5 pm. Tickets are $19.50/adult, $17/seniors (65+)/Veterans; $15/students with id, 12 and under free.

Long Island Music & Entertainment Hall of Fame, 97 Main Street, Stony Brook Village, https://www.limusichalloffame.org/.

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© 2022 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. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Visit to Peru’s Sacred Valley is Best Way to Prepare for Inca Trail Trek to Machu Picchu

A weaver at Manos de la Comunidad, a handicraft center where we see the different varieties of llama and alpaca, learn about how the wool is produced, the raw materials that the dyes are made from, and watch villagers at their looms make stunning textiles on Alpaca Expeditions’ Sacred Valley tour © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Eric Leiberman & Sarah Falter

Travel Features Syndicate, goingplacesfarandnear.com

We prepare for our Alpaca Expeditions four-day/three-night Inca Trail hiking/camping trek to Machu Picchu by spending an extra day Cuzco and the Sacred Valley – the best way to begin to acclimatize to the high altitude before the trek, which goes up to nearly 14,000 feet. This not only helps us avoid debilitating altitude sickness but also lays the foundation for appreciating what we will see and experience along the trail.

While it would be better to have arranged two or three days to acclimate before the trek – which would also provide more time to visit the extraordinary sights in Cuzco, Pisac and Ollantaytambo – having come from a week in the Galapagos for this grand finale to Eric and Sarah’s six-month odyssey, we only have one full day before starting out on the trek, so Alpaca Expeditions’ one-day Sacred Valley tour is ideal.

Our guide, Jaime, picks us up at 8 am our charming boutique hotel, the Amaru Inca (Cuesta San Blas, 541, Cusco City Center, Cusco, 84) which must once have been a hacienda, and we set out in private car into the countryside, where we immediately see neighborhoods, villages and communities.

Cuzco’s most famous monument, the statue of Christo Blanco with open arms that overlooks the city © Karen Rubin/goingplacesfarandnear.com

The road begins its twisting rise into the mountains and Jaime stops just before the Sacsayhuaman fortress at a point where we are level with Cuzco’s most famous monument, the statue of Christo Blanco with open arms that overlooks the city. Eight meters high, it was created by Cusco sculptor Francisco Olazo – a gift from Palestine in 1945 – and a mini version of Rio’s statue. From here, the Cathedral and churches and Spanish-style buildings are most prominent.

Looking down at Cuzco, you see the Spanish structures built over the Incan structures © Karen Rubin/goingplacesfarandnear.com

Cuzco was the capital of the Incan Empire and the “navel” of the world, according to its lore. At its peak, had 30,000-40,000 inhabitants.

“There is nothing like Cuzco in any other part of South America for the concentration of people and sites,” Jamie says.  There are some 1,250 sacred sites in Cuzco.

The hostels we stay in today were once grand homes – first of Inca rulers who began to take over Cuzco in 1000 AD, then rich Spaniards who came in the first century after conquest, in 1536.

The Incan heritage pretty much had to be resurrected because the Spanish did their level best to eradicate the culture, and especially the “pagan” religion which was based on nature worship – literally building their palaces and churches on top of the original foundation stones of the Incan palaces and temples.

“It’s as if they were saying, ‘We are built upon your gods. Submit.’”

The Spanish conquerors intentionally eradicated the Incan culture and society © Karen Rubin/goingplacesfarandnear.com

The center square, would have been the city’s market place and where religious ceremonies would have been held, was renamed by the Spanish the Plaza de Armas – the place of arms – where they would have held executions of rebels.

Our guide Jamie explains that the Inca were actually the ruling family – not the people – who basically ruled over some 50 different tribes and city-states, speaking different languages.  Some 20,000 to 40,000 Inca nobility ruled over a population of 10 to 20 million that at its peak, spanned as far as Columbia, Ecuador, Chile and Argentina. The Inca expanded its empire from Cuzco by conquest and “diplomacy” between 1000 and 1536, reaching its peak in the mid 1400s, 125 years before the Spanish conquest.

What is so remarkable is the Empire the Inca built – the monumental architecture and 3,000-miles of road network reaching all corners of the empire – was accomplished without the benefit of draft animals like the horse, the wheel, iron or steel tools, a written language, currency, or slaves.

How was it possible for a few hundred Spanish conquistadors to conquer the Incan Empire ? The Spanish seemed to arrive during a perfect storm of turmoil and weakness in the Empire. The Inca Emperor Huayna Capac had died in 1529 after contracting smallpox, that likely came from Maya fleeing south along the roads the Inca built, who were infected by the Spanish and weakened the population; and two brothers were embroiled in a devastating civil war to become the new Emperor. Atahuallpa, the 13th and last emperor of the Inca, was victorious, only to be captured, held for ransom, and then executed by Francisco Pizarro.

But a key reason for the Spaniards’ success was that the tribal people were not motivated to battle the invaders. Many wanted to be rid of the Inca rulers and allied with Spaniards (“The Inca weren’t very nice,” Jamie says). Also, the Spaniards seemed to be endowed with supernatural power and the incarnation of the priests’ prophesy of an existential event akin to Armageddon.

The first group of 90 Spaniards arrived in Cuzco in 1533 in Cuzco and lived together with Cuzco population for three years. But in 1536, a second, larger, more militant group came, determined to take the Inca’s gold and silver (the Inca did not understand how the Europeans valued precious metals as a source of power) and forcibly replace the “pagan” religion with Christianity.

The Incan leader Manco realized the Spaniards weren’t leaving, so rose up against them, but the Incan weapons were no match. After the third battle, the indigenous population abandoned Cuzco and the Spanish took over their properties.

If the Spaniards would have come 50 years later, Jaime says, the Incan Empire may have taken over Mexico and been powerful enough, unified enough to drive the conquerors out, he says.

At the Manos de la Comunidad, a handicraft center, we learn the vital importance of domestication of llama and alpaca to the Incan Empire © Karen Rubin/goingplacesfarandnear.com

The Spaniards did whatever they could to eradicate the pagan religions. Some continued to observe  their religious rituals in secret – even up to modern day and as recently as 15 years ago, would practice secretly. Today people openly practice. “The church knows our religion was respecting nature,” Jamie says.

We stop at the Manos de la Comunidad, a handicraft center where we see the different varieties of llama and alpaca, learn about how the wool is produced, the raw materials that the dyes are made from, and watch villagers at their looms, make stunning textiles (there’s also a fantastic gallery, museum and a large store).

A weaver at Manos de la Comunidad, a handicraft center, © Karen Rubin/goingplacesfarandnear.com

This visit provides fascinating insights into the culture and heritage, the structure of society and the ecosystem that shaped and sustained the Incan Empire – the environment that supports agriculture in high altitude (enough food and calories to fuel the building of these monumental structures and support an army) and domestication of animals, how the natural materials at hand shaped the culture.

A weaver at Manos de la Comunidad, a handicraft center © Karen Rubin/goingplacesfarandnear.com

You realize how critical to the success of the Incan Empire the domestication of llama and alpaca were – for carrying goods and producing wool for clothes – the only domesticated animals in pre-Hispanic America. Also, the grasses were food for the animals but also used to make the ropes for bridges and hauling the massive stones (I suspect were also used to make the straight lines without the benefit of rulers.)

A weaver at Manos de la Comunidad, a handicraft center © Karen Rubin/goingplacesfarandnear.com

These finely-woven textiles and the monumental architecture were the main arts of the Incan Empire; instead of written communications they used knotted strings (quipu), which still cannot be deciphered but which (Karen postulates) might have been a kind of Morse code (so why can’t a computer crack the code?). The colors and patterns of clothes would communicate tribal affiliation, friend or foe.

The source of the natural dyes for the textiles © Karen Rubin/goingplacesfarandnear.com

The Inca’s success at farming had much to do with the fact the Inca calendar was tied to astronomy. Inca astronomers understood equinoxes, solstices and zenith passages and the Venus cycle. Religious leaders –the only others besides the nobles who were educated – used their knowledge as power over the people who were kept ignorant. The priests would use the solstice as if the people’s religious devotion would bring back the longer days. They couldn’t predict an eclipse, but they well understood how it operated.

Weavers at Manos de la Comunidad, a handicraft center © Karen Rubin/goingplacesfarandnear.com

The Inca also used mathematics to divide up political governance (a system of 10s), assess taxes, keep the census, and to do the calculations necessary to create such monumental architecture.

A father and child at Manos de la Comunidad, a handicraft center © Karen Rubin/goingplacesfarandnear.com

We also see guinea pigs in cages. They were a delicacy, served at important festivals, and even today are served for festivals as well as in restaurants.

At the Manos de la Comunidad, a handicraft center, we learn the vital importance of domestication of llama and alpaca to the Incan Empire © Karen Rubin/goingplacesfarandnear.com

But the Inca could not have accomplished what they did – labor, military might – without enough food (calories) to support the population, which is why the Machu Picchu Sacred Valley was so vital.

Sarah and Eric pet a baby alpaca at Manos de la Comunidad, a handicraft center © Karen Rubin/goingplacesfarandnear.com

We stop at a famous overlook known as El Mirador (Lookout Point) from where we can see the Sacred Valley – an abundance of fertile plains in this high area of the Andes – spread out in front of us.

The view from El Mirador (Lookout Point) of the Sacred Valley © Karen Rubin/goingplacesfarandnear.com

Around the year 1000, Manco Capac claimed to be the “son of the sun god Inti,” sent to earth to become the first king of the Inca. He was known for his courage, and taught the people how to grow plants, make weapons, work together, share resources and worship the gods – in other words, set the parameters for the society.

Karen suspects the source of Manco’s power over the people was that he was an agricultural genius – figuring out terraces and irrigation technology – and abundant food production was proof of his divinity. He probably was a popular dictator but later Inca rulers relied on force. Besides military might and a brutal form of “justice,” the Inca ruled through religion and superstition.

The view from El Mirador (Lookout Point) of the Sacred Valley © Karen Rubin/goingplacesfarandnear.com

Their religion was based on nature and the different tribes had their own local gods and idols – they worshiped the gods and goddesses of rain, lightning, rainbow (connected with fertility), moon, sea and water. The Inca imposed sun worship of Inti over other gods, even Pachamama (Earth Mother). The people drafted to build their palaces and temples did it as much out of devotion to god as their obligation to give service to the state.

Chancing upon traditional dancers filming a video at El Mirador © Karen Rubin/goingplacesfarandnear.com

The elevation of the valley provides the perfect climate for growing corn (maize), so Inca named in Sacred Valley (a golden staff also comes into play). The maize was also used to make a fermented liquor that was used in religious ceremonies, adding to the “sacred” nature of the valley.

They modified the river bank with sand bags to control flooding and perfected irrigation techniques to create more arable land; the terraces created micro-climates for producing different crops.

Terracing and irrigation account, plus the ability to find fertile soil and take advantage of micro-climates account for the Inca Empire’s success in producing food © Karen Rubin/goingplacesfarandnear.com

The Inca society was a combination of feudalism and socialism. While they did not have currency and technically did not use slaves, instead, the exchange of goods and services was based on reciprocity between individuals and among individuals, communities and the Inca rulers. Farm production was divided up with 25 percent going to the Inca rulers and nobility, 25 percent to the priests and religious institutions and half kept by the farmers. The Inca rulers (who theoretically owned all the means of production) reciprocated by granting access to land and goods and providing food and drink in celebratory feasts for their subjects.

When the Spanish came, they introduced a feudal system – where the Spanish owned all the land. That persisted up to as recently as 1969, when a socialist (nationalist) president came to power.

“The government bought the land to give to farmers, brought more freedom, and the right to go to school. For the first 15-20 years, it didn’t work well because farmers didn’t know business like the landlord, didn’t have the export connections, and were used to being bossed. The government had to step in, ‘Remember the Inca time’ – and get them to act as a cooperative. Today, every farmer has his own land. Peru’s biggest export is avocado; its corn is shipped to Japan, Germany and Canada.”

As we drive into the countryside, we see women in traditional dress, pass markets and see buildings painted with election posters © Karen Rubin/goingplacesfarandnear.com

As we drive into the countryside, we see women in traditional dress, we pass markets. Many of the houses – still made of adobe – were swept away in a massive flood and are being replaced with brick structures which do not seem completed (to save taxes?). There is an election underway and we note campaign posters painted on whole buildings.

Before the day is done, we will have a chance to explore the archeological sites of Pisac and Ollantaytambo before making our way back to Cuzco for our 6 pm orientation with Alpaca Expeditions for our Incan Trail trek that begins the next morning.

The permits to do the Inca Trail trek are limited to 500 a day for all the trekking companies (which includes 300 set aside for guides and staff and only 200 for trekkers) and get booked up months in advance.

More information: Alpaca Expeditions, USA Phone: (202)-550-8534, [email protected], [email protected], https://www.alpacaexpeditions.com/

Next: Exploring Pisac, Ollantaytambo

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© 2022 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. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

CroisiEurope’s Elbe Princesse Rivercruise: Berlin, a Cultural Capital Again

The Brandenburg Gate, built in 1791, “survived 300 years, 2 world wars, 2 dictatorships, 1 wall” and restored to its glory © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Berlin is a surprise. The last time I was here, which was just after the fall of the Wall, it seemed dark, grey. Berliners were literally chipping away at the Berlin Wall, selling the graffitied pieces (the first act of Capitalism).

Berlin 1990. The first act of capitalism is selling the pieces of the Berlin Wall after the fall. © Karen Rubin/goingplacesfarandnear.com
 
Our guide, Sylvia, shows the “then and now” at the Brandenburg Gate in Berlin © Karen Rubin/goingplacesfarandnear.com

Now, I find the city bright, bustling and building. And an interesting amalgam of how Germany’s various historical époques, even the Soviet era, have been integrated in the reconstructed city after World War II.

What is most interesting to me, especially as we stop at the Brandenburg Gate, is how Nazism seems to have been ripped out from the roots, like weeds from a garden.

There is still some evidence of Soviet control, especially as we go through what would have been East Berlin (later, at Potsdam, we will learn the backstory of how Berlin was divided).

Reminder of a Berlin divided into sectors by the World War II victors © Karen Rubin/goingplacesfarandnear.com
 
Soviet era art on a building in Berlin © Karen Rubin/goingplacesfarandnear.com

The Elbe Princesse is docked in a lovely neighborhood park in one of the city’s 12 districts. We have a bus-tour today, which I am grateful for because the city is really vast and I only have one day here, but it is soon obvious, you need to spend at least two or three days.

Our guide, Sylvia, gives us a bit of history as we travel from district to district, neighborhood to neighborhood.

Apartment buildings built for workers before World War II © Karen Rubin/goingplacesfarandnear.com
 

We drive around the Victory Column – Hitler had it moved in the 1930s as part of his plan to make Berlin the capital of the World, Germania. To cement his dictatorship, the Nazis set fire to the Reichstag, and blamed the opposition as an excuse to exert martial law.

We get out to walk around, stopping first at the new memorial to the Sinti and Roma murdered in the Holocaust. Out of 2.5 million Sinti & Roma, only 5000 survived (the German word for gypsy, Zigeuner, means trash and is forbidden).

The new Holocaust memorial to Sinti and Roma across from the Reischtag in Berlin © Karen Rubin/goingplacesfarandnear.com
 

Very close to the Brandenburg Gate is the Reichstag – the Parliament Building. People are lined up to tour the building, and can go up to a modernized glass dome.

The Reischtag in Berlin © Karen Rubin/goingplacesfarandnear.com
Visitors can ascend to the modern dome of the Reischtag for a great view © Karen Rubin/goingplacesfarandnear.com

The Brandenburg Gate, which dates from 1791, was part of the original wall around Old Town, and is the only one of 18 historical gates still remaining. “It survived 300 years, 2 world wars, 2 dictatorships, 1 wall.”

In 1806, Napoleon arrived in Berlin after defeating Prussians, entering through center of gate. He promptly “expropriated” the sculpture on top of the gate.

The Brandenburg Gate, built in 1791, “survived 300 years, 2 world wars, 2 dictatorships, 1 wall” and restored to its glory © Karen Rubin/goingplacesfarandnear.com

For 20 years, the Gate was in a no-man’s land between East and West Berlin, and could not be visited. Then, in November 1989, the wall came down.

All the buildings that flank the Gate were built after 1989, Today, the US Embassy and across from the embassy, a Holocaust memorial that opened in May 2005, 60 years after the end of World War II in Europe.

New York architect Peter Eisenman, who won a design competition to establish a central memorial site, the Memorial to the Murdered Jews of Europe, placed 2,711 concrete slabs of different heights that appear as graves or coffins (the heights, Sylvia said, are supposed to represent the number of Jews killed in a place). The 19,000 sq. meter area is open day and night. The memorial is intentionally set on a slight slope and its wave-like form is different wherever you stand.

Memorial to the Murdered Jews of Europe by Peter Eisenman, is across from the US Embassy in Berlin © Karen Rubin/goingplacesfarandnear.com

The memorial to the Shoah is supplemented by the underground information center, also designed by Eisenman. In a space covering 800 square meters you can find information on the victims and the locations. Themed rooms such as the Room of Dimensions, the Room of Families, the Room of Names and the Room of Sites deal with the fates of individuals, with photographs, diaries and farewell letters. Short biographies take the victims out of their anonymity. Historical photographs and film footage show the sites of persecution and extermination. (Cora-Berliner-Straße 110117 Berlin, www.stiftung-denkmal.de/en)

In the Museum Island complex we see where there are still holes from bullets and artillery fire in the Roman columns are the city’s most important museums (which were in the Soviet zone, so that the Allies had to build comparable museums): the Altes Museum (Old Museum), the Neues Museum (New Museum) the Bode Museum, the Pergamon Museum and the Alte Nationalgalerie (Old National Gallery). The collections in these buildings encompass over 6,000 years of art and cultural history.

Museum Island was in the East German sector of Berlin controlled by the Soviet Union, so comparable cultural institutions had to be built in the West German sector © Karen Rubin/goingplacesfarandnear.com

Sylvia tells us that because all the city’s important museums wound up in the Soviet zone, the Allies built comparable institutions in their quarter.

We pass the magnificent Berlin Cathedral, which dates back to the 15th century,.

Berlin’s stunning architecture © Karen Rubin/goingplacesfarandnear.com

As we pass the Royal Library, Sylvia relates that on May 10 1933, Nazis entered Royal Library, stripped the shelves, and burned the books in the square. “It’s important to keep people stupid to impose dictatorship,” she remarks. I mutter something about a Tennessee legislator who, when asked what they should do about banned books, said, “They should burn them, I guess,” to which one of my traveling companions from Munich recoiled in horror. (Max Planck and Albert Einstein gave lectures here, Sylvia notes.)

The square outside the Royal Library was where Nazis burned books on May 10 1933 © Karen Rubin/goingplacesfarandnear.com

We go by Alexanderplatz, which was a market in the Middle Ages. (I spot “Stop Wars” as graffiti painted on a nearby building. There are also Ukraine flags on many buildings.)

“Stop Wars”. © Karen Rubin/goingplacesfarandnear.com

We drive down an avenue that leads toward Frankfurt and the border with Poland. After WWII, Stalin renamed it for himself, but when Stalin died, it was renamed Karl Marx Allee (a German Jew and the ideological founder of Socialism).

Coca-Cola on a building along the boulevard named for Karl Marx © Karen Rubin/goingplacesfarandnear.com

The mark of East Germany’s time as part of the Soviet bloc is very clear when we arrive at a long, long wall – Sylvia said that the “first generation wall” was built in less than 24 hours. “Germans went to sleep on the night of August 12 and woke up on August 13 to find a 43 km wall built in middle of night, to separate east from west.”

Graffiti art on the Berlin Wall, 1990 © Karen Rubin/goingplacesfarandnear.com

Soon after the fall of the Berlin Wall and reunification of East and West Germany, 118 artists from 21 countries were invited to paint murals along a 1316-meter long stretch of the wall – the longest continuous section of the Berlin Wall still in existence. It officially opened as the open-air East Side Gallery on September 28, 1990, and a year later, was made a protected memorial.

The famous “Kiss” mural on the East Side Gallery, a 1316-meter long stretch of the former Berlin Wall © Karen Rubin/goingplacesfarandnear.com

Sylvia points us to the mural that is very possibly the most famous: “The Kiss” by Russian painter Dimitri Vrubel in 1990, It depicts Leonid Brezhnev, the General Secretary of the Soviet Union at the time, and Erich Honecker, the General Secretary of the Socialist Unity Party of the GDR, based on a photograph taken in 1979, on the 30th anniversary of the founding of the GDR. “The photographer got two years in prison.”  

Possibly the most famous of the East Side Gallery murals is “The Kiss” by Russian painter Dimitri Vrubel, depicting Leonid Brezhnev, the Soviet General Secretary and Erich Honecker, the General Secretary of the GDR Socialist Unity Party, based on a 1979 photo © Karen Rubin/goingplacesfarandnear.com
118 artists from 21 countries were invited to paint murals along a 1316-meter long stretch of the wall, now enshrined as the East Side Gallery © Karen Rubin/goingplacesfarandnear.com
Andre Sacharov is memorialized in one of the East Side Gallery murals © Karen Rubin/goingplacesfarandnear.com
The 1316-meter long stretch of the wall – the longest continuous section of the Berlin Wall still in existence – officially opened as the open-air East Side Gallery on September 28, 1990 © Karen Rubin/goingplacesfarandnear.com

Sylvia also points out Berlin’s pride and joy, the Berlin Television Tower, built in the 1960s. At 368m, it is the tallest building in Berlin. (You can go to the top for a 360° panoramic view of the city.) 

Berlin’s pride and joy, the Berlin Television Tower, built in the 1960s © Karen Rubin/goingplacesfarandnear.com

Potsdam, UNESCO World Heritage City

We are returned to the Princesse Elbe for lunch and then set out again by bus to Potsdam – famous as the place where the Allies decided Germany’s fate, split Europe, Germany and Berlin into sections, and launched the Cold War.

Potsdam, about a 45 minute drive from where we are in Berlin, is one of Germany’s most beautiful cities, and a UNESCO Heritage site.

The Glienicke Bridge, known as the “Bridge of Spies,” in Potsdam © Karen Rubin/goingplacesfarandnear.com

We stop at Glienicke Bridge, known as the “Bridge of Spies”. Built in 1907, it was used as an exchange point between the Soviets and the Allies. In 1961, during the Cold War, no civilians were allowed on the bridge, only military, diplomats. To distinguish between the American and German Democratic Republic sides, you can see the dark green versus light green colors. The first exchange came in 1962: Francis Powers, who was taken prisoner in 1960 when his U-2 spy plane was shot down over Ukraine and sentenced to die, was exchanged for Soviet Colonel Rudolf Abel, a senior KGB spy. (The 2015 Tom Hanks thriller, “Bridge of Spies” depicting the events was actually shot here – they closed the bridge for a week).

Different shades of green demarcated the Soviet from the American sides of the Glienicke Bridge © Karen Rubin/goingplacesfarandnear.com

We stop at Cecilienhof Palace, where the Potsdam Conference took place in 1945, and are able to walk around the grounds. The palace was built in 1917 by Crown Prince Wilhelm, grandson of Queen Victoria, who would have been next emperor if Germany had won World War I. It hardly looks like a palace – he built it in Tudor style of a country manor to honor his grandmother. Today it is a hotel and museum.

Cecilienhof Palace, where the Potsdam Conference took place in 1945 and the Cold War began © Karen Rubin/goingplacesfarandnear.com

What I hadn’t known before is that Harry Truman, who had just become president after Franklin D. Roosevelt’s death, got a phone call while here, ‘The baby is born,” code for the atom bomb was ready. He gave the order from here to bomb Hiroshima, seemingly as casually as that.

The Potsdam conference also lacked another major leader, Winston Churchill. In his place, a new Prime Minister. Clement Attlee. Stalin took advantage of them both.

Sylvia relates the back-story of how Stalin snuckered Truman and Atlee: on the last morning, Stalin drew a line in red pen through Germany and basically, said, “That’s mine.” “Potsdam set up the Cold War, a proxy war,” she says.

We next go to Sanssouci, Frederick II (Frederick the Great)’s fabulous palace. (We wander the outside, but do not have time to go into it).

Sanssouci Palace is like a mini-Versailles © Karen Rubin/goingplacesfarandnear.com

Sanssouci Palace is like a mini-Versailles, with stunning formal gardens. The gardens were Frederick’s passion, and he built them even before the palace. It was the first royal park ever to be open to the public, and for free. (Versailles Palace was built first then garden, but was solely for royal use.)

Sanssouci Palace is like a mini-Versailles © Karen Rubin/goingplacesfarandnear.com

Frederick loved this place – it was his private refuge and he even banned his wife from visiting. He wanted to be buried at Sanssouci and had a crypt built, but his nephew buried him elsewhere; then, 200 years later, Frederick was reburied here, as he wanted, with his 11 dogs. We notice that people leave potatoes at the gravesite. “The Seven Years War was under his administration.  Potato, brought from the Indian countries of America, was a fast solution to hunger.”

Sanssouci Palace is like a mini-Versailles © Karen Rubin/goingplacesfarandnear.com

Potsdam, a UNESCO World Heritage Site since 1990, became the residence for Prussia’ royal family, spawning many fabulous buildings and palaces, making Potsdam one of the most-visited cities in Germany and deserves a full day visit (you can get to Potsdam by train from Berlin).

CroisiEurope’s MS Elbe Princesse, docked in Berlin, our last port on the Prague-Berlin rivercruise © Karen Rubin/goingplacesfarandnear.com

Our tours of Berlin and Potsdam have been a very good introduction, but I would have liked to spend another two days in Berlin and a full day in Potsdam. But I am doing what many American travelers to Europe are doing this year and doubling up on trips from my bucket list. So the next morning, I get myself to the Berlin railway station, heading to Bruges. for my BoatBikeTours bike trip from Bruges to Amsterdam by bike and boat!

Berlin’s central train station © Karen Rubin/goingplacesfarandnear.com
Departing Berlin, enroute to Bruges, Belgium © Karen Rubin/goingplacesfarandnear.com

CroisiEurope, 800-768-7232, [email protected], www.CroisiEuropeRiverCruises.com

See also:

CroisiEurope Brings True Value, Quality to River Cruising Across the Globe

CroisiEurope’s Elbe Princess Prague-Berlin Rivercruise: Konigstein Fortress: Dramatic and Impregnable

CroisiEurope’s Elbe Princess Prague-Berlin Rivercruise: Dresden Rises Like a Phoenix; Meissen Preserves World Famous Brand

River Cruising on CroisiEurope’s Elbe Princesse, Prague-Berlin: Martin Luther, The Reformation and Wittenberg

CroisiEurope’s Elbe Princesse Prague-Berlin Rivercruise: Magdeburg, Long History, Surprising Heritage

CroisiEurope’s Elbe Princesse Rivercruise: Berlin, a Cultural Capital Again

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© 2022 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. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Lobkowicz Palace is Prague’s Jewel Box

 Lobkowicz Palace, the only privately owned palace within Prague Castle, commands a stunning view of Prague and holds exquisite cultural treasures © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

When I come out from Golden Lane, with its tiny houses that line the Prague Castle walls, I look across to see the Lobkowicz Palace and realize it is included on the Prague Cool Pass, so decide to check it out. This turns out to be the absolute highlight for me in Prague.

The Palace, itself, is fabulous, and the collection it houses, is breathtaking. And the family’s story is utterly fascinating.

Built in the mid-16th century, the Lobkowicz Palace is one of the most significant cultural sites in the Czech Republic (no hyperbole), and the only privately owned palace in the Prague Castle complex, a UNESCO World Heritage Site. The family, once one of the richest and most powerful in Bohemia, have been key players in the history of the Czech Republic and the whole of Europe.

I know none of this when I walk in, but quickly am awe-struck.

The audio tour through 21 galleries is narrated by William Lobkowicz (b 1961), the current heir and manager of most of the Lobkowicz lands in the Czech Republic (Lobkowicz Palace, Nelahozeves, Roudnice and Strekov Castle), with some cameo appearances by his wife and mother. He puts faces as well as context to the portraits you see (as fabulous as they are, going back to the first Prince Lobkowicz, Zdenko Adalbert Popel).

The Lobkowicz Palace was built in the mid-16th century by Bohemian nobleman Jaroslav of Pernstein (1528–1569). It came into the Lobkowicz family through the marriage of Polyxena of Pernstein (1566-1642) to Zdenko Adalbert Popel, 1st Prince Lobkowicz (1568–1628), in 1603.

A painting in the Lobkowicz Palace immortalizes a key rolePolyxena and the palace played in one of the most significant events in Prague history: the famous Defenestration of Prague in 1618 © Karen Rubin/goingplacesfarandnear.com

Polyxena and the palace played a key role in one of the most significant events in Prague history: the famous Defenestration of Prague in 1618, when Protestant rebels threw two Catholic Imperial Ministers and their secretary out the windows of the Royal Palace in Prague Castle. Surviving the fall (they fell on a pile of refuse in the moat), they were given refuge in the adjoining Lobkowicz Palace, where they were protected by Polyxena.  (The scene is immortalized in a painting which you can view.)

The Defenestration of Prague signaled the beginning of a Bohemian revolt against the Habsburg Emperor Ferdinand II, leading to the Thirty Years’ War.

“It is no exaggeration to call the Thirty Years’ War the worst war in European history. The combatant nations lost between 25 and 40 percent of their populations to military action, famine and disease,” states historyextra.com.

Also in this room, there is a notable painting attributed to Velazquez of the “Infanta Margarita Teresa of Spain,” the daughter of Philip IV of Spain, and granddaughter of Emperor Ferdinand III, when she was four. At 15, she was married to her uncle, Emperor Leopold I, in 1666, and bore him four children before dying in childbirth at 22. (Philip would only have Velazquez paint the family). She is featured in one of Velazquez’ most famous portraits, “Infanta Margarita Teresa in a Blue Dress” and in “Las Meninas” (“The Ladies-in-Waiting”), a painting that is recognized as one of the most important in Western art history.

Among the family portraits at Lobkowicz Palace, a notable painting attributed to Velazquez of the “Infanta Margarita Teresa of Spain,” the daughter of Philip IV of Spain, and granddaughter of Emperor Ferdinand III, when she was four © Karen Rubin/goingplacesfarandnear.com

But this is nothing compared to the astonishment you experience when you enter the Music Room. Here you see various historical instruments on display and the important musical personalities within Lobkowicz family in the 18th and early 19th centuries.  

Ferdinand Philipp Lobkowicz (1724-1784) is described as “an eccentric melancholic, a passionate collector, scientist, painter and musician. He was the second born son, so expected to be able to devote himself to his passions – science and art. That plan was derailed when his older brother Wenzel died suddenly and Ferdinand was required to take over the ancestral estates. He preferred to reside alone in Eisenberg castle where he experimented with alchemy, created bizarre paintings, played violin and composed. He spent time outside the Hapsburg Empire – in England, Italy, Prussia – and became acquainted with important composers. He composed a Sinfonia with Carl Philipp Emanuel Bach and was closely associated with Christoph Willibald Gluck. He married when he was 45 to a woman who shared his passion for music.

Joseph Frantisek Maximilian (1772-1816), 7th Prince Lobkowicz, was Beethoven’s greatest private patron. Beethoven dedicated his 3rd (Eroica), 5th and 6th (Pastoral) symphonies to Lobkowicz and original manuscripts are on view at Lobkowicz Palace © Karen Rubin/goingplacesfarandnear.com

But the family’s paramount musical figure was Joseph Frantisek Maximilian (1772-1816), 7th Prince Lobkowicz, who was Beethoven’s greatest private patron. The first performances at both the family’s Vienna Palace and North Bohemian castle of Jezeri resulted in Beethoven dedicating numerous works to Lobkowicz, including his 3rd (Eroica), 5th and 6th (Pastoral) symphonies. Joseph was a founding member of the Society of the Friends of Music in Vienna,  a member of the Society for the Promotion of Musical Culture in Bohemia and a director of the Court Theatre of Vienna. He was also responsible for commissioning the reconstruction of the palace’s exterior, giving it the appearance it has today. Upon his early death, in 1816, his son Ferdinand Joseph, 8th Prince Lobkowicz (1797-1868), continued Beethoven’s annuity and maintained the family orchestra, most of instruments of which survive today in the collection, along with autographed manuscripts by Gluck, Mozart and Beethoven.

Pieter Bruegel the Elder’s famous “Haymaking,” painting – one of only five known today is on view at Lobkowicz Palace © Karen Rubin/goingplacesfarandnear.com

Walk on and you find yourself in an intimate gallery with Pieter Bruegel the Elder’s famous “Haymaking,” painting – one of only five known today (one in the Metropolitan Museum of Art in New York City, three in Kunsthistorisches museum in Vienna and this one), notable because it is among the  first landscape paintings depicting everyday life. Just beyond, in another gallery, are two masterpieces by Canaletto: “London: The River Thames on lord Mayor’s Day, and ‘The River Thames Looking Towards Westminster from Lambeth,” “an important and comprehensive visual record of how the city looked in mid-18th century, and among the greatest of the Venetian painter’s English period works.”

Another highlight of the visit to Lobkowicz Palace is an incomparable view overlooking the city from one of the balconies.

Lobkowicz Palace, the only privately owned palace within Prague Castle, commands a stunning view of Prague © Karen Rubin/goingplacesfarandnear.com

The tour continues on the first floor of this magnificent palace. In the Princess Ernestine Room you see a remarkable series of portraits painted by Princess Ernestine of Nassau-Siegen (1623-68) including her own self-portrait. Her work is notable as a 17th century woman painter, particularly because she was of noble birth. She was herself painted by Sir Anthony van Dyck in 1634, when she was 11, in one of his largest and greatest family group portraits, which possibly inspired her to paint. The portraits entered the collection through the marriage of the artist’s only daughter, Claudia Frantiska (1660-80) to the 3rd Prince Lobkowicz in 1677. (We are informed that they were cleaned and conserved through funding of Friends of Heritage Preservation.)

The Lobkowicz princes, throughout history, played important roles as high-level officials working closely with kings and emperors.

After World War I and following the end of hereditary titles in 1918, Maximilian Lobkowicz (1888–1967), son of Ferdinand Zdenko, 10th Prince Lobkowicz (1858–1938), provided crucial support to the newly formed, democratic Czechoslovakia as a lawyer and diplomat, campaigning abroad for international recognition. He demonstrated his support for the fledgling First Czechoslovak Republic by making several rooms at the Palace available to the government, headed by the new nation’s first President, Tomas G. Masaryk. 

In the 1930s, Maximilian mustered diplomatic support for opposition to the German annexation of the Sudetenland, and during World War II he served as ambassador to Great Britain for the Czechoslovakian government in exile.

“Max supported the new Czechoslovakia in 1918, even though it abolished inherited titles,” William narrates about his grandfather. “He was against the Nazi regime. He had a British wife and was active in the underground.” Their property was taken by the Nazis. Most of the possessions were returned in 1945, but confiscated again in 1948 when the Communists came to power. “Max was trapped in Czechoslovakia after it was taken over by the Communists. He got a two-day pass to visit his wife. He left with nothing but his hat and coat.”

The property was returned to the family in 2002, and in 2007, they opened the palace and all its collections to the public.

The surprises of this place continue.

At the end of the visit, is a special room dedicated to the “Queens of Ukraine”:  glamorous photographs of Ukrainian women who work in the Czech Republic.  “They have worked hard all their lives as housekeepers in our country, sending money to their families in Ukraine as there was no work. Now their sons are at war and their daughters are running away with little children from a country that’s fighting for its freedom.”

“Queens of Ukraine,”  glamorous photographs of Ukrainian women who work in the Czech Republic, is a photo exhibit on view at Lobkowicz Palace to raise awareness and funds for Ukraine’s plight after Russia’s invasion © Karen Rubin/goingplacesfarandnear.com

It is related to an exhibit of “Culture Under Siege” photos documenting the devastating destruction of cultural sites in Ukraine as a result of the Russian invasion. They were taken by several Ukrainian photographers in two weeks early in the invasion. Religious buildings, museums, monuments, antiquities, “the silent cultural casualties in Ukraine continue to intensify, exacerbating the country’s humanitarian suffering. These photographs remind us that culture is an essential source of identity and community. Where culture is destroyed, humanity’s past, present and future is too.”

The project was created in collaboration with Ukrainian photographers – each photo uses a backdrop taken by Ukrainian photographers in the first days of the war. “Queens of Ukraine” is aimed at highlighting Ukrainian artists and raising funds to support families suffering from war. The works were sold as NFTs (non fungible tokens), with 50 percent of the sale supporting the Queen herself and the other 50 percent supporting the Ukrainian artist, writes Bet Orten, the photographer/artist.

There are also concerts here, and I can’t imagine a more impressive venue.

(Lobkowicz Palace, [email protected], www.lobkowicz.cz).

Walk out the Prague Castle gate and immediately in front and to the left is the Schwarzenberg Palace which houses the National Gallery’s Old Masters I collection © Karen Rubin/goingplacesfarandnear.com

Just outside the gate to the Prague Castle, flanking the enormous square, are two palaces that are now are part of the National Gallery Prague (also included in the Prague Cool Pass):

The Schwarzenberg Palace,  which it turns out was built by Johann iV Popel of Lobkowicz in 1567 and from World War II to 2002 was a Military History Museum, before being acquired by the National Gallery Prague) features Old Masters of the Renaissance (Albrecht Durer, El Greco, Lucas Cranach the Elder, Hans Holbein the Elder, Brueghel), Baroque (Peter Paul Rubens, Anthony van Dyck) and Rococco.

The Sternberg Palace, with its gorgeous garden, houses the National Gallery’s Old Masters II collection © Karen Rubin/goingplacesfarandnear.com

The Sternberg Palace, built by Count Vaclav Vojtech of Sternberg, features Old Masters II, continuing a long tradition as the Picture Gallery of the Society of Patriotic Friends of the Arts, the National Gallery’s predecessor. It features Archduke Franz Ferdinand’s collection of Italian paintings of the 14th and 15th centuries, the largest collection of Italian primitive school outside of Italy. My favorite section, though, is an extraordinary collection of Dutch and Flemish painting of the 15-18th centuries from Antwerp, Amsterdam, Utrecht and Layden (Brueghal, Rubens, van Dyck).  There is also a delightful garden area.

More information at www.naprague.cz

Walking around Prague, I was struck by how demonstrably pro-Ukraine the Czechs are – banners unfurled at government buildings, apartment buildings – which is understandable considering the Czech people know full well what it is like to live under the Soviet yoke. I also came upon a climate protest, and after spending a lot of time in the Jewish Quarter (a square is named for the Jewish novelist Franz Kafka, in front of the Library), and even in the National Museum, I was struck by how respectful of its Jewish heritage Prague is.

Prague, which knows something about being under Soviet Russia’s rule, shows its support for Ukraine after Russia’s invasion © Karen Rubin/goingplacesfarandnear.com

Also, how culturally liberal. Prague is a place of pleasure, of indulgence – you see it and feel it in the number of chocolate and sweet shops, cannabis shops, beer and wine, casino, Thai massage parlors,and a generally permissive attitude toward sex (you can visit the Sex Machine Museum at the archway to the Old Town Square).

Surprising liberal: Prague’ s Sex Museum just outside the arch to Old Town Square © Karen Rubin/goingplacesfarandnear.com

And a streetscape that is out of a fairytale. Prague is a place to wander, explore, discover, get lost and be surprised and delighted.

By now, it’s time for me to return to the hotel, pick up my luggage, and make my way to Elbe Princess for my CroisiEurope river cruise. I will have one more full day here in Prague – the ship offers guided walks of the Jewish Quarter and the Prague Castle – before the ship begins its eight-day cruise to Berlin.

The Prague Cool Pass is extremely easy to purchase and use – you purchase it online, download an app, and it activates the first time you use it, and is good for the amount of time you purchase, 2 to 4 consecutive days. You just flash the QR code to the ticket counter and they issue you a ticket. (Each attraction can be visited only once. The pass provides free entry to some 70 attractions (including Prague Castle, Jewish Museum, Petrin Tower), free sightseeing bus tour, free river cruises, plus discounts on other attractions, tours in and outside Prague, concerts, entertainment, dining and other activities. The app is really helpful, giving details and visitor information about the attraction, plus maps. (See praguecoolpass.com)

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© 2022 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. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures

Wine & Art: The Perfect Pairing in Sonoma, California

Gundlach Bundschu Winery, Sonoma, California © Karen Rubin/goingplacesfarandnear.com

by Karen Rubin with Dave E. Leiberman, Laini Miranda, Eric Leiberman & Sarah Falter
Travel Features Syndicate, goingplacesfarandnear.com

Wine and art are a perfect pairing, we discovered touring Sonoma, California, famous for its vineyards and wine-tasting experiences.

Think about it: wine-making is the absolute synthesis of nature, science and art, the vineyards are themselves these bucolic pastoral settings that inspire art. Indeed, there’s a calming aesthetic  to the neat, symmetrical  rows, the pleasing colors, the sense of renewal.

Art is almost as ubiquitous as wine in Sonoma, art galleries like the Paul Mahder Gallery in Healdsburg, have their own wine-tasting; vineyards have art, like the Donum Estate vineyard with a substantial sculpture garden, as well as special art, music and cultural events, like Gundlach Bundschu Winery which organizes pop-up outdoor art shows (concerts and weddings also when COVID restrictions are lifted), and Imagery which has its own art gallery of commissioned works for its labels.

Artist Laini Nemett at opening of “Between Walls” at the Paul Mahder Gallery in Healdsburg, California © Karen Rubin/goingplacesfarandnear.com
 

Sonoma wineries – along with restaurants, art galleries, shops, and the whole visitor ecosystem – have made accommodations to continue to welcome guests to wine tastings while maintaining health protocols. Visits are by advance reservations to limit capacity, served outside (heaters are ubiquitous now); the art galleries and shops are well ventilated, and at this writing require masks inside and social distancing.

Sonoma County has a remarkable range of terroir and microclimates – from the Pacific coastline, the redwood forests, fertile valleys and mountains – that has produced one of the most diverse winegrape-growing regions in the world, and also one of the most picturesque.

We experienced wineries and vineyards almost daily – visiting several for tastings, to be sure, but also as the scenic backdrop to biking. They are not only so exquisitely scenic – bucolic, pastoral landscapes with color and pattern of the rows rippling with the rolling hills – but offer interesting, even dramatic histories. And just as their wines are distinct, so is the tasting experience and ambiance.

On one of my bike excursions, I came upon Buena Vista Winery, which has an entertaining way of presenting history and its own back story with a claim to being California’s oldest commercial winery, in fact, the birthplace of the state’s modern wine industry:

Buena Vista Winery © Karen Rubin/goingplacesfarandnear.com

The founder of Buena Vista Winery, Count Agoston Haraszthy, came from Hungary initially in pursuit of gold but in 1857, decided instead to build a stone winery on the property. He introduced cuttings from Europe’s best vineyards to California and basically proved that California could produce wine. You can sign up for the “Be the Count Experience,” wine blending as the Count might have done it, or taste a flight while touring the Wine Tool Museum. “If you run into the Count himself, don’t be surprised; it’s all a part of the experience.”

Buena Vista Winery, 18000 Old Winery Road, Sonoma, CA 95476, 800-926-1266, [email protected], www.buenavistawinery.com

Imagery Estate Winery boasts “we’ve been exploring the intersection of art & wine for over 30 years.” They are extremely proud of inviting major artists to design their wine labels and even have an art gallery of the original paintings. We thoroughly enjoyed our 45-minute alfresco tasting of five small production wines at Imagery, a winery that prides itself on “crafting rare wines from uncommon varietals and character-rich vineyards, Imagery Estate Winery was forged from a thirst for experimentation.” They spotlight interesting, non-traditional varietals like Lagrein and Tempranillo, “creating expressive wines that broaden the palate.”

Imagery Estate Winery © Karen Rubin/goingplacesfarandnear.com

Imagery Estate Winery infuses art throughout the winery, from specially commissioned artwork from notable contemporary artists, to its art gallery where the original artwork is displayed.

Imagery Estate Winery © Karen Rubin/goingplacesfarandnear.com

Reservations are required, and the tasting room is currently open for outdoor seated tastings and outdoor picnic tables. No outside food is allowed yet, but there is an option to order a Charcuterie box with the reservation. Imagery was planning to reopen its picnic experiences in May. At this writing, the winery was anticipating some lifting of restrictions (so call).

Imagery, 14335 Hwy 12, Glen Ellen, CA 95442, 877-550-4278, 707-935-3000, www.imagerywinery.com, Open for outdoor seated tastings, limited to groups of 6, by appointment only Thursday-Monday

Benziger Family Winery, the sister winery to Imagery, for more than 25 years, has farmed the ranch on Sonoma Mountain using Certified Biodynamics, an organic and sustainable farming method. The result is a portfolio of memorable wines which visitors can explore through a seated tasting or other tours. Set just above the small town of Glen Ellen, the winery occupies one of the most beautiful locales in Sonoma Valley. The ranch is home to numerous species of plants, animals and insects, with gardens and an insectary that play an important part in their Biodynamic farming techniques.

Benziger is currently offering a 1.5-hour  Private Tribute Estate Tour & Tasting. providing an in-depth look at the Biodynamically farmed Sonoma Mountain Estate, complemented by wine tastings along the way (limited to private group of up to 6 guests).

Benziger plans to begin opening reservations for indoor tastings later this month, and plans to launch its picnic experiences in May.

Benziger has yet to re-start its two-hour ”Biodynamic Tram Tour, one of the most distinctive winery experiences in Sonoma Valley. Introduced in 1994, more than one million guests have taken the tour which highlights sustainable green-farming practices. “The true goal of the tour program was to create an experience for guests that went beyond the tasting room.  We wanted to immerse them in the natural environment of the land and help them understand the complexity of the Sonoma Mountain property and how it made our wines exceptional. This remains our number one goal… As our winemaking process evolved into Biodynamics with the release of our Estate grown Biodynamic wine, Tribute, in 2001, our tour evolved as well to what it looks like today.

“With the introduction of our caves, the tour was fine-tuned to give a full educational overview of the grape growing process, winery production facilities including barreling and cellaring to wine tasting. Visitors were now able to follow the full process of a working winery from the vineyard to the bottle. Further, at one of just a handful of Biodynamic vineyards in North America… ‘Farming for Flavors,’ our Certified Sustainability program, is still one of the most comprehensive sustainability programs in the country.” (Learn more about Benziger’s green farming practices here.)

Benziger Family Winery, 1883 London Ranch Road, Glen Ellen, CA 95442, 707-935-3000; benziger.com. Open Thursday-Monday by appointment only.

Gundlach Bundschu Winery © Karen Rubin/goingplacesfarandnear.com

Gundlach Bundschu makes a claim to being the oldest family-owned winery in California: for six generations and more than 160 years, since 1858, the Bundschu family has farmed the Rhinefarm estate vineyard at the crossroads of the Sonoma Valley, Carneros and Napa Valley (www.gunbun.com/history/). Gundlach Bundschu offers a delightful, bucolic setting.   The winery has been offering pop up art shows and when restrictions are lifted will return to presenting concerts and weddings.  We enjoyed music with a DJ during our wine tasting.

Gundlach Bundschu Winery © Karen Rubin/goingplacesfarandnear.com

Gundlach offers tours aboard a six-wheeled Pinzgauer – an Austrian-made military vehicle – to get WAY off the beaten path on a Sonoma vineyard tour. Sip five estate selected wines at stops along the way, stop for an impromptu picnic in the vines, learn about modern grape farming techniques and soak up the views of the vinneyard on this off-road adventure. A minimum group size of 6, maximum group of 10 people is required to book. $85 per person + 18% gratuity.

Gundlach Bundschu Winery © Karen Rubin/goingplacesfarandnear.com

Another option: a walking tour through the vineyards, guided by a wine educator to learn about their Green Business Practices, Fish Friendly Farming and other sustainable vineyard practices. Sample five estate wines sourced from the 320-acre property. (No children under 12 years old or pets on the tour0. This private group experience requires a minimum group size of 6 guests, maximum of 10, and is available seven days a week. $65/person + 18% gratuity.

Open daily 11am-4:30 pm; must book reservation in advance; groups limited to six; dogs actually welcome

Gundlach Bundschu Winery, 2000 Denmark Street, Sonoma, CA 95476707.938.5277, [email protected], www.gunbun.com

Donum Estate: Wine merges with art at Donum Estate, renowned for its open-air sculpture collection featuring over 40 works by world-renowned artists. The Discover ($95) and Explore ($150) experiences are by appointment only and include tours of open-air art sculpture collection. 

Donum Estate is renowned for its outdoor sculpture collection © Karen Rubin/goingplacesfarandnear.com

Donum Estate, 24500 Ramal Road, Sonoma, 707-732-2200, thedonumestate.com.

We didn’t have the opportunity to do a wine tasting at Hanzell, which commands one of the most stunning views of the hillsides and mountains, but happened to be there at sunset. We plan to return. Hanzell Vineyards was founded by Ambassador James D. Zellerbach in 1953 with a vision to create wines that could compete on the world stage.  Named after his wife Hana, Hanzell sits at the southern toe of the Mayacamas mountain range overlooking the south-western end of Sonoma Valley and San Pablo Bay.  After extensive time spent in Burgundy, Zellerbach returned inspired and educated by the region’s wines and grapes—Pinot Noir and Chardonnay.  He planted these two varieties at a time when there were less than a few hundred acres of each planted in North America. 

Hanzell Winery © Karen Rubin/goingplacesfarandnear.com

Since 1975, Hanzell has been solely owned by the de Brye family, who is dedicated to the preservation of tradition with a progressive and holistic approach to ensure the sustainability for generations to come. The Hanzell Tasting experience takes place overlooking its historic “Ambassador’s 1953” vineyard block on one of its new outdoor platforms. During the 60-minute visit ($45/pp), you get to taste three current release wines while learning about the Hanzell story, our progressive integrated farming practices and winemaking philosophies. Tastings by appointment only; limited to six people. 

Hanzell, 18596 Lomita Avenue, Sonoma, CA 95476, visit www.cellarpass.com to make your reservation or call 707-996-3860.

People have the idea that wine tasting is an expensive activity, but many of the wineries in Sonoma County offer either free wine tasting or waive the tasting fee with a wine purchase.

Here’s the insider’s tip: it is often better value (cheaper) to join the wine club and enjoy a free wine tasting, rather than pay for the wine tasting, which provides additional privileges including discounted prices; they typically ship the bottles you choose.

Also, Sonoma County Tourism sells one- and three-day tasting pass (on mobile) that you can redeem at the wineries you choose to visit. For more information about what is open, arrangements to visit and lodging, and purchasing the tasting pass visit Sonoma County Tourism, https://www.sonomacounty.com/destinations/wine-regions

Art Experiences Abound

On the other side of the equation, art galleries pair with wine. Indeed, it was art, not wine, that brought us to Sonoma.

Our trip was timed for a special event: the opening of Laini Nemett’s art exhibit, “Between Walls” at the Paul Mahder Gallery in Healdsburg, near Sonoma (paulmahdergallery.com).

Wine-tasting room at the Paul Mahder Gallery amid sculpture (and what is claimed to be the largest moss wall in America) © Karen Rubin/goingplacesfarandnear.com

Healdsburg is a wonderfully vibrant town, culturally rich with some 25 art galleries and a food-and-wine haven with marvelous restaurants and 30 wine-tasting rooms. Healdsburg has become a haven for foodies, drawn to restaurants leading Sonoma County’s farm-to-table movement. Many are along the streets lining the Healdsburg Plaza, including artisan bakeries, local wine bars, and restaurants with locally-sourced ingredients from the surrounding gardens and farms. We loved our lunch at Bargas, and our dinner at the H2Hotel restaurant, with gorgeous outdoor seating areas, set around a lovely village square.

Healdsburg, California, a wine-food-art haven © Karen Rubin/goingplacesfarandnear.com

Healdsburg, which like Sonoma, depends on tourism, has taken public health precautions very seriously:  signs say you will be fined if you don’t wear a mask, and there are sanitizing stations at the crosswalks. Restaurants are organized for take-out and outdoor dining (space heaters available), menus are either disposable, online, or can be wiped off to minimize transactions; the retail stores have sanitizing stations, require masks, limit capacity and kept their doors open for added ventilation. The same for the art galleries like Paul Mahder Gallery, which is unusually large, well ventilated, and, as an added treat, has a wine-tasting experience, the wine bottles decorated with Paul’s paintings.

Artist Kevin Kearney in his studio/gallery © Karen Rubin/goingplacesfarandnear.com

It is a special experience to meet the artist at a gallery opening who gives personal insights into the work and creative process, but visiting an artist in his studio adds another dimension – seeing works-in progress on their easels, an entire career on display, and the opportunity to discuss the nuances and background of the works in such a personal setting.

In fact, Sonoma County has, since 1985, offered an Art Trails self-guided tour that gives visitors opportunities to learn first-hand from the artists what inspires their art, how it is made and where it is made. Juried professional artists invite you to explore Sonoma County, engage with artists in their own studios and collect beautiful art.  Art Trails is held in the fall. (https://sonomacountyarttrails.org/)

During our visit to Sonoma, we had that experience with Kevin Kearney, who epitomizes the marriage of art and wine (he used to own a vineyard)

Detail in painting by artist Kevin Kearney © Karen Rubin/goingplacesfarandnear.com

Kearney is a master of exquisite, mind-blowing fine realistic detail reminiscent of the Dutch masters, but with a quirky sense of surrealism and modern sensibility, often playing on ancient myths and images. He tells us that it took 100 hours just to paint the carpet in one of his works.

Artist Kevin Kearney in his studio/gallery © Karen Rubin/goingplacesfarandnear.com

“In Kevin Kearney’s work, there are everyday chairs from which the viewer sees the world realistically. And there are magical thrones from which the viewer imagines haunting creatures on patterned carpets floating through cerulean skies above cerulean seas. His red walls and surreal ceruleans look tranquil enough, but beware, any minute, a tsunami could erupt,” writes Barry Nemett, in the catalog for Kearney’s 2019 exhibit, “Red Walls, Surreal Ceruleans, and a Tsunami,” at the Ice House Gallery, Petaluma.

Hearing the stories behind the symbols and the imagery from the artist directly transports you into the canvas and the artist’s mind.

Artist Kevin Kearney studio/gallery © Karen Rubin/goingplacesfarandnear.com

You can request to visit the studio/gallery of artist Kevin Kearney who has his own vineyard and wine collection (https://www.kevinkearney.org/, https://www.kevinkearney.org/contact/)

Biking amid Sonoma’s vineyards © Karen Rubin/goingplacesfarandnear.com

During our visit, we rented bikes to ride on a gorgeous recreational trail that connected to back-country roads flanked by vineyards, riding into neighboring Napa county.  When biking, it is fun to happen upon – discover, if you will – historic sites like the Depot Park Museum and General Mariano Guadalupe Vallejo’s Home, which you come upon along the trail (Wine Country Cyclery, 262 W Napa St, Sonoma, CA 95476, 707-996-6800; Sonoma Valley Bike Tours & Rentals, 254 Broadway, Sonoma, CA 95476, 707-996-2453)

Biking amid Sonoma’s vineyards © Karen Rubin/goingplacesfarandnear.com

We did wine-tastings at several vineyards and visited art galleries and shops; went hiking on the Kortum Trail along the Pacific Coast (what an amazing contrast to our hiking holiday in Death Valley National Park!), dined outdoors at restaurants (loved Salt & Stone, Kenwood, www.saltstonekenwood.com, 707-833-6326), played tennis on community courts, went to the farmer’s market – each and every place, from the hiking trails to the vineyards, to the restaurants, galleries and shops – all followed stringent health protocols. 

Biking amid Sonoma’s vineyards © Karen Rubin/goingplacesfarandnear.com

During the current COVID-19 pandemic, many Sonoma County wine and food experiences are still available but certain activities have been temporarily restricted or were unavailable. Sonoma County Tourism has a See What’s Open website, and encourages everyone to follow public health authorities’ recommendations and to review the Safe Travels Promise.

“Sonoma County is an ideal destination to reset and recover post-pandemic,” said Birgitt Vaughan, Director of Global Media Relations. A lot of this is attributed to the nature immersion that happens when you’re in Sonoma County. Sonoma County Tourism shifted years ago to a Destination Stewardship organization, instituting a Travel Kindly pledge and partnership with Kind Traveler. Part of your lodging cost go toward supporting local charities.

“Sonoma County Tourism just began a partnership with our Regional Parks and Leave No Trace to help ensure visitors who enjoy the region’s parks and other natural resource areas do so responsibly and sustainably.” Check out how Life Opens Up in Sonoma County (https://www.sonomacounty.com/life-opens-up) and view Sonoma County Tourism’s 2021 Spring/Summer Inspiration Guide.

Sonoma County Tourism can help plan your getaway (request a Sonoma County visitors guide and map).

Sonoma County Tourism, 800-576-6662, [email protected], www.sonomacounty.com.

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