D.Paul Schafer and friend Yan Yan at Toronto Chinese Opera

ChatGPT provided this following summary of D Paul Schafer’s book ,“The Great Cultural Awakening”:

D. Paul Schafer’s The Great Cultural Awakening delves into the transformative potential of culture in addressing the world’s pressing challenges, such as environmental degradation, economic inequality, and social fragmentation. Schafer argues that society’s extreme focus on economic growth and materialism has led to unsustainable development and global crises. He advocates for a cultural shift, where the values of empathy, creativity, and sustainability take precedence over mere economic gain.

Schafer presents culture as a holistic concept that includes not just the arts, but also education, science, and community, emphasizing their collective role in shaping societies. He believes that by embracing cultural values, humanity can move toward more equitable, peaceful, and environmentally responsible ways of living.

At the heart of his thesis is the idea that a “cultural awakening”, a renewed understanding and appreciation of diverse cultural expressions and values—can inspire a more balanced and humane world. He calls for governments, institutions, and individuals to prioritize cultural developments and policies and to nurture a sense of global citizenship rooted in shared cultural heritages and experiences.

In short, Schafer envisions a future where cultural awareness leads to a harmonious coexistence, fostering unity in diversity and prioritizing the well-being of all people, countries, and the planet as a whole.

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Few days ago, Paul. Schafer sent me a 27page article titled:  “CREATING PORTRAITS OF COUNTRIES’ CULTURES IN THE HOLISTIC SENSE TO ENHANCE WELL-BEING AND COME TO GRIPS WITH THE WORLD’S MOST DIFFICULT PROBLEMS”  It emphasized many of his concepts from his “THE GREAT CULTURAL AWAKING” book, but this article talked more about Arts, Heritage, the power of SYMBOLS, and PORTRAITS Of CULTURES with HOLITIC VALUES and UNDERSTANDING – and shared much of his love and knowledge about Spain and its culture which ca n be used as a prototype sample.     As a retired Architect, now focusing on https://Friendshipology.net, I am particularly interested in learning more  about Cross-Cultural Bonding and Interconnecting, and I was quickly attracted to the following passages from his writing:

“As culture and cultures play a more prominent role in the world due to the great cultural awakening that is going on in many countries, treating organizations as cultures, and many other factors, it is possible to experience a real “paradise on earth” as well as come to grips with some of the world’s most difficult problems by creating portraits of countries’ cultures as wholes and ways of life using some of their most characteristic parts as symbols.”

“Of all the parts of cultures that are available to us, the arts in general and artists and arts organizations in particular play a quintessential role in this holistic process by providing many of the symbols that are necessary to unlock the secrets of cultures in all different geographical levels. Artists use the most characteristic parts of cultures as symbols to convey crucial information about cultures. Since artistic works, like culture and cultures, are also wholes made up of many parts, artists and arts organizations understand this process and possess the knowledge, sensitivity, expertise, and sensorial skills – as well as expressive abilities and communicative capabilities – that are needed to sense and feel how cultures are put together and function as dynamic and organic wholes.

“The old adage “a picture is worth a thousand words” is a cliché, but it speaks volumes about the ability artists possess to create the symbols that are necessary to come to grips with this problem, and in so doing, pass on an incredible amount of information and valuable insights into the holistic character of cultures that can’t be communicated in any other way at all.”

“One of the best examples of using the parts of cultures to produce this symbolic effect for the culture of a country was Gandhi’s use of “homespun” and “salt” – two of India’s most characteristic parts and precious assets – as powerful symbols to portray the character of the culture of India as a whole and way of life that eventually brought an end to British rule in India. And what is true for these two symbols and the culture of India is also true for the cultures of all countries and some of their most relevant symbols as well, such as the Statue of Liberty and American culture, the Great Wall and the culture of China, Angor Wat and Cambodian culture, and myriad others. This is also true for cultures at all other geographical levels, be it at the neighborhood, community, town, city, rural, and regional level. Think, for example, of such symbols as the Guggenheim Museum in Bilbao, the Coliseum in Rome, the Hagia Sophia and Blue Mosque in Istanbul, Stonehenge in a “stand alone” area in England, and numerous others that communicate a great deal about the character of the places and cultures they epitomize. Not only are these parts well known in the cities, places, and countries where they are located, but also, they are well known in many other countries and parts of the world as well.“

“The architect Ieoh Ming Pei emphasized this holistic ability best by using architectural creations as symbols for something much greater and grander when he said: “Architecture is the very mirror of life. You only have to cast your eyes on buildings to feel the presence of the past, the spirit of a place; they are the Reflection of Society.“

“Parts like this and countless others can be used in much the same way to create and build portraits of the cultures of communities, towns, cities, rural areas, regions, and countries that are very “symbolic” or “representative” of these cultures in the holistic sense.”

“It is important to emphasize here that any part of a culture can fulfill this holistic function and purpose if they possess or are accorded this symbolic status. This manifests itself most obviously in all the different arts forms – performing, exhibiting, literary, architectural, cinematographic, culinary, ceremonial, environmental, horticultural, culinary, and so forth in general, and music, paintings, plays, photographs, poetry, films, videos, dances, stories, poems, cathedrals, mosques, synagogues, civic squares, festivals, fairs, parades, food, and so forth in particular. Parts can also be used to convey crucial information about important historical and contemporary events, such as Tchaikovsky’s 1812 Overture and Don McLean’s American Pie that sheds light on the plane crash that occurred in the United States on February 3, 1959 and killed three popular singers – The Big Bopper (J.P. Richardson, Jr.), Buddy Holley, Ritchie Valens – and several others.”

“This is also true for countries’ national flags and anthems and even more so, which explains why many people get so upset when people trample on their flags or laugh, talk, or sit during the playing of their anthems. However, this symbolic capability is also true for revered athletes such as Pelé and Brazilian culture and Messi and Argentinian culture, animals such as kiwis and New Zealand culture, flowers such as tulips and Dutch and Turkish cultures, sunflowers and Ukrainian culture, oak and cherry trees and British and Japanese culture, grapes, olives, wine, beer, and other beverages and many European and North and South American cultures, and rice and most Asian cultures.”

“This is also true for natural resources such as lakes, mountains, forests, and most notably rivers that can also be used for this symbolic purpose. This is manifested in the ability some composers have to create musical works or portraits based on elements taken from nature that are symbolic of something much greater and possibly even the entire way of life of people and their countries’ cultures as wholes. An excellent example of this is Smetana’s musical masterpiece The Moldau, or what is called Vltava in Czechia or the Czech Republic. This musical composition is about the remarkable river that flows majestically from its origins in the mountains of a Bohemian forest, meanders leisurely through the Czechia countryside, and finally arrives at its destination Prague, the country’s capital. It is a very patriotic work that captures Smetana’s love for his country or homeland, history, and fellow citizens. It was completed in 1874, performed in 1875, and is the second movement of his six-movement monumental magnum opus Ma Vlast (My Country).”

“Rivers such as the Moldau and many others have been a favorite subject and symbol of composers for a long time. This is probably because water is one of humanity’s and the world’s most precious assets – if not the most precious – and rivers have a great deal to do with movement and flow that are basic elements at all stages in life and all species.”

“Other well-known examples of how rivers have been depicted by composers in this symbolic sense are The Blue Danube by Johann Strauss Jr., Flow Gently, Sweet Afton by Robert Burns and Jonathan Spilman, The Yellow River Piano Concerto by Yin Chengzong and Chu Wanghua’s based on Xian Xinghai’s Yellow River Cantata, and such well-known American favorites as Ol’ Man River and “Sketches on Shenandoah” by Peter Boyer.”

“Interestingly, many composers have used folk music for a similar purpose, such as Zoltán Kodály and his Variations on a Hungarian Folk Song and Dances of Galanta, Bêla Bartók and his Romanian Folk Dances for String Orchestra, and George Enescu and his popular Romanian Rhapsodies. It all depends on what symbols are required most in order to reveal the character of countries’ cultures in the all-embracing sense.”

“THE POWER AND POTENTIAL OF SYMBOLS  They manifest themselves in specific places, cases, and situations. An excellent example of this is the Olympic Games that took place in France and Paris in 2024. Not only was the culture of France as a whole and way of life epitomized at these Games through the skillful use of the country’s captivating capital Paris – also known as the “City of Light” – but also the Eiffel Tower was used in a very similar fashion as one the most obvious and cherished symbols of the culture of France and Paris. “

“Interestingly, the Eiffel Tower also conveys a great deal about the Cultural Paradise that exists on earth due to its universal appeal and significance committee of the Games for this specific purpose. Not only did it fulfill this purpose admirably since it epitomized the magnetic attraction of the cultures of both France and Paris in the all-encompassing sense, but also it epitomized the Games through the Tower’s ability to inspire athletes to reach for far greater heights in the hope of winning gold, silver, or bronze medals as symbols of their rigorous training schedules, strenuous efforts over many years, and outstanding accomplishments”

“Overall, their purpose is to enhance people’s knowledge, understanding, appreciation, and respect for their own culture and cultures, the cultures of other countries, and foster peace, harmony, happiness, fulfillment, and well-being in the world and in life.”

“It is essential to point out here that the number of symbols needed in any specific situation depends primarily on the types of cultures and countries involved in this symbolic process. If countries’ cultures are extremely diverse, many more symbols will be required than if cultures and countries have fewer differences and more similarities. Added to this is the fact that symbols can come from any source and don’t need to be well-known or famous to serve a valuable purpose in exploring and exposing a culture’s character.”

“In recent years, no person has contributed more to America’s and the world’s understanding, awareness, and appreciation of this remarkable parts-whole process and symbolic phenomenon than the American documentary filmmaker Ken Burns. In making his films, Burns has demonstrated an uncanny knack for selecting specific parts of American culture and the American way of life that are not only symbolic in their own right, but also highly representative of American culture and the American way of life as a whole. This is especially true for such documentary films as The Civil War, Jazz, Country Music, Jackie Robinson, Baseball, The Roosevelts, The Statue of Liberty, and The National Parks: America’s Best Idea. It is impossible to watch any of these films without learning a great deal about Americans as people, United States as a country, and American culture as a whole and distinct way of life. By selecting these topics and connecting their carefully crafted parts as symbols, Burns illustrated how it is possible to produce a far more comprehensive portrait of American culture that goes right to the heart and soul of what the United States, its culture, and way of life are really all about.”

“It is imperative to state another essential point here. It should be noted that symbols can be used for nationalistic purposes that are positive or negative. When symbols are used in nationalistic and constructive ways, they can accomplish a great deal in terms of enhancing people’s and countries’ national identity, sense of belonging, and pride of place. However, when they are used for nationalistic and destructive purposes, as has often been the case over the course of history, they can be used by dictators and oppressive regimes to control and manipulate people, countries, and cultures for their own diabolical ends. Clearly, symbols should only be used for positive purposes, as well as activities and ideals that are beneficial, helpful, and indeed inspirational.”

CREATING PORTRAITS OF COUNTRIES’ CULTURES

I have selected the culture of Spain as a prototype example for this demonstrative purpose. I have done this because I have spent a great deal of time exploring the many different regions of Spain over the course of my life and believe from my experiences with this culture and the cultures of other countries I have explored or studied that there are many advantages to be derived from using the culture of Spain for this purpose, especially as there are many powerful symbols that reveal and confirm this.”

“There is no doubt that Music is one of these symbolic parts – if not the most symbolic part – of the culture of Spain as a whole. This musical tradition began in Spain many centuries ago and continues to captivate millions of people and organizations in Spain and many other parts of the world today. Several Spanish composers, for example, were well-known during the Renaissance, such as Cristóbal de Morales, Tomás Luis de Victoria, and others. However, the music of Spain is manifested most profusely in symbolic terms by Flamenco music, which originated in the Andalusian region of southern Spain following the arrival of the Moors in 711 and the dominant role they played in the southern and central regions of Spain for many centuries after this. Since that time, many Flamenco singers, dancers, guitarists, violinists, and cellists have become well-known in Spain and other parts in the world, such as singers Pastora Pavón (La Niña de los Peines), José Monje Cruz (Camarón de la Isla), Estrella Morente, and Carmen Pacheco Rodríguez (Carmen Linares), dancers Carmen Amaya Amaya, Sara Baras, and Rafael Amargo, guitarists Carlos Montoya, Paco de Lucía, Vincente Amigo, and Andrés Segovia, violinist Pablo de Sarasate, cellist Pablo Casals; and numerous others.”

“ In classical terms, many distinguished Spanish composers have composed music that is very symbolic of Spain and its culture, including Isaac Albéniz and Asturias and Iberia Suite, Manuel de Falla and Noches en los Jardines de España (Nights in the Gardens of Spain), Enrique Granados and Goyescas, Pablo de Sarasate and Zigeunerweisen (Gypsy Airs), Danzas espanōlas (Spanish Dances), and Fantasia de Carmen (Carmen Fantasy for violin, piano, and orchestra based on themes from Bizet’s opera Carmen), Joaquím Rodrigo and his remarkable Concierto de Aranjuez, Concierto Andaluz, and Fantasia para un gentilhombre (Fantasy for a Nobleman), Francisco Tárrega and Recuerdos de la Alhambra, and many others. This is probably why Plato claimed in his famous book The Republic many centuries ago that “Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.” One of the highest tributes that can be paid to the music of Spain is the fact thatmany composers from other countries have been captivated – mesmerized might be a better word – with this music as well. This goes back many centuries. When Miguel de Cervantes’ literary masterpiece Don Quijote de la Mancha (Don Quixote) was published in Spain between 1605 to 1615 – which countless authors and historians claim is the most important non-fiction book in the world and the first real novel ever written.”

“A composer who became totally obsessed with Cervantes’ famous book and its contents was the German composer Georg Philipp Telemann,  Like Telemann, there were many other composers who were not Spanish or born in Spain but nevertheless produced musical works that are characteristic of Spain and its culture. Included here are such well known composers as Luigi Boccherini, who was actually born in Italy but spent most of his life in Spain and wrote Del Fandango (Fandango, Quintet in D. major, No. 4, G. 488) and Musica notturna delle strade di Madrid (Nocturnal Street Music of Madrid), composers from France such as Édouard Lalo who wrote Symphonie espagnole and Danse espagnole, Emmanuel Chabrier who wrote Espagñe, and Maurice Ravel who wrote Boléro (Bolero), as well as Nikolai Rimsky-Korsakov from Russia and his popular Capriccio espagnol (Spanish capriccio). Seldom, If ever, have so many composers from other countries been totally carried away by the music and culture of another country and composed music about it. What a great tribute.”

“These well-known musical works can be augmented and enhanced considerably by adding numerous paintings by such talented Spanish artists as Diego Velázquez and his Las Meninas (Royal Members of Society) (12), Salvador Dali and La Persistencia de la Memoria (The Persistence of Memory), El Greco and El Entierro del Conde de Orgaz (The Burial of the Count of Orgaz), Francisco Goya and La Maja Desnuda (Naked Gypsy/Venus) and La Maja Vestida (Clothed Gypsy/Venus), Pablo Picasso and his famous painting Guernica, and numerous others.”

“To this list should also be added many well-known Spanish authors and poets, often referred to as “masters of the pen, prose, and poetry.” In addition to Miguel de Cervantes and his precious literary achievements much earlier, over the past centuries there have been many other literary masters and poets such as Juan Ruiz, Lope de Vega, Rosalía de Castro, Benito Pérez, Galdos Juan Ramón Jiménez, Federico García Lorca, Jorge Luis Borges, and many others. To this list should be added highly representative architects, architectural achievements, and symbols including the Alhambra in Granada, Toledo Cathedral, the Meziquita Mosque in Cordoba, Burgos Cathedral, the Museo National del Prado, Paseo del Prado in Madrid, and especially several of Giovanni Antoni Gaudi’s controversial architectural creations, most notably Case Batlló, Park Güell,La Pedrera, Casa Milà, and especially Basicilia della Sagrada Familia.”

“Caping off and celebrating this precious architectural feast would undoubtedly be the Plaza de Espagña situated in the Parque de Maria Lucia in Seville. This Plaza was built in 1928 for the Ibero-American Exposition of 1929 and is a landmark symbol of the regional character of architecture of Spain that mixes together parts of the Baroque, Renaissance, and Moorish (Mudégar) traditions and styles. The Parque is designed in the “Moorish paradisical style” with a half mile of tiled fountains, many pavilions representing the diverse regions of Spain – each with a pavilion of its own covered with very specific and symbolic ceramic-colored tiles – as well as ponds, beaches, palm, orange, and pine trees, and lush flower gardens. All these artistic wonders and powerful symbols and many others like them make it possible to conjure up and create a “musical, visual, literary, and architectural portrait of the culture of Spain” capable of making a major contribution to broadening and deepening the overall portrait of Spain as a country, its people, and its culture as a whole through its many powerful symbolic parts.”

“There are many other powerful symbols that are also very characteristic of Spain’s culture as a whole and way of life. Included here would undoubtedly be Quixote-type windmills, bulls, bullfights, culinary delicacies such as tapas, paella, sangria, sherry, churro, distinctive Spanish wines and olive oils, Camina scallop shells that are deemed to have “a special spiritual quality and value,” colourful fans, flags, and castanets, paseo or strolling, exquisite craft objects, special Spanish horses, magnificent gardens, El Cid (Spain’s Robin Hood for helping others and the poor), espadrilles or certain types of summer shoes, symbolic cities such as Madrid, Barcelona, Seville, Granada, Cordoba, Segovia, Burgos, Santiago de Compostela, Salamanca, Zaragosa, and many others.”

“These symbols have evolved over many centuries, and many of them have resulted from interactions that took place in southern and central Spain following the arrival of the Moors in 711 and the dominant role they played in the Andalusian region during the “Golden Age” from 756 to 1031 that produced a very lively flowerings of the arts, sciences, technology, and other activities. This age was declared by the scholar Américo Castor in 1948 and confirmed by many other scholars and historians during and since that time that resulted in a great deal of peace, harmony, and happiness between Christians, Jews, and  Muslins in Spain that has seldom occurred in history or other parts of the world. This was because these three groups set aside their religious conflicts and differences and experienced what is called “convivencia” or “coexistence” that was not only in the best interests of these three groups but also beneficial for all people and religions in Spain.”

“One of the most obvious illustrations of convivencia in historical terms was the marriage of Queen Isabella I of Castile (1451-1504) and King Ferdinand of Argon (1452-1516) and the joint rule of these two heroic leaders that sealed the de facto unification of Spain as a country and no longer separate regions (a major feature in the creation and development of Spain as a country and culture as a whole). These two outstanding leaders jointly and successfully governed the country and acted as a powerful symbol of gender equality that seldom occurred in the world at that time and for many centuries later.”

“Thanks to many contemporary technological developments such as films, television, recordings, and videos in earlier times and social media networks, technological advances, and digital devices more recently, it is now possible to enhance this emerging portrait considerably by exploring and experiencing many other important dimensions of Spain’s culture and appreciate its many cherished cultural achievements and symbols over the centuries. This can be enlarged and enriched considerably by flying over Spain in a  virtual sense and viewing its geological and geographical features, diverse regions, and cultures in visual terms in some detail (this is now possible for most other countries’ cultures in the world today), and taking virtual tours of Spain’s art galleries, museums, cathedrals, mosques, castles, libraries, palaces, festivals, fairs, and especially walking tours through the streets of its many enticing towns and cities at any time of the day or night or at any age in life to form a general impression of how the country’s public and private institutions and political, legal, economic, communications, and transportation systems function. These contemporary achievements are equally phenomenal and should be recognized and used rather than ignored, especially with respect to Spain’s highly effective social security system and impressive automotive, medical, technological, chemical, shipbuilding, and textile exports. Added to this is the ability of Spain to achieve a fine balance between the forces of centralization and decentralization as well as relationships between many different types of people and groups, thereby reducing some of the polarizations, divisions, and conflicts this can and often do arise from this.”

“As indicated earlier, regions have always played an extremely important role in the cultural development of Spain over the centuries and still do today. As Anna Villarroya and Pedro Rothstein pointed out in their recent article, The Integration of Cultural Rights in Spanish Cultural Policies: Spain is a highly decentralized, quasi-federal country, where regional authorities have taken over most of the responsibility for culture…. In 2021, the majority of public cultural expenditure in Spain came from regional and local governments, which together represent 85% of public cultural spending. This decentralized nature of Spain’s political model has favored the adoption of different models for cultural policies. One of the most recent outstanding aspects is the adoption of different initiatives (e.g. legislative plans, and changes in structures) in the area of cultural rights at the state level, as well as in different Spanish regions.”

“To be fully exercised, Cultural Rights must be taken into account in cultural policy making on all levels, including legal instruments for their protection and implementation…. Defending a cultural rights approach entails a rearticulation of human rights and freedoms towards a more democratic, equal, and inclusive society for all citizens.”

“It is clear from this evolving portrait that the more parts and symbols such as these and many others are added and used, the more this portrait expands, is enhance, and begins to manifest what this culture as a whole and way of life is really all about, designed to accomplish, operates on a daily basis, and reveals itself to the world in very specific and meaningful terms.”

“Over the centuries, Spain has learned through bitter experiences with different ethnic and racial groups, the Inquisition at home, and colonization abroad, and other tragic events that the arts, humanities, and heritage of history have a powerful role to play in manifesting the country’s true cultural character and identity, why inclusion, integration, and cooperation are much better than exclusion, isolation, and competition, and artistic, scientific, and humanistic values and ideals are much better than division, conflict, confrontation, and war. It is not coincidental in this regard that Federico Mayor, former Director-General of UNESCO and a well-known scientist, educator, poet, and diplomat in Spain and elsewhere in the world, created the Fundación Cultura de Paz (Foundation of a Culture of Peace) in Madrid in 2000 for this very specific reason.Hopefully, this much more expansive portrait of the culture of Spain as a whole andway of life will help people and organizations in other countries in the world to createsimilar portraits of their cultures in holistic terms, be they in Africa, Asia, South America,North America, the Caribbean, Europe, the Middle East, or elsewhere in the world. “

“What should constantly be borne in mind in creating and using portraits like this and many othersis that this is not only possible at the national level, but also at all other levels.While portraits like this are very helpful for people and countries in all parts of theworld in experiencing the cultural paradise that exists on earth and realizing all the joy,happiness, and fulfillment that can come from this, there are many other essential uses ofthese portraits and this remarkable parts-whole process and symbolic phenomenon.”

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 Short bio for D. Paul Schafer  <wwwWorldCultureProjects.org>

D. Paul Schafer is a Canadian cultural scholar, educator, and author with extensive experience in economics, the arts, culture, cultures, and cultural development and policy. He has spent over 50 years working on understanding culture and cultures, cultural policy, global sustainability, and the role of culture in human and societal development. Schafer is the founder and director of the World Culture Project (www.worldcultureproject.org) in 1989 and has authored many books, including The Age of Culture, Revolution or Renaissance, and The Great Cultural Awakening.  His work advocates shifting toward a culture-centric perspective in addressing global challenges, emphasizing the importance of integrating culture and cultures into all aspects of life and living for the well-being of individuals, countries, societies, and the world. Two of his books – Culture: Beacon of the Future and Revolution or Renaissance: Making the Transition from an Economic Age to a Cultural Age have been translated into Chinese and published by the Social Sciences Academic Press in Beijing He resides in Markham, Ontario with his wife Nancy and has been active with both the Chinese Opera of Toronto and several Taichi Groups.

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ICAF’s 5th World Children’s Festival 2-4 July 2015 – The National Mall, Washington D.C.

July 2015 , Stephen Smuin, Chris Fiorentini, and myself were invited to participate at ICAF’s 5th World Children’s Festival held at Wahington DC National Mall. We were to conduct a work shop on FRIENDSHIP or simply GOOD FEELINGS. On this weekend celebrating America’s Independence we were going to introduce the significance of Global Friendship and Interdependence.

Dr. Ashfaq Ishfaq who founded ICFA ( International Child Art Foundation ) in Washington DC in April 1997. Came from a privileged family in Pakistan, he received an excellent education in a country where poverty was prevalent, and his early experiences made him aware of the stark inequalities around him which sparked his deep interest in  addressing social issues. After moving to the U.S. to study economics, he worked at the World Bank. However, he came to realize that economic solutions alone were insufficient  to tackle deep rooted problems.

His’s “Ah Ha” moment in founding the International Child Art Foundation (ICAF) came when he was involved in the research that identified a “creativity slump in  U.S. fourth-graders”- led by psychologist E. Paul Torrance. This discovery showed him that schools were failing to inspire and motivate children creatively around that age. He realized that addressing this decline could help children develop empathy and creativity, which are critical for solving social challenges. This epiphany pushed him to shift focus from economic solutions to nurturing creativity and empathy through art programs for children.

Ishaq struggled initially to secure funding for the foundation, as many people were hesitant to support a grand cause centered on children’s art. This difficulty in acquiring financial backing highlights the challenges he faced in convincing potential supporters of the value of creativity in children. While I do not know who were his initial enablers, I have heard that Mrs. Rosaline Carter ( wife of President Jimmy Carter ), was an avid supporter of ICAF, and. ICAF  activities eventually gained recognition, including partnerships with various institutions, such as the World Bank for Disaster Recovery Project. ICAF’s flagship “Arts Olympiad Program ”  also gained recognition from U.S. Olympic Committee.

ICAF’s ChildArt Magazine Project is presently gaining momentum and making a significant impact globally. The magazine, which has been published quarterly since 1998, is dedicated to fostering creativity, self-discovery, and global education in young readers. It features themes that engage children in critical thinking and empathy, such as creativity, human security, and mindfulness. With nearly one million readers globally, including children, parents, and educators, ChildArt  has now become an unique and influential platform for young creative youths.

Recent issues, such as one focusing on neuroaesthetics in collaboration with the International Arts + Mind Lab, have explored cutting-edge intersections between art and brain science. These efforts underscore the magazine’s broad appeal and potential for future growth. ChildArt  provides a valuable educational tool, and its role in shaping young minds seems set to expand as arts education becomes increasingly recognized for its role in social, emotional, and cognitive development.

As the magazine continues to innovate with themes that resonate globally, it is poised for further success, especially as more educators and institutions recognize the power of arts in fostering creativity and empathy among children.

D. Paul Schafer, founder and director, World Culture Project wrote the following about Dr.Ishfaq :

 “ I have worked in the arts and cultural field for more than fifty years and have the greatest admiration for Ashfaq Ishaq and the remarkable role he has played in providing children from all part of the world with opportunities to enjoy the arts and athletics in real terms and learn from them what is of quintessential importance in the development of their lives and personalities as well as all the creativity, happiness, and fulfilment that can be derived from this. As a result of his tenacious commitment to the creation and development of the International Child Art Foundation (ICAF), countless children throughout the world are able to look to the future with optimism, enthusiasm, and excitement rather than pessimism, anxiety, and apprehension. Very few organizations in the world are able to match this, which is a tribute to Ashfaq’s fortitude, vision, and ability to produce concrete results under very difficult circumstances for future generations of our children when it counts the most.”

I consider Dr. Ishfaq my mentor even though he is much younger than I. As an avid member of USCPFA ( US-China People’s Friendship Association) I sincerely hope that China will support his Project which indeed is a project for Long-term Global Peace, Joy, and Friendship. I also hope that my personal friends will check out < ICAF.org > and help support and sustain Dr. Ishfaq’s amazing efforts and achievements.

In 2014, Billy introduced Dr. Ishfaq to Mr. Yang Jie Chi. China’s Ambassdor to U.S., at the 1990 Institute sponsored “Chinese Children’s Art on Environment Exhibit” in Washington D.C..

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Many years ago, upon graduation from college, I worked at a firm building mass spectrometry equipment. An analytical tool used to calculate the exact molecular weight of the sample. It was as foreign to me as my cubicle mate who worked next to me. Luis was simultaneously a professional football player for the San Jose Saber Cats. 

My earlier years always found me participating in all sports which I played well but only as an amateur. Whether it was football, basketball, volleyball, baseball, bowling, tennis, or frisbee, I had the hand-eye coordination for it but never the opportunity to make a team because of required skill level, size, time, opportunities or money. So, I didn’t really understand what constitutes a professional athlete. 

Luis kicked field goals and kick-offs. At 6’ 2” and 195lbs, he was a giant compared to my 5’9, 140lb frame. Because of my love for sports, we shared much in common as we learned together the mysteries of our company’s products and of each other. It was fun working next to someone of similar age but with very different background. He is Mexican and raised quite differently than my Chinese upbringing. Luis was not your typical jock and certainly his friends were also quite different than mine, but deep down inside, we were both similar in being inquisitive, young, and optimistic. Each lunch period when I eagerly started to take care of my stomach, Luis was out for his daily run. This 195-pound man ran almost the entire lunch period, I was indeed puzzled. When he returned, it was always a large healthy salad and some protein. It was never junk food like mine. Of course, practice took place several days a week after work and his discipline was exceptional. We often talked about proper eating and exercise programs. We also shared our dreams of someday owning a home, getting married, landing a big job and getting rich. 

Taking care of his body was always a priority. We became good friends at work discussing all subjects on sports and of course, his team’s prowess in the last game. I was a couple years older than Luis, helping him with the job but he taught me from an early age, whether you are a professional athlete or not, one must care for one’s body. Well, it is now almost 40 years later and his words still resonate with me. 

Cross culture relationships are both meaningful and enriching. We have to be opened to it and to each other. Diverse friendships can help people to removed biases and improve how we interact with people of different backgrounds. 

“Every day and Every Person is unique and special”.

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Amy Wen Du was originally from Beijing and has lived in Canada for 10 years, working as a Chinese language teacher. She was a Chinese language and literature teacher in China and a passionate translator from English to Chinese.

the “Farewell song”（“送别”）

As the saying goes, music is the world language without boundaries and conveys universal emotions and feelings. Here is an amazing example of it.

More than 100 years ago, three musicians from the USA, Japan, and China composed three lyrical songs to one tune and they are still widely known.

In 1868, an American medical doctor and composer John P. Ordway wrote his lyrics “Dreaming of Home and Mother”, a popular sentimental song from Civil War era.

In 1907, Japanese music teacher and lyricist Kyūkei Indō (犬童球渓) composed his song” Ryoshū” (旅愁, meaning “Yearning (for home) in travelling”) to melody of  the lyrics” Dreaming of Home and Mother”. Ryoshū has since been very popular in Japan. It was selected as one of the 100 Best Known Japanese Songs in 2007.

In 1915, Chinese artist, composer, lyricist and Buddhist monk Li Shutong (23 October 1880 – 13 October 1942, 李叔同, Hong Yi 弘一, most commonly known by his Buddhist name ) wrote his famous romantic ballad, the “Farewell song”（“送别”）to the melody of the song “Dreaming of Home and Mother”. He composed the song at the time when he sadly saw his best friend off. Li was initially introduced to this song while studying in Japan, in the form of the Japanese song “ Ryoshū ” (旅愁）.

The melody of the mid-19th century song “Dreaming of Home and Mother”  even rang through the 2022 Beijing Winter Olympics’ closing ceremony as a farewell song.

The lyrics in Chinese of 送别 are as follow:

长亭外，古道边，芳草碧连天，
Cháng tíng wài, gǔ dào biān, fāng cǎo bì lián tiān.
Outside the long pavilion, along the ancient route, fragrant green grass joins the sky,

晚风拂柳笛声残，夕阳山外山。
Wǎn fēng fú liǔ dí shēng cán, xì yáng shān wài shān.
The evening wind caressing willow trees, the sound of the flute piercing the heart, sunset over mountains beyond mountains.

天之涯，地之角，知交半零落，
Tiān zhī yá, dì zhī jiǎo, zhī jiāo bàn líng luò.
At the brink of the sky, at the corners of the earth, my familiar friends wander in loneliness and far from home,

一瓢浊酒尽余欢，今宵别梦寒。
Yī piáo zhuó jiǔ jìn yú huān, jīn xiāo bié mèng hán.
One more ladle of wine to conclude the little happiness that remains; tonight my dreams of parting leave me cold.

长亭外，古道边，芳草碧连天，
Outside the long pavilion, along the ancient route, fragrant green grass joins the sky,

问君此去几时来？来时莫徘徊。
Wèn jūn cǐ qù jǐ shí lái? Lái shí mò pái huái.
I ask of you, as you go this time, when are you to return? When it’s time to come please don’t hesitate.

天之涯，地之角，知交半零落，
At the brink of the sky, at the corners of the earth, familiar friends wander in loneliness and far from home,

人生难得是欢聚，唯有别离多。
Rén shēng nán dé shì huān jù, wéi yǒu bié lí duō.
In life it is happy reunions that are rare; most often we bid farewell.

天之涯，地之角，知交半零落，
At the brink of the sky, at the corners of the earth, familiar friends wander in loneliness and far from home,

人生难得是欢聚，唯有别离多。
In life it is happy reunions that are rare; most often we bid farewell.

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Billy also learned the following about the American, Dr. John P. Ordway from Chat Open Ai :

John P. Ordway (1824–1880) was an American composer, doctor, and music publisher known for his contributions to the minstrel tradition and 19th-century popular music. One of his most famous songs is “Dreaming of Home and Mother”, which became quite popular during and after the American Civil War. The song reflects themes of nostalgia and the emotional longing for home and family.

Here are some famous lyrics from “Dreaming of Home and Mother”:

Chorus: “Dreaming of home, dear old home,
Home of my childhood and mother;
Oft when I wake ’tis sweet to find
I’ve been dreaming of home and mother.”

The song resonates with feelings of loss and the comforting memories of home and maternal love, which was common in songs of the era, especially among soldiers and those far from home.

“Dreaming of Home and Mother” was actually adapted from a tune composed by Sir Henry Bishop, an English composer. The original tune is from Bishop’s 1823 opera Clari, or the Maid of Milan, specifically from the famous aria “Home! Sweet Home!”

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These past several years, I have been researching on the Meaning of Friendship.  From Friendship I skipped to

Empathy, but at last I came to realize that the key to building good relationships across different cultures is indeed in

Cultivating Compassion, Love, and Caring. As a retired architect and architecture lecturer, I posed this question to

myself, and my colleagues: “Can Architecture Induce Compassion? “ These past many months, I focused on creating a

photo collage notebook to record what I have learned in my research and hope to expand this search with my friends

around the world. The attached slides, are the first batch of photos to set my course:                           

Start with Our love for children. Our innate good feelings for Humanity.

So many people today are seeking Compassion through Mindful Meditation – singularly, by two, or in groups. There are spectacular sufferings around the world due to War, Natural Disasters, Famine, Epidemics, etc. There are also deep but less spectacular sufferings –  the aged, and disabled, the homeless etc.. Even close to us, there are those who suffer from personal problems and misfortunes – few terribly stressed and some deeply distressed.  Yet, we know there are people who do care Mother Teresa, Refugee Relief soldiers, individual and group volunteers. Habitat For Humanity is a notable example. So we have Compassion and Hope, and we can find encouragement from nature, and we are so moved by the hope reflected in the eyes of those still struggling through indescribable difficulties.

But, what about Architecture Inducing Compassion?

I accept the definition of Compassion to be : “Realizing the suffering of others and then taking actions to help.”  I accept the Definition of Architecture to broadly be: “The Art and Practices in Designing Buildings”.  Indeed, in essence I think Architecture is Problem Solving, and producing Extra Magic in improving our lives and in lifting our Spirits.  Having been trained at so-called prestigious schools and professional offices, I was brain-washed to always try for the extra Magic . Where is the Poetry? 

Where is the Finesse?  Where are the Truly Beneficial Impacts – physically as well as spiritually ?

When considering the two words ‘Architecture’  and ‘Compassion’ together, I wondered if it was a ‘Chicken & Egg ‘question . It is clear that Architects produce Architecture which may or may not induce Compassion. Furthermore, the induced Compassion may only be an Inspirational Feeling which may or may not lead to actual Compassionate Deeds. I myself surely need to cultivate my inner Compassion first and hope to deliver Architecture that can induce further Compassion as result.

While doing some research on Meditation and Mindfulness, I discovered a Five-step Mindful Meditation from an amazing mindfulness facilitator. I was told that Mindfulness focuses on Breathing, Meditation involves Thinking, and Neuropsychology has confirmed much of the validity of her recommended methodology. Her Five-Step Exercise involves the following:

1      Proper Sitting Position/ Breathing steadily in and out/ Feel calmness / Clear your Mind

2      Continue breathing  in and out, but focus of someone who had been most kind and caring for you. Capture and enjoy this feeling of Love and Care.  That feeling is truly Golden.

3      Adjust your mind and try to transmit this Feeling of Love and Caring to someone else in your life.- best to someone you think is in need of support and compassion. Continue breathing until you feel you have delivered.

4      This time try to transmit this Feeling of Love and Caring to a small group of people – maybe members from your family, your neighborhood or community. Continue breathing in and out until you feel you have done your best.

5      Try further to reach out compassionately to an even larger group of people whom you do not even know personally – like war refugees, displaced immigrants etc. Try your best.  Practice makes perfect.

I have indeed tried this exercise and found the first three steps working powerfully. On the last two steps, I am still practicing – practicing conscientiously.

Yes, many compassionate Architects and Designers around the world are doing ‘Caring Architecture’ for the benefit of the needy.  For Children: safe and cheerful schools. For Aged and Sick: healthful accommodations.  For Communities: social connecting spaces, For the Poor: decent low cost housing. For the Cities: convenient transportation and safe parks and cultural amenities. For refugees: respectful temporary shelters. For human spirit: churches, mosques, temples etc..

To create “Architecture which can induce Compassion”, it’s not easy ! ! !   I have selected two famous edifices here which may represent shiny examples: The Cologne Cathedral in Germany and Hagia Sophia in Istanbul, Turkey. The former represents the culture of the West. Forceful verticality initiated by pointed Gothic arches reinforce shafts of light that uplift the spirit from us tiny human figures. People pray with their eyes closed but heads lifted. Pray to God in the Sky or Heaven- ask forgiveness for Self then love for Neighbors. Hagia Sophia represents Mid-East Culture – a cross between East and West. The lofty spherical dome gives a uniting umbrella space. Rich mosaics, sparkled by spotty light openings reflect the rich variety of possibilities of Hope. People pray by the humble “five points touching the ground.” The Muslim philosophy stresses Common Wellbeing of Mankind. While the architectural styles are different, in both cases AWE is created by Exaggerated Scale and Deft Proportions.

I found two examples that illustrate AWE thru Tranquility : The Zen Rock Garden in Kyoto, Japan and Salk Institute in La Jolla, Ca. USA.  In Kyoto, it’s the pure and intense Abstraction of Nature that pulls one’s heart and mind. The stillness of the rocks and sand – strategically composed –  induces the Quietness essential for Contemplation. AWE via Tranquility . Such is Zen.  The magic granite plaza at Salk Institute is actually the collaboration of Louis Khan and Mexican architect Luis Barragan. The gurgling channel of water brings life to the plaza. Pointing towards the Ocean and Sunset on the West, the magic reflection of the water gives the whole complex the reputation, ‘Temple to Nature’. It has provided Inspiration to many esteemed Salk Institute Scientists – including one very famous Neuroscientist who was especially enthralled.

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I like to study the “Magic and Finesses” Architects and Designers have successfully employed. I have selected four examples here to share with you . Let’s see, where lies their Magic. What were their special Finesses?

1      I.M.Pei ‘s Miho Museum near Kyoto, Japan

The unique Magic is the Entrance Tunnel.  As in common Meditation Practice, it’s the most important step of Clearing and Framing one’s mind to be ready to appreciate yet more important features coming.  It’s manipulation of Sequence, Pace, Time, Light, and Psychological anticipations.  Pei’s Exquisite Detailing focusing on subtle Transitioning –in this case, the web sculptures at each end of the tunnel – represent transitioning the transition. A skillful Touch !

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2      Maya Lin ‘s  Vietnam Memorial, in Washington, D.C.

The Magic here is the simultaneous sensation of Sadness and Glory. The Finesse is in the positioning of the V-shape wall – one arm pointing to Washington Memorial Tower, the other towards Lincoln. Pressing the wall into the ground causes a sense of depression. Looking for the lost relative’s name engraved on the reflective black granite wall, one sees so many other names , and one sees Self reflected – Feeling robbed as well as Feeling Proud.

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3      Carlos Scarpa ‘s Meditation Pavilion, Brion Cemetery, Italy

Weather streaked concrete planes cheered surprisingly by added lines and dots of mosaic tiles. Ethereal light mixed  with very earthy feeling , water lily pond and clinging vines – color Green –awakening window openingreminding of History, make this site special for Pondering Life thru Meditation.  Scarpa’s seemingly random geometric stone sculpting grab visitors firmly but gently.  Amazing Magic derives from his artful sculpting carving  and his let freed geometry. There is always a magic twist here and there.     

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4 Michael Murphy – Mass Design Group – Boston, USA – Works in Boston, Alabama, USA & Rwanda, Africa

Compassion is clearly reflected in Mass Design Group’s Mission statement, their practice, and their Architecturalcreations.  Their holistic approach brings Innovation anHuman spirit together. There is an earnest interest in indigenous cultures and cross-cultural needs, aspirations and inter-connectedness. The globe-shaped pavilion in a  Bostonian Park is not only unique, and inspiring, it is beautifully detailed with Bostonian dedication.  The school and health clinic in Rwanda wisely use soft pastel colored background to sprout the residents’ more colorful attires. The soft gentleness enhances the open spaces to breath Joy & Good Health.  Where is Magic here? I believe it’s from the inner personality of this special Architect.

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For us Architects to improve our general knowledge and capabilities, we should collaborate with and learn from psychologists who study environmental impacts on human emotions.  There has already been much study on Psychology of Color, of Light, of Sound, of Proximity, of Weather and Temperature, of Motions and Pace, of Lines, Shapes, Surfaces, and Symbols, on Denseness vs Sparseness, Simplicity vs Complexity, Clarity vs Confusion etc. etc. . In general, we should keep sharp our Experiential sensitivities and be able to affect people’s emotional needs via design.  The most influential Architecture Professor in my life was indeed Vincent Scully at Yale. The first assignment he gave our Architecture class was to record a morning trip from the dorm to the classroom. The first assigned reading was the famous Steen E. Rasmussen’s “Experiencing Architecture”.

Indeed, the purpose of this Special Research Exercise is not just for more learning, but to raise ‘Compassion Conscientiousness’  among all my friends – old and new.  I now earnestly propose a ‘Participatory Research and Design Process’ to engage you all on this question :“ Can Architecture Induce Compassion ?”.

All You Non Architect Friends, can you share with me :your personal inspired moments with photos, ideas, and questions?

You, Architectural Professionals, please enlighten me on any Special Design Magics and Finesses we all should know about.  

You, Psychologists Friends, we have much to learn from you. Study of Architecture truly involves understanding People –their emotions, their behaviors – your area of expertise.

You,  Architecture Students, try a design exercise on one of the following:

 1)   An interior Room or Space for Contemplation,

 2)   An exterior pavilion, pool, or garden for Contemplation

 3) An enlightening Design Object, be it a Water Fountain, a decorative ornament for your bedroom, or something to wear like a wrist-band or Necklace, etc.

Experiment with Absolute Precision and Clarity or Maze thru Haze. Find Essential Magic in different materials. Experiment with Shades of Colors and Light. Pay attention to Water, Wind, Time of the day, and Open Sky. Think and Feel Vertically, Horizontally, and Diagonally in Depth.  Find the sparks which connect to your Emotions. Find and deliver inspiration with Imagination and Finesse.

Indeed, a Non-Architect friend alerted me to a unique complex, which AIA 2006 Gold Medalist, Architect Antoine Predock from Albuquerque, New Mexico designed for UC Davis not too long ago. Nicked named, “The Darth Star”, this Social Science and Humanities Building is best known as a “Maze”. The design was purposed to be confusing. Visitors are intentionally forced to talk to someone to find out how to get to where they need to go. Often doorways you need to pass through are locked – forcing one to find alternatives. The intention was to force interactions and social connections. Supposedly, through helping each other, deeper bonding is created.  It sure is a courageous social -science experiment by the University. I admit that I have not yet visited that campus or done any in-depth social impact research on the users. I am, however, much impressed by their innovative – ‘out-of-the-box’ kind of search approach.

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My SEARCH will continue, but I hope to have your help to make this a collaborative/ participatory research effort.

May I conclude my TALK today by sharing with you just a few of my main thoughts ?  I like to quote two of my favorite architects: Zaha Hadid and William McDonough.  Zaha Hadid said to us: “ Architecture should be able to Excite you, Calm you, and Make you think. “, and William McDonough, a leading architect in Sustainable Architecture, said : “ Design  is inherently Optimistic ! It is Power!”

On “Architecture Inducing Compassion”, I firmly believe that

this is an important research challenge and opportunity. Let us cultivate our personal Compassion Skills.  Commit our Will and Diligence. With Creativity and Power, we Architects, design with Compassion and Finesse!

indeed, each of us can ask, “Can my own work or profession help induce Compassion? ”

Finally, I say to you: THANKS!  – with a Handshake & Firm Squeeze; a Hug & Gentle Press; a Smile & a Well-meaning Wink, and touching my Heart with my right hand and then stretching out both arms high and wide, I wish you all, LOVE, KINDNESS, CREATIVITY & PEACE !

Cheers always !

Your Friend,

Billy William Ming-Sing Lee  李名信

Retired Architect

271 West Floresta Way, Portola Valley, Ca. 94028, U.S.A. <WilliamMSLee@gmail.com

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https://friendshipology.net

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In one beautifully and artistically composed page with attractive photographs, Ladera Crier presented:

How a Pattern on the Sidewalk Inspired a Very Special Book “ Seeing Hearts” by Dani Chammas

One day, about four years ago, on what otherwise could have been described an “uneventful” neighborhood walk, the Chamry Sisters  ( Zeina 9, Zoe 6. and Sami 4 ) noticed a heart in cement of a sidewalk. Filled with excitement, they all took turns taking pictures of that heart.

Every day since that day, the girls have been searching for hearts throughout the world around them—at home, at school, in nature… some even in Ladera. It is not uncommon for their family activities to be punctuated by the comment, “A heart! I found a heart!” The excitement associated with these moments has persisted through time.

Wanting to share their joy with the world, the girls began collecting pictures of these hidden hearts with the dream of one day using them to create a book to inspire the world. At last “Seeing Hearts” got published and they hope it will MAKE RIPPLES  and add Beauty and Fun to our world!

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Billy was so Inspired, he immediately wrote to the Ladera Crier’s Editors:

Dear Crier Team,

Thank you for publishing another inspiring issue of Ladera Crier. This time I am especially impressed by the three Chamry sisters who   co-authored “SEEING HEARTS”. It’s simply MOVING. I like to thank them and encourage them to carry on and MAKE WIDER RIPPLES around  the World as they grow older. Since I do not have their email address,  will you kindly deliver my message to them, and indeed I thank you for introducing ZZ&S to our Life in Ladera.

Dear, Zena, Zoe, and Sami,

You have added FUN, JOY, and LOVE, into my life in Ladera. This 92 year old Ladera neighbor of yours truly admires what you are doing. I wish you the very best in promoting a rippling effect around this world. I came to America from China when I was 14, and in trying to make Friends in a new country, I worked hard at how to bond with others Heart to Heart. I have made many good friends, and in fact I have kept in touch with many of my old classmates from Phillips Academy Andover and Yale College. Very recently I was mentioned in Yale Alumni Class 1955 news: It noted :

“Billy Lee sends his cheerful news: While seeking the Fountain of Youth

around the world, he accidentally fell into an Ocean of Joy, Beauty, and Love.

Yes they are all around us. Just See, Seek, Savor, and Enjoy with True Heart.”

Cheers, Hope to become your FUN OLD LADERA FRIEND !

Billy Lee-  271 West Floresta Way Portola Valley, Ca. 94028

<https;//friendshipology.net>

Indeed, Billy wishes to introduce The Chamry Sisters and their “Seeing Hearts” book to his good friends at All China’s Women’s Federation and China National Children’s Center in Beijing where years ago Billy conducted “Heart to Heart “ Friendship Connecting between children from US and China via The 1990 Institute. He thinks that Dr. Ashfaq  Ishaq , Director of ICAF ( International Child Art Foundation in Washington DC } should know about our amazing Ladera Sisters as well.

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The first Ming’s Clambake gathering took place in 1995 at Lincoln Center in New York City. Initially conceived as an annual portfolio review for young stage designers, it was created by Ming Cho Lee, a celebrated set designer and longtime professor at the Yale School of Drama -with indispensable help from his life partner and wife Betsy. The goal of the event was to provide emerging designers with a space to showcase their work to seasoned professionals, fostering a sense of community and mentorship that spanned multiple institutions and generations of designers

The clambake’s informal setting, paired with the serious artistic discussions that took place, quickly became a favorite among participants, solidifying its place as an annual tradition that continued for more than two decades.

On average, Ming’s Clambake attracted between 100 to 200 attendees each year, consisting of both seasoned professionals and emerging stage designers. This included friends, colleagues, and students of Ming Cho Lee, many of whom were part of the broader theater and design communities. The event typically lasted for one day, often involving portfolio reviews followed by social gatherings where participants could interact informally.

The clambake brought together students and faculty from prominent design schools, most notably the Yale School of Drama, where Ming Cho Lee taught for nearly 50 years. Other institutions that regularly participated included:

• New York University Tisch School of the Arts
• Carnegie Mellon University School of Drama
• California Institute of the Arts (CalArts)
• University of California, San Diego (UCSD)
• Northwestern University

These schools represent some of the leading stage design programs in the U.S., known for producing talented scenographers, lighting designers, and other theater professionals. The clambake created a cross-institutional platform where designers from these schools could present their work and receive feedback from industry veterans. It also involved collaboration with professional theater organizations such as the Metropolitan Opera, Guthrie Theater, Lincoln Center Theater, and the Public Theater, all of which were frequent partners of Ming Cho Lee.

The consistency of this annual event over many years helped strengthen the relationships between these institutions and foster a wider sense of community within the design world. Many participants who attended year after year developed long-term professional networks and personal friendships, cementing the clambake’s role in building a supportive ecosystem for stage designers.

Entertainment and Uplifting the Spirit:

Beyond the portfolio reviews and professional critiques, the clambake often included social elements designed to foster camaraderie and uplift spirits. These could range from live music performances, such as those by pianist Richard Lee, to readings of “Ming-isms”—witty sayings and life lessons from Ming Cho Lee that were often humorous and inspirational​.

These elements made the event not just about work, but about celebration, personal growth, and shared artistic passion.

The gatherings were known for their informal tone, creating a comfortable space where attendees could share stories and bond over food, art, and mutual admiration. Many attendees have expressed how Ming’s Clambake became a rare opportunity to step out of the pressures of professional life and simply enjoy being part of a creative community.

Yes, clams were indeed served at Ming’s Clambake, lending the event its quirky name. While the event was primarily a professional and artistic gathering, the serving of clams and other seafood became a lighthearted tradition, contributing to the casual, convivial atmosphere. The name “Clambake” was likely chosen because it evoked an image of a relaxed, communal outdoor event, where friends and colleagues come together.

General Reactions:

The reactions from attendees over the years were overwhelmingly positive. Participants often remarked on the sense of inclusivity and mentorship that permeated the event. Younger designers appreciated the opportunity to have their work critiqued in a constructive, supportive environment, while more established professionals enjoyed the opportunity to mentor the next generation. Many saw the clambake as a critical networking event, but also as a place where friendships and long-lasting collaborations were forged.

The combination of food, art, and informal dialogue helped lift the spirits of all who attended, reinforcing the strong bonds within the stage design community and creating lasting memories. The atmosphere of openness and mutual respect left many attendees feeling both inspired and rejuvenated after each gathering.

Ming’s Clambake has long symbolized a unique blend of friendship, mentorship, and creative inspiration, rooted in Ming Cho Lee’s approach to nurturing community among theater designers. The 2022 celebration at the Jack H. Scribal Center for the Performing Arts was no exception. It brought together a cross-section of Lee’s extended “family” — friends, colleagues, and students from his decades-long career in set design and education. The event was filled with moving tributes, shared memories, and reflections that celebrated not just his professional achievements but also the deep camaraderie and friendships he fostered.     For more details, you can explore the event program and related content from  PLSN Magazine and Katherine Lerner Lee

Ming Cho Lee awarded the National Arts Award at the White House  2002

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By Mike Crisp –  September 2024

  For the past 50+ years, our family has been fortunate to live in a community that fosters friendship. We understand that we live in a bubble of educated and accomplished individuals. However, that doesn’t fully explain why our small (575 homes) community is such a special place to live. Part of the answer may be that most streets are self-contained cul-de-sacs where it is simple to organize and attend a street party. Also, a cul-de-sac makes it easy for neighbors to truly know each other.  

  Then there is the reality that because our community is self-contained (with a single entrance and exit), we have a common identity. We have a recreation center that provides a pool and bar-b-que grills, as well as tennis, bocce ball and volleyball courts. There is also a field where dog-lovers meet to exercise their pups. Also there are a series of walking paths that terminate in a small shopping center with restaurants, a coffee shop, grocery store, bank, gardening and gift shop and mailing facility. This ensures friends, neighbors and strangers will meet and interact on a daily basis. Finally, there is a community directory and email list-serve where folks can ask for help, volunteer help, donate items that are no longer needed or raise concerns that impact the community. Each month a Newsletter titled The Ladera Crier is published with the slogan, “all the news that is fun to print”. Over time, Ladera has become a melting pot of races, cultures and beliefs that has also helped strengthen the community. 

All of the above provides an environment that encourages friendship to bloom. It does not guarantee it, however. My belief is that most families select Ladera by choice, understanding the benefit of being a part of something special. If you ask people of my generation – what is more important – professional or financial status – or friendship? The answer will always be friendship. As my Dad often said, “there is no honor being the richest person in the cemetery”.  Ladera is not perfect, but for us, it has been a wonderful place to live and raise a family.

Michael Crisp Born in Kentucky. Graduate of Colgate University (1959) with a Philosophy major. Coast Guard Lieutenant (jg) (1959-62); Editor-in-Chief, McGraw-Hill (1962-69); Vice-President and Publisher, Science Research Associates (1970-85); Founder, CEO and Chairman Crisp Learning (1985-2003 )Married to Leslie (1965) – three children (Michael, Jennifer and Brooke) – 9 grandchildren.  Their favorit companion is of course their Dog , Sara – short for Serendipity.

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Recently, I was at a party hosted by one of my co-workers from Precita Eyes Muralists, when she made a joke about feeling bad for not inviting our 80-year-old boss Susan Cervantes to the party. We all laughed, thinking of how she would have gotten everyone out of their seats to dance before drinking everyone under the table. Sadly though, most of the other 20-something party goers would have found it strange that an apparently random old lady was at what was supposed to be a cool art party.

Talking across a counter recounting things from yesterday to 15 years ago. Presenting a mural proposal to the community – the lead artist is 20 and the assistant is 45. At a park, a mom and child take turns spray-painting a temporary wall. At Precita Eyes Muralists, a non-profit muralist company based in San Francisco’s Mission District, those of all ages work together every day for one specific goal – creating art. It is truly an environment where knowledge and friendship is freely exchanged, and everyone can learn something new from one another, regardless of age.

Intergenerational Friendships are the bases of all communities. Knowing how to interact with people of any age is an important skill to develop, and has sadly atrophied over the years due to the disappearances of 3rd spaces – places that people can go to that are not home or work/school. Thankfully, Precita Eyes is still a beloved 3rd space where curious teenagers and Urban Youth Art students from 10 years ago can bump into each other and talk about art together. Every day when I walk into work, I meet someone new, someone who I might have not talked to if I wasn’t in this space. Gabrielle Moreta – Assistant to Susan Cervantes

PRECITA EYES MURALISTS  an unique Community led by Susan Cervates    www.precitaeyes.org

Susan Cervantes is an influential muralist and the founder of Precita Eyes Muralists, a community-based mural organization in San Francisco, established in 1977. A prominent figure in the Chicano art movement, Cervantes has dedicated her life to creating and preserving public murals that reflect the cultural diversity, history, and struggles of marginalized communities. Her work focuses on the power of public art to inspire social change, foster community pride, and serve as a visual record of collective experiences. Cervantes has been instrumental in leading collaborative projects, teaching mural-making techniques, and mentoring artists across generations. Through Precita Eyes, she has facilitated the creation of over 400 murals, transforming public spaces into vibrant canvases that celebrate identity, heritage, and social justice

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ChatGPT: A sense of belonging is indeed a fundamental human need, deeply intertwined with our overall well-being and happiness. Good friends play a crucial role in fulfilling this need by providing various forms of positive support and avoiding negative behaviors that can harm the relationship. Here’s a detailed look at what good friends can do for each other and what they should avoid:

What Good Friends Can Do for Each Other:

1. Provide Love and Affection:
   • Show genuine care and concern.
   • Express love through words, actions, and gestures.
2. Offer Emotional Support:
   • Listen attentively and empathetically.
   • Validate each other’s feelings and experiences.
   • Offer comfort during difficult times.
3. Give Practical Assistance:
   • Help with tasks and responsibilities.
   • Offer advice and solutions when appropriate.
   • Be there during emergencies or crises.
4. Encourage Personal Growth:
   • Motivate each other to pursue goals and dreams.
   • Celebrate successes and achievements together.
   • Provide constructive feedback in a supportive manner.
5. Promote a Sense of Security:
   • Be reliable and dependable.
   • Maintain confidentiality and trust.
   • Stand up for each other in difficult situations.
6. Share Joy and Fun:
   • Engage in enjoyable activities together.
   • Create positive and memorable experiences.
   • Laugh and have fun, boosting each other’s spirits. Help others make Friends.

What Good Friends Should Avoid:

1. Critical Judgments:
   • Avoid harsh criticisms or negative evaluations.
   • Focus on understanding rather than judging.
   •  
2. Dismissal:
   • Do not belittle or invalidate each other’s feelings and opinions.
   • Show respect and acknowledge each other’s perspectives.
3. Bashing:
   • Refrain from speaking negatively or gossiping about each other.
   • Support each other’s reputation and dignity.
4. Rejection:
   • Avoid excluding or ignoring each other.
   • Foster inclusion and acceptance within the friendship.
5. Manipulation:
   • Do not use guilt, coercion, or pressure to control the other person.
   • Respect each other’s autonomy and decisions.
6. Neglect:
   • Make time for each other and maintain regular contact.
   • Show interest in each other’s lives and well-being.

By focusing on these positive actions and avoiding negative behaviors, friends can create a strong, supportive, and lasting bond that significantly contributes to their sense of belonging and overall happiness.