Sunday, July 15, 2007

Zen Retreat

Buddhist group goes on Zen retreat
Thursday, July 12, 2007

By EVELYN SHIH
STAFF WRITER

About 20 minutes into the Zen retreat, I noticed a burning feeling in my bottom. As if, of all body parts, my bonbon were falling asleep.

It was going to be a long retreat.

I was visiting with the Heart Circle Sangha (Buddhist group) of Ridgewood. Retreats, or sesshin as they are called in the Japanese Zen tradition, are common events to this friendly Bergen group, which is saving to build its own zendo, or meditation space, for its growing membership.

This one was attended by 11 people and would last from Friday night to Sunday noon. We went home at 8 or 9 in the evening and arrived the next day in time for an 8 a.m. sitting.

Which brings me back to the numb caboose: The basic activity at a Zen retreat is sitting meditation. The practitioner sits in the cross-legged lotus position on a round cushion called a zafu. This supposedly straightens the spine and takes the pressure off the legs during meditation, although one common complaint for those new to meditation is lack of circulation in the legs.

I, however, had a more interesting problem. I was beginning to feel that I was sitting on nothing -- appropriate, perhaps, given that we were trying to attain a mental state of nothingness.

Luckily, sitting meditation was offset by walking meditation. Time-keeper Alan Seiden of Ho-Ho-Kus marked half-hour sitting sessions by striking a "case" -- a metal bowl that made a lingering, bell-like sound. He then led us as we paced down the hallway, donned shoes and went out to the back yard to circle for 10 minutes, single file. The idea was to maintain the awareness of our bodies and minds while doing a physical activity.

Zen priest Joan "Hogetsu" Hoeberichts' yard was large and well-kept, anchored by a sitting Buddha. I would notice, out of the corner of my eye, the neighbors' kids playing Whiffle ball, and I could hear a dog barking down the street. I felt the unseasonably cool wind caress my face with amazing clarity.

Intense sensual awareness is, in fact, one of the goals of a Buddhist retreat. Long periods of silent meditation are meant to cultivate a state of mind. The effect is more striking in a residential retreat, where the sangha sleeps and eats silently in the same setting for the entire length -- usually waking up at 5 a.m. for the first session.

My retreat was relatively easy and broken up by the fact that I had to drive home each day and interact with family. There were friendly whispers that rippled the veneer of silence to guide me, the newcomer; and there were other modifications in ritual that were meant to accommodate this modern American sangha. But even so, the state of awareness grew in each aspect of the days I spent there.

One obvious problem of spending long hours at Hoeberichts' house, which doubles as a zendo, is that we needed to eat. But cooking, as well as eating, became a part of the meditation.

The cooking of a full vegetarian meal was a part of something called samu, or working meditation. The idea was to cook, sweep or do garden work -- think of Zen rock gardens in Japan -- while maintaining physical and mental awareness of the task at hand. Being present in the moment was the challenge.

My assignment was to help weed the garden. I have never been a gardener, but I found myself becoming knowledgeable about the types of weeds in the yard, feeling around for their respective roots in the loose earth and pulling them out with a loving but firm tug. And when I had become perhaps a bit too attached to the plants, Seiden rang the densho -- a large brass bell -- for lunch.

This was a special retreat for the Heart Circle Sangha because the participants were trying the ceremonial monastic eating ritual oriyoki for the first time. This involved using a set of three bowls wrapped in cloth napkins along with all utensils and cleaning tools.

We chanted a sutra (Buddhist scripture) in time with the unwrapping of the bowls, the serving of the food and the eating. When the meal was finished, we passed around hot water to clean the bowls, using a spatula to scrape the scraps from our bowls, chopsticks and spoons. We tasted the cleaning water at the end -- the sutra calls it "ambrosia" -- as if not to waste anything of our meals.

I realized anew all the actions involved in eating that I usually ignore; and since it was silent, like everything else, I tasted every flavor, every texture, with intensity.

That silence was broken only three times during the retreat: once for a short lecture on oriyoki by Hoeberichts, and twice for Council. Councils are a time for verbal sharing during a retreat. Sitting in a circle, the sangha members shared confidential thoughts and feelings that occurred during meditation.

We also shared creative projects that we did in Practice of Immediacy. Introduced by Maezumi Roshi, Hoeberichts' teacher's teacher who brought his Zen lineage to America, the Practice of Immediacy involves doing something creative: a poem, a clay sculpture, a painting or woodwork. The goal was to reflect your state of mind.

I came out of the retreat, like an eager kindergartner, with a drawing, a poem and a clay rose. But I also emerged with a refreshed mind, ready to engage again with the world -- and my bonbon was all right, after all. I would live to sit again.

E-mail: shih@northjersey.com

Copyright © 2007 North Jersey Media Group Inc.

Saturday, July 14, 2007

Crepes!

Stir-fry of tropical fruits in crepes
Monday, July 9, 2007

A NEW LEAF

Vegetarian recipes from recently released cookbooks:

"Diabetes Fit Food" by Ellen Haas (American Diabetes Association, 2007)

A new cookbook by the American Diabetes Association proves to be the rare non-vegetarian volume that features new and creative vegetarian ideas. How many mainstream cookbooks have recipes for veggie burgers from scratch? The recipes come from a network of chefs who are used to serving healthful food in their own restaurants. Nutrition facts for each recipe and cooking time estimates are helpful features for the health- conscious and time-starved.

-- Evelyn Shih
* * *

Stir-fry of tropical fruits in spiced crepes

* 3 tablespoons canola oil or grape seed oil
* 1 star fruit, thinly sliced and cut into quarters
* ¼ pineapple, peeled and diced
* 1 cup watermelon, peeled, seeded and diced
* 1 banana, peeled and cut into small cubes
* 3 tablespoons spiced rum
* 1 cup apple cider or juice
* Juice of 1 lemon
* ½ cup honey
* 12 crepes, recipe follows

Heat oil over medium heat in a large skillet. When hot, add the fruit and allow it to barely soften, about 2 minutes. Add the rum, cider, lemon juice and honey. Allow the fruit to get softer, and then remove all of the fruit with a slotted spoon to a mixing bowl. Reduce the remaining liquid until syrupy. Strain it into a small saucepan.

Spoon the warm fruit onto 1 quadrant of each crepe. Fold the crepe in half and then spoon fruit onto another quadrant. Serve 1 crepe per person on plates or in shallow soup plates and then, with a spoon, drizzle some of the warm fruit syrup over each.

Servings: 12.
* * *

Crepes

* 3 eggs, beaten
* 1 cup skim milk
* 1 cup flour
* 1/8 teaspoon salt
* 1 teaspoon ground cinnamon
* 1 teaspoon ground cloves
* 2 tablespoons canola oil

Whisk the eggs and milk together in a large bowl. Beat in the flour, salt, cinnamon, cloves and oil.

Heat a non-stick crepe pan over medium-high heat. Pour a few tablespoons of batter into the pan while tilting the pan so that the batter covers the bottom of the pan in a thin layer. When the crepe is golden brown, flip it and cook the other side until golden brown, about 45 seconds.

Yield: About 12 crepes.

Copyright © 2007 North Jersey Media Group Inc.

It Don't Mean A Thing If You Ain't Got That--

Lincoln Center brings dancing to you
Friday, July 6, 2007
[Photo left courtesy of The Lincoln Center]
By EVELYN SHIH
STAFF WRITER

There's a show at Lincoln Center that you don't pay to watch -- you pay to be in it. For $15, you can get on the dance floor that has taken up residence in the central plaza of the complex and entertain the over-dressed operagoers watching from the windowed balconies of the Metropolitan Opera.

Forget dancing with the stars. Men and women mambo, cha-cha, swing and even tango under the stars at Midsummer Night Swing, a program that continues until July 21. Even kids can get in on the action with a daytime salsa event July 14.

And during intermissions at the center's surrounding performance halls, the plaza's balconies fill with spectators.

"When you go back into the ballet, it must be a shock," says Nancy Crowder, the producer of Midsummer Night Swing, with a laugh. Avery Fisher Hall, she adds, has the best view of the dance floor.

This year the live music lineup sizzles hot with swing on Tuesdays, salsa on Saturdays and a whole selection of styles on the nights in between. More niche dance styles include Brazilian samba, frevo and marcha, as well as an Irish night that Crowder likens to a square dance.

Learning new dances can be part of the fun. Events start every night at 6:30 with a lesson, but the learning curve climbs exponentially when the band starts playing.

"It's nice to dance with somebody at your skill level, but it's also nice to dance with someone at a different skill level," said Crowder.

And don't assume you have to come with a partner and stick with him or her through the evening.

"If someone breaks in, you're kind of supposed to let them," adds Crowder. "It's that dancing etiquette where you're not supposed to refuse anybody. People are really open to dancing when you're out there."

Over the years, Midsummer has created a sort of dance culture of its own. "We have regulars that come back year after year that have been coming since the beginning," said Crowder.

On the programming end, she added, feedback from ardent social dancers has been a source of constant improvement over the past 19 years. "We try to get bands that know the dance scene and play for people to dance," she said. "People will get mad if they can't dance to the music."

After all, this isn't the ballet.

E-mail: shih@northjersey.com

Copyright © 2007 North Jersey Media Group Inc.

Chatting with Madame Mayette

French troupe debuts 'Fontaine'
Friday, July 6, 2007

By EVELYN SHIH
STAFF WRITER

This summer, all the world's stage is in New York. The Lincoln Center Festival flies in acts from around the globe, from Japanese kabuki actors to Chile's Teatro Cinema.

"Les Fables de la Fontaine" is a production by the premiere French theater company La Comedie-Francaise. It dramatizes 19 of the more than 250 verse fables by classical author Jean de la Fontaine, who was a contemporary of Moliere, the founding force behind La Comedie-Francaise, and the Sun King, Louis XIV.

We spoke with Muriel Mayette, the current -- and first female -- director of the company, about art that reaches tout le monde -- all cultures and all ages.

Q. This run will be the American debut of "Les Fables de la Fontaine." In France, Jean de la Fontaine is well-known, and his fables are well-known even to children. The production has been very well received in France, where it brings back nostalgic memories of childhood for many viewers. Are you worried that the reception will be markedly different in America, where there is no such deep cultural memory of the fables?


I think the audience is actually going to take more pleasure out of it, because they will be discovering the stories for the first time.

I acted three years ago in "Le Malade Imaginaire" by Moliere in New York, and I remember the New York audience laughed like children, because they picked up on the authentic comedy. They responded even better than the audience did in France.

I think it will be the same for "Les Fables."
Q. One of the actors, Bakary Sangare of Mali, has commented that this production is reminiscent of African oral tradition. Do you feel that working in an oral tradition mode, the Comedie-Francaise is doing something it rarely does?

Yes. This piece is entirely new because of [director] Bob Wilson.

These tales are a good example of how a presentation of naivete can demand sophistication. It is in the naﶥ mode of animals, of the tales we tell our children, but it incorporates La Fontaine's sophisticated handling of the material.

Q. Is this a production for children?

Absolutely.

Q. La Fontaine wrote the fables in verse. What happens to the quality of the language when the audience is reading the translated text in supertitles?

The fables are not only poetry, but are also short stories. They actually use images, especially animal images to represent humankind. The aim of the short stories was to present our human weaknesses. ...

La Fontaine is a universal auteur, and this is an easy piece to tour with. To me, Robert Wilson made a very visual piece that made it very easy to understand for all cultures.
Q. What is your impression of the director, Robert Wilson? What sort of director and artist is he in your eyes, coming from an acting background?

His art is universal because the visual dimension of it is something everyone can understand. His stage art connects with the audience all over the world, and not only that, but all ages. When he created "Regard du Sourd" [a production she appeared in as an actress], he really invented a new mode of theater. He's a great inventor.

Saying an artist has the quality of universality, in my mind, is the greatest compliment.

Q. Are you going toward universality in the future?

Of course we are, because the Comedie-Francaise is the biggest and the oldest theater troupe in France. It is our mission to transmit and share the patrimony of the French theater. We want and need to present to the largest audience possible. I've been working on that since I became the director of the Comedie-Francaise.

Right now, part of the company is in Milan, and another group is in Bourgogne.

E-mail: shih@northjersey.com

Copyright © 2007 North Jersey Media Group Inc.

Reconnecting

North Jerseyans’ kids sojourn in the old country
Thursday, July 5, 2007

By EVELYN SHIH
STAFF WRITER

The summer she was 16, everything changed for Joanna Paliouras. Her parents sent her on a trans-Atlantic flight, all by herself, back to the country where they had been born.

"My uncle said maybe you should see more of Greece and learn to love it," said the Closter mother of three. "And that's what happened."

Paliouras' childhood impressions of Greece were slightly terrifying, formed by time spent on her grandmother's farm, where dinner was alive and eating in the back yard just hours before making it to the table. It was only after that transforming summer, traveling across the ancient nation as a young adult and seeing the breadth of cultural heritage it had to offer, that Paliouras had a change of heart.

"It became more of what I wanted," said Paliouras. "As a parent it's what I want for my kids as well."

Joanna and her native Greek husband, Dimitrios, now take their three young sons to Greece yearly. They are one of the many local couples that dedicate time -- and significant plane ticket money -- to a yearly pilgrimage back to their country of origin. Whether the parents are first-generation immigrants, second generation or even further removed, the goal is to pass on a deep-seated love for a tradition and a way of life that complement the American way of life.

Poland-bound

This summer, Kasia Krzoska, 18, will be picking up the baton from her native Polish parents Beata and Leszek. In late July, the Upper Saddle River native will be charting her own trip across Europe, spending a significant amount of time at a village near Krakow, Poland, where her step-grandmother lives.

She will also be acting as tour guide for a daughter of a family friend, a Polish-American girl her own age.

"I'm just excited to show her everything, because she's only been [to Poland] once, when she was much younger," said Kasia, who is now an old hand at travel. At the tender age of 7, she traveled alone under the protection of a stewardess and spent the summer with an aunt she barely knew near Krakow.

Kasia will be the first to tell you that a certain double vision -- seeing American life in one eye and a different life in another -- is a unique side effect of growing up with summers abroad.

"Whenever I would visit Poland I felt like I was almost living a double life," she said of the different social atmosphere. It was not until 10th grade that she came to terms with her layered national identity. "I tried to cut out the attitude that I had in Europe when I was here [in America] and tried to fit in with the mainstream American high school attitude and behavior," she explained. "Now I can tell you it honestly doesn't matter what environment I'm in: I'm proud of my roots."

The stamp of worldliness is difficult to wash off, said Anju Ahuja, a first-generation Indian mother in Closter. "They have realized that life is not a bed of roses," she said of her son, 19, her daughter, 18, and her youngest son, 8, all of whom have gone on annual trips to India. "There's so many people that have nothing, and yet somehow get through the day. ... I think it has to do with who they are, and the kindness and compassion in their hearts.

"And they are more in touch in their culture," she added.

Intangible connection

Summering in the homeland is a way of staying in touch with family members still living in the old country, but it's also a way of showing the next generation a different worldview that informs their parents' lives. While language skills may vary -- Kasia speaks Polish more fluently than her younger brothers, says mother Beata Krzoska -- it's the intangible feeling of connection to a place that is most precious.

"The first few days when I go to Poland, it feels strange to me," admits Kasia. "At first I miss the U.S. a little bit, and then at the end I don't want to come back. ... I'm looking forward to going back to Poland and having that feeling of ... feeling at home."

Meanwhile, the Paliourases labor on, hoping to foster a similar love for Greece in their young sons Pantelis, 8, Alexandros, 4, and Aristotelis, 18 months. The older boys attend Greek language school twice a week, and the whole family participates in Greek gatherings and festivals in their North Jersey community.

But without a doubt, the trips to Greece do the most to reconnect their children with family and culture, said Joanna Paliouras. Those summer stays began when the boys were mere infants. In Greece, they eat their fill of souvlaki and feta, dance at impromptu family gatherings and celebrate their saints' name days. And of course they speak fluent Greek with their cousins.

By bringing them to Greece early in their lives, Joanna Paliouras hopes to spare them the sudden culture shock she experienced at age 8, during the first trip to Greece she can remember.

"My grandparents were used to going out in the back, grabbing a chicken and killing it for a meal," she said. To this day, she cannot bring herself to eat lamb from the spit at Greek festivals.

E-mail: shih@northjersey.com

Copyright © 2007 North Jersey Media Group Inc.

Gad-zuchs!

Zucchini cheese squares
Tuesday, July 3, 2007

Vegetarian recipes from recently released cookbooks:

"Serving Up the Harvest: Celebrating the Goodness of Fresh Vegetables," by Andrea Chesman (Storey Publishing, 2007)

Andrea Chesman calls herself a "cook who gardens" in a cookbook that exudes enthusiasm for both pursuits. Although Chesman doesn't turn her nose up at those who choose to buy from farmers' markets instead of planting their own produce, she includes cultivation tips for every vegetable featured. (Vegetables have their own chapters and are organized roughly into five harvest seasons.) She also includes a "math" list converting the unprepared vegetable into the standardized measures used in recipes and timing notes for how each vegetable responds to different cooking methods. The recipes themselves are fairly simple -- the book cover advertises "175 simple recipes" -- and are aimed at bringing out the best flavors of specific vegetables.

-- Evelyn Shih
* * *

Zucchini cheese squares

* 3 cups grated zucchini
* 2 teaspoons salt
* Butter for greasing baking dish
* 1½ cups unbleached all-purpose flour
* 1 tablespoon baking powder
* 1 onion, diced
* 2 cups grated cheddar cheese
* 2 teaspoons fresh thyme leaves
* 1 teaspoon freshly ground black pepper or lemon pepper
* ½ cup canola oil
* 3 large eggs, beaten

Combine the zucchini and salt in a colander and toss to mix. Set aside to drain for 30 minutes. Squeeze out the excess water.

Meanwhile, preheat the oven to 350 degrees and grease a 7-by-11-inch baking dish with butter. Stir together the flour and baking powder in a medium bowl. Add the onion, zucchini, cheese, thyme and pepper. Mix well with a fork.

Whisk together the oil and eggs in a small bowl. Pour into the zucchini mixture and mix well. Spread evenly in the baking dish.

Bake for about 35 minutes, until golden. Let cool on a wire rack for 5 minutes. Cut into squares and serve warm or at room temperature.

Servings: 6 to 8.

Copyright © 2007 North Jersey Media Group Inc.

Woman Sells Book; Book Sells You

Your 15 minutes of fame await
Tuesday, July 3, 2007

By EVELYN SHIH
STAFF WRITER

I gave Marta Tracy [pictured left] my name and number without thinking.

"You see what I just did?" she asked after taking it down.

My information is now indelibly inscribed in Tracy's Rolodex of contacts, rubbing shoulders with the likes of Food Network host Paula Deen, fashion designer Isaac Mizrahi and "The View" host Elisabeth Hasselbeck.

A television producer responsible for launching the Style network as well as helping to create E! Entertainment Television, Tracy has been putting people on TV for more than 30 years. She treats every phone number like a keeper -- and so should you.

Networking one name at a time is only one of the many insider tips she lays bare in her book, "Starring You!" which arrives in bookstores this week.

"People kept coming to me and getting advice from me about getting onto television," said the Old Tappan resident. "I'd see them on TV a few months later."

Now you, too, can get the Tracy treatment. "Starring You!" is a step-by-step guide to getting booked on TV shows, something that almost everyone should do, according to Tracy and co-writer Terence Noonan, a co-producer on "The Morning Show With Mike and Juliet."

"I think that television is still the most powerful medium for getting your message out," said Tracy, claiming that the Internet has yet to outdo the tube in terms of mass influence. Whether you actually want to become a TV personality or you want to "launch your brand, your business and your life," as Tracy is fond of repeating, the glowing box is the way to go.

Tracy herself was a convert to television. At Boston College, she studied education but eventually "just felt that the box was a little bit small for me."

"Sophomore year, I happened to pass a sign in the basement of the education building that said 'TV 101,' " she recalled. "I just had an aha! moment -- gosh that sounds so exciting, that's what I want to do!"

The problem was, Tracy discovered, she had no contacts in an industry where who you know is everything -- hence, her now fanatic dedication to the expansion of her Rolodex. As a fresh college grad, she spent three years pounding the pavement before a tenuous tie got her in the door at the children's show "Captain Kangaroo." By the time she was in her late 20s, Tracy was working at HBO with a then-fresh-faced Matt Lauer on entertainment segments.

Nowadays, as the owner of her own company that realizes the dreams of would-be TV guests, Tracy wouldn't trade her career for anything else. What's best, she said, is "the opportunity to be creative, to work with other creative people."

Tracy is working on a show concept that she hopes to bring to fruition soon. "It's actually confidential, but I hope you'll see it on the E! network soon," she said. "It's some of the best work that I've done in my life."

But don't expect to see "The Marta Tracy Show" anytime soon.

"I have never wanted to be in front of the camera," she said. "It was very clear to me when I was in college, working with talents in TV, that I enjoyed helping the talent get on TV and on the screen. But I never considered myself an actress.

"The best role I ever had was to help give [others] confidence," she added.

E-mail: shih@northjersey.com

Copyright © 2007 North Jersey Media Group Inc.