10.08.2011

notes from Uganda


Diesel trucks carrying men and goods
rumble down the rutted road that runs north/south
through Gulu and then to Southern Sudan.
Shocks are worn, the road is narrow, the traffic is alarming.
Listing overcrowded busses hurtle at terrifying speed in both directions.
Motor bikes weave, bicycles balance,
children hauling jerry cans of water trail goats on strings.
Pigs wallow in puddles in ditches on the side of the road,
pigs, and Malaria carrying mosquitoes.
Traversing short distances takes all day.
Red dust settles on everything.

Along this road clusters of thatched huts
house extended families. No running water, no electricity.
Along the road hawkers sell coal and cabbages.
Now and again there are Primary Schools, NGO’s, Churches,
cell phone towers and Government boreholes.
Now and again we pass trading centers,
leftover shops from the camps tha
t housed thousands
during the war that just barely ended.
Turn off this road past Atiak to find Earth Birth, a maternity center founded towards the end of the war by Rachel, daughter of a guitar playing Oregon Rabbi, and Olivia, a Jersey girl with bright red hair who practices Native American Shamanism.

Let me tell you,
pregnant women walking as fast as they can looking for help,
die giving birth along this road or if they get there,
they bleed to death or die from infection in ill equipped hospitals.
Babies die faster.
The war is over, but still, girls who were sex slaves of soldiers,
or concubines to Warlords die with the children they bare.
Happily married women too,
delivering five, six kids before age twenty five,
walk this same road, and many of them die too.
I have come here to Northern Uganda to celebrate the work my friends are doing,
and to help prepare food
as they host a weeklong International Midwifery Symposium themed on Birth and War.
The place is a construction site. The new compost toilet replacing the wretched hole in the ground does not yet have its door. The mud hut I sleep in is still wet.
But the clinic’s birthing rooms are in constant use and the kitchen’s up and running.












It is Nighty’s kitchen. She cooks for the staff and day-workers
and the women who labor in the clinic.
Girls from the neighboring orphanage who study English
and Tailoring and Catering in school have come to help us cook.
We are feeding 50 Traditional Birth Attendants (TBA’s) from neighboring villages
and 20 student midwives from around the world.

We wake to cock’s crow starting breakfast at first light.
There is good Ugandan coffee, packets of milk that requires no refrigeration,
black tea and honey.
Nighty teaches me to make the morning chapattis; fried flatbreads.
She shows me how to make the dough by handfuls and texture,
and to roll the dough with an oiled beer bottle.
I worry about serving deep fried food but realize not one person I’ve seen is overweight. Calories here mean something different than at home.
The whisk I brought is great for scrambling eggs,
which cook up white because of the chicken’
s anemic diet.
Chapatti and eggs one day, and Mandazi,
a vanilla scented doughnut served with mango jam the next.

I have brought Nighty three cookbooks:
a children’s book full of illustrations,
and two books about African American cooking.
The recipes use similar ingredients to what’s found here
and are written with simple words.
In between breakfast and lunch we sit together and read.
Nighty is delighted. These books comprise her entire library.
Centuries ago there was the Columbian Exchange
and things have kept shifting ever since:
American corn replaced millet and sorghum
and our peanuts, peppers and tomatoes became staples.
In exchange, we got rice, collards and slaves.

Today I learned to pick white pebbles from broken rice piled on a white cloth sac,
also to winnow old beans from a heap.
The women laugh with good nature because I am so slow.
Chickens underfoot squabble mercilessly, then pick the gleanings.


The girls from St. Monica’s feed smoky fires, tend pots of beans,
recline on papyrus mats talking
and laughing, waiting for maize porridge to boil.
They carry water from the well,
and bend over buckets washing dishes on the ground.
The green scrubby I brought to wash vegetables
turns out perfect to strain passion fruit pulp for lunchtime juice.



















Nighty walks up to the kitchen with a flat stone I cannot lift balanced on her head.
Her son Stuart is strapped to her back.
We pound dry roasted groundnuts and sim sim in a heavy mortar with a heavier pestle,
then kneel in the doorway to grind the nuts to paste on the stone.
This is blended with slow cooked greens and eaten with boiled yams.
Along with rice and beans and greens,
I make frittatas and pasta and salads to keep the visitors happy.
There is no oven, only wood fire and a rickety two-burner run off propane tanks.
On Olivia’s daughter Zora’s first birthday I make pudding instead of cake.
We light candles and top the pudding with flowers from the garden.

There is no fridge, no sink, no place for garbage.
We compost, feed chickens and stray dogs and burn the rest.
I bask in privilege not hauling water and work hard to train myself to wash up less.
The visiting midwives eat at plastic tables under colorful umbrellas,
using forks and spoons. They speak of breech babies and placenta praevia,
and if they are lucky and the suns position lets them get online,
check emails from home.
I sit by the serving platters waving away flies and chickens,
and toddlers with dirty hands.
The TBA’s line up for bowls of maize flour porridge and beans cooked by the girls,
which they carry down towards the clinic
where sit on mats and eat with their hands.
Music wafts our way from where they eat.

Today we decide on meat.
Zora’s baby-daddy visiting from Kampala for her birthday
chases down El Jefe, the mean white cock.
In the service of humane slaughter I offer use of my prized Japanese knife.
The knife’s blade is not suited to cut through bone,
but using it rather than the kitchen’s dull knives seems a blessing.
Everyone laughs because I’ve never killed a chicken before
and because I’ll snap pictures but will not cut the chicken’s throat.
Killing the chicken chips the knife.
I decide I’ll leave it for Nighty.

A soak in boiled water makes it easier to pluck the birds.
The washtub stinks of blood. Wet feathers stick to my hands.
We sit on the floor eviscerating birds with a broken knife,
separating ours and theirs; breasts and thighs vs. head, feet, wingtips, and offal.
I flavor our broth with bay leaves and thyme brought from Brooklyn.
and Nighty uses Royco; a bullion she favors to season everything.
The pots simmer for hours. The broths are delicious. The meat is tough.
At dusk scattered chickens cluster near the warmth of the cooking fires
until Dante the new top cock calls them to roost.


video

6.17.2011

Coming off an intense week of cater work: two different conferences whose organizers wanted a healthy, thoughtful alternative to corporate fare. Both menus included vegetarian, vegan and "sustainably humanely raised" meat alternatives. We used minimal fat, whole grains, limited sugar and wrapped every tasty hearty thing in recyclable or compostable materials (not that we were able to arrange for garbage/compost pick-ups.) It was a positive statement for the conference organizers who wanted to include "practice" with their theory- and it was good solid work for Deena and I, albeit exhausting; 480 hand-made meals over five days. We've had other cater work of late- a Japanese inspired vegetarian menu for the NY Zen Centers' Contemplative Care fundraiser- and a Liverpudlian menu of Lobscouse preceding a lecture on "Strawberry Fields Forever." Nice work when we can get it. I love cooking menus that offers eaters thinking along side their chow.

However, Communal Table Salon Suppers and What's Cooking Club seem to be at a standstill. Bummer! We tried hooking up with 61Local and the Chautauqua series... but sadly haven't been able to raise a crowd, so we're rethinking. This is the hardest stumbling block- raising the crowd. If only if only if only all it took were a fb note or tweet- but no! It's the hands-on networking away from the stove... the part I'm least adept at.

Our last salon, Sing for your Supper was a wonderful blend of singer/songwriters singing in celebration of spring and delicious small plates that reflected each voice. Lyricist Sarah Safford, singer/songwriters Sara Bouchard, Las Tres Leches (Jessie White, Havalah Collins and Renee Skuba,) jazz artist Debbie Deane, and opera singers Nathan Baer, Aley Kent and Alie Shaper generously shared unique renditions and fantastic original work. So much talent in one little room- and still we didn't fill the house. Seems no one’s good at reeling in the paying customers.

I blogged about Sing for your Supper before with detailed descriptions about the songs and food, but the post got lost in cyberspace and I can’t get myself to recreate it. What stands out now, weeks later, was how different the evening was from most Communal Table affairs because it was divided into audience, and entertainers (the singers and the plates) rather than the usual gathering of “participants.”

Communal Table events are ‘food’ productions that aim to be thought provoking, invite participation and encourage storytelling as a part of every meal. Mostly we’re coming from a catering head- and have interest and investment in food politics, sustainability, and for Deena, vegetarianism. But both of us came to food by way of art- so there’s a underlying shuffling of aesthetics and cultural content that moulds what we put on the table; an undertone of art. Perhaps differentiating between food and art isn’t terribly important- but the focus and slant of any endeavor affects the relationship with the viewer/audience/participant/consumer.

Each year I get it together to write one art 'grant' application that proposes to bring cooking and eating into an artists’ studio (not that I’ve ever get the grant) There’s precedence of this- artists Corwin Hewitt http://www.nytimes.com/2009/01/03/arts/design/03chan.html and Rirkrit Tiravanija http://en.wikipedia.org/wiki/Rirkrit_Tiravanija for example. With their work as inspiration I dream of an evolving menu that marks time, place, mood, history- that plays with the senses, the beauty of the still-life, and the commensality of breaking bread. I’d like to create a space that nurtures dialogue… in the way domestic kitchens nurture family, except recontextualized because of the frame around the experience asks for critical consciousness. The viewer engages and therefore changes the event- but the room, kitchen, food, etc. also stands on it's own; a 3-d real-time tableau.

I’ve harbored hope Communal Table salons would move in a direction that could realize this ideal, but our events fall short on the art-side and settle more as didactic tasty workshop kinds of things. It is a wholly different relationship we create with our participants... a pop-activism rather than a cultural re/framing. Perhaps this is because of compromises Deena and I make working together- our visions complimentary but not necessarily shared, or because we attempt to make money from the salons and try to make them pop/topical/accessible, or simply because didacticism is simpler to pull off than the leap to art.

Earlier this year I shopped a proposal to teach art students… and came close (but no cigar: not enough enrollment) to getting Parson’s to hire me to teach a studio art class that combined hands-on cooking and eating, with performance, installation and some art history/theory thrown in. A timely ephemeral hybrid but hard to sell. Here it is again; a good idea missing paying customers.

Or maybe its me missing some essential point, or off on a twisted, dated tangent.

Recently, the Experimental Cuisine Collective hosted a day long symposia looking at the foundations of Modernist cuisine. This branch of cooking blends technology and an understanding of the physics and chemistry of taste with food, sometimes offering never before imagined flavors and textures. Though most practitioners pooh-pooh discussion of art vs. craft, and often refuse discussion about cultural context, they work in a highly aestheticized manner... the food is gorgeous. Mostly these White-Male-Scientist-Cook-Geeks are unconcerned (and unapologetic) about accusations of elitism. The way they see it (I think) is that technology should be exploited. Theirs is the avant garde.

The BK Swappers, a wildly successful DIY food-swap meet-up will be at Smorgasbord, the wildly successful artisanal food/flea market in Williamsburg on June 25th. People scramble for tickets to these usually sold out events- and at the market stand in long lines waiting to taste home-cured, pickled, fermented, authentic, homemade, old-school delights. Every entrepreneur has a heartwarming story, but I don't know- it's business albeit alternative albeit it's business, business, business.

What I'm trying to wrap my thoughts around are how food events draw crowds, and if food events are art events, and if they are- how the relationship with the audience is conceptualized. Where is the nurture in these events? What inspires? What's funny? What does the audience take away? What sticks when the food is gone?

5.09.2011

Sofrito from the Fesival of Ideas

Here is my Sofrito recipe as promised to the many wonderful passersby at the Festival of Ideas http://www.festivalofideasnyc.com/ where Communal Table joined with FarmCity.us Chautauqua artists for a day long festival exploring food and storytelling.
CT invited folks to "taste the neighborhood" by dipping bread in "flavor bases" that typified the foodways of various cultures that have historically co-existed in the Lower East Side. We had a delicious slow-cooked oniony "schmaltz," albeit a vegetarian version, to represent Eastern European Jews, a spicy Chinese chili oil, and a pan-latino Sofrito. (As a side note- there was great debate all day with Puerto Ricans, Dominicans, Spaniards, etc. as to whom originated this flavorful combo of sweet peppers, onions and herbs.) We asked tasters to "listen" as the flavors in their mouth told their brain a story about history and culture, and to be aware how each taste told a different story. Then we invited guests to tell their story by writing a recipe (or simply food notes) that typified their own cultural "flavor," even if that flavor was hybridized or adopted or only imagined. We collected wonderful recipes and stories. My favorite was from a young girl who explained her mother is Korean and he father Norwegian- and so her diet is forever split between rice and potatoes. What a delicious way to grow up understanding difference.

I was proud to be complimented on the Sofrito as it is not fundamental to my heritage- though I've eaten my share as a lover of comidas Criollas (in fact both my sons first taste of solid food was mashed yellow rice with black bean gravy from the Dominican place I got my morning coffee from.) To find a sofrito recipe I flit about on-line and leafed through cookbooks before making a hybrid version that included tomato (not traditional for Puerto Ricans but common in the D.R.) pimento stuffed manzanilla olives, capers, green, red and jalepeno peppers, garlic, cilantro, parsley, dried oregano, salt and pepper. I blended these to a smoothish puree, then sauteed the mix in annatto oil (veg. oil colored orange by warming it with achiote/annatto seeds.) Other times I've made sofrito I jarred the puree raw and kept it in the fridge for a week or two- adding a spoonful to start a batch of rice, or beans, or a chicken, but for the Festival of Ideas I cooked the sofrito because it was being tasted as a dip for bread rather than as a seasoning. It's hard give accurate proportions- for the street fair I made a gallon of the stuff in several batches- each one slightly different. Per batch I used a large spanish onion- (approx. 1 1/2 c. minced) 2 or 3 large green peppers, 1 or 2 small red peppers (all the peppers seeded!) 2-3 plum tomatoes, 4-5-6+ cloves of garlic, 2 seeded jalepeno peppers and approx. 1/2 c. olives and a T. of capers. Also a big big handful of cilantro and a couple of sprigs of parsley (stems and all) and salt and pepper. All this mixed in the Cuisinart.

The Chinese-style oil is a combo of peanut and toasted sesame oils and red pepper flakes.

Deena's delicious vegetarian onion "schmaltz" was made coarsely chopping onions and slow roasting them covered in oil until the onions begin to brown. This takes several hours, resulting in a perfumed house and the schmaltz makes a perfect base for sautéing vegetables or flavoring potatoes, etc. Brings to mind a wonderful old Yiddish tale...

A young woman just learning to cook asks her Bubba, "what shall I make for breakfast?" and the Bubba answers "Shana'la, fry an onion in some schmaltz then scramble in an egg."
"And Bubba, for lunch?"
"Madela, men nempt a tsibaleh (take an onion), then brown a chicken liver, a little salt, some pepper, a crust of bread."
"And supper?"
"Fry the onion, then the chicken. Some pickles on the side."
"And Bubba, dessert?"
"Oy mamala, fry the onion..."
"Bubba! An onion for dessert?"
"Of course, always the onion so your house should smell good, then maybe a bissel of cake."

4.05.2011

Communal Table's What's Cooking Club BentoFun

This Sunday April 10 4-7PM  in SoHo NYC

Lunch becomes a composition and a thing of beauty in the Japanese Bento Box. Have some fun with Japanese CharaBen (character bento) and geek out making rice ball bunnies and sushi frogs. Or eschew silly fun and go all elegant with traditional Japanese arrangements. Either way it's a great way to make a meal.
We'll supply the ingredients and the tools, you bring your imagination- and maybe some wine or other drinks not usually associated with box lunches.


25.00 per person
RSVP required
BUY TICKETS HERE!


want to know more about this whole Bento phenomenon?
check out the links:
kawaii bento

gacha gacha bento
elegant bento

3.27.2011

Oh, boy, ticket prices reduced to $20

Covered Dish: A Potluck of Ideas is this Wednesday, March 30 
6:30PM @ 61 Local Public House in Brooklyn
Tickets have been reduced to $20.00 so get one and come on by!
BUY TICKETS HERE

Believe me, it's a terrific deal- the food will be great, you'll be in excellent company and the beer and wine is fab. 61 Local is really beautiful- if you haven't been there yet, it's worth checking out. 
Come talk, listen and eat. Everyone has a potluck, church supper, school picnic, family reunion story..... what's yours?