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Dry Bone soup is very simple and humble. Bones, root vegetables, water. A little bit of nothing that simmered over hours turns into something very special. There is no abundance in this soup, just the beauty of the efficiency of scraps.
Scraps snatched from the remains of a dinner plate.
Ingredients | Broth
Method
Ingredients| Soup
Method
The Journey of this recipe
Dry Bone soup is very simple and humble. Bones, root vegetables, water. A little bit of nothing that simmered over hours turns into something very special.
There is no abundance in this soup, just the beauty of the efficiency of scraps.
Scraps snatched from the remains of a dinner plate.
Or a vegetable pulled from the earth, roots and all, like an unwanted weed that it sometimes was.
There is no abundance in this soup, just the beauty of the efficiency of scraps. And time.
Time is transformative. The bones give up their nurturing flavour.
The bitter onion turns inside itself to reveal a gentleness underneath layers of film that would otherwise bring tears. Garlic loses its punch and pungency.Crunchy carrots and celery become sweet and creamy.
This soup is simple but requires more than its ingredients. It requires the gift of abundant time to be complete.
Anchor the recipe to a person but not in a nostalgic way
My parents, grandparents, great-grandparents and their parents and grandparents subsided on some variation of this dry bone soup. Sometimes it was out of necessity; most of the time that was the case for many of them. And for some of them it was a source of comfort and the familiar that they could turn to after disappointment, loss, or to work through the grip of melancholy.
Sometimes the soup was just bones with nothing else. Sometimes it had more and different vegetables. Maybe even a bit of meat.
Nowadays this soup is enjoyed as a celebration. And a triumph over challenge and adversity.
And consumed by choice.
The Blacker the Cherry….
I have a love-hate-and-now-trying-to-fall-in-love-again-relationship with cherries.
Fresh cherries, when they are in season and at their peak, are among the simplest and most seductive of mother nature’s pleasures and seasonal bounty.
Tiny, juicy little coquettes ooze with sweetness when you nibble, then bite, into their flesh.
Dripping red when they are at their best, leaving lips and fingers coloured in a beautiful burgundy shade like a super fine wine. Indeed, the blacker the cherry, the sweeter the juice.
Eating cherries was a solitary ritual for me though the stains they left on my teeth, tongue, and fingers, and sometimes clothing telegraphed my private indulgence to the rest of the world.
Every year when I lived in New York City, I waited until cherries were in season and headed to my favourite farmers market. I picked Each.And.Every.One individually and lovingly, sometimes spending more than an hour to do so. I loved doing this and looked forward to it like I did during the same time of the year by spending a home game alone at Yankee Stadium with my beloved team.
Cherries. My little cuties….where did our love go?
It went out of my life when my two stepchildren came in, and any chance of having this solitary, annual delectable experience went ‘poof’ because they ate any and everything in the house. So one day, I picked my pound of cherries, went home, and ate the whole box while they were away because I simply could not share my luscious little buddies with the human hoovers in my house. Shortly after the kids came home, my stomach began rumbling, then it did the tango and a whole lot more, and I was sick for three days. Finding a random cherry pit on the kitchen floor, my husband threw me a knowing side-eye glance as he stifled a guffaw.
After that, I felt guilty, not for eating a whole pound of cherries, but for not sharing them or passing on the joy of this singular experience with my children. And I have hardly ever eaten another cherry in more than 15 years since.
Carolina Gold rice, natural dyes, cherries.
The economies of the United States and Europe from the 1600s to the mid-1800s were built, and propelled by the forced labour of millions of kidnapped and enslaved Africans, primarily from the western and central parts of the continent. Cotton, tobacco, sugar, coffee, peanuts, wheat, and benne (sesame) were the agricultural backbone of these economies, much like oil is in this region today. In the United States, the king of all crops was Carolina Gold rice. Tracing back to Africa, it was introduced in South Carolina in the late 1700s where the overwhelming majority of enslaved Africans landed, dreadfully, in the United States.
Carolina Gold singularly redefined rice as a viable and abundant American export. Carolina Gold was the rice standard during its reign and became synonymous globally with long-grain rice. Fueled by slave labour, it was the first commodity to enter international trading markets, including Europe, the Indian subcontinent, and Asia. After slavery was abolished in 1865, the crop all but disappeared into extinction, ostensibly because of the demise of slavery as a legal institution and source of free and disposable labour.
Recognised as an heirloom grain, Carolina Gold has burst onto the culinary scene again, this time on its own terms. It is grown in small batches by a handful of organic producers. It is revered as an artisanal experience in top restaurants and craft kitchens worldwide.
As a descendant of enslaved people brought to the Americas, the artist intends this project to imagine what her ancestors would have eaten—for survival and pleasure—and how we should reckon with this culinary legacy in a contemporary setting. Rice would have been a staple of their diet, brought from Africa to the Americas. Chronicled in trading as a significant global commodity, there was no recognition of their back-breaking toil and unremunerated labour. The project is also a continuation of An Introductory Curriculum for Reparations, an online resource commissioned by the Alserkal Arts Foundation for anyone interested in learning more about the complex history of race relations in the USA.
Sound by:
BLACKBODY, WHITE NOISE, 2021-2022; Radio art composition; Ricardo iamuuri Robinson; American, b. 1976
THERE ARE BLACK PEOPLE IN THE FUTURE 2020 by La'Vender Freddy
Special thanks to Anson Mills
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Shannon Ayers Holden's table is always ready to welcome last-minute plus-one guests. She believes food is the conduit to good conversations, connections, and long-lasting friendships. In this context, food is a powerful equaliser amongst people.
She is the Community Relations Manager at Alserkal Avenue and holds a BA degree from Smith College in Northampton, Massachusetts.
In 2011, she managed the region's first and most extensive exhibition on contemporary African art titled As It Is! Contemporary Art from Africa and the Diaspora, at Mojo Gallery, Dubai, featuring the works of 24 African artists. An alumna of Campus Art Dubai's inaugural cohort, her CAD exhibition on the aesthetic of funk titled Chaos into Clarity: Re-possessing a Funktioning Utopia was presented at Sharjah Art Foundation. Her current culinary obsession centres on three B's of southern American cuisine: brisket, biscuits, and banana pudding.
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