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June 2, 2025

Centreville Spy

Nonpartisan and Education-based News for Centreville

Spy Highlights

How the Water’s Edge Museum is Reviving Antigua’s Vanishing Seedwork Tradition

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Louise Edwards of Antigua, Kiara Brummell from The Water’s Edge Museum, in conversation with Queen Camilla

Getting caught up in the enthusiasm and passion of the people associated with Oxford’s Water’s Edge Museum is inevitable. But there is a good reason for their recent excitement. They are witnessing the Museum becoming a bridge between our Eastern Shore and the faraway Caribbean island of Antigua and Barbuda. And the key to this bridge? Tiny, beautiful seeds.

It’s all about seedwork, an intricate art form that originated with enslaved African women brought to the islands. Wild tamarind and jumbie bead seeds are picked and then boiled for hours. Some are paired with African beads and then hand-stitched to create beautiful and intricately patterned jewelry, belts, mats, and purses. Besides providing income for these artists, their harvest also helps protect the island’s ecosystem since both seeds are considered invasive species.  Beyond being visually captivating, these creations also carry deep symbolic significance to their creators.

Now, here is where that bridge comes in: Seedwork has been found in a plantation home in Caroline County. Since the Eastern Shore has been one of the places where enslaved people disembarked, this is a vital link–it isn’t just some foreign art form; it’s woven into the very fabric of our shared history and heritage. And preserving it isn’t just about honoring the past, it’s about reclaiming a piece of this area’s identity.

But the clock is ticking. With only five aging master seed artists left, this unique legacy hangs by a thread.

That urgency has compelled Barbara Paca, founder of the Water’s Edge Museum and Cultural Envoy to Antigua and Barbuda, to lead preservation efforts. Museum Director Monica Davis and intern Kiara Brummell are joining forces in her mission. “The challenge,” said Davis, “is how to keep this intangible culture alive, prosperous, and doing well. How do we create a story and a platform for people to want to keep it alive?”

One way was to start talking about it, exposing this art to others. During the Juneteenth celebration in Easton last year, the Museum introduced seedwork to the public, selling around 50 pieces and initiating a dialogue about the art’s significance.

Kiara Brummell and Monica Davis

The Museum currently features examples of the elaborate craftsmanship that’s involved. But it offers more than just showing off the art. Wander through the Museum, and you’ll also be able to connect the dots and understand the history of the connection to our Shores.

It also helps that Paca was introduced to Anne Jonas, Secretary to the Governor General of Antigua and Barbuda. Together, they’ve come up with ways to expose these creations. They also recently applied for funding to expand free workshops to teach seed art. Jonas is also known for creating Botanique Studios, which is dedicated to generating economic opportunities for seedworkers, helping to keep seedwork part of contemporary conversations. She also showcases products on social media.

And the media began to pay attention with articles about the seedwork initiatives. Here is where this small art form takes a more global turn.

In addition to her influential role, Paca recently launched an exhibit at the Garden Museum in Central London in honor of Antiguan artist and environmentalist Frank Walter. As part of the larger exhibition, she funded a companion exhibition exploring Antiguan seedwork and other crafts unique to the island.

Which brings up Queen Camilla of England.   

Since the Queen was going to be touring the Frank Walter exhibition, it also became the perfect opportunity to introduce her to the artistry of seedwork. And who better to do so than the women so intrinsically involved in this program? So Paca privately funded the airfare, accommodations, and related expenses from Antigua/Maryland to London for five people for a 6-day holiday fair, leading symposia and seminars on seedwork in December. The delegation included: From Antigua–Anne Jonas, Louise Edwards, the oldest seedwork artisan, and Mosia Challenger, artisan craft person, and from Maryland–Monica Davis and Kiara Brummell,

Mosia Challenger from Government House, Antigua, with Her Majesty Queen Camilla

On the day scheduled for the tour, Paca personally guided the Queen through the Walter exhibition and then presented the delegation of women from Maryland and Antigua who shared with Her Majesty the story of the seedwork and how it has miraculously survived as an art form since the time of the first arrival of enslaved Africans disembarking on the islands of Antigua and Barbuda.

“The Queen was fascinated by the work,” said Paca, “handling it gently while asking many good questions. This led to a lively conversation about the importance of arts and crafts in establishing identities that uplift and empower youth. The Queen recognized the integrity, sense of mission, and sheer beauty of the artworks they are working to preserve.”

At the end of the tour, Edwards, an artist for the past 50 years, decided she needed to have a final word. “She looked directly at the Queen,” said Paca, “and asked her to please help to teach children about seedwork, culture, and heritage. Smiling, Queen Camilla nodded in solidarity, and everyone felt the commitment that marked the high point of the tour.”

Queen Camilla’s visit has helped validate the seed artists’ cultural contributions on the global stage. However, the real work goes far beyond one royal meeting. It will require ongoing effort to educate, motivate, and inspire youth to carry on this living legacy. With culture-bearers like Louise Edwards soon retiring from their craft, it is imperative that seedworking’s light must not be extinguished.

One way to prevent that is on a more local level. Water’s Edge Museum plans to partner with the Harriet Tubman Underground RR Museum, bringing seedwork to summer camps, teaching kids the craft, and showing how this art connects them to their history.

It’s something that resonates with Brummell. The 19-year-old was initially hesitant to take on a public-facing role due to anxiety about speaking to groups. Besides, she wanted to move out of the area.  But in discovering her regional heritage, something happened she didn’t expect. “I took this area for granted, and couldn’t wait to get out of here. But after learning more about my history, I’m so proud to be part of the Eastern Shore. The seedwork is very symbolic, in reference to the strength, the sorrows, and just the resilience of that culture and their heritage. So I hope that once people understand that aspect, they’ll want to keep this tradition alive.” Even more than that, she said, she considers herself a ‘history geek.’ “The thought of anybody’s history getting washed away is gut-wrenching to me.” The surprising personal impact gave her the voice she thought she didn’t have, as she now helps run museum tours. She even got to speak to the Queen.

Also next up is developing an affordable line of seedwork, ensuring accessibility to a broader audience. “The women who make these are not in it for the money,” said Davis. “It’s part of their passion and something that’s been passed on generation after generation. The money is to keep their journey going.”

Rupert Tyler Chair Garden Museum Trustees, Queen Camilla, Barbara Paca 

This brings up one additional important aspect of this story and it has to do with money made for selling the seedwork. “It goes back to Ann Jonas,” said Davis, “who uses it to teach the younger generations about the culture and heritage. The idea of purchasing this work is to promote this international connection between the Caribbean Islands and the Eastern Shore, which is amazing. Like mind-blowing!”

So you can understand their passion. Barbara Paca perhaps said it best after returning from London: “The trip reinforced the shared intention among The Water’s Edge and Bellevue Passage museums, Oxford’s Middle Passage Port Marker and Black-owned/women-owned/Afro-Caribbean-owned ventures supporting intangible cultural heritage–and in this fashion, the arts are expanding onto a broader global platform. It is with happiness and a willingness to do the hard work that we collaborate to celebrate the excellence of all we share among other cultures. For all of us, this effort will become a component of education in the schools in 2024.”

Pretty cool, right?

To view the seedwork, visit botaniquestudios.com.  Better still, see it in person at Water’s Edge Museum, 101 Mills St., Oxford

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Marble Man: Sculptor Sebastian Martorana Brings the Public and Private to Life

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Academy Art Museum (AAM) is currently hosting an exhibition that challenges traditional notions of sculpture. Sebastian Martorana: Public/Private finds humanity – mostly in marble – and offers museum-goers a glimpse into the artist’s unique perspective. 

The exhibit name is more than just a window into Martorana’s dual artistic focus. It also explains how most artists find an approach to their work. “There are those pieces that are inspired by public things, things outside of ourselves,” said Martorana, “and then artworks that are inspired by things that are really much more personal; individual things that are more home and family oriented.” The decision to showcase Martorana’s work in two individual yet interconnected gallery spaces at AAM reflects this dichotomy of an artist who is interested in the intricate nuances of the human condition and the sociopolitical realities of our lives.

In one gallery, you will encounter “Trumppet,” a provocative cartoonish bust in white marble mounted on cedar wood. Across the room, “Permanent Separation Anxiety” depicts a squished teddy bear carved from smudged, salvageable marble. Neither could be classified as huggable.

Yours, Mine, Ours

A lighter atmosphere will be found in the adjoining gallery with pieces such as “Baby Boots on the Ground” and “Work Mittens,” alongside busts of the “Friendly Ghost” and “Kermit” (the Muppet frog). The showstopper, “Yours, Mine, Ours,” is where the artist’s playfulness collides with precision – hyperrealistic marble bath towels hang on metal racks so convincingly, you almost want to reach out. Resist. However, touching (or sitting) is encouraged with “New Construction,” a marble-imitating-brick-imitating bench in the middle of the gallery floor. 

Martorana passion for sculpting came about not through being inspired by other artists in his family – there were none – but through exposure to art books, museums, and images of Renaissance-era stone carvings. While growing up in Northern VA, his passion for art blossomed thanks to the Virginia Governor’s School Program, a publicly funded summer program. This was followed by a Bachelor of Fine Arts in Illustration from Syracuse University, including a semester in Florence. He earned his Master of Fine Arts at the Maryland Institute College of Art’s Rinehart School of Sculpture. Beyond creating commissioned architectural sculptures and more expressive personal works, he is an adjunct professor at the Maryland Institute College of Art. 

Free Sample Bucket

And it is here that he passes on an important life lesson for those students who want to experience the success he has: “I tell them, being an artist is expensive. So, find a job that accentuates or subsidizes that interest instead of a completely separate job. It’s difficult if you are trying to make it as an artist and also have to work full-time in an office, grocery store, or coffee shop. Those are exhausting jobs and don’t necessarily have anything to do with your creative process. If you want to be a metal worker, a sculptor, a welder, or weaver or something like that, find a job that is in some way in that field.”

Martorana speaks from experience. After college, he became a full-time apprentice in a stone shop outside Washington, D.C. The immersive experience allowed him to master the technical aspects that enabled him to translate his creative vision into marble.

Much of Martorana’s stone carries a history of its own. Rather than faultless blocks from suppliers, the artist sources architectural salvage from Baltimore’s ‘perpetual cycle of construction and decay.’ “The stone has its own unique narrative,” he said, “another interesting layer, conceptually.” Using recycled material lends depth to his exploration of the public and private worlds. From this storied stone, Martorana creates an array of textures, examples of which can be seen at the AAM academy. 

Friendly Ghost

However, his artistic abilities extend beyond marble and include granite, limestone, slate, and sandstone. He admits that ‘”The type of stone I pick for a sculpture is sometimes defined by the stone itself.” Besides sculpture, he is also adept in wood carving, architectural design, and letter carving, the latter a skill that also sets him apart from others. “Easily 50% or more of my annual revenue,” he said, “is carving letters. There are a lot of carvers that only do letter carving but not sculpture; there are a lot of carvers that only do sculptural architectural work, not letter carving. But the lettering is just often what’s needed for a project. So I’ve done a lot of it. Besides, it’s a very demanding discipline. If you screw something up, it’s really obvious.” Martorana generally avoids using letters to define his artwork, although one of his lettered pieces is in the exhibition. “I’ve always wanted my work to be more global, universal, in the sense that anyone can look at them and hopefully draw something out of it. If I’m writing something in English, only English-speaking viewership will be able to understand what I’m doing.”

Clearly, there is no lack of understanding of the depth of Martorana’s portfolio. It includes significant projects for the U.S. Federal Reserve and St. Patrick’s Cathedral, as well as exhibitions in galleries and museums. Notably, his sculpture, “Impressions,” was featured in the exhibition “40 Under 40: Craft Futures” at the Renwick Gallery of the Smithsonian American Art Museum over a decade ago, when he was still in his 20s. The piece is now part of the Museum’s permanent collection. “To have any artwork in that collection in those buildings is certainly very, very surreal,” he said. “That show was an incredible experience and definitely opened opportunities.” 

You can say that one of the doors it opened was the Academy Art Museum’s. But as pleased as they are to include his work, he is equally enthused about AAM. Their motto of ‘Where Art is for Everyone’ resonates strongly with him. “It’s really easy to say but a lot harder to do. In recent years, many museums have moved to this model. But it’s harder for a smaller private museum to have free entry for everyone all the time. I took it for granted to be able to go to D.C. and walk into places that were completely free. The Academy Museum is doing that same thing, and it’s a real rarity that I hope people appreciate and take advantage of because it’s just not as common as you think.”

So go check out Sebastian Martorana: Public/Private. See how Martorana infuses life into the cold and unyielding medium of marble. Don’t be surprised if what you ultimately find is a glimpse of humanity and the connections binding us. And if Martorana has ignited your artistic spark, then take advantage of another ember he’s giving you. As you leave the gallery, by the door, there is a paint bucket, ‘Free Samples,’ the sign says. Reach in, take home a piece of marble, and tell your own story.

Sebastian Martorana: Public/Private running through March 24, 2024, at Academy Art Museum, 106 South Street, Easton, Md. Admission is Free.

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Donika: A Washington College Senior’s Entrepreneurial Odyssey into Olive Oil

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Remember what you were doing when you were 21? Maybe just finishing school and looking for a job or furthering your education. Or maybe you were already working and anticipating weekends and holidays for well-deserved breaks.

Now, meet Bianti Danaj, a business major at Washington College, former captain of the men’s swim team, and about to graduate next year. Unlike most of his peers, he’s not following the typical post-graduation paths. Instead, he’s building and running an unconventional venture–importing olive oil. And no, it isn’t a family legacy. It’s something he independently decided to pursue. 

Although a U.S. native, Danaj’s first 14 years were spent in Albania when his parents returned to their homeland. After coming back to the U.S., he felt the absence of the fresh, organic foods he had grown accustomed to. “Because Albania had been a dictatorship before 1991, we didn’t have any industries that polluted the land,” he said. “And with it being located in the middle of the Mediterranean, the weather favors a lot of agriculture, and it was organic foods I mostly missed.”

So it makes sense that the catalyst for his business idea began when, visiting Albania with his college swim team coach, they stopped at an olive oil factory. The coach was impressed by the local produce. Danaj wondered, “If an American sees the value in a product I really loved, maybe others would as well.” The possibility was intriguing, and his research began. It ended just as abruptly when he realized that launching a production and export business would require millions in capital – far more than a 19-year-old college student could drum up. 

The idea might have died there without some fateful inspiration from Danaj’s entrepreneurship class. On the first day, his professor, Dr. Joe Bauer, challenged his class to conceptualize their ultimate dream business as if money and other resources were no object. “That got me thinking,” Danaj said. “Instead of buying land and a factory and taking on the production process, why not instead partner with an Albania organic farmer and sell directly from farm to table?”  

Combining his business inspiration with academia, Danaj sought the help of former professor Thomas Tracy, asking him to act as his capstone advisor. The capstone typically serves as the pinnacle for students to demonstrate their command of a subject before graduation. But this turned out to be quite a different experience for Tracy. “We’ve had capstones that students have done on a theoretical level–creating a business, writing up the kind of packaging the product will have, etc. Once they’ve graduated, we’ve seen people who’ve created a successful business. We’ve never had it happen simultaneously while they were finishing school.”

With this type of assistance, Danaj started navigating the business development process step by step. He discovered that the most challenging part was the decision-making process, and securing funds was the easiest.  Through a combination of loans and family support, he pooled together enough funding to pursue his vision.

But the pursuit of a dream has also forced Danaj to make tough choices. He stopped swimming competitively to have more time to devote to his business. “That’s not something most people would want to do at his age,” said Tracy. “But he did, and this brings together his passion points. He loves Albania and the idea of helping people from this country, and he loves the U.S. and is committed to the organic space. His company allows him to combine all his hot buttons into one cool passion project. “

Danaj named his company “Donika” after a beloved Albanian noblewoman whose marriage helped unite the country centuries ago. The marriage also created a rule, according to Albanian history, that any couple that got married after them had to plant ten new olive trees. Nowadays, Albania is home to more than 12 million trees, of which the Kalinjot variety is one such olive that is used in the oil being pressed and sold under the Donika name.

That’s important to Danaj. These ancient Kalinjot olive trees are allowed to grow wild in the relatively untouched hills of Skrofotina, Trevllazër, and Cerkovina in the city of Vlora. Due to political and ethnic conflict in recent decades, which kept Albania isolated from global trade, these exceptional olives have remained largely unknown outside the country. 

Until now. 

According to the International Olive Council, Albanian olive oil exports quadrupled in the first quarter of 2023, making Danaj’s olive oil business perfectly timed for success. 

Beyond the ancient trees, what else distinguishes Donika’s extra virgin olive oil from others? For one, you won’t find machinery collecting the fruits from the trees. The annual harvest, which started in late October, spans several weeks, and the green olives are hand-picked, funneled, and cold-extracted every few hours through mid-November. As they proudly declare: from tree to production in three hours. 

Of course, this means that each year’s harvest produces a limited and exclusive number of bottles. This year, the total is estimated to be around 3,000. Each order consists of three bottles. The oil is poured and vacuum sealed, a label is added, they are put into a classy box, and then shipped directly to the consumer within days (unlike major producers, which can take 4-6 months to reach U.S. grocery store shelves). “It’s basically the same concept as wine – olive oil is freshest and most flavorful soon after production,” Danaj said. 

The swift shipping also preserves the oil’s aromatic compounds and nutritional integrity, as this variety is particularly rich in polyphenol, a potent anti-oxidant associated with lowered inflammation and other positive health markers, which also gives the oil its longevity and the characteristic peppery finish indicative of that freshness and potency. “One way to determine which olive oil is healthiest is by looking at the polyphenol column,” said Danaj. “We have 700 polyphenols, which puts us in the 99th percentile. That’s important.”

Considering the magnitude of this endeavor, especially for a college senior, Danaj acknowledges it wouldn’t be possible without encouragement and support. His girlfriend, Grace Kelley, is at the forefront, complementing and sharing the passion and vision for Donika. Kelley, a Washington College environmental science major, handles marketing and branding responsibilities for Donika, ranging from logo and label design to website copy. “Since English is my second language,” said Danaj, “I tell Grace what I want to communicate, and she helps translate it and make it sound better.” He’s also quick to point out that what began as support has become a partnership. The duo works together to set up and hold tasting events.

These tastings play a pivotal role in spreading the word about Donika’s exclusive olive oil, especially among the discerning foodie audiences who can best appreciate the distinctive qualities of a product that hasn’t been manipulated through various processes. They recently showcased at a college alumni happy hour at Out of the Fire.

But Danaj and Kelley are gearing up for an even grander stage—the exclusive 2024 Fancy Food Show trade exhibition in Las Vegas. Their sights are set on establishing connections with major specialty retailers like Whole Foods. In the meantime, the Donika website serves as a platform for direct-to-consumer sales.

However, transcending these current endeavors is Danaj’s expansive vision. Donika, to him, is just the beginning of a series of projects. His intention is to achieve personal success and create a positive impact, particularly for Albanian individuals who haven’t had the same advantages he has been fortunate to experience.

We wonder what lies ahead for this innovative young entrepreneur, but one thing is certain–we’re willing to bet it will be remarkable.

For more information and to order, go to: donikaoliveoil.com

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Amplifying Mid-Shore Voices: WHCP-FM’s Journey from Local Station to Radio for All

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WHCP founder Mike Starling, afternoon host Ben Brunner, and Maryland Public Television Executive VP and General Manager Steve Schupak.

Six months ago, after eight years as a low-power station (71 watts) confined to a 10-mile radius around Cambridge and reaching 20,000 residents, WHCP-FM (formerly WHCP-LP) won a rare FCC license to upgrade to a more robust frequency. Currently airing at 91.7 ‘on the radio dial,’ the station’s signal has amplified to 14,000 watts, extending its reach to over 190,000 residents across the region from Talbot to Wicomico County, along the Bay and into Southern Maryland.

There’s more to WHCP’s recent developments. In addition to establishing a sister studio on N. Washington St. in Easton (alongside their Race Street, Cambridge location), WHCP is now also a member station of award-winning NPR, adding flagship programs such as “Morning Edition” and “All Things Considered.”

“Drivetime radio is still where the dominant listening is,” said President and General Manager Mike Starling. “We’ve gotten tons of favorable feedback about being able to listen without all the signal vagaries you would hear when trying to listen to the stations across the bay and much further down on the Eastern Shore.”

Kathy Bosin recording station ID with, WHCP Operations and Production Director, Doug Schuetz

He would know. This significant partnership and expansion owe much to Starling himself, who, after 25 years as Vice President, Chief Technical Officer at NPR in Washington, started WHCP in Cambridge in 2015. Despite being primarily volunteer-run, the station (broadcasting 168 hours a week of programming) maintains a humble yet powerful goal – helping people and organizations to succeed. After all, their tagline is: ‘We Help Chesapeake Prosper’ (upgraded from their original We Help Cambridge Prosper). 

To be more precise, according to Starling, “We are here to bolster all things going on in the mid-shore community. Our motto is music, discovery, and NPR.” He also promises listeners, “You’ll get the best journalism in the world and some of the most delicious ancillary stories, news, and public affairs that you’ll hear anywhere on the radio.” This aligns nicely with what the station is attempting to do. During their uber-popular daily Mid-Shore Midday, WHCP presents their version of ‘All Things Considered’ for Dorchester and Talbot counties, bringing in content about local and interesting people.

While not a unique model, the stations part of this hybrid approach are very few, numbering only 800. There’s a reason WHCP was chosen. Starling said Sally Kane, the CEO of the National Federation of Community Broadcasters, was able to provide that insight when she spoke to the WHCP’s radio advisory board when they expanded in July. “Sally told us we were doing exactly what the big stations wish they could. She said, ‘They wish they had your funkiness and authenticity. You’re threading the needle with NPR and your great grassroots local programming. That is really special. Keep it going.’ It was very validating.”

Sandy Brown, the new Director of Development, recognizes the significant steps all of this has been for the station. Formerly Executive Director of Mid-Shore Pro Bono, she is well versed in the world of non-profit, yet was nevertheless surprised at the profound influence of local community radio on the lives of its listeners. At a recent holiday get-together, Brown heard multiple stories from people crediting WHCP for giving them a platform to present their ideas and express their needs. “The room was in tears with their heartwarming stories,” she said.

Megan Cook, the Mayor of Easton, also added her thoughts on the station’s impact, saying, “Having WHCP in town is a valuable addition to our community. They offer a platform for diverse voices, informative programming and a place where our neighbors can stay connected and informed about local news and global issues. Their new location is perfect and will serve as a central hub which will enhance our vibrant downtown.”

But let’s also not forget the music. 

Whether your taste leans toward big band, neo-soul, classic country, indie, or jazz and blues, you’re in luck because WHCP has you covered. The station takes pride in having hosts profoundly knowledgeable and passionate about the music they’re spinning. Said Brown, “We’re so proud to have volunteer DJs (including an English teacher from Easton Elementary) who, after their day jobs, take the time to craft these amazing playlists.”

 “This is your community radio station,” Brown said, emphasizing its role as a hub for local happenings. Whether discovering details about bingo night or making a song request from DJ Rockin’ Randall, the station invites active participation. Brown encourages the community to step in, record their station ID to be heard on the radio, or submit ideas for stories to cover. As she appropriately says, “Everyone has a story, and we want to know about them.”

Starling agrees, describing the station’s appeal as similar to “lightning in a bottle.” He said, “Someone will hear something and tell somebody else, and then they call us asking: ‘When can I come down and see you guys? I got this great idea for a show or an interview.’ Or they’ll want to know if we could promote their club? If we had four stations and they were doing nothing but interviewing interesting people, we could keep busy around the clock.”

And the station is committed to nurturing this creative energy by empowering the storytellers to tell their stories. With just a few hours of instructions, you, too, can record, edit, and send your narrative to them. The presence of two studios helps, and so does the incredible professional talent associated with WHCP, including alums from NPR, PBS, ABC, etc.

But there is a wish shared by both the storytellers and the radio station- listeners. Starling emphasizes why you should tune in if you are not already doing so. “This isn’t your father’s public radio station. We’re a community radio grassroots station that has authenticity, clunkiness, and eclectic content that can appeal to you as an individual and pull you in. But at the same time, we’ve got the best of the best of nationally curated journalism and journalism from around the world that supplements it. It appeals to both the brain and emotions.”  

There’s another noteworthy amenity offered by the station poised for even further expansion with the new studio — the “WHCP’s Radio Reading Service.” Started in 2018, it is one of only 80 similar services nationwide. Starling explains: “We read today’s books, newspapers, and magazines for those who cannot see, hold, or comprehend the written word. We read for those who don’t have the visual acuity to do that. We read for the wounded warrior who may not have use of their limbs. Or for those with such severe dyslexia that they just can’t make out reading. So we provide access to today’s books, newspapers, and magazines.” Volunteers are always needed to support this valuable service.

As for the future, Brown envisions an internship program with the high schools. After all, she says broadcasting is a phenomenal career path. Notably, a high school student already sits on their Advisory Board. Additionally, there is also talk about adding HD radio broadcasting to enrich the listener’s experience.

Of course, all future endeavors, including the ones mentioned, rely on and have been made possible through donations. Said Brown, “This is an investment in what you would like to continue to see and hear on the radio — in your community public radio station. This is not commercial radio. We are not selling advertising space. We need beautiful people to say, “This is something I want to be a part of and support.’”

So go ahead and be beautiful. 

This is Val Cavalheri signing off. And as Charles Osgood used to say: See you on the radio.

How to listen to WHCP-FM:

  • Stream through WHCP’s website 
  • On your phone’s app 
  • At 91.7 on your FM radio 
  • Smart Speaker (soon to be launched through Alexa Skills) 

Download apps, check out the programming guide, stream, and donate: https://whcp.org/

 

 

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

CBMM Becomes More Welcoming: Celebrating a New Welcome Center in St. Michaels

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After years of planning (and generous philanthropic contributions), the building is ready for the ribbon-cutting celebration that will take place this Saturday. The Center, which broke ground in the summer of 2022, marked the beginning of a project to transform the museum’s campus to include the Museum Store and three exhibition spaces in this sleek and modern structure. With a soft opening last month, the building has already played a pivotal role in CBMM’s fall festivals, with much more to come.

The Spy met with Exhibition Designer Jim Koerner, VP of Engagement Shannon Mitchell, and Director of Curatorial Affairs and Exhibitions Jen Dolde to discuss some of the innovations and historical aspects of this new space and the festivities planned for this weekend.

Built on the Fogg’s Landing side of campus, the structure is strategically attached to a parking lot. “Previously, when you visited, it would be pretty challenging to find where to go, to enter the museum,” Mitchell said. The Welcome Center addresses this concern, providing a seamless transition for visitors right off the parking lot. It also aligns with CBMM’s thematic storytelling approach, with the building being the opening chapter—the orientation. 

As guests enter the Welcome Center, they will step onto a floor map of the Chesapeake Bay and a third-order Fresnel lens (before the use of GPS, it led the mariner from one point to another along the coast.) This will “guide” visitors through the reception area to the exhibitions. Said Dolde, “Each of these exhibits is connected to the other, and we see them both as separate and as part of a whole.”  

The first one guests will come across is titled Navigating the Chesapeake’s Maritime Culture. Using CBMM’s oral history collection, photographs, and artifacts, it displays the Chesapeake as a maritime highway, habitat, and resource for the fisheries within a changing and constantly evolving community. 

Dolde spoke about how these themes serve as the foundation for the entire museum, guiding the reinterpretation of existing exhibitions and creating new ones. She also highlighted the importance of including diverse and underrepresented stories. “There’s tradition, there’s innovation, and there is the Chesapeake as a source of inspiration and identity.”

Walking further into the Center is perhaps the heart of this building. Called Water Lines: Chesapeake Watercraft Traditions, it showcases CBMM’s small craft collection. This exhibition unveils vessels that have been in long-term storage, some of them being shown for the first time. The boats are shown elevated and presented as the artistic pieces they are. 

Associated with each are panels that honor not only the craftsmanship but also the human stories behind these vessels. In one, you will see and read about the Marianne, originally a work boat converted for leisure use. Another boat and story is the Alverta, owned by a black Waterman on Kent Island, whose fortunes rose and fell with the oystering industry.

Said Koerner, “From an engagement standpoint, we’re setting a foundation. You’ll learn the stories and see the boats and the craftsmanship that goes into them. As you go through the museum, you’ll see an image of either that same boat or one similar to it and how it was used by the w waterman, fishermen, crabbers, or just the casual boater. You’ll have more of an understanding of how all these parts came together and how these things are built. It will be a richer experience for our visitors.”

He also emphasized the cultural value of these vessels, noting that as generations pass, preserving these stories becomes increasingly crucial. “We need to be able to hang on to these stories because those are all part of the fabric of our community,” he said.

Still to come is the Stories from the Shoreline, which will expand the current Waterfowling exhibition, delving into the ecology of the Bay and the experiences of those who have called the region home. Don’t miss the custom-designed glass case from Germany, which connects the various spaces within the Welcome Center and will hold more of the storytelling features.

Mitchell envisions the Center as the starting and ending point of a guest’s journey at CBMM. “On a typical day,” she said, “we’ll orient you to the campus and give you an overview of what’s happening. Perhaps give you some recommendations on what to see and do that day.” It’s a curated journey, ensuring guests leave with a sense of maritime history and a comprehensive understanding of CBMM’s offerings. 

Which is why the Museum Store is such an integral part of the Welcome Center, an opportunity to expand and take home some of the experience. It will offer unique merchandise with coastal, nautical, and regional themes. It is an engaging atmosphere with its stylized ceiling tiles, a historic photo of Crisfield’s Horsey Brothers Department Store, and exhibit vessels.

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CBMM invites everyone to the free Welcome Center Grand Opening celebration from 10 am to 4 pm on Saturday, December 2nd.

Some highlights include a formal ribbon-cutting ceremony at 10:30 am, after which the “Winter on the Chesapeake” festival will officially begin. It features presentations, hands-on activities, campus tours, and live music for visitors of all ages.

Headlining the entertainment at 11:30 am is renowned jazz saxophonist (and St. Michaels native) Anthony “Turk” Cannon. The festival will also offer unique demonstrations, including an invasive species cooking demo (?) by Chef Zack Mills of Baltimore’s True Chesapeake Oyster Co. and a scrapple-making demo (!) by butchers from The Village Shoppe in St. Michaels.

There will also be a variety of food items and beverages, including festive cocktails for guests to enjoy. Although the event is free, guests are encouraged to get more information and RSVP at cbmm.org/WelcomeCenterGrandOpening.

 

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Creating Space for Dialogue: Adam Himoff’s Frederick Douglass Mural 

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Last week, Easton  saw the unveiling of a 21×16 foot mural of Frederick Douglass. It was created by Park City, Utah-based artist Adam Himoff, whose hope is that the modern rendition of the famous abolitionist will stimulate timely conversations about race, justice, and Douglass’s enduring connection to the Eastern Shore region.

Located next door to the Out of the Fire Restaurant on Washington Street, the project was conceived by Richard Marks and Amy Haines with support from Talbot Arts and Dock Street Foundation. “In 2016, my wife, Amy (owner of Out of the Fire), and I purchased a property on Washington Street in Easton,” said Marks. “Since we love art and particularly enjoy seeing how art displayed publicly integrates with the surrounding community, we recognized the brick wall facing south would be an excellent place for a mural.”

Also in a contemplative state was Himoff. He’d decided to close his finance firm to concentrate on his work as a linocut artist. In this printmaking technique, a design is carved on a linoleum block, from which prints can be made. To critical acclaim, Himoff had been creating colorful representational images of iconic figures (such as Mick Jagger and Andy Warhol) but began to wonder how he could bring historical figures into modern times. One of the people who came to mind was Douglass. As an undergraduate English literature major, he had been impacted by the biographies and speeches written by the abolitionist. 

Modernizing Douglass juxtaposed against the backdrop of contemporary issues felt like a compelling creative challenge for the artist. “I wanted to capture his essence, but not necessarily the literal details of his life,” Himoff said. “What was available to me was his expression–seriousness, courage, fearlessness, and confidence. Then I created these other elements–he’s in the suit, crouched down, wearing Converse shoes and a nice watch.” Also, unlike his previous work, this was created in black and white. This depiction of a contemporary Douglass, Himoff felt, would allow the viewer to imagine Douglass’s role and life if he were alive today and wonder how his influence would impact the current struggle for justice and equality. 

Himoff knew it was the right person at the right time, yet once completed, he wasn’t sure who would be interested in the project beyond his immediate network of friends and family. So, he shared it on social media. Almost immediately, he heard from an African-American music teacher. “She said she loved it and asked if she could share it on her Instagram feed. Within a short time, people in her network reacted. And the feedback was very validating.” 

Then, someone who knew someone who knew Marks shared it with him. Seeing the image inspired Marks to commit to the project and the artist.

But before it became a mural, an art consultant, who also found the image on social media, reached out to Himoff. The ACLU in New York City wanted one of the original 40 print editions for their headquarters. The same image is now part of the ACLU permanent collection.

Of course, Easton is also the perfect location for such an impactful public art piece and as discussions began around bringing the project here, Himoff started revisiting more of Douglass’s biographies and exploring the more profound history and connection to the area. The artist was moved by what he learned. “I get the sense of responsibility that people feel this need to maintain his legacy,” he said. 

The revealing of the mural along Easton’s historic architecture has certainly sparked reaction and discussion, just as the artist anticipated. Himoff has received positive feedback from many in the black community who felt a connection to this contemporary portrayal of a legendary leader. This was the case the Spy observed as we waited for the artist to join us for the interview. 

A woman named Lisa Taylor walked into the building looking for more information. She is from DC and was in town for the Waterfowl Festival. Her husband had seen the mural the night before and had been touched by it, and since Taylor’s mother attended the Frederick Douglass High School in Elm City, North Carolina, he knew it would be of great interest to her as well. Taylor took several pictures, bought a poster and t-shirt (merchandise is available for sale with proceeds to benefit the Frederick Douglass Honor Society scholarship fund) and then said:

“So the story in this mural is about how the then transforms into the now. And an artist brought it all together today so that young people can say, ‘Okay, well, maybe I don’t know who this guy is, but he sure as hell is cool–with the watch and the Converse high-top sneakers. Let me pull out my phone and find out who this dude is.’ When they do that, it brings previous generations to today’s generation. Hopefully, it gets people thinking about what liberty means. So it’s like a rediscovery of him and his legacy from older people like me to young folks who would recognize the shoes and the watch. And the artist, Adam, yeah, he literally knocked it out of the park.”

Not that there haven’t also been disagreements and uncertainty about Douglass being depicted in a modern style. But Himoff welcomes these discussions as part of Douglass’s legacy of free speech and empowering marginalized voices. “Frederick Douglass would believe that that is an important and healing conversation to have,” he said. 

Ultimately, the power of public art is bringing people together for dialogue and change. It is something that Himoff hopes to inspire through his creative work as he takes on more public art projects. Said Himoff, “I think it transforms communities, transforms neighborhoods. You’re not just creating something for somebody’s living room; it’s something that is eliciting a reaction. I love that dynamic; I love this notion of just creating a conversation about important issues.” 

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Discover the Mysterious Creatures of the Deep Sea at the St. Michaels Library with Horn Point’s Andrew Thaler

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Perfectly timed for the season is an otherworldly exhibition found in of all places at the St. Michaels Library. Dr. Andrew Thaler, a deep-sea ecologist and adjunct faculty at the University of Maryland Horn Point Lab, has assembled a miniature museum of bizarre sea creatures from the deep sea’s dark abyss. 

On Monday, November 6th, at noon, Dr. Thaler will present a special Lunch & Learn lecture at the library, discussing these lifeforms. Having spent over 20 years researching deep-sea ecosystems, Thaler has countless fascinating stories to share. Attendees will learn how technological innovations are rapidly expanding our access to one of the planet’s last unexplored frontiers, and they’ll discover just how much wonder and mystery still lurk in the unseen majority of our world.

Currently, Thaler runs a small environmental consulting firm in St. Michaels focused on deep-sea policy and conservation technology. But his passion for the abyss began decades earlier as a child, the first in his family to express interest in marine biology. “I’ve always been interested in studying deep-sea hydrothermal vents,” he says. “They’re unlike anything else on Earth – these oases of life dependent not on sunlight but on chemical energy gushing from undersea hot springs.”

When pursuing his Ph.D. at Duke University, Thaler specialized in researching the environmental impacts of deep-sea mining, a burgeoning industry poised to tap into valuable seabed resources. For his graduate work, he traveled to a series of hydrothermal vents off Papua New Guinea, racing to catalog species and gather ecological data before miners could disrupt the pristine sites. “The good news is, the company ended up going bankrupt,” Thaler said. “So the vents I studied were never actually mined. But it was an amazing opportunity to explore this incredible environment before any harm was done.”

Now, as a researcher and advocate, Thaler continues working to develop frameworks that allow us to study and harness the deep sea’s potential resources while safeguarding its fragile ecosystems.

The specimens currently on display at the St. Michaels library come from the archives of Thaler’s mentor, legendary deep-sea ecologist Dr. Cindy Van Dover, the first woman to pilot the DSV (deep submergence vehicle) Alvin. Van Dover retired in 2019, and Thaler inherited her samples to continue the research she had begun. “Once you’ve collected something from the deep sea,” he said, “we have a moral duty to get as much knowledge as possible out of it. So that the impact of taking it from the deep sea isn’t lost, and we get the opportunity to learn something.” 

Thaler curated the best of the samples into an educational mini museum – including the current star attraction, a giant deep-sea isopod.

Resembling a massive roly-poly or pillbug, this alien arthropod found deep in the Gulf of Mexico grows as big as a housecat, obviously dwarfing its terrestrial cousins. Thaler says the oddity appears to have become a destination for local curious kids, though some squeamish adults find it disturbingly huge and eerie. If that’s not mind-bending enough, there are also monstrous giant tubeworms, blind albino shrimp, scale worms that survive in near-boiling water, glass sponges, squat lobsters, and a menagerie of other creatures from the Gulf of Mexico, Atlantic Margin, and Western Pacific. As Thaler will explain, each organism hints at the outrageous forms evolution can take given the right conditions.

Dr. Andrew Thaler

“There are some truly astounding animals down there,” says Thaler. “Some of the weirdest creatures you’ve ever laid eyes on.” Yet, as he explained, only a handful of researchers, let alone ordinary citizens, have ever glimpsed such organisms in their natural habitat. Historically, undersea exploration has lagged behind space investigation. “I used to joke that we have more robots on Mars than we have vehicles capable of exploring the deepest parts of the ocean,” he said.

But that has changed dramatically. Now, dozens of robotic and autonomous vehicles are capable of going into the bottom of the Mariana Trench. Besides the manned submersibles, live-streamed remotely operated vehicles (ROVs) allow shore-bound scientists virtual access to the seabed. 

Still, most of us earthlings will never voyage to the abyss themselves. That’s what makes the St. Michaels exhibit so unique. “I don’t know of any other place where you can see specimens like this, from the deep ocean, somewhere so accessible as a public library,” says Thaler. “It’s a real testament to the library that they want to showcase something unusual yet evocative.”

Thaler hopes the creatures spark curiosity and wonder in visitors, especially children. He aims to share his own passion for the planet’s least explored realm. “We all share this amazing world, with incredible places most of us will never see firsthand,” said Thaler. “Yet they can still inspire us in meaningful ways.”

As part of his current research, Thaler is investigating how microplastics accumulate in the bodies of deep-sea organisms – a threat to vulnerable ecosystems we’ve scarcely begun to understand. But while environmental realities must be faced, a sense of awe persists.”The deep ocean is incredibly biodiverse,” says Thaler. “There are some of the most astounding animals down there. It’s an opportunity to discover something new and incredible, unlike anywhere else.”

Don’t miss this rare chance to glimpse the mysteries of the deep at your local library. Dr. Andrew Thaler’s upcoming lecture will illuminate how researchers are unveiling the wonders of the seabed while the ongoing exhibition lets you come face-to-face with denizens of the abyss. There is much left to explore.

Dr. Andrew Thaler will be the guest speaker for the November Lunch & Learn series at the St. Michaels Branch on Monday, November 6th, at noon. The deep-sea mini museum is currently on display until November 30th.

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Experiencing Stage Fright at Stage Fright 1964 at the Avalon

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If you were part of the magical experience of Stage Fright last year at the Avalon Theater, then you already know how much fun the Halloween special was. During the production, eye-masked (to differentiate them from the performers) audience members wandered through the minimally illuminated areas of the Avalon. Instead of sitting and watching from a distance, they became active participants in the world created by the play. Written by Casey Rauch and directed by Cecile (Cece)Storm, the drama was ingenious, atmospheric, and different from anything previously seen around the area.  

It also was an experiment. Would the Eastern Shore embrace immersive theater where the audience becomes part of the drama? 

The reaction was a resounding yes. So much so that the Avalon asked for a repeat performance, and that’s when Rauch and Storm decided to up the ante. Rauch had initially written a fictionalized feature-length screenplay based on his real-life experience with the ghost of the Avalon–Marguerite. The script had three distinct subplots–more material than could be fit into a 90-minute stage play. A decision was made to use one storyline set at the ‘Avalon Hotel’ in 1927. As they thought about this year, instead of doing the same production again, why not do the second storyline with the final installment next October? And that’s how Stage Fright 1964 was born—a standalone story and yet a sequel with elements from the first production. 

The Spy was invited to watch some of the production, and we can honestly say we can’t wait to see more. Set again at the ‘Avalon Hotel,’ this time, the site of a gala being held for presidential campaign candidate, Lyndon B. Johnson. Just as the camera crew is about to broadcast live, a series of unfortunate events begin to occur… (That’s about all we want to say so as not to take away from the experience you will have becoming part of the developing story).

What will happen is that for 90 minutes, scenes will unfold concurrently in multiple locations. No matter which scenes you witness or in what order, you’ll reunite with the entire audience for a spectacular finale. Storm’s advice–embrace the unexpected and have your own adventure, letting the magic of this production envelop you. It’s all so much fun. 

And it is as much fun for the crew and performers as well. Mary Ann Emerson is used to acting, but she’s having a blast being the Props Mistress for this production. “I love to geek out on the details of the exact period that we’re in. Last time, it was the 20s. This time, it’s 1964. So finding all those elements where the audience could open a drawer and inside the drawer are the exact right things from that era is so exciting. I love it.”

Emerson is just one of over 50 members of this Stage Fright. Which just goes to show how much this production has grown. “Last year,” said Storm, “we had three people show up for auditions. This year exceeded expectations; the turnout was amazing, and casting was a nightmare because of all the talent. I had Casey write three new characters to accommodate how many people showed up. It all worked out because something that I really wanted for this year was more extras in character to make the experience more immersive.”

Katie Bernstein Cox is not an extra and no stranger to the theater world on the Eastern Shore. “I’ve done theater my whole life. I have a degree in it. Being with this group is like working with like-minded creative people who are all invested in quality products. Everybody wants to put in the work to make it happen. It feels like I truly found my group, my people.”

As one of the singers, Cox is excited to bring her talent to the stage again. Similar to last year, audiences can look forward to the incredible music, which is such an essential part of the production. The first Stage Fright included songs that covered the rock band Radiohead but were done in the style of 1920s gypsy jazz. It was mesmerizing and memorable, guiding the mood of the play—this year is no different. “We’re covering Nirvana in the style of Phil Spector’s Wall of Sound and a new Nashville country kind of band (think Patsy Cline), that kind of vibe,” said Storm. It’s worth mentioning that 90% of the music will be performed live during the show.

By now, it should be evident that the magic begins and ends with the creative partnership of Storm and Rauch. Nicknamed Rodgers and Hammerstein by some of the cast members, the duo’s vision and artistic synergy is the driving force behind the production’s success.

“I don’t think anybody really knew what to expect last year,” said Rauch. “And that included Cece and myself. People who came out the first time were pleasantly surprised to see the level of detail we put into the show. Then there was the music. I heard over and over again that people were just in love with the music. All the different elements of the show were well received by everybody.”

Interestingly enough, Rauch’s day job is as an engineer. Writing allows him to express a different side of his creativity. He’s also an actor. “I like acting,” he said, but I love writing. I don’t like directing people. The last thing I want to do is be the boss.”

But that is where Storm excels. In addition to co-owning the ice cream shop Storm and Daughters next to the Avalon, Storm brings extensive theater knowledge and experience to this production. Beyond her background in acting and directing, she holds a degree in Contemporary Theatre and Film and has worked in immersive theater before; Storm is well-equipped to handle the unique creative demands of this show.

Expect surprises and guest appearances, including one by LBJ. Whether you were part of the Stage Fright spectacle last year or are jumping in for the first time, don’t miss this haunting performance.

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This production is a limited run of eight performances. Wednesday 10/25-Saturday 10/28, at 6:30 and 9:30 pm. Tickets are limited. Audiences are encouraged to come in Halloween costumes and comfortable footwear. The run time is 90 minutes with no intermission. For tickets and information, go to: https://avalonfoundation.org/event/stage-fright-1964

There is also a 2-hour Director’s Cut Special Performance on Sunday at 7:00. Ticket price includes hors d’oeuvres by Piazza, cocktails by Lyon Rum, and beer by Other Half Brewing.
A full Cash Bar will be available. For ticket and information, go to: https://www.avalonfoundation.org/event/stage-fright-1964-directors-cut

NOTE:  Content Warnings–This experience is based on the ghost stories of the Avalon and deals with themes of civil rights, racism, murder, and revenge, which some may find triggering. There will be dark spaces, loud noises, strobe, and haze, as well as dark areas and spaces that are small and confined. The choice of where to go and what to see is yours. If you feel uncomfortable, you can move to a new area. Talk to one of our stewards or take a breather in the Stoltz Listening Room. The bar can be noisy, so if you need a quiet space, please let a staff member know. For more details, email [email protected]

 

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The Journey of Needle’s Eye Academy

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Nicolle Moaney during Easton’s 51st Waterfowl Festival 

In April 2020, almost at the start of the pandemic, Jaelon Moaney, a recent political science graduate from Williams College in Massachusetts, asked a friend and former classmate, educator Nicolle Vittini Cabral, to help build a curriculum for an idea he had been developing. During his time in college, Jaelon had established a cohort program that had brought together high schoolers and Williams students to discuss, in small groups, a single book each semester. Since he was returning to the Eastern Shore, Jaelon thought a similar program could work in Talbot County.

He was right.

A Leadership Team was formed, comprised of the now-married Jaelon and Nicolle and joined by Jaelon’s sister Mikayla (Mika). They shared a dream – to spark a love of reading and civic participation in young people who rarely see themselves in textbooks. This vision became the heartbeat of Needle’s Eye Academy (NEA), which is described on their social media as a “multilingual, multinational means of unapologetic literary empowerment for the Black & Brown youth of MD’s Eastern Shore.”

In 2021, Cohort One launched as a virtual three-week summer experience for students of color entering ninth grade at Easton and St. Michaels High School. Their first book was a collection of short stories, Fresh Ink, edited by Lamar Giles. “We wanted to provide them an opportunity to engage with texts they might not otherwise have access to,” said Nicolle, Director of Academic Strategy. 

Cohort Two, which began this summer, evolved beyond its initial scope with an addition of social-emotional learning and community-building components, overseen by Mika, Director of Belonging and Impact. NEA also expanded the admissions to eighth, ninth, and tenth graders. “We’re trying to engage folks that wish they had an opportunity to participate in something like this, with the ultimate goal of boosting their appetite or even their enjoyment of being civically engaged,” said Jaelon. This engagement, Jaelon hopes, will extend to their immediate community and ultimately to Talbot County and beyond.

NEA recognized during the 2023 Light of Literacy Awards. l to r- Nicolle, Jaelon, and Mika Moaney

In this, Jaelon leads by example, and his dedication to the Eastern Shore community is palpable. As a 10th-generation Talbot County resident, he has an impressive curriculum vitae, which includes serving on the Talbot County Board of Education during his high school years, working as a Regional Director for US Senator Chris Van Hollen, and being appointed by Governor Moore to the Maryland Commission on African American History and Culture.

With such a rich background, Jaelon does not rule out running for political office in the future, and his involvement with NEA might be a good breeding ground for that possibility–he truly cares about the people in his community. Elaborating on his approach as Director of Authentic Partnerships, he said: “We want anything that we’re building with another person, another family, another organization to be mutually beneficial, and ultimately, to uplift the people.” 

Like her brother, Mika is an Easton High School graduate and now a senior at Barnard College of Columbia University in New York City. She feels her experience coming from a small-town environment into a big city has prepared her for her involvement with NEA. “What drives my work at the Academy is making sure everybody feels seen, heard, and valued. And I think that drives my work in the community as well.”

After graduating from Williams College, Nicolle worked as an elementary school science teacher in DC. She lasted about two and a half years. “I was just so burned out. I knew I wanted to continue to make a change in education, but being in the classroom in the traditional way was not going to be sustainable for me in the long run. So now I work in teacher recruitment in DC, and l stay connected with the classroom by leading these cohorts.”

Despite their differences and similarities, the Leadership Team is deeply committed to those they have taken under their wing. And in that, they have a lot of support. Besides an impressive array of board members on their team, their partnerships have been the key to their success. Talbot County Public School (TCPS) has cooperated in recommending students to their program. As has the Chesapeake Multicultural Resource Center (ChesMRC), which helped expand the program to include multilingual cohorts. Victoria Gomez Lozano, Hispanic Outreach Coordinator for ChesMRC, found the program a great opportunity, particularly for those to whom English is a second language. Lozano also said the participating NEA scholar reported being enthusiastic about her experience. 

NEA is particularly grateful for the collaboration with Chesapeake Bay Maritime Museum (CBMM), which has given the students the opportunity to connect literary exploration with hands-on, real-world issues. Nicolle explained, “CBMM has allowed scholars to learn more about the rich maritime history right here in the Chesapeake region. They have also given us the ability to delve and make parallels into themes the scholars read, like climate change and community resilience, and then engage with resources from the museum to amplify their learning experience.” 

NEA believes that this unique approach, coming at a time when adolescents are in a critical phase of self-discovery, enables scholars to understand how literature directly relates to their lives and community, empowering them to use their distinct experiences and perspectives for positive change. The goal, said Jaelon, is to equip them with the tools and confidence to embrace their potential as change-makers. “We want scholars to believe that no matter what it is they believe in, what they want to fight for, that it is the power within them to be able to do so,” he said.

As NEA looks to the future, the Leadership Team has ambitious plans for expansion and scholar engagement. They foresee engaging more counties and year-round programming. “We’re also thinking about how we can incentivize participation and get scholars to say, ‘I’m going to participate in the Needle’s Eye Academy instead of trying out for the soccer team,’” Nicolle said.

Whatever the future may hold, the Moaneys are committed to ensuring that NEA remains a community of support and guidance for scholars. Mika said, “We want this to be a legacy, a resource for students, no matter where they are in their academic journeys and whether or not they go to college. We want to make sure that they always know they have people who are more than happy and willing to help, motivate, and give them mentorship and connections. And as a kid of color, that’s not always the case. This is not just for one summer. We want this to be for a lifetime.”

Coming up:

With September designated as International Literacy Month, NEA will be holding their 

inaugural fundraiser, ‘Coloring the Canon,’ on September 9, at the Harriet Tubman UGRR Visitor Center Pavilion from 2-3:30. The event is described as: “a ranger-led welcome followed by an afternoon of light refreshments, inspiring remarks from a Tidewater author of color and an opportunity to design your very own book cover art.” To learn more and register, go to: https://m-scf.networkforgood.com/…/58546-coloring-the…

On September 20, NEA is co-hosting a community dialogue, ‘Read the Room,’ with the Easton branch of the Talbot County Free Library.

Starting in September, the Maryland Commission on African American History and Culture is launching a book drive in every county across the state. NEA will partner with Talbot County Free Library to support that initiative. 

Next year (date TBD), NEA will be a part of the Talbot Family Network Conversations on Race,

Look for NEA’s bookmarks at Black and Brown businesses, libraries, and bookstores. They will also be partnering with the Black Caucus of the Maryland Library Association on additional sets of commemorative bookmarks. 

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For more information about NEA and any of the upcoming events, go to: https://neaest2020.wixsite.com/maryland/about 

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Qlarant Foundation Profiles: Rebuilding Together in Queen Anne’s County

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In 1994, a group of concerned individuals in Queen Anne’s County recognized a pressing need within their community – homes in disrepair and families struggling to maintain them. This realization led to the current Rebuilding Together, a national non-profit organization dedicated to repairing homes, revitalizing communities, and rebuilding lives. Recently, the group received a $3,500 award from the Qlarant Foundation, a private non-profit organization focused on enhancing the quality of life for vulnerable populations in Maryland and the District of Columbia.

Larisa Thomas, President of Rebuilding Together of Queen Anne’s County (RTQAC), shares how this grant and the partnership with local businesses and organizations impact the lives of older adults, low-income, and disabled community members.

Originally known as ‘Christmas in April,’ Rebuilding Together was started by a group of volunteers in 1973 in Midland, Texas, who, on the last Saturday in April, gathered to help low-income homeowners who were struggling to repair and renovate their homes.  The beneficiaries were primarily the elderly and disabled, trying to make ends meet on fixed incomes. In 1988, the organization expanded to other cities and changed its name to reflect what had become a year-round effort. Today, Rebuilding Together has over 100 affiliates nationwide and has helped repair and renovate over 200,000 homes.  

The critical importance of the organization’s work cannot be overstated. Thomas shared a staggering statistic that highlights the urgent need for their services: “Nationwide, 76% of households served by Rebuilding Together have a resident over the age of 65, and 51% have a resident with a disability, many of which have mobility issues that make it difficult to remain safely at home. And that also tends to be true in Queen Anne’s county,” she said. She describes how the domino effect of neglect can escalate from a simple roof leak into damaged floors and compromised structures, adding to the financial burden of homeowners who are already struggling to make ends meet. 

(L-R) Jonathan Olsavsky, Project leader and board member Wendell Carr, Perry Bird (right) Sr. Director, Network Advancement for National Rebuilding Together.

At the heart of RTQAC is its Safe and Healthy Housing program. It follows eight principles that ensure homes are: dry, clean, safe, pest-free, contaminant-free, well-ventilated, maintained, and thermally controlled. They also use a detailed 25-point checklist to assess homes and fix potential issues that homeowners might not know about.

The best illustration of the impact of RTQAC’s work is through the stories of transformed lives. Thomas recounts an instance where grandparents were raising grandchildren in a home where the pipes were freezing in the wintertime. “We came in and made it safe for this grandmother who was doing her best just to make a difference in her grandkid’s lives.”  At another home, we fixed a leaky roof, plumbing that wasn’t working, and holes in the floor. These were all safety issues that need to be addressed.”

The process of identifying eligible homeowners for the free program involves a multi-faceted approach. Collaborations with local departments and agencies, such as the Department of Aging, ensure those in need are connected to available services. Word of mouth also plays a significant role. Once identified, applicants can either call or submit an online form. The organization also participates in community events and employs various outreach methods to spread awareness and attract volunteers.

Of course, volunteers are the backbone of this program. Those who work with RTQAC come from a variety of backgrounds. Some are retired professionals with experience in construction or home repair, while others are community members who simply want to give back. All volunteers receive training and support from the organization to ensure that repairs are completed safely and effectively. There is also funding available to do home repairs through contractors. Thomas said, “This is the new direction that Rebuilding Together can do, which allows us to have a bigger impact.”

Looking ahead, Thomas envisions a brighter future for RTQAC. More board members, an expanded volunteer network, increased community engagement, and sustained funding are on her radar. There are diverse sources of financial lifelines that power RTQAC’s efforts, including individual donations, government support, and grants from organizations such as the Qlarant Foundation. She envisions a self-sustaining organization, making an enduring difference in the lives of those they serve. “Our goal is to complete eight projects this year and then double that number to 16 next year,” she said. 

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For more information and see how you can help Rebuilding Together Queen Anne’s County, please go here.

For more information about the Qlarant Foundation, please go here.

 

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