Whitney is the new executive director of Land Information Access Association (LIAA), a Traverse City, Mich.-based nonprofit that works with communities across Michigan to improve civic engagement, with a focus on strengthening the cultural and natural resources that support resilient, sustainable communities. Whitney will oversee all LIAA’s programs, including community planning, development, and resource management; website and database development and IT support; geographic information system and mapping services; and LIAA’s UpNorth Media Center, which houses the public- and government-access television services for all of northwest Lower Michigan. Whitney joined LIAA after 10 years at the Corporation for Public Broadcasting in Washington, D.C., most recently as vice president of operations. Her professional expertise includes strategic planning, grants, project management, operations, and organizational development. She earned her MBA degree from Kent State University. Whitney now lives in Traverse City with her husband and three sons.
The Center for Strategic and International Studies recently featured Paul’s work in its column “Careers in Development.” Paul is executive vice president for communications at ACDI/VOCA, a private, nonprofit organization that promotes broad-based economic growth, higher living standards, and vibrant communities in low-income countries and emerging democracies. Paul’s career in agriculture, food security, and global development spans 40 years and has taken him to 70 countries, including long-term assignments in Senegal, Mauritania, Indonesia, Barbados, and Kenya. In those locations he headed agribusiness programs that incorporated activities in policy reform, business group strengthening, commercial marketing, equity financing, and investment promotion. Paul earned his B.A. at K in theatre arts and studied abroad in Aix-en-Provence, France. He earned a M.B.A. at Stanford Graduate School of Business.
Rayline is vice president of development at the Kalamazoo Nature Center.
Samantha is an energy policy and planning analyst at Pacific Gas and Electric Company. She has been working for the last five years in the renewable energy field. In addition to her bachelor’s degree from K (political science and environmental studies), she holds a master’s degree in urban and environmental policy and planning from Tufts University.
“. . . we go to poetry … so that we might more fully inhabit our lives and the world in which we live them, and that if we more fully inhabit these things, we might be less apt to destroy both.” – Christian Wiman, poet
Amy Newday plants seeds in soil (she runs her own farm), and she plants seeds in students (she directs K’s Writing Center and teaches classes in the English department). Some seeds grow green crops. Others grow green poetry.
Newday recently completed a winter term course called “Ecopoetry,” and is currently teaching a spring term senior Capstone class called “CSA (community-supported agriculture) and Sustainability.” The two courses are an integral part of Kalamazoo College’s ongoing creation of a Center for Environmental Stewardship, teaching students about the impact of human life on their world.
“I feel a strong call to be of service to the earth and the non-human beings we share it with,” says Newday. “As I get older and get to know myself better and as our ecological crises worsen, this call becomes stronger. What I was curious to explore with my students in the ecopoetry course was—what does poetry have to do with ecological crises? Can poetry be a vehicle for transforming our relationships with the ecosystems in which we dwell?”
A farmer and a poet, Newday grew up on dairy farm in Shelbyville, Michigan. Her “Ecopoetry” course drew thirteen students, all of whom participated in a reading on campus to draw their class to a close. Each student read a poem from the textbook that had especially moved or inspired them.
Emily Sklar ’15 was one of those students, a biology major with an interest in ecological issues. “I love biology, although I’m not quite sure yet what I will do with it,” Sklar says. “I also love being outdoors, and I’m concerned about the environment, so I’ve been wondering how to combine all that. Science comes short on the ethical and moral aspect of ecological issues, so that’s why I took the poetry course. Poetry gives me another way to understand what’s around me, and the course has given me a blend of language that builds collaboration between scientists and poets.”
“Ecopoetry” is a relatively new term, if not quite a genre in its own right, Newday explains. “Writing about daffodils is no longer enough. Critics beat up poets like Mary Oliver for being what they call a ‘nature poet,’ writing about birds and trees. Writing about birds and trees is important, but ecopoetry includes the bulldozer that knocks the tree down and destroys the bird.”
Three main groupings of poetry compose the new genre, Newday says. As defined by Ann Fisher-Wirth and Laura Gray-Street, the editors Newday’s class textbook, The Ecopoetry Anthology, poetry that explores nature and the meaning of life falls into the first group. A second group includes environmental poetry with a more political slant that may address social justice issues and is often related to specific events. The third group includes poetry about ecology, often in more experimental forms.
“In this course we explored how the language of poetry has shaped and reflected changing perceptions of nature, ecology, and humanity over the past two centuries,” Newday says. “We looked at what poetry can contribute to current cultural and cross-cultural conversations about environmental justice and sustainability.”
Students at the reading in March read favorite poets they had studied, such as, yes, Mary Oliver, and also Alicia Suskin Ostriker, Ralph Black, G. E. Patterson, Deborah Miranda, Tony Hoagland, Robert Duncan, Lucille Clifton, Lola Haskins, Sandra Beasley, and Linda Hogan. Some students also read their own work.
“I’m not a big reader,” Sklar admits. “But I fell in love with this poetry. What I had hoped would happen, happened. The facts in science are great, but poetry gives us a way to connect to people who aren’t scientists.”
The ecopoetry course, Sklar adds, helped her to solidify an idea for her Senior Individualized Project that she’d been mulling over for about a year. Her interest in nature, biology, ecology, and human responses to all three came together in a plan to hike the entire Appalachian Trail. Along with a K alumna, Margaux Reckard ‘13, Sklar began 2,200-mile adventure a few days after the poetry course concluded (see “Where the TinyTent AT?” in this issue of BeLight).
“Poetry can help us question,” Newday says. “We are losing all kinds of diversity in our world, and cultures and languages are being lost along with biodiversity. Languages each give us a unique way to see the world and add perspective. Poetry can help us imagine possibilities … possible solutions to ecological crises.”
In her senior Capstone course, “CSA and Sustainability,” Newday digs even deeper into building connections between students and the earth. Along with textbooks, she hands them trowels, hoes, shovels and watering cans. She takes her students to her own CSA operation, Harvest of Joy Farm, where she and partner John Edgerton practice sustainable and organic methods of farming.
The Capstone course, Newday says, offers students the opportunity to explore and experience food systems, agriculture, community building, education, economics, business, and food justice as an alternative to the mainstream food economy. If that sounds like it’s dealing with a great many topics—it is, and that’s the everyday life of a farmer.
Part of the course will take place in the traditional campus classroom, and for at least three hours each week students will work on the farm. They will help plan the CSA business, prepare the soil for planting and then plant a wide assortment of seeds and plants, maintain compost and learn about permaculture, and maintain and harvest the garden. Students will also experience the business aspects of running a CSA, the marketing and selling of vegetables to community members, and the relationships built between farmer and community members.
The course will also involve an ongoing blog of farm activities, and a student-generated on-campus collaborative project. Students will participate in discussions about their experiences and observations working on the farm.
In informational sessions held prior to the beginning of the course, Newday and Edgerton met with students interested in learning more information before making a decision to enroll.
“I was surprised how much I loved running a CSA,” Newday says to the students gathered to hear about the course. “The relationships we developed through the CSA were very rewarding. There’s an instant gratification when you give good food to people, and you see how excited they are to receive it, taste it, and share it.”
The concept of a CSA, Newday tells the students, is not the traditional business model of trading cash for product. “A CSA offers people the opportunity to invest in the kind of world they want to live in.”
The Harvest of Joy Farm is in its fourth year. At the beginning of last summer’s (2013) growing season, 45 members paid for 28 shares and half-shares in the operation, which provided the funds to cover the costs of farming. In return, shareholders receive vegetables and fruits each week during harvest.
“The course will help students to better understand the economics of farming, especially on a small scale, and to consider how small farms fit into the larger agricultural economy, in the United States and across the world,” says Newday. “Along with learning about sustainable agricultural practices, students will learn how to critically consider what it means to make environmentally, socially, and ethically sound food choices.”
To learn more about the Kalamazoo College Capstone CSA experience, read student blog entries, and view photos, visit kzoocsa.blogspot.com. To learn more about Harvest of Joy Farm, LLC, visit harvestofjoyfarm.wordpress.com.
Ladislav Hanka ’75 has a mind that buzzes with constant activity, always attracted to the sweetness of an idea with a twist. His degree is in biology, and his love of the natural world is evident in his art. His etchings, prints, and drawings illustrate the intricacies and mystery of nature: craggy trees, elegant fish, round-bellied frogs, fierce raptors and delicate song birds, dank mushrooms, the occasional napping old dog.
So the idea of combining living bees and his etchings seemed, well, natural. He saw it as collaboration.
Some five years ago, a friend had given him a box of bees.
“There was a little bit of sugar water in there, something like mosquito netting, and the bees were climbing around inside the box,” Hanka says. “And I thought, so cute! Like having a puppy!” He laughs. “Suddenly, I was a parent. It was on that level of forethought that I became a beekeeper.”
Where the idea came from to place his etchings inside the beehives, among the living bees, Hanka can’t say.
“Who knows where ideas come from,” he shrugs. “You wake up some night, and there it is. It seems such a simple idea, too, but I’d never seen anyone do it. So I put the etching in after soaking the paper in hot beeswax, brushing it on, and the bees seem to like that paper. Typically, they start on the chunks of old, recycled beeswax and avoid the lines of the etching. Perhaps it’s the flavor? Or the waxy aromatic paper? Otherwise they tend to chew up and destroy any foreign substance intruding on their hives. Then again, they may just be critics.” Hanka grins.
Standing in his studio, a building he constructed where the garage once stood at his residence in Kalamazoo, just a few blocks from Kalamazoo College, he leans in close to take a look at his etchings. He has them lined up in a row on a small ledge along the end wall. The etchings closely match what he exhibited in ArtPrize 2014 in Grand Rapids, Michigan.
ArtPrize is an annual art competition judged both by popular vote and a jury. This past summer more than 1,500 artists from across the world exhibited their work in and around downtown Grand Rapids. Hanka’s panoramic etching in ArtPrize 2011 won the Curator’s Choice award and was purchased by the Grand Rapids Art Museum for its permanent collection.
Hanka’s 2014 ArtPrize entry, “Great Wall of Bees: Intelligence of the Beehive,” is his third since the competition’s inception. Contained inside a glass case along the length of a wall just inside the entrance of the Urban Institute of Contemporary Art (UICA), live bees buzzed and danced and chewed over three rows of Hanka’s etchings—detailed images of toads, salmon, trees, insects, birds—building honeycomb along the curves of his lines, indeed in surprising collaboration.
Great Wall of Bees was collaborative art and environmental message. In a description of his work on the ArtPrize website, he wrote:
“The additions bees make to the etchings are as inevitably elegant as the gently curving veils of honeycomb you find hanging from the domed ceilings within a bee tree. There is an undeniable intelligence at work in a beehive. You learn to respect that and care about these highly evolved creatures, which brings me inescapably around to bees being in trouble—not just here but worldwide.
“The cause of bee die-offs is hardly a mystery. It’s much like the growth in cancer rates. No single factor causes it. The crisis is due to a summation of assaults on the organism, until it’s all too much. Bees face a gauntlet of toxins, habitat loss, electromagnetic pollution, exotic diseases and imported parasites. …”
Hanka’s living exhibit drew a great deal of attention. He estimates that 80,000 to 100,000 persons viewed the Great Wall of Bees. His work was short-listed in the top 25 in both popular and juried categories for three-dimensional entries.
“For the three weeks of the exhibit, I was the bee-man,” says Hanka. “I heard people talking about the bees in cafes and on the street. People still come to talk to me about the artwork and the bees, even though the show is over.”
It was profoundly gratifying, he says, to interact with the public coming to see his art and to watch the bees build their honeycomb around it. Bees crawled along the glass where children pressed their noses for a closer look. Some expressed concern over dying insects, and it gave Hanka a chance to explain something about the four-week life cycle of a bee and the difference between natural daily die-offs versus the massive losses bees currently suffer in beehives everywhere.
He dips a bare hand into one of his hives, set in a circle beside his house, and the bees emerge, almost lazily, spinning a hum of circles around Hanka’s head and landing on him. They swarm over his bare hands and land in his beard.
“They are not aggressive with me,” Hanka says. “Frame of mind is important. They respond much like any animal would. You have to be sensitive to their mood and show some respect..”
The bees do sting him occasionally, he says, especially when stressed, but Hanka shrugs it off. All a part of the art and all part of the natural order of things. As for the way the insects weave their intricate combs along his drawings, Hanka shrugs about that, too.
“I try to be realistic about that, how much intelligence is in the bee,” he says. “There is a spirit. I have no explanation for some of it.”
Hanka considers ArtPrize carefully, now that the citywide exhibit is done, his wall of bees packed up and brought back to the hive again. During subsequent weeks he contemplated the moment of fame.
“The space is clean and no evidence remains of the effort invested,” he says. “Honey gathering and art are both among the first recorded events in the mists of human history. My work invited people to partake of genuine, unfalsified sacraments. I saw they were truly moved by the beauty they encountered and by their concern for the fate of bees.”
Landing on the competition’s short lists gave him a few seductive moments of contemplating the financial prize (ArtPrize awards two grand prizes worth $400,000, and eight category awards worth $160,000). Those moments quickly evaporated in the final stages of the competition.
“Of course, there was a build-up and then disappointment,” Hanka nods. “Though we may ardently desire the accolades and money these votes confer, it isn’t why we make art.”
What remains, Hanka says, is the message he wanted to deliver: the interaction he had with his audience and his art, the near-mystical experience he had with another tiny life form. He acknowledges the influences that have remained with him from his years at Kalamazoo College, where he studied with Marcia Wood, Johannes Von Gumppenberg, Peter Jogo, and Bernard Palchick (all former professors in the art department). Equally, in biology, he credits Professors Paul Olexia, David Evans, and Fred Cichocki.
“I still keep in contact with many of them, and I value their influence in my life,” Hanka says. Ideas, he believes, are born in the buzz of many minds working at their purpose; they are built one upon another.
Hanka walks between the aisles of his beehives in the same way he walks between the tables in his studio. Both are covered with pieces of his work. He leans forward to study a detail, and then he leans back to contemplate the whole.
He is done with this particular project, this artistic collaboration with the bees that carried over years. Now, the bees will return to what they do best: making honey. The artist will let his mind spin and dream and buzz a little, until it lands on his next big idea.
A few blocks down the hill from the Kalamazoo College campus, in an upstairs office, the headquarters of International Child Care (ICC) is located. ICC is a Christian health development organization that has been providing health services for children and families in Haiti and the Dominican Republic for half a century. Since 2012, it has sponsored a six-week summer internship for K students, and now it employs K alumna Suzanne Curtiss ’14 as its communications director. All describe the time they spent at ICC as life-changing.
Three of the interns, Roxann Lawrence ’14, Amy Jimenez ’14, and Zoe Beaudry ’14, spent their six weeks in Haiti; Avery Allman ’16 and Curtiss worked in the Kalamazoo office. From ICC, each says, they learned a new appreciation of the difficulties inherent in providing aid to severely challenged nations, as well as a new respect for the spirit, resilience, and creativity of the people who live in those countries. They also saw the principles of social justice and sustainability at work.
Lawrence and Jimenez interned together during the summer of 2012. Their experiences were based at Grace Children’s Hospital in Port-au-Prince. Grace, ICC’s flagship program, has been providing inpatient and outpatient care for Haitian children and families since 1967. Although its main inpatient building was destroyed in the earthquake of 2010, Grace continues to serve about 300 inpatients a year and more than 400 outpatients per day.
From the hospital Lawrence and Jimenez moved out into the communities, many of them still just tent cities since the quake, helping health teams that weighed babies, visited patients, and educated families about birth control, nutrition, and sanitation. The two also gave tours to visiting groups from North America and prepared a pre-orientation package for new visitors.
Lawrence is a native of Westmoreland, Jamaica, and she majored in anthropology/sociology and theatre arts. When she returned to Michigan from Haiti, she said, “Without a doubt, this has been the best summer of my life.”
Jimenez, an anthropology/sociology major from Compton, California, concurs. During her internship, she helped develop a program for children with disabilities. Because the cultures of Haiti and the Dominican Republic equate disability with shame, most of these children are hidden away by their families. The first challenge of ICC’s health care teams, therefore, is to find them; then they work with parents, teaching them to help their children maximize their functioning. Jimenez went to the tiny home of a single mother of a child who couldn’t use his hands. “He was such a happy child. He ate and wrote using his feet.” To Jimenez, the boy represented the spirit of the Haitian people. “They have experienced so many bad things, but they are a resilient people.” She also learned how important it is to do research when you’re trying to help, and “not to just impose your own style on other cultures.”
Zoe Beaudry spent her ICC internship in Haiti in 2013. The East Lansing (Mich.) native earned her K degree in studio art with a minor in sociology/anthropology, Beaudry is from East Lansing, Michigan. She job shadowed a sociologist at Grace, learning about his research into the mental health of people in Port-au-Prince. She also conducted art workshops for children at the hospital, compiling their drawings into a book titled “Waiting for Grace.”
Beaudry said, “Living in Port-au-Prince felt like a whirlwind of confusion and culture clash.” Like many people visiting Haiti for the first time, she found, “it was a new experience feeling so different from the rest of the people around me. It forced me to confront feelings of internalized racism and prejudice – which was a very valuable experience and an eye-opener.” She found that meeting Christian missionaries at the guest house where she stayed in Port-au-Prince, “led me to a strong interest in Christianity and religion in general.”
Both Allman and Curtiss did their ICC internships in Kalamazoo. A double major (business and Spanish language and literature), Allman used her internship to focus on marketing and development; she helped with grant writing, created marketing plans, wrote a history of ICC, and publicized its annual cycling fundraising event. She says that the experience had “an incredibly positive effect on me.”
Allman also believes that staying in Kalamazoo for those six summer weeks was a highlight. A native of Northville, Michigan, she took advantage of the opportunity to learn more about the Kalamazoo community and its nonprofit services.
A native of Saginaw, Michigan, Curtiss majored in English at K and became interested in public relations during her sophomore year. As a student, she worked in K’s Office of College Communication. Her own internship was structured to give her experiences in writing and event promotion. These experiences taught her how cultural differences can make it difficult to work internationally, she said, but they also greatly broadened her horizons. She learned firsthand how to generate publicity on a budget, as well as the ins-and-outs of working with local media.
She started her new job with ICC just one week after graduating from K, and she is now responsible for educating and engaging the public about the organization. Her job description includes not only public and media relations, but also planning encounter trips for North American groups who want to see ICC projects in the Caribbean.
Curtiss took her first trip to Haiti and the Dominican Republic a month after she started her new job. “You can’t begin to comprehend the level of need until you see it,” she said. “The people are so kind and joyful and have a strong sense of national pride.” She also was struck by the passion of the ICC staff in both countries (all in-country positions are staffed by nationals): “They love the work they do.”
Keith Mumma has been associated with ICC since 1989. After spending several years volunteering, he became a board member and, in 2005, he was named the U.S. national director. Mumma still does some professional photography (his previous career), with Kalamazoo College as one of his clients. It was this connection that led Mumma to develop the ICC internship position in 2012. It’s been a good match, he said. “Both organizations have the same philosophy on life.”
ICC offers interns a wide variety of experiences, ranging from social justice to economics, pre-med, anthropology, marketing , as well as French (the official language of Haiti) and Spanish (spoken in the Dominican Republic). Mumma says that K interns have been an important part of ICC staffing. “They’ve all been self-starters,” he says, “and we need people who are independent workers.” Several of the students had already studied abroad by the time they came to ICC, and the international experience they brought with them was invaluable.
Roxann Lawrence summarized her ICC internship. It helped her, she said, “to see social justice working through an international perspective, reinforcing the importance of community participatory service to community development and change.” Her experiences, she concluded, “will continue to have a positive impact on me as I passionately pursue a life dedicated to serving and working with marginalized groups.”
Suzanne Curtiss added, “The spirit of ICC flows into the integrity of K.”