• Jervey Tervalon

  

  Jervey Tervalon and his daughter at home

  writer, professor, literary sage, cultural recorder, working class hero, father

  As the literary director and founder of both Literature for Life and LitFest Pasadena, Jervey’s vision is to make Pasadena a city that has a vibrant literary culture that serves our public schools and our working and middle class families.

  With these organizations he is exploring offering writing camps that do extensive creative and expository writing development that prepare our public school students for high school, college and beyond.  Ideally, the goal is to lay the seeds that will create the Rose City Center for the Literary Arts, an institution that would parallel what the Armory does for the Visual Arts.

  With a growing family, several community project brewing, a couple of new business ventures and teaching responsibilities, how/when do you make time to write a novel?

  I guess it’s an example of counterintuitive behavior. I enjoy writing, fiction and nonfiction. It’s pleasure to be lost in a fictional moment or trying to organize my thoughts to make a complicated idea not so unwieldy.

  At every point in my life where it seems my writing would suffer, having kids, long commutes, broken heart, I still did work. I have two novels on my hard drive. One is at my agent, the other I’m kind of doing an edit, but I’ve it edited too many times.

  The problem with writing is publishing. The money, when it comes, makes sense of the work, but it also leads to wanting more and envy. I envy the success of other writers and it’s stupid and beneath me, but I engage in it. Oddly, the most beloved writer I know is Jonathan Gold. I don’t envy him, I enjoy his work and that share in the pleasure of reading. There isn’t the smell of desperation of those of us who came from competitive writing programs.

  I can’t complain about a damn thing even if a safe fell on my head and squashed me like a water bug. Every good thing in my life comes from my writing and the habit of reading obsessively. I’ve had the good fortune to be paid to write about the black folks I grew up, about life in Santa Barbara, and Pasadena and now a memoir about race, children, and long distance courting–from Pasadena to Shanghai.

  What stories of the world are so interesting to you that you want to write about them?  In other words, where to you find the threads of an idea or concept and then how do you begin to weave them into a novel?  What is your creative process?

  I usually write about experiences that resonate with me over time.  Sometimes it’s something that happened to someone I know well.  My best selling book, Dead Above Ground was written in the voice of my mother about the murder of a cousin who fell in love with a handsome psychotic.  

  My most recent novel, Monster’s Chef was from the point of view of an insane celebrity.    Though I ‘m not insane—fingers crossed!  I’ve known people who have had the experience of working with powerful crazy people.

  It seems that there are more books than ever that are being published, however, with social media, 500 television channels, netflicks, and numerous other ways to entertain oneself, what is the status of reading literature in this country?

  What I remember reading is that more people are reading books than ever, or at least books seem immune to the streaming music nightmare where those who creates recorded music can’t make a dime.  It’s incredibly hard to sell a novel and I’ve been fortunate to have sold a number of novels to major publishers, but it wasn’t for teaching and having a wonderful wife with a good job I’d be living in a refrigerator box.

  What is the impact of kindle and audio books on the reading community?

  It’s all good.  However readers want to experience a book is fine with me.  I read books on my phone but it’s not fun.

  Our city has several programs intended to inspire reading among our citizens and to highlight the talents and efforts of writers (One City One Story, LitFest, etc.). What are your thoughts about the impact each is making on the members of our community?

  One City, One Story is great!

  What we try to do with LitFest Pasadena is to create an event that reflects Pasadena.  At least half our panels and readers are of color.  Diversity is becoming ever more important to be taken seriously in the arts and sciences.  Exclusion generates anger and misunderstanding.  It needs to be confronted and defeated by goodhearted folk. 

  We aspire at LitFest Pasadena to have the most diverse literary festival with the best writers.    Diversity and quality are entwined.  Most writers of color have read white writers all of their lives and now we’re showcasing the rest of humanity.

  If you could, what changes would you make to these programs to expand their reach and influence?

  Require that literature taught be using diverse writers as possible.  Students engage more readily when they see themselves in what they read.  And encourage school districts to use local presses.

  Our local school district is working on improving 3rd grade reading scores, what are some strategies you would suggest to accomplish that goal?

  Bring excitement and joy to the teaching of reading and lighten up on expectations of short term progress.  Kids at Waldrof schools usually learn to read in later grades and do great.  Not all kids decode text at the same rate, but inculcating a passion for story has the best potential to make a nonreader become an enthusiastic reader. 

  Big testing is about money and crushing teachers.   We need to respect teachers and pay them and create the environment to do the best instruction.

  What is the role of collaboration in education and in idealcircumstances how would it be manifested?

  To do the best work you need to be open to change.  If teachers want to try to collaborate that’s great.  If they don’t, that’s fine.  The cookie cutter approach is the enemy.  Kids and teachers are unique in how they instruct and how they learn.  Variety is necessary in nature…and it’s necessary in education.

  You have a small child so how have you incorporated reading and literacy into her life?What are some suggestions you have for parents to provide solid early childhood education for their kids?

  Our house is filled with books. Houses filled with books have children who want to read.  If a parent values literacy chances are so will the children.

  Parents need to show that they value education so that the child values it too.  To some degree we need to educate parents on how to be better educational parents/educational partners.

  What was the process like to publish your first book? How did you overcome those challenges?

  I had a great literary education, studying with Marvin Mudrick, Robyn Bell, and Max Schott and the College of Creative Studies at UCSB and then with Oakley Hall at the MFA program at UC Irvine.  I sold my first book, Understand This, and that was my thesis in the MFA program to William Morrow.

  Within the realm of writing, what other genres or artistic endeavors are you interested in accomplishing?

  I would like to have my books adapted for film. 

  Also, I’ve started Literature for Life, a literary magazine that reflects the diversity of California with wonderful well-known writers like Jonathan Gold and Janet Fitch, and great work from unknown writers.  We create curriculum for all the work and now have the pleasure of seeing it used in the classroom.  

  My wife, Jinghuan Liu Tervalon and I have started a press, Locavore Lit.LA and with Amok books will commence publishing in the next year.

  What is the role of the writer with respect to social justice issues?  As a chronicler of events, or as an activist?

  My books I write as I read them.  I don’t control them as much as they control me and write themselves.  I do write enjoy writing political essays for various publications; LA Times, LA Weekly,…

  What are you reading right now?

  A great novel: “The Sympathizer”, Novel by Viet Thanh Nguyen.

• Luis Ituarte

  

  Luis Ituarte models one of his pieces of art at “La Linea Curva”.

   

  citizen artist, statesman, catalyst, community organizer, culture identifier, humorist, basketball player

  Luis Ituarte has had a storied career, one that has avoided traditional labels and one that is rooted in the notion that art should always have some sort of social benefit or impact.  He has been a leader in cross-cultural art projects that emphasize collaboration and cooperation, rather than competition.  And he professes that the real impact of the artistic experience is in the context in which it is created, rather than the object or the outcome.  Luis continues to explore the range of artistic experiences with a variety of upcoming exciting interactive projects which you will learn about in this article.

  Below you will find his thoughts about trying to survive as an artist to the value of international art projects to using art to “do good”.  As a neighbor and a collaborator I have had the opportunity to cross paths with Luis regularly in recent months, so here are some of the highlights from those informative and inspiring conversations:

  From your experience what is the value of art to society?

  Art is a product of society and society projects itself through the arts.

  Can you tell the story of playing basketball as a kid and how that experience shaped your world view?

  In 1957 when I started middle school in Tijuana, Mexico, I was 14 years old. The most exciting thing for me about starting what you call junior high was playing basketball, the thing was that you have to be in a team by the first month of classes, (September). I was so eager to play and I asked over and over to be accepted into one team. Can I play? Can I play? I guess, that because I was so eager no one paid attention to me and I ended up not being in a team at the end of the month. I guess that if I had just sat and observed someone would ask, “Do you want to play with us?” But, I was so persistent in asking that nobody paid serious attention to me.

  I panicked, so I concocted an idea. The school was out of town and a bus would pick us up at downtown, “C” street in front of a jewelry store, “Joyeria Inda” that also sold sporting goods. The owner, Mr. Inda, was a friend of my father. Mr. Inda’s store was the only one at the time that sold Wilson leather basketballs. I talked to him about buying one on installments and I paid $5 as a down payment. Mr. Inda, because he knew my family, suggested that I could take the ball with me. I said no. Because my plan was for him to put the ball in the window with a note that said “Reserved for Luis Ituarte.” He agreed. I talked to Mr. Inda on a Sunday and on Monday (first day of October) the ball with the sign was in the window, and by that Friday I had seven of the best players who wanted me to organize a team because we would be the only ones with a leather basketball. So I did.

  We called our team “Pinguinos” (Penguins) because we were short, (some of us were not yet fully developed because of our age). I got sponsors to pay for T-shirts, organized a “Tardeada” (an afternoon dance), and got a trainer for the team (one of the top players from 3rd grade). Two weeks later we had our leather basketball and in March of the next year we played the finals against a team from the 3rd grade. We lost, but that was the first time that a team from 1st grade ever got to the finals. This experience marked me for the rest of my life. If you become familiar with my life story, you will find this pattern over and over again, my wanting to do something for me and end up doing something for others.

  What is ‘alley art’ and how will it work in your neighborhood?

  Alley Art is a gathering of Artists from Pasadena and Altadena who will meet at a “tailgate fashion” picnic to create and develop relationships while doing outdoor artwork, poetry readings and/or hangout doing diverse social activities in an environment supported mainly for the purpose of artists to relate and get to know each other and in this way create an urban public venue to strengthen enduring relationships and join a community of artists in search of an artistic identity for the region.

  These events will be at Banbury Alley, (200 block, West Mountain Street between W. Mountain St. and Lincoln Ave. Pasadena CA. 91103), with the support of the Flintridge Center where I am the artist-in-residence. The prelude of this event will be on August 21, 2016 and will continue once a month in May, June, July and August 2017 (the third Sunday of the month).

  Describe a ‘poly painting’ and its structure. What was the genesis of that project? How many have you created and where are they?

  The purpose of Poly Painting is to create a visual history of a moment of a relationship.

  Under the auspices of COFAC, I produced and directed groups of up to eight people each to create 6 x 20 ft. sized paintings (or murals) within the context of a happening in which food and music are part of the environment.

  The experience that participants have is one of getting to know each other in the process of creating, in one day, something that they don’t normally do. This experience will produce a common history and the painting (mural) is a testimony and remembrance of that time. This experience validates my statement that “in art the value is in the context, not in the object.”

  You participated in an international art project called ‘el túnel’ which featured an art museum on the border between San Diego and Tijuana. Please describe the impetus for the project and how it manifested itself. What has been its accomplishments? And what is its current status?

  The building where La Casa del Túnel: Art Center is located was built in the 1950’s by Gabriel Moreno Lozano, a lawyer, Renaissance man and legendary figure of the City of Tijuana. In later years, a tenant of the building, without knowledge of the owner, dug a tunnel (approximately 150 ft.) under the house, across to a parking lot in the USA. and engaged in illegal activities. On July 8, 2004, the tunnel was discovered and most of the parties responsible were caught, arrested and imprisoned. Today, after three years of litigation, the owners, heir of Moreno Lozano, liberated the building and decided to provide a space for COFAC for the establishment of an international center for the arts. For more information www.cofac101.org/casa.htm As a result of an Annenberg Foundation grant to COFAC, we were able to retrofit the building (almost reconstructed) and finally, in 2008, we had the “official” opening.

  Adolfo Nodal, Luis Ituarte and Gerda Govine Ituarte, co-founded “La Casa del Túnel: Art Center” which opened in 2008 in La Colonia Federal. The impetus was inspired by the following:

  1. In 1996, “Bajo El Mismo Sol” (under the same sun) was born (by Adolfo Nodal, former General Manager of the Cultural Affairs Department of Los Angeles) and Luis Ituarte, Coordinator of International Affairs in the Department. I also commuted weekly between Los Angeles and Tijuana. The spirit of this program was not to compete with artists or putting the two cultures in competition, rather to emphasize relationships between artists and administrators.

  2. In 2003, Consejo Fronterizo de Arte y Cultura, (COFAC) a 501c(3) the brain child of Luis, was formed in Los Angeles and subsequently became an Asociacion Civil (Mexican non-profit) in 2009 in Tijuana. Prior to this time, Luis met over a three-year period (1995-1998) with a group of artists, cultural promoters, journalist, and filmmakers from Tijuana B.C., Mexico and Los Angeles. Prior to COFAC’s non-profit status as a 501 (c) 3 on July 28, 2003, numerous activities were organized. From 1996-2003 all of the activities of COFAC was presented under the umbrella of a project named “Bajo el Mismo Sol,” which was sponsored by the Cultural Affairs Department of the City of Los Angeles and the Instituto Municipal de Arte y Cultura de Tijuana. Under the umbrella of this project more than 50 activities were presented in both cities, for example, “Poetas Por Pintores” (Poets for Painters), a two-year exchange program in which poets in Tijuana were performing in Los Angeles and painters from Los Angeles were exhibiting in Tijuana in 1996. The next year, 1997 painters from Tijuana were exhibiting in Los Angeles and poets from Los Angeles were performing in Tijuana.

  3. “La Casa del Túnel: Art Center” was opened under our leadership from 2008-2011 with an international (Los Angeles and San Diego County and Tijuana) board chaired by Al Nodal as Gerda and I lived in both Pasadena and Tijuana. La Casa received funding from the U.S. and Mexico. In 2012, the operation of the Center was turned over to The World Beat Center, a non-profit organization in San Diego. However, we continue to be involved in the arts and culture scene of the “mega metropolis” of Los Angeles County, San Diego County and Tijuana.
  The above is a brief snapshot. “La Casa del Túnel: Art Center” is an international bridge that garnered world-wide coverage and support. Our fingerprints are on the soul of the arts and culture scene in Tijuana and we continue to maintain our friendships and relationships.
  COFAC, a 501( 3 ) art and culture non-profit has had many events sponsored by the City of Pasadena Cultural Affairs Division, “Cool Succulent Mural,” ArtNight, bringing La Ballena de Jonas, a band from Tijuana to Pasadena, and two other performance groups during ArtNight. As of July 2016, COFAC is the sponsor of “Poetry Within Reach” (Gerda is Producer/MC)) as a result of an NEA grant to the City of Pasadena Cultural Affairs and partner Side Street Projects. This four-week event recognizes nine published Pasadena poets, known as the Pasadena Rose Poets. In addition, COFAC, has organized another group of poets to read at Lit Crawl LA NoHo event on October 26, 2016. We continue our amazing and interesting journey as we stay involved and give back without reservation to bridge borders and stay on course finding and creating art and cultural involvement outside lines of demarcation. Among many things, Luis is a Citizen Artist and Gerda is a Citizen Poet.

  You have worked with artists all over the world, particularly in Latin America.  What was the recent event you attended in Cuba and what were it’s the outcomes?  With improvements in relations between these countries what new opportunities are there for collaboration between Cuban and U.S. artists?

  In 2014 I assembled a group of artist friends (one from U.S., one from Canada and one from Mexico) who were experimenting with “noise” (sound improvisations) with the intent of producing memories that interact with the audience. We called the group Noema. (no-poem). The focus of this group was the promotion, documentation and publication of “sound” pieces. This experimental group concentrated on impacting the audience in creating memories provoked by the sounds they hear. We ask the audience to share their experience at the end of the performance.

  We were recommended to and subsequently invited by the organizing committee of the Cuban Biennale to perform during the event in 2013. For more information go to: www.noema.mx. In my experience, and with the new developments of curing the relationship between the U.S. and Cuba, the opportunities for artists in the United States are great because due to the restrictions of the embargo and the scarcity of art materials. Cuban artists are amazing in using what is available, namely, found objects or producing their own art materials basic resources. This is inspiring for us who are accustomed to going to the art store and getting what we need.

   

  

  Artist in Residence

   

  For centuries the artist’s challenge has been how to create art and simultaneously feed him/herself. How have you managed to stay prolific over the years and pay your bills?

  Basically there are two kinds of artists, the ones who are born artists and the ones who make themselves artists. I think I belong to the second category and somehow I have been able to get myself employment in the cultural arena, which has given me the opportunity to sustain myself as an artist. Art is an activity that requires investment of time and money. And, depending sometimes, some artists have more ability to nourish their art than others. Somehow that is reflected in the end product. Basically, I have been just lucky.

  Where do you find inspiration for your artistic endeavors?

  In the relationships that I have with people and the environment that surrounds me and my obsession to create some good.

  What types of public art projects have you been involved with over the years and what are you most proud of?

  I have been involved in many public art projects since 1972 in three countries (Mexico, Canada and U.S. The following are the most important public art events in which I have been involved in this region, Pasadena, Los Angeles, San Diego and Tijuana).

  • Mural, “Todos Los Ninos Son Tuyos (All the Children are Yours), East Los Angeles, CA, 1991.
  • Team member, (semi-finalist), Martin Luther King Memorial Project, Cal Trans/City of San Diego Arts and Culture Commission, San Diego, California, 2006.
  • “Poly Painting” Murals, 1.- Boys and Girls Club of Pasadena, 2.- Scott McKenzie Child Care Center, 3.- Flintridge Foundation, 4.- Art Center College of Design, 5.- Art Walk Pasadena and Artist Group 2007-2009.
  • Created the non profit Consejo Fronterizo de Arte y Cultura (COFAC)/Border Council of Arts and Culture, Pasadena, CA, 2003
  • “Cool Succulents” Mural Project, Individual Artist Grant, City of Pasadena Cultural Affairs Department, (Digital mural on weather resistant plastic installed on exterior wall of Pasadena Fish Market Restaurant) Orange Grove Boulevard, Pasadena, California, 2009.
  • Project Director, Casas Arte Home Intervention Project, National Association of Latino Arts and Culture, Tijuana, Mexico and Highland Park, CA, 2009-2011.
  • Co-participant, Performing Public Space, Economy of Gesture (human directional spinning) “Lo Que Resiste Persiste,” Downtown Los Angeles, CA, 2010.
  • Curator/Producer, Community Beautification Project: 32 barrels of fruit trees distributed to community in Colonia Federal, Tijuana, Mexico in collaboration with the Fallen Fruit Group, Los Angeles, CA. 2009.                                                                                         

  I am most proud of the work done in Tijuana, as Co-founder, Developer and Curator of La Casa del Túnel: Art Center right on the border between Mexico and San Diego.

  It appears as though you are as creative as ever with multiple projects being conjured up in your mind simultaneously.  So what ideas do you have for upcoming programs; projects, exhibits, and
  collaborations?

  I am very excited about a project called “Alley Art.” (See answer above).

  Also, I am supporting my poet wife, Gerda Govine Ituarte’s endeavors in helping to publish her books, create the art work vignettes, travel with her here and overseas, and, presently, with her new amazing project, “Poetry Within Reach” with the Pasadena Rose Poets comprised of Pasadena-based poets with an emphasis on civic participation. I am planning a conference of artist couples from Tijuana, San Diego and Los Angeles (Pasadena) sharing their experiences about the creative process and how they manage to survive.

  This fall I begin a three-month residency, September through November, in Cleveland sponsored by the Cleveland Foundation/Creative Fusion Residencies to participate in the “Ingenuity Fest” September 23-25 in Saint Clair Superior, create a Poly Painting and help organize a “El Dia de Los Muertos” Festival (Day of the Dead).

  And this is my second year as the Artist-in-Residency at the Flintridge Center.

  Generally we perceive artists to be solo practitioners locked away in an isolated studio painstakingly creating art hour by hour alone. However, much of your art has been developed in a collaborative space where others are contributing to the creative process with you. What is it about working with others that is so powerful and fulfilling to you?

  As much as I love spending some time alone in my studio, I am always concocting ways to come out of it. I believe it is part of my nature and that has allowed other people to perceive me as a “Citizen Artist,” of which I am very proud because that allows me to create a dimension between the abstraction of my painting and the reality of life. I collaborate with artisans and other artists to fulfill that inter-dimension that makes me somewhat unique.

  Do you have any suggestions for other artists, especially young ones, on how to practice your art and not compromise your values?

  You could be an artist by not compromising your values. This means that you have to be genuine in what you do and try to reflect yourself in what you do in your art. I don’t like to patronize young artists by telling them what to do. Art is not a profession; it is a way of life. You should do what you have to do to survive in that life.

   

• Mark Rice

  

  Surrounded by sugar cane at the Altadena Community Garden.

   

  master gardener, educator, nature’s advocate, community organizer, visionary

  Mark Rice has been planting seeds in and around Pasadena for more than a decade.  His favorite activity is to teach kindergarteners the fun of playing with worms, sticking their hands in mulch, and seeing how interconnected life is.  If he had his way, every school and home would have a learning garden that functioned as a place to grow plants, food and more connected citizens.

  Here is our recent conversation which features art in gardening, climate change, Pasadena Learning Gardens, collaboration and the future of the planet:

  What is the mission of Pasadena Learning Gardens? What have been some of its most valuable accomplishments?

  The mission was originally to help communities reconnect to nature and our food, and evolved first to building resilient communities and later expanded to helping us reconnect to our communities, our selves, our place, and our time.

  Over the years we’ve supported the birth and rebirth of multiple learning gardens and have taught hundreds of adults and children to grow food and understand why “real” food is healthier than “franken” food. We’ve also facilitated a number of community dialogs looking for ways to collaborate to identify common goals and use local expertise to provide solutions that profit driven systems are not delivering.

  Tragically, we found that our culture’s scarcity thinking impedes collaboration and this needs to be changed. This is made more painful in light of what we’ve learned in the garden, from bees, to microorganisms, to whole systems that make up nature – nature models collaboration in ways we must strive to understand let alone emulate.

  How would you describe the trend in recent years for the development of urban community gardens? What has been the driver for their creation?

  Historically necessity has been a big driver. Food access, food security, financial concerns have all been significant drivers. Ironically / wonderfully, this has led to the building of community. In the UC Master Gardener Victory Garden Classes we offered, I came to realize that it was the community that emerged; with its shared sense of meaning and identity, empowerment, and a re-connection to natural systems that ended up being the greatest benefit we offered. The same is the case in many community and school gardens, especially those that are largely community supported.

  In addition, many families have converted their front yards to growing edibles, how much land does a family need to grow a significant amount of food at home? Can you live off the land in the city?

  It’s possible to get a lot of food from four beds that are 3×6 feet. Four, because to maintain production it’s important to rotate crops and this makes things easier. A number of people do harvest a significant amount of food off their land in the city but it is a full time job. I’ve found it is best to grow the things that you love and are more difficult to attain (because of price or availability). Again, more than food, it is an issue of empowerment. 


  You have mentioned many times the joy you receive while working with children in elementary schools. What is it about those moments that are so extraordinary?

  Kids are amazing. I find that working with kids in a garden reveals an enthusiasm and openness that brings me significant hope. Our curriculum is based on microorganisms in the soil and in our gut and the profound level of interconnectedness this demonstrates.

  If we can change the trajectory of our youth towards informed consumption and a little humility when it comes to nature, the benefits over that child’s life to the child and society are significant. Kindergartners in particular have proven to be capable of great focus and presence, something that I’ve found much less of in our city run high schools.

  Nature certainly has suffered due to human impact, how might we better connect city dwellers to the environment to understand more intimately the outcomes of our actions?

  This gets right to the heart of the issue as I see it. I think we do understand the outcomes of our behavior and work extremely hard at avoiding this truth and rationalizing our behaviors.

  We are in the midst of the 6th great extinction where for the first time in history life is being exterminated by a group that is part of life. I witness diabetic moms sneaking candy bars, school nutrition “experts” bringing fried food to share with overweight parents, troubled kids suffering from obesity being “rewarded” with candy and sodas, and people who survive this life by indulging in outrageous consumption – I think the future will judge us harshly.

  And I deeply appreciate how ingrained this behavior is, in me and the world. Overwhelmed? Not sure what to do? Lot’s of us in that club, but we need a new one.

  How has climate change impacted gardeners?

  We pick the plants and can replace even trees so gardens can adjust. However, for instance, last year most people had terrible pest problems with their tomatoes due to the high temperatures and this year there will be almost no apples grown in our neck of the woods due to last winter’s heat.

  For nature there is a bigger issue as it can’t be managed as closely. For example, we have lost millions of trees in California due to the drought, this has also caused all pines to under produce sap which makes them much more vulnerable to fire and pests, so we really can’t even calculate the size of the loss.

  Where do you go to find a place of rejuvenation?

  Do you have processes that you use to re-center and re-energize yourself?

I find solace in music, art, meditation and community. In each case I look to experience the connection that I find at the root of all life. I used to be a very enthusiastic meditator looking to attain some level of enlightenment.

  Now, while I still find meditation of great value in cultivating a more calm consciousness and giving me more focus, I have also seen that we are aware of this connection (the enlightenment that I pursued) and my goal now is to stop working so hard to not see it. I love a great meal with friends, but curiously am finding that I need to look into the darkness – in my personal and collective life – with equanimity and compassion if I’m to really re-center myself.

  Would you describe yourself as an artist? If so how does artistry manifest itself in community gardening?

  For a number of years I was very involved in facilitating small groups, one of which was The Artist’s Way. Working through the materials it became clear that nurturing and adjusting the flow of a group’s interests and concerns was something that I loved and was my creative outlet. I now believe that we are all called to honestly communicate what we are experiencing and I’ve challenged myself to paint, draw, write and play more music.



  Who has influenced your thinking about working with nature and why?

  I grew up in Northern California and have spent a lot of time in the Sierra’s between Yosemite and Lake Tahoe, and frankly nature has taught me the most about nature. I have always admired John Muir and his finding that by going out he was going in. I love Michael Pollan’s work and used the video of Botany of Desire with many groups. I studied Environmental Ethics at UC Santa Cruz as an undergrad and think highly of Thomas and Wendel Berry, Annie Dillard, and more recently I love what Prince Charles has written, in particular his small book “The Future of Food”.

  For someone who generally kills plants instead of causing them to thrive, what suggestions do you have for a brown thumbed person to grow at least some of my food?

  It’s really all about being a little ahead of the curve. Putting the right plant in the right spot at the right time makes life much easier. There is no way to cram for a garden, other than perhaps buying plants instead of growing from seeds, though the later is much more cost effective (especially as you can save seed) and provides access to many more varieties.

  Now if you seem to have the feared black thumb of death, I’d recommend starting small, some herbs and a couple things you really like. And document what you do (when and where you planted the crop, what variety you grew, and what problems arose. Then you can get much more helpful assistance from a local nursery or the Master Gardener helpline.

  The stress of our intense summers also necessitates more vigilance and perhaps growing some kale over the winter will be more satisfying. Also, I have a “gardening” tab on my website PasadenaLearningGardens.org with lots of Southern California specific gardening tips and resources.

  How do we as humans figure out how to work together effectively in small groups without killing each other in order to solve the complex problems that we face these days?

  Another hat I wear is the Garden Coordinator for Hathaway Sycamores where we work with emotionally challenged youth. These kids have helped me see that our primary hope is to cultivate a more connected existence and this comes from owning and releasing a lot of painful memories. Time in nature, time in silence, time in honest community, all seem to help us cultivate a greater level of emotional intelligence and focus, these being what I see as a priori skills that seem sorely missing in our educational systems.

  I also have been working with the Ojai Foundation and their “Council” process where we integrate traditional indigenous processes with an awareness of our current understanding of psychology and neuroscience.

  This has been the big eye opener for me. Plants in nature, along with organisms in the soil and above it, collaborate with an efficacy that shames many human organizations I’ve witnessed, and for me it highlights the impediments presented by our egos and self image.

  How do you feel today about the future of the planet?

  I often claim to be a long term optimist and believe / hope there is truth in the cliché that it is darkest before the dawn, because frankly it’s pretty dark. It is a tragedy what is going on with many of the human constructed systems we have in place. Education, food production, transportation, healthcare and big pharm, even spiritual development, etc. etc.

  The hubris that we know better than nature, with the primary driver being profit, needs to be more fully examined. I see kids on the fast track to diabetes drinking multiple sodas, I see people driving personal trucks to go to the market or church, I see food that no one even a hundred years ago could imagine, and I think of the environmental degradation and human oppression my comfort relies on.

  That said, while I don’t see the dawn I do see an amazing array of people who care deeply and are putting their backs and their dollars into finding new solutions. I tell the kids that every time they have something to eat they are voting, for their health, for the environment’s health, and for balance in our economy. I really believe that the solution is deeply linked to honestly connecting to our communities, our environment, our society and ourselves.

  

  Surrounded by grapefruit in Altadena.

• Mary Donnelly Crocker

  

  Young and Healthy’s director Mary Donnelly Crocker fights for health care for kids in our community.

   

  defender of youth, health care expert, visionary leader, crisis counselor, mom x 3 + 1

  MDC as she is known by many in the community has been at the helm of Y&H for nearly 26 years and is thrilled about the opportunity to open up a new office which will allow the organization to better serve the community.  These types of fresh, positive challenges motivate her to stay excited about the work after all these years.  And, of course, who wouldn’t want to help provide quality health care for children who are un- or under-insured?

  Below you will find her thoughts about issues ranging from nonprofits in our city to health care to leadership from a recent interview I had with her:

  Normally as an elementary school student one isn’t thinking about growing up one day to be executive director of a youth serving health care organization, so how did you end up at Young and Healthy?

  When I was a kid, my catholic school always had these visiting missionary nuns come and talk to us. They were doing work with the poor in Peru—so strange I can still even remember the town they worked in. These nuns were pretty adventurous and pretty mesmerizing for a kid in a plaid skirt. As a kid—I wanted to be a missionary—-but not the preachy-kind—the cool nun kind who dug latrines and taught kids how to read. Maybe I got my wish (not the latrine digging part—never dreamt about that)—I just stayed at home to do it…..and I never even been to Peru.

  I think my dad was a big influence too—he was a staunch catholic and although our theology differed quite a bit—he actually acted on what were called the “Corporal Works of Mercy”… he consisted modeled these things in a thousand little ways:

  To feed the hungry.
  To give drink to the thirsty.
  To clothe the naked.
  To shelter the homeless.
  To visit the sick.
  To visit the imprisoned.
  To bury the dead.

  But— my career started off teaching preschoolers and the doing some of the hardest work on the planet. I was a Certified Child Life Specialist at Huntington Hospital for about ten years. It was there that I really learned about kids and health care. I was on the psycho-social team there and helped kids and families cope with everything from a simple set of stitches to death. I never knew what my day would be—but I did feel very ALIVE working with families at the worst possible moment of their lives. It was exhausting, exciting, heartbreaking , thrilling and fun –all at the same time. It turned out that I got “pretty good” at dealing with death and dying…..but that also takes its toll.

  Just when I could feel the burn out coming on at the Hospital—Young & Healthy was being birthed. At the first interview—I wasn’t even nervous—I was just checking it out, after all. When I was asked back for a second interview—I was a wreck—because then…I REALLY, REALLY wanted the job…Here I am 26 years later.

  What is the state of nonprofits in our community today?

  Nonprofit work is not for sissies. This is hard work that often, to the outside world looks on as an EASY or a FLUFF job. I have never worked so hard.☺ I think nonprofits are always precarious…and the “halo effect” that nonprofits once had—is long gone. Nonprofits are scrutinized, and evaluated in some similar ways to the for-profit world—but we will never have the same kind of resources available to us as they do.

  Recently there has been a spate of closures or reductions in scope and staff due to funding issues. Are those due to an overall downturn in the economy, or do we just have too many nonprofits in this city?

  That’s a really tough question—each one of those closures had a secret backstory that no one outside the staff or board really knew.  It could have been a simple lack of competent leadership, or a board that couldn’t muster their fund-raising selves, a change in a major funding source—or just bad luck.

  During the worst of the recession some nonprofits folded, some made cuts so they would close and some held on to their old ways but couldn’t survive even when the economy improved.

  Pasadena DOES have a lot of nonprofits—too many? Who knows—it is such a subjective question I am not sure any amount of research could answer that.

  Obviously fundraising is a primary task of any executive director, what have you done to make that job fun and effective?

  You may have noticed—I am a little goofy and kinda homespun.  I am happy that I have found a place that appreciates some of the ways I do things (at least I think they do—ha). So baking bread for a donor I know loves banana bread—or taking cookies to another—all make sense to me in how I steward donors.  I am pretty comfortable in my own skin, at this point of my life and it feels natural and easy to relate to donors in personal ways….I try really hard to connect—and find out what is important to them—not just what is important to Young & Healthy.  

  So while I always talk about Y&H in my conversations with donors—I might also talk about the sierras, dogs, grandkids, their latest surgery. Getting to know people makes it fun and interesting for me.

  Raising money is something I feel like I am ALWAYS, ALWAYS trying to better…I read a lot—got to workshops…try out new techniques…I never take fundraising for granted—it is hard and fragile at the same time—needs constant attention.

  In nonprofits leadership is important for stability, name recognition, maintaining clear vision, so is there a formula or template for both recognizing when leadership should be changed and for how that process should be accomplished?

  Why do you ask such tough questions my friend?

  When leadership is changed is really a function of the board—but I think as long as the nonprofit leader keeps it fresh—new ideas, energy , mission keeping…moving the organization in the direction agreed upon by the board and staff—then it’s all good…it could be 5 years or 30 years—so individual.

  I actually have done quite a bit of research on succession planning—Y&H has a game plan for which covers both the “hit by a bus” scenario and a planned retirement.

  I think one of the most difficult questions is how can E.D. avoid burn out—that could seriously affect their ability to successfully lead.

  Should health care be considered a right in this country? If so what would that look like? If not what structure of health care coverage would enable our society to be as healthy as possible?

  Probably not a surprise—I am a big fan of health care for everyone—maybe that is a right. While the ACA is far from perfect—I think it has many elements of making it health care MORE accessible to all. BUT—having health insurance does not guarantee that you can actually see a doctor—but it does help. It a perfect world—accessing health care would be far easier for people to understand—lack of understanding is one of the biggest barriers to care.

  How has the Affordable Care Act impacted the work of Young and Healthy? How have you adapted to the changing landscape in medical insurance coverage?

  The ACA is a game changer—however it does not change our basic mission—we want people to have ACCESS to care….the new programs available thru the ACA is one more tool that people have —for a better chance of accessing care.

  That said—it has changed our day to day work. We still do what we have always done—link low-income , underserved kids with volunteer doctors…but in addition, we are now assessing every single child and family to see if there is a fit for insurance…if there is—we facilitate their enrollment.

  This meant that our staff and board had to decide to make this shift, look for money, become certified, partner with other agencies, enroll, trouble shoot, evaluate and then start all over the next year.

  Understanding the ACA…and understanding it in a way that I can teach it to others—has been one of the hardest things I have ever done. Luckily, we have other staff who know it COLD—and can teach anyone from an attorney to an non-English speaker who cannot read in any language—what the ACA means to their daily life. The first year of the ACA was downright nuts—but now—it is calmer and easier.

  Please explain how you have managed to convince over 100 local physicians, dentists and other medical care professionals to donate their services? What inspires them to give back in this way?

  We actually have 350 professional volunteers and over 213 community volunteers—cool huh?

  I don’t think it is all that hard—you just have to tell the story well—there are vulnerable kids right under our noses—and YOU can help. Most people cannot turn away from a sick or hurt child—we just need to make it easy for them to say yes.  Y&H simply puts a structure around caring and action. One doctor says, we took the “hassle factor” away from volunteering. We try and make it easy for doctors to say yes.

  We also go out of our way—BIG TIME—to make sure our volunteers feel appreciated. Personal calls from the staff are the norm—adorable written thank you notes from the kids and special recognition at Thanksgiving and during national volunteer week are all steps we take to demonstrate our gratitude.

  But REALLY, REALLY—I think the doctors say yes to kids because they are genuinely good & caring people—we are just able to capture it.

  How does collaboration factor into your work? Obviously you wouldn’t be able to serve your constituents without the support of doctors, but who else are you collaborating with and what strategies do you use to keep those relationships healthy?

  Again—I think in some was part of it is simple—I like people, find them smart and interesting and believe we can do more together than apart.  I think there is both more work than we will all ever get to and enough power to share. Sharing power is one of the hallmarks of great communication and collaboration…and when it works it REALLY works. I try to “play nice in the sandbox” by listening, sharing ideas, giving credit away.

  At last count we collaborated with 58 different places in our community—but some of the institutional partners include: PUSD, PASADENA PUBLIC HEALTH, HMH, FULLER, PCC, churches, and lots of other NPO’s.

  Of course people respond to people, so what is your secret to attracting talented and caring staff members and then keeping them for years on staff?

  I like working with people who are smarter than me—I LOOK for those people. I try to appreciate them for what they bring to Y&H that I do not—maybe it is the ability to correctly forecast our financial situation or understand the thousands of rules of Medi-Cal. Each staff person and board member brings unique gifts to the organization. I feel it my job to help them discover their gifts—use them well and then NOTICE.

  I hope that they know that I view them as individuals with hopes, dreams and challenges—some about work—and some outside of work. Everything is connected and whenever it is feasible, I hope I can offer support for both.

  I hope that the staff thinks that I listen to them, and that I view mistakes as learning opportunities and that each of their contributions makes the organization whole.
  Oh—and we try to have as much fun as possible along the way. If we are not laughing at lunch together—it’s a bad day.

  What was one of your greatest challenges as an ED and how did you respond to it?

  Hands down the most recent recession. The funding faucet turned off, almost overnight—we had to make incredibly difficult financial decisions. I went to dozens of “pop up” workshops on how to handle everything from finances to communication, to staffing.

  Ultimately we cut our budget by one-third and laid off three really competent staff members.  Although I am aware it was awful for them—it was also the worst thing I have ever had to do. Although I intellectually understood we had to do it to survive—it was heartbreaking for me to know what pain I was delivering to three people who were great at their jobs.  I hated every moment.

  

  Because Nice Matters!

  What motivates you to stay in this position after over 20 years?

  Need and change. Every time I hear about one of the families we have helped—and what they have endured in their private struggles with poverty—and then how we helped–I get reenergized….to know that we provide practical help , in the most nurturing ways and provide a tiny bit of hope—well, that’s hard to beat.

  Y&H changes all the time—we bend, we flex, and we stretch to newly discovered community needs and gaps in service. And for me—that it a good thing—I can get bored when things are too easy—new challenges keep me awake and alert.

  What do you love about the job?

  That we can be creative in how we solve problems.

  That we ASSUME that there is a solution.

  That I kind of get to “travel” in many worlds in my own community. I have been in the living rooms of the poorest people in our community—seeing firsthand the horrid effects of poverty on families….AND I have been in the living rooms of some of the wealthiest of our community.  

  My job allows me to make connections between those worlds—and affecting change and generosity. I get to see the worst and the best of our community—sometimes in the same moment…and that is pretty cool.

• Robert Gorski

  

  Robert Gorski at the Pasadena Chalk Festival ’15

   

  advocate, protector, guide, researcher, test pilot

  The Americans with Disabilities Act (ADA) recently celebrated its 25th anniversary on July 26.  Robert Gorski has worked to ensure that the intent of this legislation is implemented since its inception.  He was hired just prior to the passage of the ADA by the City of Pasadena to be its first accessibility coordinator in 1989 and has served in that position ever since.

  While Pasadena was becoming one of the more accessible cities in the country, the City was recognized in 2005 by the National Council on Disability for its accomplishments.  Robert’s vision for developing better access for persons with disabilities has benefitted all of us through the implementation of curb ramps, accessible parking spaces, improved crosswalk controls, assistive listening systems, equal opportunity for employment, and many other advances that also work to improve our society’s attitude towards persons with disabilities.

  Pasadena is extremely fortunate to have a person of his commitment and ability in this position. 

  Here are a few of his ideas for furthering the work of the ADA:

  What recent accomplishments are you most proud of and why? 

  Near completion of the 2010-2015 transition plan for addressing access issues in City facilities.

  Installing 3 more Assistive Listening System in City facilities and having funds approved for 3 more Systems at Villa Parke Center.

  Year-long-worth of generally small-scale activities that celebrate ADA25 and educate the community about the ADA, ranging from carrying an ADA25 banner in the Black History Parade to addressing 1,500 at a Levitt Pavilion music concert.  

  The largest activity was repleatedly displaying the ADA25 emblem on the Rose Bowl’s video boards before a concert attended by over 50,000.

   

  What are you doing in your work that is different from 10 years ago? 

  Less time and energy on architectural barriers in City facilities

  More time and energy devoted to insuring programs and services are accessible.

   

  What is the state of persons with disabilities and how is this different from the past? 

  Employment is one area where little if any progress has been made.

  Funding for community programs and government benefits programs that support independent living is considerable less nowadays.

  People with disabilities have more personal freedom and greater ability to go where they want and participate in the life of their communities.

   

  What else can be done to better serve persons with disabilities? 

  The human services community and governments at all levels must start planning for an increasing senior population that will be increasingly disabled, with impaired hearing being a very common disability.

  A new service is needed to help people with disabilities with the physical effort of searching for accessible and affordable housing. Many people with disabilities lack the energy and personal transportation for effective searching. For those that do, searching is often an arduous task.

   

  What would you like to accomplish prior to retirement?  

  Putting together a 2016-2020 Compliance Plan (successor to the about to be completed 5-year transition plan) that will address issues missed in the transition plan and new requirements, for example, for accessible curbside parking and accessible pedestrian crosswalk signals.

  Conduct a round of small-group training seminars for City staff on accessible meetings and public events.

   

  Looking back is there anything you would have done differently?  If so, please describe why and how you would change that effort?

  Volunteered to do an accessibility assessment of the entire Rose Parade that might have prevented a recent costly accessibility complaint.

  Advocated harder in 1991 that a re-landscaping project for Central Library should include an accessible entrance to the building’s Walnut Street entrance.

   

  

  Chatting with Tom Coston at this year’s Chalk Festival.

   

Recent Entries

• Jervey Tervalon

  writer, professor, literary sage, cultural recorder, working class hero, father As the literary director and founder of both Literature for Life and LitFest Pasadena, Jervey’s vision is to make Pasadena a city that has a vibrant literary culture that serves our public schools and our working and middle class families. With these organizations he is […]

• Luis Ituarte

    citizen artist, statesman, catalyst, community organizer, culture identifier, humorist, basketball player Luis Ituarte has had a storied career, one that has avoided traditional labels and one that is rooted in the notion that art should always have some sort of social benefit or impact.  He has been a leader in cross-cultural art projects that […]

• Mark Rice

• Mary Donnelly Crocker

• Robert Gorski

• Ann Erdman

• All Articles