Ontario Museum Exhibitions Celebrate Printmaking as Voice for Community Issues

Also published on 2 January 2025 on Hey SoCal

Briar Rosa’s “Queen III” in the “Centered in Ink Exhibition.” | Photo courtesy of the Ontario Museum of History & Art

Ontario Museum of History & Art (OMHA) presents two exhibitions that portray community issues and cultural stories. “Mission Gráfica: Reflecting a Community in Print” and “Centered in Ink: Printmaking in the Inland Empire” will open concurrently on Thursday, January 9, and will run through March 9, 2025.

A community reception will be held on Saturday, January 11, from 2 to 4 p.m., with light refreshments and a chance to meet the artists from Centered in Ink. Additionally, OMHA will host an artist talk with featured artists from the exhibitions on Saturday, February 1, from 2 to 3 p.m.

Mission Gráfica poster / Photo courtesy of Ontario Museum of History & Art

Mission Gráfica: Reflecting a Community in Print” is a touring exhibition developed in partnership with the San Francisco Public Library that features dozens of screenprints from Mission Gráfica, a community print center of diversity and cultural ferment in San Francisco. Founded in 1982 as part of the Mission Cultural Center, Mission Gráfica became the most sought-after political poster center in the Bay Area in the 1980s. Designed to capture attention on the street, the posters urged political action as well as celebrated culture and life.

This exhibition reflects a variety of styles, approaches, and sensibilities from non-professional and emerging artists to well-known figures such as Carmen Lomas Garza, Nancy Hom, Rupert Garcia, Mildred Howard, Jean La Marr, Ester Hernandez, Michael Roman, and the San Francisco Print Collective. It will explore themes of U.S. Imperialism, gender inequality and women’s empowerment, cultural celebrations, Indigenous America, and more – many of which continue to resonate today.

Stephanie Lagos. Mixed media screenprint / Photo courtesy of Ontario Museum of History & Art

Its companion exhibition, “Centered in Ink: Printmaking in the Inland Empire,” will showcase a diverse array of printmakers and screen printers of the Inland Empire who employ their artistic skills to address pressing community issues and ignite conversations that resound with viewers. Using their printmaking practices to create powerful visual statements, the artists delve into thought-provoking themes such as identity, activism, and environmental awareness. Participating artists include Briar Rosa, Adam Aguilar, L.Akinyi, Micah Amaro, BA Soul, Kenia Cruz, Cesar Garcia, Jorge Heredia, Duan Kellum, Stephanie Lagos, Eduardo Raul Muñoz-Villagaña, Erick Revollo-Paz, and Sarah Vazquez.

Twenty seven prints from Mission Gráfica and thirty artworks for Centered in Ink will be exhibited in the museum’s North Wing Galleries.

Mission Gráfica screenprint / Photo courtesy of Ontario Museum of History & Art

Samantha Herrera, exhibition curator, says by email that the two shows were purposefully meant to run together. “Centered in Ink was planned to pair with Mission Gráfica. With most of the traveling exhibits we host, we try to complement them with the Inland Empire’s fascinating history and exciting art communities.”

“We searched in our local art community for a similar group of printmakers working together at a local art center who were producing artwork with a socially conscious theme and providing an outlet for creativity to the community at large,” Herrera says further.

“I wasn’t familiar with the Mission Gráfica art collective until recently. But I did recognize some of its artists, such as Esther Hernandez, from my studies of the Chicano rights movement in college,” discloses Herrera. “During that period, Esther’s work centered on themes of women’s rights and the struggles of Chicano farmworkers, using her art to amplify their voices and issues.”

Mission Gráfica screenprint / Photo courtesy of Ontario Museum of History & Art

“The printmakers we are featuring in Centered in Ink, all have connections to the Garcia Center for the Arts in the city of San Bernardino, similar to the artists in Mission Grafica, hosted by the Mission Cultural Center of Latino Arts in San Francisco,” explains Herrera. “Most of the local printmakers we are presenting are influenced by the Oaxaca woodcut print art form, originating from the Mexican state of Oaxaca.”

Local participating artists include:

Jacob Adame (Briar Rosa)

Briar Rosa works with various mediums to make paintings, sculptures, drawings, and prints. Their work has developed into exploring the figure and its historical relationship with symbolism.

Briar Rosa. Hover When we Weep / Photo courtesy of Ontario Museum of History & Art

Adam Aguilar

Adam Aguilar is a printmaker and multidisciplinary artist from the Inland Empire. He has worked displayed in Inland Empire galleries and museums.

Adam Aguilar. Nectar Fields / Photo courtesy of Ontario Museum of History & Art

Lilian Owiti (L Akinyi)

L. Akinyi is an interdisciplinary artist currently working to bridge the cultural landscapes of their upbringing in Nairobi to the diverse influences of the Inland Empire, where they currently live and work. Through their practice, Akinyi explores their own internal world, themes of identity, migration and the interplay between traditional and contemporary spiritual practices from her African/diasporic lens.

Micah Amaro

Micah Amaro is a San Bernardino artist who focuses on character design through colorful and expressive BIPOC illustrations. She has demonstrated her versatility by branching out into different mediums, such as printmaking with the collective Grafica Nocturna. Over the years, she has worked with many organizations, such as the Locatora Radio podcast and Arts Connection.

Mission Gráfica screenprint / Photo courtesy of Ontario Museum of History & Art

Brenda Angel (BA Soul)

An artist born and raised in San Bernardino, California, BA Soul expresses her creativity through paint, fabric, illustration, and murals. Inspired by her culture and the beauty of nature, she connects deeply with others through her art.

Kenia Cruz

Kenia Cruz is an interdisciplinary artist raised in Los Angeles and the Inland Empire, whose practice is currently focused on printmaking. She holds a Bachelor of Arts degree in Art with a concentration in Visual Studies from Cal State San Bernardino and is now pursuing a master’s degree in education with an emphasis on art at the University of Redlands.

Cesar Garcia

Cesar Garcia is a craftsman based in San Bernardino, who prefers working with printmaking techniques such as xylography, pyrography, stencil and airbrushing. He believes art is a powerful tool to create awareness about what is happening around us and reflects the times we live in.

Cesar Garcia. Untitled / Photo courtesy of Ontario Museum of History & Art

Jorge Heredia (Osvaldo Heredia)

Osvaldo Heredia is a first-generation Salvadoran Mexican, born in Downtown Los Angeles and now primarily working in San Bernardino. Heredia is a graduate of Cal State San Bernardino and a former Director of the Garcia Center for the Arts, where he led and contributed to many community projects, with the goal of empowering the community.

Duan Kellum

Born in Trenton, New Jersey, Duan Kellum is an educator, artist and activist. Kellum’s predominant mediums are screen- printing and stenciling.

Duan Kellum. Sal’s World / Photo courtesy of Ontario Museum of History & Art

Stephanie Lagos

Stephanie Lagos is a versatile artist based in the Inland Empire, exploring their Mexican Honduran heritage through various mediums, including painting, ceramics, drawing, and printmaking. Their work reflects a deep connection to their roots and cultural identity, pushing the boundaries of Eurocentric ideas in art.

Erick Revollo-Paz

Erick Revollo-Paz is an artist born in Mexico and raised in Southern California. After graduating from California State San Bernardino, Revollo-Paz developed a passion for art, specifically within printmaking practices.

Sarah Vazquez

Sarah Vazquez is a visual artist from San Bernardino, California, who works across various mediums and has been focused on printmaking since 2018. Her work is emotionally driven as she explores themes of identity, connection, and healing. Vazquez is an advocate for accessible art education and a member of the Grafica Nocturna printmaking collective.

Sarah Vazquez. Infinite Love / Photo courtesy of Museum of History & Art

Herrera declares, “Through their creative process, the artists in both exhibitions reflect various styles, approaches, and sensibilities. They explore societal struggles, weaving personal narratives into broader discussions that connect the individual to their community. These works spark dialogue on identity, place, and belonging, using diverse materials and symbols to share stories and encourage reflection. We hope the work resonates with you as much as it did with us and continues to inspire dialogue among members of the Inland Empire community.”

Through the decades and spanning cultures, artists have spoken their truths and effected social reform. Would that we, who view this exhibition, engage with their works and act on what we learn.         

Save the Graves in El Dorado County Tells Long-forgotten Stories

Also published on 30 September 2024 on Hey SoCal

Photo courtesy of Mike Roberts | Save the Graves

El Dorado County is famously recognized as the place where California’s Gold Rush began. According to historical accounts, on January 24, 1848, James W. Marshall discovered gold on the south fork of the American River in the valley known to the Nisenan Indians as Cullumah (beautiful valley). That momentous instance not only helped shape California’s future, it reinvigorated the country’s economy as well.    

Courtesy photo

Towards the end of the 1880s another historical, albeit little-known, event transpired in El Dorado County – the public hangings that sent shock waves across Placerville.

Based on newspapers articles at the time, a reputedly wealthy farmer John Lowell was murdered on March 24, 1888 during a robbery at his ranch near Mormon Island in El Dorado County. Three men were convicted of first degree murder – John Henry Meyer, a 27-year-old immigrant from Germany; John Olson, a 24-year-old Norwegian native immigrant; and William Drager, a 41-year-old immigrant from Germany.

Meyer was hanged on November 30, 1888. Olson and Drager – who steadfastly claimed throughout the trial that they weren’t involved in the murder of Lowell – were hanged on October 16, 1889. These were the last legal hangings and among the last public executions in California.   

Hangings were not uncommon in the United States back then; Placerville had been referred to as “hangtown” since the Gold Rush days. However, Olson and Drager’s sentence galvanized the whole town into action because Placerville residents felt they had not been complicit in the murder, and the death penalty was too harsh for their actual crime.

Courtesy photo

Over 425 townspeople – including the district attorney who prosecuted the case, the sheriff, and nine of the 12 jurors – signed a petition requesting the sentence be reduced to life imprisonment. It was, however, rejected and the pardon turned down. It fell upon El Dorado County sheriff James Madison Anderson to carry out the sentence and, for years, that an injustice might have been done weighed heavily on him.

His great-great-granddaughter M.G. Rawls – a retired Pasadena lawyer and author of fantasy trilogy books “The Sorts of Pasadena Hollow” – delves into this event and gives readers an intimate look at the victim, the killers, the crime, and the hangings. She chronicles the details of the case and then reaches her own conclusions about this long-forgotten and rarely discussed episode in Placerville’s past in her book called “Hanging Justice,” scheduled to publish in October 2025.

In the course of her extensive research, Rawls traveled to El Dorado County several times and visited the gravesites of her ancestors at Placerville Union Cemetery. During one of her trips there she found out about Save the Graves.

Placerville Wagon Train Event 2023 | Photo courtesy of Save the Graves

Conceived in 2019 by Mike Roberts and his wife Michele Martin, Save the Graves is a non-profit organization with a mission to restore, preserve, and celebrate El Dorado County’s historic cemetery and the stories they contain.

Speaking by phone, Roberts begins just as he does all his talks about Save the Graves. “Some people discover at some point in their lives that they have a peculiar fondness for old cemeteries. And I am one of those people. I’ve always been fascinated by them and drawn to them. It turned out there’s a word for people like us — taphophiles.”

“When I was walking my dog one day, I came upon this cemetery near my home and realized that what was once a beautiful place had gone to seed,” Roberts recounts. “No one was cutting the grass and the trash cans were overflowing. There’s so much history beneath these headstones yet no one was taking an interest in preserving it. So I took it upon myself to do that.”

New signage at Placervile Union Cemetery | Photo courtesy of Save the Graves

Roberts explains, “There are several ‘Friends of’ organizations in several cities, so I tried to create ‘Friends of Union Cemetery.’ To attract people into joining the group, I wrote a piece about the history of Union Cemetery, had it published in the local paper, and apprised readers that I was holding a couple of formation meetings and gave the times and dates.”

“One of those people who showed up was a retired PR executive for a utilities company who told me he was part of something similar to this in Long Beach called Save the Graves. The Historical Society was involved and they did theatrical portrayals of local historical characters buried in the cemetery. They researched and wrote scripts; the actors rehearsed and wore costumes authentic to the era. They charged money for the performances which people loved  because they learned about the town’s history; that enabled them to raise funds to restore the cemetery. He had already committed to do some work for the Placerville Park but offered to help as soon as he finished that project,” recalls Roberts.

“I had forgotten about it until he called me two years later and asked if I was still interested in collaborating,” Roberts continues. “Coincidentally, a theatre professional he had previously performed with in Long Beach had just arrived in Placerville and he recruited him to get involved. They got us a grant and the three of us partnered up and launched our first production. As challenging as it was to stage a show at a cemetery, we pulled it off and it was very well received in the community. We held the second production and then we had a pandemic.”

Mike Roberts (in white shirt and black trousers) at a Save the Graves booth | Photo courtesy of Save the Graves

These two gentlemen Roberts teamed up with eventually moved on to do theatrical productions elsewhere, leaving Roberts to focus on his original objective.        

Says Roberts, “I was everywhere doing fundraising and cemetery improvement projects, running volunteer groups, as well as doing repair and restoration work myself. What bothered me most were the broken headstones. The county that managed the cemetery wouldn’t let me touch anything because of the liability. Heaven forbid the county gets sued by someone because I cleaned their ancestor’s grave! So I circumvented a potential lawsuit by checking the genealogy of the people buried there and choosing to repair the headstones of those with no relatives in Placerville.”

Using money they’d raised, Roberts paid $3,000 to a sympathetic local cemetery operator who agreed to get 18 of the headstones off the ground. And that made a huge difference. Instead of merely explaining to people what he was trying to accomplish, it gave him something concrete to show when he asked for donations. It also made fundraising easier the following year.

According to Roberts, the real fundraising vehicle is the program for the annual event. They started out with a four-page leaflet and last year they printed a 48-page magazine with a glossy cover and inside were advertisements about local shops and proprietors interspersed with the schedule of activities.

A Historical Society booth at a Placerville event | Photo courtesy of Save the Graves

These days, when Roberts tries to sell advertising space he’s asked about readership and circulation figures, which makes him laugh. He no longer has to do door-to-door solicitations; he reaches out by email. But when he does go out to see potential advertisers, he’s always wholeheartedly welcomed. People comment on how beautiful the cemetery looks.

In the six years since he and Martin established Save the Graves, Roberts has become something of a local luminary. He attends the downtown merchants association meetings and listens to some of the problems they encounter and helps find solutions. He has been giving two-hour talks about Save the Graves before various groups.

Placerville bell tower | Photo by M.G. Rawls / Save the Graves

“Last year we incorporated Save the Graves as a non-profit organization and that enabled us to apply for funding and we got our first big one – a $5,000 grant,” Roberts says happily. “The County Board of Supervisors gave us $10,000. We’ve been receiving donations from many people in the community, I’m so humbled. This year one of the descendants of a Placerville sheriff also sent us money. I didn’t know we had prominent historical figures in our town – we’d lost track of them.”

“We now have the luxury of having the money to take care of the cemetery,” declares Roberts. “The headstone cleaning can be done by volunteers so the funds go into fixing more complicated issues, like accessibility and terrain problems, crumbling copings along the walkways, etc. We’ve gotten a lot of damaging lichens out of old headstones and we’ve posted all sorts of interpretive signs that tell stories of these places to engage people who wander through.”

“Save the Graves is as much about building community as it is about fixing the cemetery,” Roberts emphasizes. “Historic cemeteries strengthen the fabric of our community by building  connections between people. Part of that requires that you know something about those who are buried – and we accomplish that through our theatrical productions, biographical stories we post, and a Find the Grave QR code the general public can scan with their smart phones. We’re building connections to the people who are here now and to the place they live – that’s community. It starts to grow and we eventually connect with each other.”  

“Placerville’s demographics are shifting with folks from big, congested cities moving in because they can buy an acre of land and enjoy nature and wildlife. And guess what else they like – old cemeteries! And they’re willing to help out,” Roberts enthuses.      

Vendor showing gold flakes panned in Placerville | Photo of courtesy Save the Graves

Two of those transplants to Placerville are Jacob Rigoli and Sean Manwaring with whom Rawls  got acquainted when she went to see the house her great grandfather used to live in – which they now owned.     

Relates Manwaring, “Jacob and I first met Meg in October 2021. At that time we were restoring the historic residence colloquially known as ‘Judge Thompson House,’ named after her great grandfather, Superior Court Justice George Thompson. It was also the childhood home of her grandmother Virginia Thompson Gregg. Before that, her great-great-grandparents lived in the circa 1862 home, making it the residence of three generations of her family. Her mother and uncles visited the home in their youth with her grandmother.”

“It was Meg who introduced us to Save the Graves,” Manwaring clarifies. “The following year, we joined the planning committee and assisted with the annual event and fundraiser. Although I’m not a Placerville native, I grew up in Northern California, frequently visiting old mining camps and Gold Rush towns with my family. I have fond memories of Placerville. Like her, my husband Jacob and I are descendants of pioneers who arrived in California either just before or during the Gold Rush.”

“We quickly bonded with Meg over our shared enthusiasm and deep appreciation for all things related to early California history. Since then, she has become a dear friend, and we truly understand her passion for preserving her family’s legacy,” states Manwaring.

2023 Save the Graves theatrical performance | Photo courtesy of Save the Graves

“The work of Save the Graves is vital in preserving not only our local history but also the stories of California’s pioneering women,” informs Manwaring. “Last year, we featured one such remarkable figure: Mollie Wilcox Hurd. Born in Placerville in 1870, Mollie’s life took an unexpected turn when she married Frank Stoddard, nephew of Elizabeth Stoddard Huntington, the first wife of Central Pacific Railroad magnate Collis P. Huntington.”

Collis P. Huntington’s nephew, Henry Huntington, and his wife Arabella founded Huntington Library, Art Museum, and Botanical Gardens – a beloved institution in the San Gabriel Valley in Southern California.    

“Frank’s family connections and career in the railroad industry propelled Mollie into the elite social circles of Los Angeles,” Manwaring continues. “While in Los Angeles, she served as President of the Los Angeles Florence Crittenton Home, which was established to help women and children in need. Beyond raising their two children, Mollie dedicated herself to philanthropic endeavors, particularly advocating for women’s and children’s rights. She played a pivotal role in securing state legislation requiring fathers to pay child support regardless of marital status.”

Mollie and Frank Stoddard were married for 25 years. Following her divorce from him and after their children had grown, she married her old friend – Los Angeles area senator, Henry M. Hurd. She remained deeply connected to her Placerville relatives. She was a founding member of the Placerville Shakespeare Club, generously bequeathing a donation to build their historic building upon her death in 1929. Mollie and Senator Hurd are both buried in the Placerville Union Cemetery.

A 2023 Save the Graves theatrical performance | Photo courtesy of Save the Graves

“This year’s show called ‘Law and Order, to be held on October 19, will focus on four notable crimes that occurred in El Dorado County between 1855 and 1903,” Manwaring explains. “Each crime will be presented through historical portrayals, featuring two key figures – ranging from perpetrators to victims, and from law enforcement to members of the press. Attendees will gain insight on both the community and the justice system.”

Describes Manwaring, “The portrayals are historically accurate and performed graveside – often near the burial sites of the pioneers being depicted – and actors wear period costume. One featured crime is the John Lowell murder of 1888, in which Meg’s great-great-grandfather Sheriff James Madison Anderson testified during the trial and guarded the accused. Additionally, her great-great-uncle, Marcus Percival Bennett, served as the district attorney. The case haunted both men for years.”

“Jacob and I contributed to the research and organization for this year’s event,” Manwaring adds. “He will serve as a stage manager and I’ll portray Marcus Bennett. We are just two of the many volunteers who help put on this annual event at Placerville Union Cemetery. Mike and Michelle are the driving force behind the fundraiser that helps preserve the cemetery and the stories of those buried there.”

Save the Graves performance is usually held near the grave site of the historical person being honored | Photo courtesy of Save the Graves

“Meg’s research has unearthed a forgotten story,” pronounces Manwaring. “It’s fascinating to discover the events that shaped the townspeople and the motivations of those involved in the John Lowell murder trial. She’s helping our community discover this important chapter in our history.”

Indeed a significant event transpired over a century ago at Placerville that residents there today may know nothing about. Roberts admitted as much when he said he didn’t know about Sheriff Anderson. But through the organization he and Martin created, they are learning about these episodes in their local history and making them unforgettable.        

Danny Feldman of the Pasadena Playhouse Honored for Leadership in Theatre

Also published on 8 July 2024 on Hey SoCal

Danny Feldman | Photo by Jim Cox / Pasadena Playhouse

The Los Angeles Times recently launched L.A. Influential and Pasadena Playhouse’s Producing Artistic Director Danny Feldman was called one of The Creators – a group of outstanding individuals who are leaving their mark in film, art, music, and more. He was listed with fourteen others across all of the arts, joining an esteemed company that includes Eva Longoria, Ava DuVernay, Shonda Rhimes, Ryan Murphy, Jordan Peele, Mindy Kaling, Steven Yeun, and others. In the accompanying write-up, theatre critic Charles McNulty hailed him “The man who saved L.A. theatre.”       

“It’s a little bit of an exaggeration,” says Feldman during a phone interview. He then recalls when he was informed of the honor. “They reached out a little less than a year ago to say I’ve been selected for this influencer list, so I’ve had time to digest it. I didn’t know who else was on this and the full context exactly, but I was a little shocked.”

Feldman clarifies, “I’m very pleased and grateful, but it’s really less about me than The Playhouse – I just get to be the face of it. The tribute is a sign or symbol that the work we’re doing at Pasadena Playhouse is getting noticed. This happened around the time The Playhouse won the (2023) Tony for Best Regional Theatre, which was a major achievement for us. It was an embarrassment of riches!”

The exterior of Pasadena Playhouse | Photo by Jeff Lorch / Pasadena Playhouse

“The Tony award had a tremendous impact,” emphasizes Feldman. “The Playhouse has a storied history with lots of ups and downs. The award honored the legacy and the unique history of the Pasadena Playhouse as one of the most important theatres in America. At the same time, we were recognized at a high point – when we were firing on all cylinders, when we were rising artistically.”

“Financially, we were at one of the more solid places we’ve been in our entire history; we were finding our stride and were on the eve of an expansion,” continues Feldman. “To receive a national recognition, like a Tony Award, for our body of work and for our impact of excellence in the world of theatre was overwhelming. So many of us have been working so hard for so long, to be acknowledged with a Tony Award was very fulfilling.”

In May 2025, The Playhouse’s building will celebrate its centennial and its programming will reflect its history.

Feldman states, “The Pasadena Playhouse is an iconic building and institution in our Los Angeles community as well as in the American theatre. That’s the theme throughout  2024-2025 so we’re calling it our iconic season. I was aiming for big shows that were iconic in their way –epic presentations that look like New York coming here and having a moment in our theatre.”

The Playhouse’s historic stage will feel alive with a sizzling Martin Crimp adaptation of one of the greatest plays of all time, Cyrano de Bergerac; a fresh new revival of Jerry Herman and Harvey Fierstein’s Tony Award winner for Best Musical, La Cage aux Folles; a new production of Suzan-Lori Parks’ Pulitzer Prize and Tony Award-winning classic, Topdog/Underdog – one of the best new American plays written in the last 25 years, as Feldman asserts.

Danny Feldman | Photo by Jim Cox / Pasadena Playhouse

“We’ll have special musical performances with the Civic Auditorium for two consecutive weekends of concerts featuring two of the most enduring musicals of all time: Anything Goes in Concert, starring Jinkx Monsoon as Reno Sweeney and Follies, an encore to our recent Sondheim celebration,” Feldman adds. “It’s a robust slate of shows that are sort of the greatest hits in a way, to honor our extraordinary achievement of having one of the oldest operating theatres in America. These special theatrical events will expand our initiative exploring classic American musicals with our community. ”

According to Feldman, musicals are rarely performed by non-profit theatres because they’re cost prohibitive. While the Pasadena Playhouse had staged musicals in the past, in 2019 he launched the American Musical Project – a bold and financially risky move. He discloses the reasoning behind the expensive venture, “We feel that it’s important because musical theatre is one of our contributions to the world. And we realize there’s a danger that the next generation and the generation after may not be able to experience these shows the way they’re intended in a 650-seat theatre in our community. We started with ‘Ragtime,’ ‘Little Shop of Horrors,’ and, of course, our Sondheim celebration. ‘Jelly’s Last Jam’ closing this week is the latest. We’re really showing folks our commitment and dedication to the American musical. We do them quite well, I have to say. People are really enjoying the artists and responding to them.”

Watching Broadway musicals at The Playhouse is a singularly unique experience. Feldman explains, “We love Broadway tours! It’s wonderful that our community gets to see these great shows from New York when they come to the Ahmanson or the Pantages. But those shows were created for a commercial purpose for Broadway and they go on tour with mainly New York performers. We do something very different at Pasadena Playhouse – we start with a blank page. I put together a team and they make the show from scratch. ‘Jelly’s Last Jam’ has over a hundred local employees working on it; the scale of it is pretty fantastic. I think they’re so successful artistically because of the group of hardworking people who are making it just for the audience that comes to see the show at the Pasadena Playhouse.” 

Not surprisingly, the back-to-back accolades of The Playhouse’s Best Regional Theatre Tony Award and Feldman being named “The man that kept L.A. theatre alive” have put pressure on Feldman. “I try not to think about that,” quips Feldman. “But, of course I feel a lot of pressure from my daily job – I’m in a very privileged position of running a very important theatre in American history and our community. We’ve got to keep raising the bar with every decision we make, every show we decide to put on. Pasadena Playhouse is on the forefront of the American theatre, which means there are a lot of eyes on all the things we do. But it’s always been that way.”

“We take the responsibility of being the state theatre of California very seriously,” stresses Feldman. “And I think you see that in the quality of our work. I’m assembling teams of some of the top theatre-makers in America, whether they’re the most experienced – Alfred Molina is on our board and performs on our stage often – or the most exciting new talent. But regardless, these are some of the hardest-working and talented people in theatre coming to create extraordinary theatre. We operate with the thought that if we don’t get this right it may be our last. Maybe that’s not true now but it used to be true, and that’s what drives us. And while these accolades are great and we feel deeply proud and honored by them, we have a lot more to do.”

The interior of Pasadena Playhouse | Photo by Jeff Lorch / Pasadena Playhouse

Feldman expounds, “We have a big vision for Pasadena Playhouse; we’re setting the theatre up for now as well as in the next hundred years. Today we have the luxury of not just thinking about the next show, but about where the American theatre is going – how do we lead the way on that – and what it will look like two or three decades from now.”

To that end, The Playhouse will present The Next Stage Immersive Summit 2025 in January in partnership with The Immersive Experience Institute, the main service organization for immersive theater artists. The premiere gathering of creators of immersive art & entertainment will draw international guests from the fields of performing arts, themed entertainment, XR, and gaming. This is the largest gathering of its kind in the world.

“This year we expanded our audience in a dramatic way with the inauguration of a major youth and family ecosystem – classes and professional shows for kids. Keep your eye out on that programming because that’s only going to grow in the future. Theatre education is core to who we are. The school at the Pasadena Playhouse was built in the 1920s and by the 1930s the College of Dramatic Arts was one of the top schools in America,” explains Feldman.

The public’s involvement is crucial to the realization of Feldman’s ambitious plans. He exhorts, “The lifeblood of our theatre is the people in the community and we urge folks to become members – you get to come along for the whole ride, you get to see all the shows. I think the folks who have been coming recently feel the new energy at The Playhouse and they understand that. But for those who may think it’s not for them or haven’t been here in a while, we encourage you to come take a look at us, come check out the shows, come look at our education program – we’ve really become a force in the world of theatre.”

Feldman will mark eight years of stewardship of the Pasadena Playhouse this fall. He took over as producing artistic director when the venerable institution was at its nadir financially and was struggling to get traction in the community. That he even took on such a daunting challenge is remarkable enough. That he then led the way in turning its fortunes around and flourishing during these particularly trying times for American theatre is an astounding feat.                                                                                                                                                                                                                                                   

AbilityFirst’s Food and Wine Festival Marks 50th Anniversary in South Pasadena

Also published on 10 June 2024 on Hey SoCal

Congresswoman Judy Chu at the Food and Wine Festival | Photo by Brianna Chu/HeySoCal.com

AbilityFirst’s renowned Food and Wine Festival celebrated its 50th anniversary in grand style on Sunday, June 9 from 5 to 8 pm at the Urquhart residence in South Pasadena. Approximately 400 guests attended this milestone year and enjoyed the culinary and beverage offerings from more than 30 top restaurants, cocktail bars, wineries and breweries.

Some of this year’s participating restaurants and dessert shops were Agnes Restaurant & Cheesery, Alexander’s Steakhouse, Beard Papa’s, Bone Kettle, El Cholo Cafe, Gale’s Restaurant, Kensington Caterers, Lord Empanada, Marina, Mi Piace, Nothing Bundt Cake, Pocha LA, Porto’s Bakery, Stems: Cheese, Charcuterie & Catering, Tam O’Shanter, The George, and more.

Beverages featured cocktails and spirit tastings from 1886 at The Raymond, Dulce Vida Tequila, Empress 1908 Gin, Knox & Dobson, Old Hillside Bourbon Company, and We Olive & Wine Bar; craft beer from Golden Road Brewing, San Gabriel’s Ogopogo Brewing, along with specially curated Wines from Caymus Vineyards, Navarro Vineyards, and Riboli Family of San Antonio Winery. Nonalcoholic beverages were provided by Celsius and PepsiCo.

Attendees peruse auction items. | Photo by Brianna Chu/HeySoCal.com

According to Mary Urquhart, she got involved with AbilityFirst when she was the president of the San Marino chapter of the National Charity League and this is the third time that her family has hosted this outdoor event.

A few days before the Food and Wine Festival, Urquhart said, “We should be very proud that we have such a wonderful institution for 98 years in our community. It serves so many people with special needs and we’re lucky to have it … and hopefully many will support it this Sunday.”  

Indeed AbilityFirst has transformed the lives of children with special needs and their families. Established in 1926 as the Crippled Children’s Society of Southern California by members of the Los Angeles Rotary Club, it aimed to assist kids with polio.

In 2000, the organization adopted the name AbilityFirst to better reflect its broader mission of helping children and adults with physical and developmental disabilities reach their full potential by providing recreational and socialization programs, employment, accessible housing and camping.

Lawrence L. Frank, of Lawry’s Restaurants fame, was one of the original founders of the organization, and 52 years ago AbilityFirst opened the Lawrence L. Frank Center in Pasadena and Long Beach. From 2016 to 2017, the number of children and adults with developmental disabilities in these communities grew by 1,000 people, 66 percent of whom are between the ages of 6 and 51 years old — the target age for AbilityFirst’s programs.

Food and Wine Festival auction | Photo by Brianna Chu/HeySoCal.com

Introduced a few years ago was College to Career, a community-based program for students who want to go to college and gain the skills, training and education they need to achieve their academic and career goals. Additionally, the program emphasizes independence and personal choice in using community resources for daily living and future employment.

This multi-year program begins with a self-discovery and community exploration component to help students to identify and develop a plan to achieve goals. Upon completion of the academic component, individuals may transition to community jobs, internships, or volunteer programs as they launch their career paths. The Lawrence L. Frank Center, AbilityFirst’s flagship location in Pasadena, houses the expanding College to Career program.      

AbilityFirst has six community centers offering several new adult  programs including ExploreAbility, DiscoverAbility and PossAbility. After school enrichment program includes homework support, outdoor activities, arts and crafts, cooking and more!”

ExploreAbility is an adult day and community integration program currently being offered at the AbilityFirst Joan and Harry A. Mier Center in Inglewood and the AbilityFirst Lawrence L. Frank Center in Pasadena. A licensed program, its objective is to identify what is important to each individual, to develop the skills necessary to achieve their goals and to be involved in their communities through volunteering and community activities. Individual support and small-group activities promote interaction and learning.

The program is designed to help individuals access their communities in their daily lives, work, recreational and leisure activities. It incorporates volunteering, community activities, independent living and skill-building, using a small group model.

Guests chat, eat, and drink at the Food and Wine Festival | Photo by Brianna Chu/HeySoCal.com

PossAbility, offered in Pasadena and Los Angeles, is intended for adults who want to enhance their skills and independence, and to participate in their communities. Individuals in the program are empowered to set and pursue personal goals with an emphasis on employment readiness and increased community connections, including volunteering. 

Rounding out AbilityFirst’s programs is Camp Paivika, a Native American word meaning “Dawn,” in the San Bernardino Mountains. It was begun in 1946 by the Rotary Club as one of the first full-accessible camps in the United States and has been in active operation since. It is maintained through endowments from donors and fund-raising efforts by community members.

Going to summer camps helps children develop social and communications skills as they participate in activities with other kids. It helps individuals build character and gain self-respect as they become responsible for their own safety and survival in a setting outside their comfort zone.

Camp Paivika offers this same independence and self-reliance for children, teens and adults with physical and developmental disabilities. Specially-trained members of AbilityFirst staff provide assistance and guidance as campers enjoy all the fun activities available to them — archery, arts and crafts, campfires and cookouts, nature hikes, horseback riding, swimming. It is fully accredited by the American Camp Association.

Attendees enjoy the food and beverage offerings | Photo by Brianna Chu/HeySoCal.com

All these life-changing programs are made possible through AbilityFirst’s Food and Wine Festival. How it evolved into the spectacular event that it is today is quite an inspiring story.

A support group called Crown Guild held the first food and wine festival in 1953 with a wine tasting at The Langham Huntington Pasadena, then known as the Huntington Hotel. Each Crown Guild member would invite ten to twelve friends and they would all be responsible for bringing a bottle of wine for the tasting.

It branched out to Crown Guild members homes, and then onto friends of members’ homes, until they got local restaurateurs and beverage companies involved. It lent a casual outdoor environment where guests could mingle and chat over food and drinks. Over the years, AbilityFirst built strong relationships with restaurants, wineries, and breweries.          

With the Food and Wine Festival’s 50th anniversary celebration, AbilityFirst continues the founding Rotarians’ legacy. Ninety-eight years after it was first created, AbilityFirst

Ontario Museum’s Annual Culture Fest Celebrates Chicanx Diaspora at Block Party

Also published on 3 May 2024 on Hey SoCal

Jacqueline Valenzuela. Cooking. Aerosol Oil Paint Stick on Canvas / Photo courtesy of Ontario Museum of History & Art

In 2009, the various community groups in the City of Ontario’s recreation centers got together and created what they dubbed the performer showcase. What was a simple affair has become an annual celebration now known as Culture Fest and it returns on May 11, 2024 from 12 to 4 pm with a block party presented by the Ontario Museum of History & Art.

Located at 225 South Euclid Avenue, the Ontario Museum of History & Art is uniquely housed in the former City Hall and is a historical landmark funded by the Works Progress Administration. Its mission is to preserve, interpret, and celebrate the history and cultural heritage of Ontario and the surrounding area. From developing exhibitions, to engaging visitors through educational experiences, and events that inspire creative action, it is an anchor to the growing downtown arts district. The Museum recently achieved accreditation by the American Alliance of Museums (AAM), the highest national recognition accorded to the nation’s museums.

Photo courtesy of the Ontario Museum of History & Art

The free, family-friendly Culture Fest features the different cultural experiences that exist within Ontario’s diverse community. This year it will highlight the rich Chicanx diaspora. Participants will enjoy art installations, live music, a classic car show, hands-on art-making activities, food and beverages, live performances that express what it means to be Chicanx in the Inland Empire, and more.

By email, event coordinator, Rebecca Ustrell, talks about its fascinating history. “Culture Fest originated over 15 years ago as a showcase of community groups from the City of Ontario’s recreation centers and was called the performer showcase. It was held at the time of class registrations (before you could sign up online) so that community members could see the types of classes that they could sign up for. A few years back, it became a heritage event and was hosted by the library and Robert E. Ellingwood Model Colony History Room.”

“It’s gone through different iterations to serve the needs of the community at the time it was happening,” explains Ustrell. “Always with the aim of continuing to celebrate Ontario’s diversity, Culture Fest was created to serve as a platform to showcase the different cultural tradition of communities which reside in Ontario, California.”

Photo courtesy of the Ontario Museum of History & Art

As Culture Fest expanded, it moved to various venues to accommodate the audience which had likewise increased. Ustrell relates, “In 2019, the Community Life & Culture Agency hosted the event at Ontario Town Square, where the many cultural communities of Ontario were celebrated through an array of spectacular performances by local Ontario groups and schools including Tongan dance, Taiko drumming, Mariachi, Folklorico, and Interpretive dance. The event also hosted family arts and craft booths, and information booths from local communities such as MALO (Motivating Action Leadership Opportunity) highlighting the Tongan Community and the Hispanic Chamber of Commerce.”

The pandemic upended life as we know it and the world went on lockdown. Culture Fest was not hosted in 2020-2021 and – as all institutions did – the City of Ontario focused on online arts and culture experiences to continue to engage with the city’s diverse community.

Photo courtesy of the Ontario Museum of History & Art

“In 2022, Culture Fest returned. This time taking place in the Downtown Ontario Arts District at the historic old City Hall which is now the Ontario Museum of History & Art,” explains Ustrell. “The staff at City of Ontario Community Life and Culture and the Ontario Museum of History & Art partnered to it to reinvigorate the spirit of celebrating cultural diversity. It featured The Southland Symphony Orchestra, Bob Baker Marionette Theater, MALO, artist vendors, and an assemblage workshop with Dr. Patricia Jessup-Woodlin. Occurring in tandem with the city-wide Ontario Art Walk, this event attracted a wider audience at its new venue, further solidifying the impact of community.”

According to Ustrell planning Culture Fest takes between six to nine months and taps into the needs of the community for the event’s theme. Their current programming is also significant factor when deciding what to focus. In the past, it showcased the different performing arts programs within the recreation department. Last year, the theme was water, inspired by the new permanent exhibit Built on Water.

Photo courtesy of the Ontario Museum of History & Art

Continues UstrelI, “In 2023, the Museum, Arts & Culture department at the City of Ontario doubled capacity and allowed for growth in the vision of Culture Fest. With the addition of a public art installation, Culture Fest’s impact on the local art scene grew tremendously. The event thematically focused on water, in celebration of the opening of the Museum’s new permanent exhibition, Built on Water: Ontario and Inland Southern California. Additionally, the festival featured public artist Luciana Abait’s large-scale immersive video projection installation, The Glass Wall.”

“Originally presented in 2022 as a part of LUMINEX 2.0 in downtown Los Angeles, the artwork draws attention to water as a resource, and the realities and metaphors involved in the struggle to control it,” Ustrell describes. “The video was projected onto the northwest façade of the Museum. A roster of performers, varying from a Tongan performance by MALO and marionette puppetry, to a rendition of Handel’s Water Dance by the Southland Symphony’s brass quintet, was featured. High school bands with the Southern California Percussion Ensemble closed out the evening.”

Design and Build your own Front Yard Plaza / Photo courtesy of the Ontario Museum of History & Art

“The 2024 Culture Fest will highlight the rich Chicanx diaspora which has called Ontario its home for generations,” discloses Ustrell. “Whilst inviting local entertainers, artists, and organizations to partner with us, we realized that the footprint of the event had to expand to house all of the exciting activations we had in mind. We opted to reserve an entire city block to host this year’s Culture Fest, resulting in the decision to add the tagline ‘Block Party’ to the title.”

“This year’s roster of activities and entertainment is exciting, and attendance is expected to double because of the attractions planned for the day. Guests are invited to explore a classic car show hosted by colorblindshotz while sounds are provided by Bitter End Gallery and DJ Lis Bomb. Experience art installations by Briar Rosa which celebrate childhood candy and snacks, such as Takis, iconic in the Chicanx community; Jacqueline Valenzuela will present a historical timeline of custom car culture; view a claymation animation by Anthony Chacon and a stacked CRT TV video installation by Al Espinugio; and a 4ft low rider piñata created by The Piñata House will be on display,” Ustrell says further.

Classic Car Show / Photo courtesy of the Ontario Museum of History & Art

Financed entirely by the Department of Museum, Art & Culture’s operating budget, Culture Fest will also feature hands-on art-making activities like “Build Your Own Lowrider” with Jacqueline Valenzuela. “Growing Art Ontario” with Willis Salomon will contribute to a communal art installation celebrating a more art-ful community. “Build and Dream Your Front-Yard Plaza with John Kamp and James Rojas will demonstrate how residents can make the ultimate Chicanx inspired front yard with found objects. Attendees can decorate themselves with original hand-carved stamp temporary tattoos with Grafica Nocturna and take glamour shots at the Old School Photobooth by Gilbert G Photography.

Collaborations with The Cheech Center include a Build Your Crown activities inspired by artist Eloy Torrez, and the Chaffey Community Museum of Art will hold a Piñata Bust Art Raffle. Both the Ontario Museum of History & Art and Chaffey Community Museum of Art, which are admission-free and open to the public, will remain open throughout the duration of the event.

Gilbert G Photography / Photo courtesy of the Ontario Museum of History & Art

“As an agency, Community Life & Culture’s consistent driving force is to uplift, highlight, and educate visitors on the cultural communities of Ontario and Greater Southern California. We work diligently to provide opportunities for artists and purveyors of culture to thrive by collaborating with these talented individuals. Culture Fest could not exist without that collaboration, and we are honored to engage with musicians, entertainers, and artists by providing them with paid opportunities, and afford unique arts and educational experiences for visitors,” concludes Ustrell.

While showcasing the Chicanx experience, the 2024 Culture Fest in Ontario also promises to be a spectacular event full of fun and thrills for the entire family. What could be a better way to spend a beautiful spring day in Southern California!        

Masters of Taste Marks 7th Year at the Rose Bowl

Also published on 4 March 2024 on Hey SoCal

Masters of Taste Media Night in the locker room of the Rose Bowl. | Photo by May S. Ruiz / Hey SoCal

Masters of Taste (MoT), L.A.’s premier food and beverage festival, returns at the 50-yard line of Pasadena’s Rose Bowl on Sunday, April 7, 2024 from 3 to 7 pm. Celebrating its seventh year raising funds for Union Station Homeless Services (Union Station), the event brings together 100 restaurateurs and beverage company owners to serve food and drinks to approximately 3,000 attendees.

The brainchild of Rob and Leslie Levy, owners of The Raymond 1886 and Knox & Dobson in Pasadena, Masters of Taste was a concept Rob adapted from a childhood friend’s organization in Chicago called “Inspiration Café” which delivers sandwiches to the homeless. When the former CEO of Union Station asked him to be on the board, he set out to find a better way to raise funds than asking people to get all dressed up to attend a gala they only felt obligated to attend. Leslie came up with the idea of having chefs gather for an event that was so amazing it didn’t feel like it was a charity affair.  

Rob and Leslie Levy (third and fourth from left) at their Raymond 1886 Masters of Taste booth. / Photo courtesy of Masters of Taste

On their first year at the Rose Bowl, a spontaneous line dancing broke out on the field – a delightful occurrence that was totally unanticipated. It was when they knew they had stumbled upon a successful endeavor. There was another year when it rained which, incredibly, made it an even better event. Nobody left – 3,000 people on the field stayed through the rain; Levy said it was the most memorable year they’ve had.

As the organizers had previously done, Masters of Taste held its media night in the locker room of the Rose Bowl. On February 28, 2024, we arrived at the venue and were pleasantly surprised to see twice the number of chairs and tables from last year’s media preview. Media attendance and sponsorship had increased dramatically since we first attended it. And as always, there was excitement among the individuals behind this annual event and the people covering it.

City Club in Los Angeles served hors d’oeuvres at Masters of Taste media night. | Photo by May S. Ruiz / Hey SoCal

After we had enjoyed a few drinks and hors d’oeuvres, the program began with a reminder of why we were there. Benjamin Turkle of Boomtown Brewery declared, “We’ve been working with homeless causes in L.A. for almost nine years now, helping on Skid Row. My wife’s partnership with Brilliant Corners to work with Union Station Homeless Services is just another foundation stone.”

Turkle went on to say, “We’ve always been told that we need to pick ourselves up by our bootstraps. But that’s very challenging when we don’t have bootstraps to pick ourselves up by. It takes a community and each individual citizen – whether or not you’re an entrepreneur in the service industry or in the thousands of other positions in our city – to lend threads to others so they can make their own bootstraps, to lend hands so others can pick themselves up as well. We’re all in it together and our rising tide will raise all ships. Thanks to Masters of Taste for doing this, for involving all of us in keeping this issue forefront.”

Anne Miskey, CEO of Union Station Homeless Services. | Photo by Margaret Gifford / Hey SoCal

Anne Miskey, CEO of Union Station, then stood up to welcome everyone. She said, “You’re more than  friends, you’re now part of our Union Station family. We’re here for a fun night to enjoy great food and drinks but they’re all for a great cause. Every bite of food and sip of drink at Master of Taste helps the homeless in Los Angeles – could there be a better way to spend your evening?!”

Joking that she used to be thin, Miskey then thanked all the chefs and beverage masters for making Masters of Taste a possibility. She added, “Thank you to the media. It’s because of you that we’re able to get the word out … and year after year, we sell out. Union Station works with all sorts of people – those living in tents and whose lives have fallen apart. It is through the support of people like you that we’re able to walk alongside homeless people in their journey. We don’t just see people housed and get work; what we see is the return of hope and the ability for them to once again have dreams.”

In a bow to tradition, 2023 MoT host chefs Michael and Kwini Reed of Poppy + Rose and Poppy & Seed passed the baton to this year’s chef hosts Bret Thompson and Lucy Thompson-Ramirez, owners of Pez Cantina and Pez Coastal Kitchen. The husband and wife team has made a significant impact in the hospitality industry. With their passion for culinary excellence and warm hospitality, they have made a distinctive mark in the Los Angeles dining scene and beyond.

Kwini and Michael Reed (third and fourth from the left) passed the baton to Lucy Thompson-Ramirez and Bret Thompson (first and second from left). | Photo by Brianna Chu / Hey SoCal

Bret Thompson’s culinary journey began at the renowned California Culinary Academy in San Francisco. He honed his skills at esteemed establishments such as Aqua in San Francisco, Roy’s in Hawaii, and Pinot Blanc in St. Helena, California. Seeking international inspiration, he traveled to Spain to study under Chef Martin Berasategui at Restaurante Martin Berasategui, a Michelin 2-star establishment in Lasarte, Spain. He further expanded his culinary repertoire in Lebanon at Atlas Café, then studied under Chef Bernard Loiseau at La Cote d’Or – his Michelin 3-star restaurant in Saulieu, France – and then at L’Arpege, Chef Alain Passard’s Michelin 2-star restaurant in Paris.

Throughout his career, Thompson also had an extensive tenure with The Patina Group, working at multiple restaurants, running catering operations, and ultimately becoming the Corporate Executive Chef overseeing all restaurant operations for the entire chain. While there he garnered accolades – including being named “Chef of the Year 2002” by the Orange County Business Journal during his time as Executive Chef at Catal Restaurant in Anaheim.

The menu during media night. | Photo by May S. Ruiz / Hey SoCal

Thompson eventually moved on and co-founded and became a partner at the iconic MILK Ice Cream Parlor & Bakeshop in Los Angeles. He also opened his own Market Restaurant and Catering, which he successfully sold in 2014. In 2015, he joined forces with his wife to embark on a new culinary adventure as the proud owners of Pez Cantina. This seasonal, modern, coastal-inspired Mexican restaurant and bar in downtown Los Angeles quickly became a beloved dining destination. In October 2021, they expanded with a new location LA Burrito in Montebello, California.

Lucy Thompson-Ramirez brings her unique perspective and expertise to the front of the house at Pez Cantina. Born in Guanajuato, Mexico, she migrated to the United States with her family at a young age. She pursued her education at the University of Santa Barbara, majoring in Sociology and minoring in Spanish. Her first career path led her into the fashion industry, where she excelled in sales and later established her own showroom with her brother called Siblings Showroom.

After a successful 18-year tenure in fashion, Thompson-Ramirez made a seamless transition into the hospitality industry alongside her husband. At Pez Cantina, her warm and welcoming demeanor shines as she personally greets regulars by name and fosters new connections. Her dedication to providing a home-like atmosphere has made Pez Cantina feel like an extension of their own family. In recognition of her leadership and contribution to the industry, she was appointed as President of the Latino Restaurant Association in 2023 and serves on the Los Angeles Tourism and Convention Board.

Seating during media night at Masters of Taste. | Photo by May S. Ruiz / Hey SoCal

Two weeks ago, Thompson and Thompson-Ramirez opened Pez Coastal Kitchen in Pasadena which offers a diverse menu featuring sea-to-table and farm-to-table cuisine – showcasing the best of seasonal California flavors. The restaurant highlights their expertise in curing, smoking and dry-aging meats and seafood, as well as their partnerships with local farmers and specialty producers. With a focus on creating a modern coastal dining experience, they aim to contribute to Pasadena’s thriving culinary scene and bring a fresh new concept to the city.

As the evening wound down, Shawn Morrissey, Senior Director of Advocacy and Community Engagement at Union Station as well as head of the Lived Experience Advisory Panel at the organization, county and state level, shared his moving experience as someone who was once an unhoused individual. He related, “In 2002, when I was almost 40, I arrived at Union Station with two black eyes, a gash on my forehead, and practically naked. Besides being homeless, I was also trying to get help overcoming a decades-long drug addiction due to trauma. And for the first time in my life, I was met with unconditional regard and I was nurtured. I was brought into a community where people wanted an authentic relationship with me. These were the things that made a difference.”

Masters of Taste organizers and participants during media night at the Rose Bowl locker room. | Photo by Brianna Chu / Hey SoCal

“We used to make homeless individuals jump through hoops and blame them for the situation they’re in, make them earn their way into housing or their way out of the streets,” continued Sean. “All that did was make the homeless problem worse. We know today there are best practice models – housing first, harm reduction, post-trauma care, etc. – which make us healthy.”

“I want to end with two thoughts – people are not broken; systems are. One of the things we hear a lot is that drug addiction drives people to homelessness but what we really know is that it’s a symptom of larger systemic and structural issues. In the 16 years that I’ve worked on the streets with people, I have yet to meet someone who chose not being sober over getting housing,” Sean concluded.

Masters of Taste at the Rose Bowl. / Photo courtesy of Masters of taste

Union Station has grown to be one of the best homeless services agencies in Los Angeles and is the lead County agency for Service Planning Area 3 (SPA 3). For over 50 years, it has been   coordinating homeless services in 38 communities spanning from Eagle Rock to Pomona. It has seen a 97% success rate in permanently housing people since adopting the Housing First model. But its mission transcends providing temporary shelters; it is committed to creating lasting solutions for homelessness through housing, supportive services, and connection to the community.

Every dollar raised at Masters of Taste benefits the work of Union Station to end homelessness. Over the last six years, MoT has donated close to $3 Million to help countless families and individuals find a secure and welcoming place to call home.

So purchase your tickets to the 2024 Masters of Taste for a really fun Sunday afternoon hanging out with other foodies while doing your share in helping solve the homelessness crisis.          

Ushering in the Year of the Dragon at The Huntington’s Lunar New Year Festival

Also published on 12 February 2024 on Hey SoCal

The Kwun Shu Opera Society’s Kun Opera performance | Photo by Brianna Chu / Hey SoCal

To most Asians and people of Chinese descent, the dragon is the most auspicious animal symbol in the lunar calendar – the sign symbolizes power and success and brings good fortune and prosperity. The Huntington Library, Art Museum, and Botanical Gardens welcomed the Year of the Dragon with a festival on February 10 and 11, 2024 from 10 am to 5 pm.     

Program highlights on Feb. 10 included live music by the Han Music Ensemble (10:30 a.m.–12:30 p.m. and 2–4 p.m.) and Chinese Kwun Opera Society (11 a.m. and 1 p.m.) in the Chinese Garden. There were also martial arts demonstrations by Shaolin Temple Cultural Center USA (East Lawn, 10:30 a.m. and 2:30 p.m.) and K-STAR Contortion and Martial Arts (Rothenberg Hall, 11 a.m. and 1 p.m.), as well as lion dancers featuring Northern Shaolim Kung Fu (12:30 and 3:30 p.m.) on the East Lawn near the Huntington Art Gallery. Additionally, mask-changing artist Wei Qi Zhong performed (11 a.m., 1 p.m., and 3 p.m.) inside Haaga Hall.

Lion Dance | Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens

“This is one of the most beloved events of the entire year at The Huntington,” Sian Adams,  Director of Strategic Initiatives, stated during a phone conversation. “There’s something for everybody; it has a lot of different food options, live music, performances, arts and crafts workshops for kids, lots of different offerings that make the day fun for a variety of ages.”   

Kung Fu demonstration | Photo by Brianna Chu / Hey SoCal

While some events – like the lion dance – are mainstays, the organizers mix up the offerings. “We always are looking at the programming,” stated Adams. “This year we added the Kun Opera for a two-day performance in the Chinese Garden because we wanted to bring in something very artistic and special to the garden’s space itself.”

Kun Opera | Photo by Brianna Chu / Hey SoCal

The Kun Opera, also known as Kunqu Opera, is one of the three classic operas of the world. It is highly stylized – singers with painted faces wear elaborate costumes; hand gestures and head movements add another layer of meaning to what’s being sung. UNESCO proclaimed it as a ‘Masterpiece of the Oral and Intangible Heritage of Humanity in 2001.       

All performances were relatively short – about 20 minutes each – held at different locations and people watched while standing. However, some performances had seating, like the Kun Opera in the Chinese Garden and the contortion and martial arts shows in Rothenberg Hall.

Floral display | Photo by Brianna Chu / Hey SoCal

Whether it was by design or a case of bad scheduling, some shows were presented during the same time slots. Visitors either missed a really great presentation or had to stay the entire day to catch all the performances. If the organizers planned that all along to entice people to stay longer, though, then it was brilliant! There were several shows that went on throughout the day, like the floral arrangements, the Lego display, and calligraphy writing station. The Han Music Ensemble played well-known Chinese music with traditional instruments at the Transcendent Pavilion from 10:30 a.m. to 12:30 p.m. and from 2 to 4 p.m.    

Calligraphy-writing station | Photo by Brianna Chu / Hey SoCal

According to Adams the Lunar New Year Festival is open to all members but it’s so popular that membership tickets usually sell out on the first day they’re offered. Tickets are also available to the general public although these also go very quickly so everyone is encouraged to purchase well in advance. Advanced reservations to get in are required for non-members and members as well.                 

Tai Chi demonstration | Photo by Brianna Chu / Hey SoCal

“This annual event is part of The Huntington’s regular programming,” explained Adams. “That said, we’ve had one corporate partner which has made the Lunar New Year Festival possible for us since the beginning and that’s East West Bank. They have been our champion and a friend to the Chinese Garden at The Huntington from the earliest days. We’re truly lucky and we appreciate their friendship.”

Masked performer / Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens

Now on its 19th year, the Lunar New Year Festival is The Huntington’s biggest event and it takes place across the institution in multiple staging spaces. It’s surprising therefore to learn that there aren’t that many people who make it happen. Adams said, “It’s a pretty lean and mean team headed by our Membership Dept. But while there are only a handful of core staff organizing it, there are about 50 volunteers on the day of the event to help ensure everything runs smoothly. We have a robust volunteer program – teen volunteers, docents, and staff sign up for the various events.” 

Battlefield drums (gu) being played| Photo by Brianna Chu / Hey SoCal

“The Lunar New Year Festival is a big lift for The Huntington – it’s all hands on deck for all of us here. We want everybody who comes to have a good experience and a great time. We look carefully at our programming and, just as important, our food offerings. All our restaurants are open and we also bring in external food trucks so there are lots of options to help ensure shorter lines and people aren’t waiting a long time for food. Additionally, we want to give visitors a variety of choices. These food trucks are they’re typically grouped in spaces but they’re all over The Huntington. It’s a very large campus so we want to make sure there are food available everywhere for easy access to visitors. You can be on one side and you don’t want to go all the way to the other side to find food.”

Adams added, “We make sure we offer lots of different entry points to invite people to come in and learn about other cultures and experience different traditions. Food can sometimes be an important gateway. You might try Chinese food and think ‘Oh I want to learn a little bit more.’ It makes the world a little bit smaller.”                    

Han Music Ensemble with traditional Chinese instruments (pipa, which is like a guitar, on the left; guzheng, a plucked zither, on the right) | Photo by Brianna Chu / Hey SoCal

“One of the things I want to emphasize is how proud we are to be a part of the Chinese-American community in Southern California,” declared Adams. “With the Garden and this festival, we open up The Huntington and welcome that dialogue in trying to make the world a little bit smaller by bringing east and west together. And really just connecting people and educating for the purpose of increasing understanding is important for these days and times. If you can learn a little bit more about another culture, boy doesn’t that go far!? Those are the things you carry your whole life – a little bit of understanding, a little bit of perspective.” 

Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens

If there’s one thing that most people can connect with, it’s food. And who doesn’t like Chinese food? Dumplings, chow mein, sweet and sour pork, and orange chicken are some of the most recognizable dishes the world over. How wonderful it is to discover our shared humanity with people sitting at the same table while enjoying a delicious bowl of noodles and taking in the artistic and cultural traditions of one of the oldest civilizations on earth. At the very least, it’s a fantastic way to welcome the Year of the Dragon.                        

Betye Saar’s Exhibition at The Huntington Offers Visitors a Calm and Meditative Experience

Also published on 13 November 2023 on Hey SoCal

Betye Saar, ‘Drifting Toward Twilight,’ 2023 (installation view) | Photo by Joshua White / JWPictures.com. The Huntington Library, Art Museum, and Botanical Gardens

A newly commissioned, site-specific installation by renowned Pasadena artist Betye Saar opened to the public on Saturday, November 11, 2023 at The Huntington Library, Art Museum, and Botanical Gardens. Called ‘Drifting Toward Twilight’ it will be on view for two years at the Virginia Steele Scott Galleries of American Art, after which it will become part of the institution’s American art collection.

The large scale artwork – a 17-foot vintage wooden canoe and found objects, including antlers, birdcages, and natural materials Saar harvested from The Huntington’s 207-acre grounds – is the focus of an immersive exhibition ‘Betye Saar: Drifting Toward Twilight.’ It is co-curated by Yinshi Lerman-Tan, The Huntington’s Bradford and Christine Mishler Associate Curator of American Art, and Sóla Saar Agustsson, Saar’s granddaughter and the Huntington Art Museum’s special programs and digitization coordinator.

During the press preview on Friday, November 10, Dennis Carr, Virginia Steele Scott Chief Curator of American Art, remarks, “Betye Saar is one of the most important artists of our time. Her compelling voice has echoed in Los Angeles for many, many decades. But she grew up in Pasadena and has fond memories of walking in the Huntington’s gardens.”

Yinshi Lerman-Tan | Photo by May S. Ruiz / Hey SoCal

Co-curators Lerman-Tan and Agustsson alternately talk about the installation. Lerman-Tan divulges that Saar specifically chose this location for the installation because it’s like a secret room. She explains, “It has a ‘cocoon-like environment.’ The walls are painted in an oceanic blue gradient, featuring a poem by Saar and phases of the moon. Shifting lighting effects in the gallery emulate phases of daylight to twilight, evening to night, and night to dawn. Inside the monumental canoe, Saar positions mysterious ‘passengers,’ including antlers in metal birdcages, children’s chairs, and architectural elements – all drawn from the artist’s ever-evolving collection of found objects. The space beneath the canoe will be illuminated by a cool neon glow, highlighting plant material foraged by the artist from The Huntington’s gardens.”

“Saar’s work evokes mysticism and the occult, as well as the human relationship to nature and the cosmos,” Lerman-Tan describes. “An immersive, watery space containing a canoe that is part vessel and part dreamscape, the installation gestures to the ancestral and mythological journeys, and the constant cycles of the natural world.”     


Betye Saar with ‘Drifting Toward Twilight,’ 2023 (installation view) | Photo by Joshua White / JWPictures.com. The Huntington Library, Art Museum, and Botanical Gardens

Besides her role as co-curator, Agustsson was instrumental in making this installation and exhibition a reality. Speaking by phone a week before the exhibition opening, she discloses, “I worked as an assistant to Christina Nielsen (Hannah and Russell Kully Director of the Art Museum) when I first came to The Huntington about two years ago. She happens to be a huge fan of Betye’s and wanted to do an exhibition with her. A few ideas floated around but I remembered that when I was working for Betye a few years ago, she had bought this vintage canoe and had started collecting antlers and natural materials for an assemblage. She’s done canoe installations in the past so this was a notion that has been marinating. I thought that The Huntington Gardens would be the perfect home for the canoe because the concept was to incorporate natural materials. Then Betye came up with the idea of foraging and using plant materials from the Huntington garden.”

Interviewed via email, Saar recounts her collaboration with the Huntington’s Art Museum and Botanical Gardens to realize this endeavor. “I visited the Huntington in the spring of 2022 and met with Christina Nielsen and my granddaughter Sóla Saar Agustsson and the idea of a project came up. Then some of the Huntington curators came to visit my studio and saw the canoe. I submitted a sketch and then made a scale model of the room and the canoe. It all just came together after that.”

“I have used canoes in some of my previous installations,” explains Saar. “To me it represents an element of indigenous people who used them, and the connection to nature. But I also really enjoy the shape of the canoe. The flow of it visually and how when you are in a canoe you feel like you are gliding. I acquired this particular canoe a few years ago and it was sitting in my garage waiting to become art. The Huntington commission made it take shape.”

In a short documentary film – produced for the exhibition and is being shown at an adjacent room – Saar explains her concept for the installation, “A canoe is an object of Early America as a means of transportation and I added the wood burrows to make it look vintage. There are three cages that make you think of slavery, of being taken care of and having certain things but you’re still caged – caged freedom in a way.”             

The companion film also includes a footage of her foraging natural materials at the Huntington garden. Saar recollects, “I think it was back in April when I came to gather materials from the garden. There had been a series of storms and many of the trees had limbs break or had to be trimmed. I picked up what Mother Nature started.”

As she picks up discarded branches, she gets ideas about how to use them and asks an assistant   to hand her her notebook. Saar expounds, “I am an assemblage artist and am inspired by the materials I find at flea markets and estate sales, or things people give me. Sometimes I’ll think ‘Oh this old red box needs to sit on a red table’ or something. But I also am inspired by things I see as I travel or images in my dreams and I’ll make a sketch of it. I always have a little sketchbook in my purse and a bigger art kit and sketchbook when I travel. Sometimes the sketch becomes an assemblage, sometimes it stays a sketch.”

Betye Saar, ‘Drifting Toward Twilight,’ 2023 (installation view) | Photo by Joshua White / JWPictures. com. The Huntington Library, Art Museum, and Botanical Gardens

Saar had a very clear idea about the ambience she wanted to produce and she kept close tabs on its progress. She relates, “I’ve been back and forth to The Huntington many times these past months. I was selecting the wall colors, choosing the lighting effects, etc. until it all came together to create the right mood. I wanted to feel immersed in the room.”

Agustsson says she worked very closely with Lerman-Tan to ensure they carried out what her grandmother envisioned. The inter-generational component of this exhibition will extend to the catalogue to be published in the summer of 2024. Agustsson will write a Q&A piece that covers Saar’s life and her career. It focuses specifically on her childhood growing up in Pasadena and her visits to The Huntington as a child and teenager, gardening practice, and an interview about the new canoe installation.

It will have a Director’s foreword by Christina Nielsen, followed by a short essay by Ishmael Scott Reed, an American poet, novelist, playwright, and longtime friend of Saar, as well as a  re-publication of an archival interview he did with Saar in the 1970s. Lerman-Tan and Tiffany E. Barber, assistant professor of African American art at UCLA, will be contributing essays.    

I ask Agustsson what it was like to work on a project with someone she knows so well, and she replies, “I’ve worked with her in the past for years so that helped me capture her vision and facilitate dialogue between her and the museum. I realize that this is a very special and personal project given her upbringing in Pasadena so I wanted to establish that particular connection.”

“For me, I found it to be really inspiring and meaningful especially getting to interview her and learning more about her,” Agustsson says further. “Even though I’ve grown up with her, there are things I continue to discover about her. I learned that she liked tap dancing when she was a teenager. I had no idea, I never heard that before! She’s 97, she’s had so many amazing experiences, and she’s done different kinds of art work in various media – costume design, designing greeting cards, printmaking, collage, immersive installations like this one, and she was a seamstress. It doesn’t surprise me that she also did tap dancing.”

Saar is the matriarch of a close-knit family of artists, as Agustsson’s account of her grandmother’s influence in her childhood years and present life as an adult attests to. “Betye has three daughters and six grandchildren. We were always drawing and doing art as youngsters. But even now, we have themed family parties and we’re all very supportive of each other. In a way Betye working in diverse mediums – assemblage, printmaking, collage, design, painting – was passed down. Two of her daughters, Alison and my mother Lezley, are artists and her other daughter Tracye is a writer and her studio manager. Alison does printmaking and sculpture, my mom does painting, collage, and assemblage.”

Betye Saar and Sóla Saar Agustsson | Photo courtesy of Sóla Saar Agustsson

“I’m not really a visual artist but I do collages and dollhouses, which is like assemblage in a way. My cousin does printmaking and ceramics,” continues Agustsson. “My grandfather, Betye’s husband, Richard Saar was a ceramicist and my other cousin does set design, which relates to Betye being a costume designer. We like to go to flea markets together and are on the lookout to get each other certain things. My grandmother would also give me a lot of advice about art.”

Collecting found objects to create art is something Saar began doing since she was four or five years old. She says that whenever they moved to a new house, she would look through the previous owners’ trash to see what they threw away.   

It’s no wonder then that assemblage spoke to her. Saar reminisces, “In the 1970s I saw the work of Joseph Cornell, right here at the Pasadena Art Museum in fact. I was inspired by how he took ordinary objects and made them into art. He made art that was beautiful and clever and had a sense of humor. It made me want to do that too.”

I inquire if there’s one artwork she created that means more to her than the rest, which one is the most memorable piece she made and why. Saar answers, “I don’t really have a favorite but I have a few works of art that I like because the viewer is invited to make an offering. Mti (1973) and Mojotech (1987). I like involving the public and getting them to experience my work in different ways. It’s also very interesting to see what people leave as an offering. Sometimes it’s a gum wrapper or money or ticket stubs. But sometimes people will leave a drawing they made on site or return later with a photograph or poem. I keep all of these items and feel they have a special power from people connecting to my work.”

That tangible takeaway is something Saar hopes for. She says, “As an artist, one tries to elicit an emotion from the viewer. This can be a tricky thing because I want people to feel what they feel but not dictate it. I hope that people come and see my exhibition in the gallery and then go out and find their own inspiration in the gardens. That’s what I did.”

Betye Saar, ‘Drifting Toward Twilight,’ 2023 (installation view) | Photo by Joshua White / JWPictures.com. The Huntington Library, Art Museum, and Botanical Gardens

When I ask Agustsson what she wants viewers to take away, she replies, “It’s meditative and I think she wanted to convey that emotion. It mimics floating in a body of water looking at the twilight and the moon; it has a very cosmic feeling. With all the turmoil going on in the world and in life, the room feels like a reprieve. I don’t get caught up in thinking about its meaning in terms of words. It’s refreshing to walk away with just an emotional response to it. And that’s very much integral in her process of creating – getting across an emotion – and intuition is a lot of what guides her.”

Agustsson adds, “I just hope that visitors and aspiring artists will relate to her method in harvesting and assembling the work where she demonstrates you can make art out of everyday objects and things you find on the ground. And that they get inspiration after seeing the film, watching her work in the creative process with so much enthusiasm at 97 years old.”

Finally, I ask Saar what it means for her to have her installation become part of The Huntington’s permanent collection and she says, “Well, being from Pasadena it means a great deal to me. I came to the gardens as a child and now here I am as an adult, a 97-year old, with my art in this amazing museum. It’s truly an honor that my work is now part of the legacy of The Huntington.”

‘Betye Saar: Drifting Toward Twilight’ represents a homecoming for Saar. Without a doubt, Pasadenans will be proud of her significance in this community and celebrate her iconic status in Black feminist and American art.

But the installation will profoundly affect all visitors. As they step inside the room, they will at once be enveloped in its warm embrace. And as they read Saar’s poem painted on the wall, ‘The moon keeps vigil as a lone canoe drifts in a sea of tranquility seeking serenity in the twilight,’ they will feel transported to a calm and peaceful place.                                                                                         

Restored Shōya House at The Huntington Demonstrates Sustainable Living Practices

Also published on 20 October 2023 on Hey SoCal

Flowers bloom outside the gatehouse. | Photo by Brianna Chu / Hey SoCal.com

Wouldn’t it be incredible to practically step back in time and experience what it was like to live in a rural village in 18th century Japan? Starting on October 21, visitors to The Huntington Library, Art Museum, and Botanical Gardens will have that unique opportunity when the Shōya House opens at the Japanese Garden (read previous article about the Shōya House here).   

During the press opening held on Friday, October 13, Karen Lawrence, president of The Huntington expressed her gratitude for the generosity of the Yokoi family who gifted their ancestral home to the beloved institution.

Karen Lawrence, president of The Huntington Library, Art Museum, and Botanical Gardens. | Photo by Brianna Chu / Hey SoCal

Lawrence remarks about this exceptional new destination at The Huntington. “This restored residential compound is truly a masterpiece and it offers a glimpse of life in rural Japan some 300 years ago. It’s the only example of this kind of architecture in the U.S. and its presence here wouldn’t have been possible without the generosity of the Yokoi family.”

“In Japan, the house was disassembled, restored, disassembled again, and shipped to us at The Huntington,” Lawrence adds. “Once the components of the house arrived, it was up to The Huntington to rebuild and provide context, including recreating the landscape and gatehouse.”

A signage at the house shows the Yokoi family crest. | Photo by Brianna Chu / Hey SoCal

It’s only fitting for the Shōya House to join the distinctive house Henry E. Huntington bought from Pasadena businessman George Turner Marsh that has been at the Japanese Garden, which has such a fascinating history. The Huntington’s information kit gives the following  chronology.                    

The building of the Japanese Garden began in 1911 and was completed in 1912. The garden, which is currently 12 acres, was inspired by the widespread Western fascination with Asian culture in the early 1900s. Henry E. Huntington purchased many of the garden’s plants and ornamental fixtures, as well as the Japanese House, from a failed commercial tea garden in Pasadena, located at the northeast corner of Fair Oaks Avenue and California Boulevard. When The Huntington opened to the public in 1928, the Japanese Garden became a major draw for visitors. Features such as the bell tower and bridge were newly built for the garden by Japanese American craftspeople.

Robert Hori, Gardens Cultural Director and Programs Director. | Photo by Brianna Chu / Hey SoCal

By World War II, staffing shortages – including those resulting from the incarceration of Japanese American employees – and the political climate led to the closure of parts of the Japanese Garden, and the Japanese House fell into disrepair. In the 1950s, members of the San Marino League helped support the refurbishment of the buildings and surrounding landscape.

In 1968, The Huntington expanded the Japanese Garden to include a bonsai collection, which now numbers in the hundreds, and a rock garden, the Zen Court. Since 1990, The Huntington has served as the Southern California site for the Golden State Bonsai Federation.

The ceremonial teahouse, called Seifū-an (the Arbor of Pure Breeze), was built in Kyoto in the 1960s and donated to The Huntington by the Pasadena Buddhist Temple. In 2010, the teahouse made a return trip to Japan for restoration, overseen by Kyoto-based architect Yoshiaki Nakamura (whose father built the original structure). It was then shipped back to San Marino and reassembled.

In 2011, a team of architects with backgrounds in historic renovation, horticulturists, landscape architects, engineers, and Japanese craftsmen undertook a yearlong, large-scale restoration of the historic core of the garden. The project included repairs to the central pond system and water infrastructure, along with increasing pathway accessibility and renovating the original faux bois (false wood) ornamental trellises.

A view of the house from the side. | Photo by Brianna Chu / Hey SoCal

The Japanese Garden continues to be a popular attraction to this day. However, as Lawrence points out, “What was missing was a traditional Japanese residence that could demonstrate the important historical relationship between the Japanese people, their culture, and the landscape. The iconic Japanese house in the original garden provides the idea of a Japanese residence but it  wasn’t really lived in.”

Lawrence clarifies, “The shōya house is completely different. It’s an exquisite example of a village leader’s residence where rural village life can be explored through the lens of 18th century architecture and farming practices. The residence was occupied by one family, generation after generation, over the course of three centuries. Mr. Yokoi is the 19th generation to own the house.”

The tile work on the roof. | Photo by Brianna Chu / Hey SoCal

“Today it provides us with a rich aesthetic experience of the beauty of Japanese building art and many insights into what it means to live sustainably on the land,” Lawrence adds. “We were fortunate to have artisans come from Japan to work alongside local architects, engineers, and construction workers to assemble the house here and recreate elements that would have surrounded it at the time when it housed a village leader or shōya. They created the wood and stonework features you see, as well as the roof tiles and plasterwork prioritizing traditions of Japanese carpentry, artisanship, and sensitivity to materials.”

Lawrence concludes by voicing her opinion that this will become a major visitor attraction in Southern California, as well as a primary resource for architects, scholars, students, teachers, and others interested in the complexities and beauty of traditional Japanese design, craftsmanship, and architectural practices. And that visitors it will appreciate the lived experience of what this meant and how it was sustained for 300 years.

Robert Hori, gardens cultural director and programs director, says, “It has really taken an entire village to build the head of a village’s house. It wasn’t just the botanical gardens, everyone at The Huntington has contributed in interpreting the house which will make a full experience for the visitors. They won’t be looking at an exhibit in a museum, they will be in that museum. They’ll be able to participate in rice planting, and see the changes of the season. This is something that exists nowhere else and can only live at The Huntington.”

The doors open so the outdoors and indoors blend seamlessly. | Photo by Joshua White / JWPictures.com. The Huntington Library, Art Museum, and Botanical Gardens

The construction team that undertook this project was headed by Yoshiaki Nakamura of Nakamura Sotoji Komuten, who oversaw the restoration of the teahouse in 2010. Hori discloses, “When Mr. Nakamura first came to The Huntington about 15 years ago, he toured it and he said, ‘Wow, this is something special.’ He saw the resources in the library (each year we have over a thousand scholars) and he said, ‘I want to create something that students, teachers, and researchers can explore and be inspired by.’ He wanted to bring traditional building and garden techniques here at The Huntington so they can be a primary resource for those who are not going to Japan.”

“We have also been blessed to have the partnership of many architects and professionals, including Mike Okamoto (U.S. Architect of Record),” continues Hori. “He has been a valuable partner in reassembling this house. You can imagine the challenges of bringing not just a 300-year-old house and re-erecting it, but bringing the metric system and having it meet U.S. building code. We are likewise fortunate to have Takuhiro Yamada (Hanatoyo Landscape Co. Ltd. (Kyoto, Japan) doing the landscape and really putting together the program.”

The formal garden. | Photo by Brianna Chu / Hey SoCal

“What we’d like to show is the beginning of landscape,” Hori expounds. “And that design starts

with the ability to control water and to move earth – and that’s exactly what a farmer is doing. We want visitors who go on a tour of the house to have the experience of being transported to 18th century Japan.”

Each time Hori gives a tour of the Shōya house, he begins at the terraced agricultural field,     where he notes a whole new animal population has taken as their home. “You’ll notice the terrain is sloped – this is how many of the farms were in Japan because it’s the most efficient way to move water from uphill to downhill.”

Nicole Cavender, Telleen/Jorgensen Director of Botanical Gardens. | Photo by Brianna Chu / Hey SoCal

Throughout the tour Hori impresses on everyone how these sustainability practices were a matter of survival for farmers centuries ago. And that sustainability is one of the biggest challenges we face today globally. 

And it’s an issue that Nicole Cavender, Telleen/Jorgensen Director of the Botanical Gardens, deeply cares about. She states, “I’d like to emphasize one aspect in particular that’s especially near and dear to me – we have here a model of sustainability practices. You’ll see how in this house, in this landscape, we’ve integrated and showcased the historical integration of agricultural systems, how water can be used and recycled. In the front as you come in, you see the agricultural landscape that showcases sustainable practices of using cover crop and companion planting. I’m really excited to be able to share these practices and hope to inspire people to integrate them into their own life.”

View of the private garden | Photo by Joshua White / JWPictures. com. The Huntington Library, Art Museum, and Botanical Gardens

Without hammering our head with it, The Huntington makes a compelling argument for practicing sustainability. By restoring the Shōya house and recreating the landscape which will grow vegetables and various crops that change through the seasons – and showing how the village head and townspeople lived – we will witness for ourselves how extraordinary beautiful the outcome can be. Would that in the foreseeable future, Cavender’s hope that their efforts to persuade us to do as these villagers did in 18th century Japan come to fruition.   

Centuries-old Japanese Heritage Shōya House Opens to the Public Oct. 21 at The Huntington

Also published on 10 October 2023 on Hey SoCal

The exterior of the Yokoi family’s historic family home in Marugame, Japan | Photo by Hiroyuki Nakayama / The Huntington Library, Art Museum, and Botanical Gardens

A 320-year old Japanese Heritage Shōya House from Marugame, Japan, has been carefully and meticulously disassembled and restored then shipped to The Huntington Library, Art Museum, and Botanical Gardens in San Marino, California. Sited on a two-acre lot at the storied Japanese Garden, this remarkable architectural and cultural gem will open to the public on October 21, 2023.

During the Edo or Tokugawa period in Japan – between 1603 and 1867 – a single government ruled under a feudal system. It was marked by a flourishing economy and peaceful times. Samurai warriors, who were no longer necessary to protect their villages, moved to the cities to become artists, teachers, or shōya.

Successive generations of the Yokoi family served as the shōya of a small farming community near Marugame, a city in Japan’s Kagawa prefecture. Acting as an intermediary between the government and the farmers, shōya’s duties included storing the village’s rice yield, collecting taxes, maintaining census records, and documenting town life, as well as settling disputes and enforcing the law. He also ensured that the lands remained productive by preserving seeds and organizing the planting and harvesting. The residence functioned as the local town hall and village square.       

In 2016, Los Angeles residents Yohko and Akira Yokoi offered their historic family home to The Huntington. Representatives of the institution made numerous visits to the structure in Marugame and participated in study sessions with architects in Japan before developing a strategy for moving the house and reconstructing it at The Huntington.

The agricultural fields and the gatehouse | Photo by May S. Ruiz / Hey SoCal

The Huntington raised over $10 million through private donations to accomplish the project. Since 2019, artisans from Japan have been working alongside local architects, engineers, and construction workers to assemble the structures and re-create the traditional wood and stonework features, as well as the roof tiles and plaster work, prioritizing the traditions of Japanese carpentry, artisanship, and sensitivity to materials.

Visitors to The Huntington will get to see the Japanese Heritage Shōya House, a 3,000-square-foot residence built around 1700. A remarkable example of sustainable living, the compound consists of a small garden with a pond, an irrigation canal, agricultural plots, and other elements that closely resemble the compound’s original setting. 

Robert Hori, the gardens cultural director and programs director at The Huntington, generously gives me a tour of the shōya House while he talks about the project. He begins, “Visitors will first view the agricultural fields and the gatehouse. In much of Asia, rice was a staple food and farmers played a very important role. Here we have terraced rice fields on one side and a field growing a variety of crops on the other side. This will give the public a sense of the seasons, the life style of the Edo period in Japan and what the pre-modern way of life was like.”

The gatehouse | Photo by May S. Ruiz / Hey SoCal

As we reach the gatehouse, Hori says, “This compound was open during the day for business and at night the gates were shut. The gate was built for events and also to protect the house from weather because Japan and much of Asia are susceptible to typhoons. The gatehouse was damaged in a typhoon in1970 so this structure was not original to the house; it’s a replica based on existing models from the same period in Japan and photographs.

The exterior of the house with the formal entrance | Photo by May S. Ruiz / Hey SoCal

“Inside the gatehouse is a dirt courtyard used for several purposes including drying the crops and where community gatherings – like harvest festivals – might have taken place. The house has two entryways. The formal entrance on the left has sliding panels, and was originally for samurai, dignitaries, and government representatives. Inside the main house, visitors will first see the front rooms, which were used for official functions. The doorway on the right, which Huntington visitors will use, was the everyday entrance for farmers and craftspeople. It has stamped earth floor. The front area consists of public rooms where business was conducted, and the back are the private quarters.”

Visitors entering the public rooms can watch a video that shows the disassembly and relocation of the house and its integration with the surroundings at The Huntington. Additionally, visitors will be able to learn about the traditional skills and tools of Japanese carpentry, such as the wood joinery that was used in constructing the house.

Visitors can watch a video about how the house was disassembled in Japan and reconstructed at The Huntington | Photo by May S. Ruiz / Hey SoCal

Hori continues, “I was part of the team that went to Japan in 2016 to look at the house to see if we could move it, how we were going to do it, and what changes had to be made to it so it could be approved. I was there again for part of the process of taking down the house but not for the entire nine months it took to disassemble it. The crew that took it apart inspected each part for any damage, cleaned, and repaired them. The house arrived at The Huntington in January of 2020.

“Everything in the house uses traditional joinery techniques. We had several crews of carpenters, plasterers, roofers, and tilers who came from Japan to work on it. It was a two-year process which was hampered by the pandemic in March of that year. It was difficult to get people to travel so there were periods when people went back and they had to quarantine and that really slowed things down. Additionally, there weren’t that many flights.”

Clay wood fire cooking stove | Photo by May S. Ruiz / Hey SoCal

A large clay wood fire cooking stove is the first thing visitors will see. Hori speculates that it used to cook perhaps as much as 60 cups of rice to feed the people working in the house and also during planting and harvest. These community efforts were spread out over several weeks.

In the kitchen area is a brick stove. Hori says, “We couldn’t move the one original to the house but this is the type of stove they had. The source of water for the kitchen is a well located just outside and there’s a sliding door you can open to access it.”

The day room, work space, and sleeping quarters | Photo by May S. Ruiz / Hey SoCal

We then move to the private rooms and we take off our shoes. Hori describes, “This lower level was part of the kitchen which was the center of activity. It was probably where they dried and salted vegetables that would last the whole year. The upper level has a floor covering called tatami, mats that measure three-by-six feet. This was the family’s day room where they conducted their activities – they would eat their meals here, then they would use it as a work space after they put away their dishes. Japanese houses like this didn’t have central heating so everyone stayed close together near the fire.”

As we reach another area, Hori describes, “This was probably where they slept. It would have cabinets with futons or bedrolls, and sliding doors could close off the area at night.”

The private garden that can be accessed from the master’s room | Photo by May S. Ruiz / Hey SoCal

In the back is the master’s room. It has a display alcove called a tokonoma where a painting, a scroll, or a flower arrangement can be hung. There’s also a door that opens out into a small private garden.

The Buddhist shrine | Photo by May S. Ruiz / Hey SoCal

We then go into the public spaces for dignitaries and the first room we enter has two shrines – one is Shinto and the other next to it is Buddhist. Explains Hori, “They had two religious systems that co-existed and people were both Shinto and Buddhist. Everything in Shinto is considered having a spirit; they worship mountain or forest gods. Buddhism, on the other hand, goes back over 2,500 years and started in India; it spread to China, and then to Japan. Buddhism also has a cultural and writing component from China that includes language and Chinese characters. The Japanese had their own language; they had a word for mountain, which is ‘yama’ like Fujiyama. The approximation in Chinese for mountain is ‘shan’ or ‘san.’ The same concept applies to religion – they have a cosmic god and a Japanese god.”

The main room where distinguished guests were received has a tokonoma on the side; it’s similar to the one in the master’s accommodations. A shoji opens to reveal a beautiful formal garden planted with carefully shaped pines and camellias, as well as cycads – considered a symbol of luxury in 18th-century Japan. The rocks in the garden came directly from the original property and were placed in the exact same spots in relation to the house and a koi pond.

The garden and pond in the formal area | Photo by May S. Ruiz / Hey SoCal

I ask what the condition of the house was when they went to Japan to look at it and Hori replies, “The last time it was rebuilt was in the 19th century around 1860 to 1870. It had also been modernized later – they put in electricity and flush toilets. But it hadn’t been lived in for over 30 years; the last person who resided there was the grandmother who passed away in the 1980s. And when a house is unoccupied, several things fall unto disrepair.”

About what challenges they faced after the house arrived here, Hori says, “Our first challenge was how could we construct the house so it passes the building code? We also have earthquakes in California so we had to build it to meet seismic requirements. We’d never done this before so we didn’t know if it was a viable undertaking. And, as far as I know, this is the first house of this size to be built at a public institution. This is the first Japanese house of this age and size in the United States.”

Standard houses in Japan are not this size, clarifies Hori. “Because of their responsibility, the shōya would have bigger dwellings with more amenities. A regular residence wouldn’t have this public area. The typical layout of an ordinary person’s house would have a kitchen, a dayroom/living room/dining room and a sleeping room. If you lived in the city your house might be twelve-by-twelve-square-feet. You ate, worked, and slept in the same room – something we call a studio.”

The vegetable garden in the back of the house | Photo by May S. Ruiz / Hey SoCal

The house and the area surrounding it are models of sustainable living. Hori declares, “They probably didn’t have the word for sustainability but they had the practice in place. If they didn’t lead sustainable life styles, they wouldn’t be alive – it was a matter of survival. The keys to sustainability are reducing waste, reusing, recycling, and repairing. For example, these glass doors don’t line up exactly because they come from different parts of the house. They have been repaired and reused, thus reducing waste.”

“Growing your own food is an example of a sustainable life style,” adds Hori. “Since we are a botanical garden, we tell everyone that farming is the root of ornamental landscapes because it has to do with being able to move earth and control water. In the other gardens – the Chinese Garden or the Japanese Garden – we have ponds and streams, and they’re all part of an irrigation system.”

The pit toilet | Photo by May S. Ruiz / Hey SoCal

As we walk to the back of the house Hori shows me a covered circular ground container and says, “Thinking about how we treat waste, we recreated a pit toilet. There’s a real lavatory inside, but having this type of toilet is one of the keys to sustainability – reducing waste. In Japan, China, and much of Asia, they use human waste for fertilizer.”

Hori also discloses that there were two storehouses on the property – one for household items and the other for rice. They haven’t been built but they have the footprint of one of the storage houses.

“Construction of the irrigation canal is underway,” Hori explains when we walk by it. “Japan gets about 100 inches of water from the rain but even in countries with an abundance of water, you have to save the water, control the water, and use it for agriculture; this is part of the agricultural system. In Japan and other Asian countries, they use gravity – they have terraced paddies and fields to move water from the top to the bottom. Using natural forces instead of electricity or a pump is conserving resources.”

The back of the house | Photo by May S. Ruiz / Hey SoCal

“What we’re recreating here is a village – a community,” Hori pronounces. “It is looking at another culture and how people in the past addressed sustainability. And it’s one of the biggest global problems we face today.”

The Yokois made a well-considered decision to endow their shōya house to The Huntington, an institution renowned for preserving historical artifacts and cultural treasures. Under its stewardship, this remnant of history will be protected for centuries to come.

And The Huntington has taken this responsibility a step further by restoring the shōya house and its surroundings to educate us and demonstrate that it’s possible to live sustainably. It’s a lesson we have to heed and practice to help save our planet and ensure not only our survival but also that of future generations.