Meeting "The Ladies of Punta Gorda"

I first met Libby Schaefer last fall when Dorrit, Bruce and I took one of her free walking tours around Punta Gorda.  Her enthusiasm for Punta Gorda's history (and life in general) was infectious.

Wrobbel (second from L), Schaefer (fourth from L) & friends

Libby mentioned she was interviewing women for a book about Punta Gorda.  She told me it was Helen Wrobbel who pushed her to write the book.  I knew Helen in passing from various symphony events.  Despite her advanced age (95+) and reliance on a walker, she was one of the CSO's most ardent fans.  Libby shared that Helen had wanted to be buried wearing a red bustier, but that a family member vetoed her wishes. What???!!!  This was just one of the many things I didn't know about Helen when she was alive.  She was a businesswoman who quietly fought segregation. She was an active volunteer firefighter for whom a local fire station is named. I regret not taking the chance to get to know her.

Libby's book was published in January, and it is a gem.  The transcribed interviews draw a picture of what life in Punta Gorda was like in years past and the many ways in which these women shaped our community.  It is a reminder that we can all make a difference.  (If you want to get a feel for the stories in "The Ladies of Punta Gorda," the article I wrote about the book for Florida Weekly is set out below.)

Libby is working on a new book entitled "Memories of War."  Thoughts of "The Ladies of Punta Gorda, Volume II" also occupy her.  And she's lobbying for a new mural in town honoring the contributions of the women she's helped us get to know.  I have high hopes that all of these endeavors will come to fruition.

Introducing “The Ladies of Punta Gorda”

By Nanette Crist, Florida Weekly Correspondent

Author Libby Schaefer

With a twinkle in her eye, Libby Schaefer calls herself a “streetwalker.” Not in the traditional sense, of course. The streets she’s been walking are frequented by the memories of the women who made Punta Gorda the community it is today. Ms. Schaefer tells their stories in “The Ladies of Punta Gorda: A Memory Book.”

Real history

It was Punta Gorda “Grand Dame” Helen Wrobbel who pushed Ms. Schaefer to write her book. Over the course of more than 50 years, Ms. Wrobbel wore many hats in our community, including volunteer fire fighter, businesswoman, clown and president of the Punta Gorda Women’s Club. 

In Ms. Wrobbel’s view, “Real history is the memories people have of the lives they’ve lived.” And she firmly believed the women of Punta Gorda had stories that needed to be told and preserved. 

Backbone of our community

Ms. Schaefer originally intended to satisfy Ms. Wrobbel by interviewing a few women and chronicling their stories. But as she began talking with the ladies, Ms. Schaefer became captivated by the lives they led. “These women were the backbone of our community,” she said. As her enthusiasm mushroomed, so did the project. 

With her tape recorder at the ready, Ms. Schaefer sat down with women who contributed to Punta Gorda’s history in ways large and small. Each chapter recounts the words of the women themselves rather than Ms. Schaefer’s spin on their lives.

Faye Whitehurst Mobley Austin

And so readers learn from Faye Whitehurst Mobley Austin what it was like to be the first nurse in Punta Gorda. Edna Earl Smith Poppell shares her memories of growing up as the daughter of the “Smiling Iceman of Punta Gorda.” And June Tang relates her journey from Bangkok to Punta Gorda, where she owns and operates the Royal Thai restaurant with her daughter Christina.

Generations of women

In many instances, Ms. Schaefer gathered stories about women no longer living. She talked with daughters and granddaughters and nieces. 

Frances Joyce Cleveland Lenz recalls both her life and that of her grandmother, Jean Paul Whiteaker Cleveland. Ms. Lenz was raised by Ms. Cleveland and has lived in the same house on Gill Street since she was a child. 

Ms. Lenz recounts tales from her grandmother’s work in City Hall as deputy clerk and, later, town clerk. (A woman serving as town clerk in the 1950s was a rarity.) She recalls being at work with her grandmother when a resident came in who didn’t have the money to pay his water bill. He did have vegetables, though, and offered to sell some to Ms. Cleveland. She carefully made her selections, purchasing enough to enable the gentleman to pay his bill. Ms. Lenz says there was always fresh produce in their home.

Cornelia Ponder with her daughter and granddaughter

Alfreda Weathersbee Mobley similarly shares her own story and remembrances of her great aunt Cornelia Ponder. Ms. Ponder was a nurse and midwife whose patients spanned the color divide. Ms. Mobley remembers “Auntie” working with the local doctor to nurse Ms. Mobley’s mother back to health. The doctor said, “Cornelia, me and you got her better.” Ms. Ponder responded, “You, me and God.” 

A time of segregation

Segregation was a reality of life for many women whose stories are told in “The Ladies of Punta Gorda.” Women like Martha Bireda remember well attending Baker Academy, Punta Gorda’s African-American school. The school taught students from kindergarten through grade six to nine, depending upon the era. Once the students graduated, they were bused to Fort Myers to continue their education.   

Segregation permeated our community in a multitude of ways. The Punta Gorda train station had a separate waiting room and water fountain for African-American travelers. The hospital had a two bed ward for African-American patients. If the beds were filled, the patient was sent home unless a nearby hospital had a vacancy in its colored ward. Even tasks as seemingly simple as shopping for a new dress were difficult because African-American shoppers were not permitted to use the stores’ dressing rooms. 

Martha Bireda with Helen Wrobbel

Taking a stance

Ms. Bireda tells of one way in which her mother, Bernice Andrews Russell, rebelled against the mores of segregation. Then, as now, Punta Gorda had many intersections with four way stops signs. It was the custom for African-Americans drivers at these intersections to allow white drivers to pass through, regardless of who had arrived first. Ms. Russell would just “turn her head…and drive right through.”  

Ms. Bireda is proud her mother’s story is included in the book. “My mother was an extraordinary woman,” she says. “She was born a second class citizen, but she became a first class citizen by taking advantage of opportunities when they opened up.”

In her later life, Ms. Russell established the Blanchard House Museum to celebrate the contributions of African-Americans to our community. Somewhat to her surprise, Ms. Bireda now continues her mother’s work as Executive Director of Blanchard House. 

What’s cooking?

Paging through “The Ladies of Punta Gorda” is like perusing a friend’s old scrapbook. Wonderful pictures with cracks and creases attesting to their age accompany each story. 

Ms. Schaefer has also included some family recipes in the book. “The ladies cooked all the time,” she said, “And it came up again and again as I talked with them. Many had special recipes they encouraged me to include.”  

 A serious baker herself, Ms. Schaefer has added specialties like guava cobbler and kumquat cake to her repertoire. 

Bringing her book to life

Like all authors, Ms. Schaefer loves to talk about her book. But there’s no sense of self-promotion in her conversation. Instead, it’s clear she has come to regard the women—even the ones long departed—as friends she really wants you to get to know. Ms. Schaefer will be on hand to introduce her ladies at two upcoming events.

On Thursday, Jan. 29, Copperfish Books will host Ms. Schaefer at a book talk and signing. Reservations are suggested.  

For people who want more in-depth information, Ms. Schaefer will lead a walking tour on Friday, Jan. 30. The tour will feature locations mentioned in the book such as the Ice House and the Blanchard House Museum. Ms. Schaefer will share excerpts from relevant stories at each stop. The tour will be followed by classroom time for questions and trivia. The event is being offered through FGCU’s Renaissance Academy.

Volume 2?

Ms. Schaefer readily acknowledges there are many more women out there whose stories deserve to be told.  And it’s a project she’s contemplating. But for now, she’s content to let people get acquainted with the amazing women featured in “The Ladies of Punta Gorda.” 

How Small Can You Go? Visiting the 40th Annual Miniature Show

When my friend Maggie made her plans to visit, I put on my tour guide hat and searched for fun things to do while she was here.  We had plans to visit the Dali Museum in St. Pete to see the Picasso-Dali, Dali-Picasso show, so a stop at the 40th Annual International Miniature Art Exhibition in Tarpon Springs seemed like a good add-on.  It's a wonderful--and slightly mind boggling--show.

Kathy Pollak at work

Our first stop was a chat with Kathy Pollak, one of the demo artists that day.  Pollak used to do "normal painting," but turned to miniatures when she and and her husband moved to Florida and downsized.  (We heard this from some other artists we spoke with as well.  Everyone can find a space in their home for a miniature!)  In order to qualify as a miniature, the work itself can be no more than 25 square inches; the maximum framed size is 64 square inches.  Also, as a rule of thumb, the miniature should be no larger than 1/6 the size of the actual object. (Just for kicks, I got out a measuring tape and measured my head, which is approximately 9 inches tall.  This means my face in a miniature portrait should be no larger than 1 1/2 inches.)  

Pollak starts her process with a picture of what she wants to paint loaded up on several devices (plus a hard copy).  The version on her iPhone (not the gargantuan iPhone 6 plus) was the actual size of the painting she was working on the day we chatted with her.  She begins either by tracing the picture onto her canvas (which she called the "cheaters' method") or by drawing the image with the use of calipers to measure the distances.  Either way, the artist then has to paint the detail of the miniature, which requires an inordinate amount of skill and patience.

"Cottage at the Cape" by
Polly Berlin (oil)

With this background, we began to explore the lighted cases filled with miniatures.  A magnifying glass hangs by each case so visitors can take a closer look at the detail of works that catch their eyes.  Maggie almost immediately gravitated to this painting by Polly Berlin entitled "Cottage at the Cape."  The texture and detail of the flowers are incredible. In a happy coincidence, Maggie's mother collected miniatures that are housed in a family home on Cape Cod.  It was an easy decision for her to add this work to the collection.

"The Colors of Robin Williams"
by Rebecca Kessel (acrylic)

The exhibit contains a wide variety of styles and mediums. Essentially, any type of work done in "regular" size can be done in miniature.  There were watercolors and sculptures and multi-media works and drawings. The subject matters were equally varied, from portraits to landscapes to animals.  Abstract works are specifically permitted under the prospectus for the show, but both Maggie and I felt they don't translate particularly well into the miniature format.

"Gypsy Horse, Cherokee
Rose" by Denise
Horne-Kaplan

Submissions have to be juried into the show.  If I understood correctly, there is a panel of five jurors and majority rules.  A judge then selects the winners.  Prizes are awarded in each medium and in a number of subject-matter specific categories.  First prize for opaque watercolor went to the Visual Arts Center's own Denise Horne-Kaplan for "Gypsy Horse, Cherokee Rose."  The work measures 2 1/2" by 4 1/2".  Even in my picture, you can see the amount of detail.

"The Road to Coomenole Beach,
Dingle" by Joan Cart (opaque watercolor)

The exhibition is an annual event and is held at the Leepa-Rattner Museum in St. Petersburg.  This year's show runs through February 15.  It's really a must-see for any art lover (and, in my opinion, much more interesting than the Picasso-Dali, Dali-Picasso show).  I am already looking forward to next year's show.

Visiting the Hermitage Artist Retreat

I've wanted to attend a beach event at the Hermitage Artist Retreat ever since I heard about them. What could be more fun than sitting on a beach chair listening to an author read or a musician perform while the sun sets?   And so my friend Janice and I headed out to Englewood earlier this month to check it out.  It was truly special.

With Janice at the Hermiage

We arrived at the appointed hour of 4:00 and were told that the reading/video would be held in one of the buildings rather than on the beach "because the surf was too loud."  (What a problem!)  It was also a bit chilly--for Southwest Florida--but we checked out the beach anyway for future reference.  I am more eager than ever to get to an event that's actually held on the beach.

Barbara Parmet photo

We were invited to visit the "Old Florida" buildings on the property, each of which has been converted into a studio and housed an artist showing her work.  We made a bee line for the building where Barbara Parmet was showing her photography.  Parmet's work (most of which is black and white) is ethereal and haunting.  Her "Gravity Unbound" photos were taken underwater in (heated) pools and are incredible.  We happened to visit when one of Parmet's models was there.  She told us a bit about what it was like spending time underwater wearing a formal gown and trying to follow Parmet's instructions to move one way or another for the shot.  Really fun.  Each Hermitage fellow is given a six week residency (which can be broken up) to focus on their work.  Parmet was spending two weeks at the Hermitage creating the narrative to go with her photos.

Artist Rebecca Allan

Rebecca Allan was sharing her environmental landscape work in another studio.  I chatted with her a bit about what it meant to to be a Hermitage fellow.  "This gift of time is like being on 10,000 vitamins," she said.  Time away from family and grocery shopping and teaching commitments -- all the realities of everyday life -- to focus on her art.  Time, as Allan enthused, to really dig down into her body of work. And having the opportunity to spend time with other Hermitage fellows, sharing their creative juices, is a big bow on top of the present.

Zoe Strecker

Zoe Strecker's resume is astounding in its scope and includes sculpture, ceramics, nonfiction essays, and documentaries.  She also co-authored the book "Kentucky Off the Beaten Path: A Guide to Unique Places." We entered Strecker's studio mid-chat with some other visitors but were immediately drawn in.  She was showing slides from her walks on the trails of Pine Mountain and the Wild Places project.  The intent behind the project is "to connect people with wilderness through an array of creative projects."  One project involves converting large-scale photos that Strecker has taken of the forest (primarily endangered hemlocks) into quilting patterns. Among other things, Strecker loves the low tech/high tech aspect of this initiative.  Janice and I are ready to head up to Kentucky to participate in one of her walks.

Lisa Schlesinger

The program that had been intended to take place on the beach was held in a small house on the property.  Lisa Schlesinger, a playwright and storyteller, kicked it off with a reading of her essay, "My Husband, the Sperm Donor" that appeared in the New York Times' Modern Love column.  The essay involved her husband's decision -- which was fully supported by Lisa and their two children -- to become a sperm donor for a gay couple with whom they are good friends.  Modern love indeed.

Laura Kaminsky

Composer Laura Kaminsky was the final fellow who shared her work at the event.  Kaminsky's opera "As One" opened to standing room only audiences at the Brooklyn Academy of Music last fall.  Kaminsky spoke with passion and eloquence about the development of her work, which tells the story of a transgender individual, showing video clips along the way. It's a story of self-discovery and acceptance and explores what you gain--and lose--to be who you truly are.  Kaminsky talked about the choice of the palindrome "Hannah" as the character's name.  (Palindromes have the same meaning backwards and forwards.  How perfect!)   She told how wonderful it was to have a married couple (of the type who can complete each other's sentences) portraying the male and female versions of the character. The opera was staged sparingly, but beautifully, with a string quartet on stage with the actors, and the clips from the production were powerful.  Despite the fact that I am far from an opera buff, I was enthralled with Kaminsky's presentation.

The Hermitage's next beach event will be held on Friday, January 30, at 4 p.m. and will feature portrait artist Felix de la Concha (who, weather permitting, will be painting on the beach) and composers Patrick Harlin, Evan Ziporyn and Christine Southworth.  For more information about both the Hermitage and the event, click here.  Maybe I'll see you there!

Citizens' Academy -- Getting to Know the Administration

My buddy Bruce and I met early last Tuesday morning for our first session of the Punta Gorda Citizens' Academy. We rolled into a classroom filled with other residents eager to learn about the inner workings of the City.  Over the course of the next four months, we will visit different departments in the City--from public works to urban design to police--and hear from those in the know what's involved in making Punta Gorda run.  Our first session dealt with Administration and included presentations from the City Council, the City Manager, the Legal Department and IT.  Here are a few fun facts I learned that morning.

--Punta Gorda operates under a council-manager form of government.  This means that our elected representatives (the council members) perform the legislative function while the city manager functions much as a CEO.
--Punta Gorda's mission statement (adopted by the City Council) is "To enhance Punta Gorda's identity as a vibrant waterfront community, unique in character and history, and one of the most desirable places to live, work and visit."
--CSPAN junkies will be glad to know that City Council meetings are available on YouTube no later than the day following the meeting.  (Click here to check it out.)

Yes, the green sign also says "McKenzie."

--As a general rule, blue street signs indicate that you are in the city proper while green street signs indicate that you are in an unincorporated part of the county.  As Council member Rachel Keesling pointed out, though, there are some ambiguities.
--According to a recent report, Punta Gorda is the seventh safest Florida city to live in.  (My sister's home of Parkland was second, so we are in good shape!)
--City Manager Howard Kunik and his team had to obtain approval from Homeland Security to make modifications to the portion of Harbor Walk that runs under the northbound 41 bridge.  Post 9-11, all bridge related construction is required to comply with these regulations.  Modifications to Harbor Walk under the southbound bridge are on the horizon. 
--Punta Gorda's website contains 8 terabytes of data. (I have no concept of what this actually means, but I know that's a lot.)  Punta Gorda's IT manager Brad Schuette is in the process of updating the website. Suggestions are welcome at bschuette@pgorda.us. (Click here to visit the website.) 

The Fitness Zone

--The "Fitness Zone" at Linear Park across from Fishermen's Village is so popular that a second location is under consideration.  Thanks to the Punta Gorda Rotary Club for donating the equipment!

I was struck by the number of times throughout the morning I heard the term "customer service."  I left feeling that every council member and department head is actually eager to hear from Punta Gorda's citizens, whether it's a complaint, a suggestion or kudos for a job well done. It was yet another reminder of why Punta Gorda is, in fact, an incredibly desirable place to live. 

Jazzing it up with the Charlotte Symphony Orchestra

Attending Charlotte Symphony Orchestras has become a staple in my cultural life.  It’s no secret, though, that I have a steep learning curve when it comes to classical music.  And so I was eagerly awaiting the CSO concert featuring jazz great Marvin Stamm on trumpet and repertoire such as Leonard Bernstein’s “Symphonic Dances from West Side Story” and Duke Ellington's "Ellington Fantasy."  It was pure joy.

The fun got started with Maestro Ponti's pre-concert talk.  I knew we were in for a good time when Raffaele quoted Louis Armstrong.  "There are two types of music," Mr. Armstrong said. "The good and the bad."  Raffaele assured us that the evening's concert would feature the good kind.

Mssrs. Mancini, Neuschwander, Stamm, Ponti, Danielsson & guest

The Maestro talked about the way people experience music (and, in fact, life).  "There are magical moments," he said, "When you hear or play something and think, 'Oh, baby, that's it.' And then you spend the rest of your life trying to make it happen again."  And then, with the help of guest musicians Per Danielsson on piano, Mark Neuschwander on bass and Dave Mancini on drums, he gave us a musical demonstration of this phenomenon.

Mr. Danielsson played a melody that Raffaele promised the audience knew.  Nobody, however, was able to name that tune.  Mr. Danielsson changed up the tempo, and suddenly we realized that we were listening to "Take the A Train," the signature song of the Duke Ellington orchestra.

From there it got crazy.  The trio played "A Train" in a variety of styles, from bossa nova to calypso to slow and sultry to rock and roll.  The rhythm was changed from 4/4 to 3/4.  The pianist played in half time while the drums and bass played in double time.  It was impossible to sit still, and the women on both sides of me were reading my mind when they said, "We need a dance floor!"

The concert hadn't even started, and I could have gone home happy.  The evening was off to a great start.

The orchestra's seating had been reorganized for this concert, with strings on one side and brass on the other. The piano for Mr. Daniellson was dead center, with Mr. Mancini's drums to one side and Mr. Nuenschwander's bass just in front.  A chair and stand had been set apart for jazz great Marvin Stamm and his trumpet. It was one more indication that the evening held something different for the audience.

The concert proper kicked off with the wonderful "Symphonic Dances from West Side Story" by Leonard Bernstein.   It's hard to believe, but neither I nor Janice (my companion for the evening) have ever seen "West Side Story."  I've heard excerpts from its "Symphonic Dances" many times, though, with the most memorable being when I saw "Jerome Robbins' Broadway."   (Fun--but totally off point--fact:  Did you know that the first draft of the play was called "East Side Story" since it was set in the Lower East Side of Manhattan?)

It was wonderful to hear the work from start to finish, and the musicians looked like they were having as much fun as the audience was.  The prologue included an excerpt from "Jet Song," and Raffaele turned sideways to the crowd with a mischievous look as he snapped his fingers. The orchestra members cried out "Mambo" on cue in the segment with the same name.  (No matter how many times I have seen this, it always makes me smile.)  A percussion player blew an incredibly loud whistle.  Serious fun.

My predictably favorite excerpt was "Somewhere" with its hopes of a place where the couple's young love can bloom without concern about their differences. I could hear the lyrics of "Hold my hand and we're halfway there, Hold my hand and I'll take you there."  And so the CSO had.

Marvin Stamm

From there we were off to the world of Duke Ellington's Fantasy.  Our guest musicians joined the CSO for this piece, and I felt as if the Charlotte Performing Arts Center had been transformed into a jazz club.  Once again, the piece was a medley.  There was "Caravan" (one of my personal favorites) and "Don't Mean a Thing (If It Ain't Got that Swing").  Dave Mancini had a ridiculous drum solo that prompted the first of several exclamations of "Oh, wow" that I heard during the performance.  I was dancing in my seat throughout (something the people behind me commented on during intermission -- sorry!)

Once again, I would have been fully satisfied if the evening had ended there, but Raffaele had more in store.  I laughed when he took the podium after intermission.  Always fastidious about his appearance, his hair was wild and I was reminded of a mad scientist or--more apt--a crazy jazz musician.

Mr. Stamm, his fellow guest artists and the CSO went on to treat the audience to an array of jazz numbers, including an upbeat composition entitled "Samba du Nancy" that Mr. Stamm wrote for his wife. Raffaele and Mr. Stamm chatted a bit, and when asked who most influenced Mr. Stamm, he had a surprising answer.  While he of course was influenced by the great musicians with whom he's worked (like Stan Kenton and Thad Jones), he credited his middle school and high school band conductors and his trumpet teacher with inspiring him to make a career of music. It was a tribute to the power of arts education, a dwindling commodity in today's world.

It was a thoroughly enjoyable evening of music that once again showed the ever-growing versatility and talent of the Charlotte Symphony Orchestra under Maestro Ponti's baton. I can't wait to see what's in store for us next.

Creating A Community of Theater Supporters

Community.  It's a powerful concept.  Everyone likes to be part of something, to work together towards a common goal.  But communities don't just appear out of thin air.  They have to be built and nurtured and grown.  And nobody does that better than the FSU/Asolo Conservatory program.

The enthusiasm in the room was palpable when Dorrit and I arrived at a brunch for Conservatory supporters to meet the 12 first year students. We already had a sense of the students and their personalities from the musical theater showcase earlier in the season. But this time we had a chance to get up close and personal with the students.  It was a blast.

With Danielle and Dorrit

After spending some time chatting with students and other supporters, we made our way to our table. Each table was hosted by a student, and our first year was Danielle Renella.  I was thrilled to be seated next to her so I could learn about her Conservatory experience without shouting across the table.

Having recently read about the Conservatory's stage combat workshop, one of my first questions was what the workshop was like for her.  (Danielle is a tiny thing who probably doesn't weigh 100 pounds soaking wet.)  She acknowledged it was a bit intimidating at first, especially when the guys' testosterone kicked in.  But she went with the flow, eventually settling in and accepting the instructor's excitement about having someone small in the class who could easily be thrown around.  Yikes! (Click here to read Jay Handelman's article in the Sarasota Herald-Tribune about the workshop.)

I learned that the students receive a stipend in exchange for the work they do on the productions put on by the second year students.  Danielle's current job is working in the costume department for "As You Like It."  The job is definitely not glamorous and involves sewing buttons and doing voluminous amounts of laundry after each show. She also helps with costume changes and told us to watch for a 15 second costume change when we saw "As You Like It" that afternoon.  (Dorrit and I nudged each other when the change took place.)

Each of the students was asked to introduce him- or herself and comment on what they've found the most challenging part of the Conservatory program to be now that they have a semester under their belts.  Here's a sampling of their responses:

--Working as an understudy for an Asolo Rep production -- without attending rehearsals.  Third year Conservatory students often act in Asolo Rep plays, with the first year students serving as their understudies.  The difficulty is that the first years have a full load, often working on three or four disciplines each day, plus working to earn their stipend.  As a result, the students memorize their lines, attend a couple of rehearsals, and hope for the best if they get the call to fill in.

--"Losing your body," learning how to breathe and having an "awake" spine -- Each of these challenges relates to learning how to find a calm, yet fluid, place from which to work.

--Learning to release into the moment without holding back, even if that means getting into emotions you might rather not focus on.

--Accepting that it's okay to fail, with the corollary challenges of trusting the process and trying not to measure your progress.

Dorrit and I loved every second of the brunch (although it was a bit exhausting to maintain that level of excitement for a couple of hours!)  I feel incredibly fortunate to be part of the Conservatory community.  I can't wait to see what's next.