Emma Deans

Emma Deans

Emma Deans is a communications assistant with Ecotrust.

 

Stephanie Mutz was on track to becoming a professor. She earned a bachelor’s degree in marine biology from the University of California, Santa Barbara, and a master’s degree in tropical marine biology from James Cook University in Aus­tralia. But while her thesis was being reviewed she took a job as a deckhand and didn’t look back.

Mutz has operated her own boat, primarily dive fishing for urchins and snails, while also trapping fish, rock crab, spiny lobster, and Santa Barbara spot prawns. She now serves as President for Commercial Fishermen of Santa Barbara, a non-profit organization that strives to create new models for collaboration by connecting fishermen with each other and with fishery scientists. CFSB is a member of the Ecotrust-backed Community Fisheries Network, which held its third annual meeting in March.

Stephanie Mutz serves as a go-between for fish harvesters and communities in Santa Barbara.

Stephanie Mutz serves as a go-between for fish harvesters and communities in Santa Barbara. Photo: Fran Collin

CFSB operates by the Golden Rule: only catch what you can sell. They partner with the Santa Barbara Fish Market, which is 200 yards from the pier and will fillet their fish for free.

While Mutz does serve as an adjunct professor of biology for Ventura Community College, her overall educational approach is grassroots. She holds a number of positions on advisory and executive boards, including serving as Co-founder for Santa Barbara’s first and only Community Supported Fishery.

Q. How is CFSB evolving?

A. Fishermen are talking together more, working through issues, and coming up with resolutions. We’re becoming more formal with bylaws and insurance policies. We’d also like to engage more in marketing. But we want to keep our focus at the community level. The largest boat size is 60 feet and we only have two of those; the average boat size is 30 feet. Inventory isn’t always consistent, depending upon the circumstances. We tell restaurants that a good way to think about us is don’t put us on the menu, put us on the chalkboard.

Q. What are the benefits of working with someone in Maine or Alaska, through the Community Fisheries Network?

A. Having a national network like the CFN provides a common ground—it’s a way to hear other people’s stories and issues and see how ours compare. If we’ve dealt with the issue here, we can provide advice to others and vice versa. The network provides strength in numbers and support for common struggles.

Q. What does your outreach to the community look like?

A. A number of CFSB fishermen talk to food clubs, at festivals, and to people who want to know more about harvesting/quirky biology about seafood. My passion has always been teaching, and I’ve realized that I prefer grassroots, organic education. I want to nerd out and tell people all the things they want to learn about.

When I first started outreaching to the community seven or so years ago, I was on my soap box, telling people what they should and shouldn’t do and I realized that I have to relate to people on their level. I’m still learning how to get my message out in language that is accessible to the public and sometimes I need to tone down my approach. I used to teach people how to fillet a fish and boil a crab on Earth Day. Some people had a visceral reaction to me killing food right there on Earth Day!

Q. Is there a good return on investment in outreach?

A. We’re seeing a lot more fishermen getting involved in direct marketing, but it is extra work. I enjoy helping people with strategy; I’d like to be a consultant for fishermen. There’s a communal nature to the industry—consumers like knowing where their food is coming from and fishermen like seeing where their food goes.

 

On August 9th, 1945 the United States dropped an atomic bomb named “Fat Man” on the city of Nagasaki, Japan. The plutonium used in the bomb was produced in southeastern Washington at the Hanford Nuclear Site.

A multi-disciplinary exhibit called Particles on the Wall (POTW) explores the human and environmental legacy of nuclear technology, specifically focused on the global implications of the Hanford facility. Since its debut in January 2010, POTW has traveled to nine communities within Washington and will soon be traveling to the Natural Capital Center for its first showing in Oregon.

A free opening reception of Particles on the Wall will be held on Friday, May 3rd from 6-8 p.m. at Ecotrust’s Billy Frank Jr. Conference Center.

Hosted by Oregon Physicians for Social Responsibility in collaboration with Washington Physicians for Social Responsibility and the Institute of Neurotoxicology and Neurological Disorders, the night’s opening reception will also honor the high school student winners of the 2013 Greenfield Peace Writing Scholarship. Students submitted essays based on the prompt, “Why does Hanford matter?”

Covering 586 square miles alongside the Columbia River, Hanford is owned by the federal government and operated by the U.S. Department of Energy. The site began production in 1944 and was commissioned to supply plutonium for the Manhattan Project, which included the first nuclear test, codenamed “Trinity.” Two-thirds of the plutonium used in the nation’s stockpile of nuclear weapons between 1944 and 1988 came from Hanford reactors.

The B Reactor, pictured here, supplied plutonium 239 used in the first atomic device ever exploded on July 16, 1945, known as the Trinity Test. Photo: toxipedia.org (Washington Nuclear Museum & Ed. Center)

The B Reactor, pictured here, supplied the plutonium 239 used in the first atomic device ever exploded on July 16, 1945, known as the Trinity Test. Photo: toxipedia.org (Washington Nuclear Museum & Ed. Center)

Decommissioned following the Cold War, it is still home to 53 million gallons of chemical and radioactive waste from over three decades of plutonium production. The B Reactor—the first reactor ever built, which supplied the plutonium for the Nagasaki bomb—was designated a U.S. National Historic Landmark on August 19th, 2008. It is open for public tours.

Richland had more than enough sky. Wind was the landscape. It had swept out the past; the present was dust. I can almost taste it. The rain smelled sweetly of it. Even the snow was dusty. Even the dust, though we didn’t know it then, was radioactive.”

–Excerpt from POTW’s “The Landscape of Memory” by Debora  Greger, originally published in Desert Fathers, Uranium Daughters

POTW’s founders and curators Dianne Dickeman, Nancy Dickeman, and Steven Gilbert wanted to create an exhibit that brought together visual, literary, scientific, and historical disciplines to “stimulate examination, discussion, and creative expression about the nuclear age.”

It is dedicated in the memory of poet William Witherup, who was a driving force behind the exhibit, but passed away from leukemia prior to its development. His poetry reflects many of the environmental and social concerns for the site and the ramifications of nuclear destruction. An excerpt from his poem B-REACTOR: HANFORD: A NATIONAL MONUMENT reads:

A mutant dragon fly
Sips a chemical cocktail
From a dank cooling pond.
Coyote has a tumor on his tongue,
And Magpie is blind-
See her hopping in circles,
Dragging her wings
And once-saucy tail?”

Materials from POTW have been gathered in a hard copy book, which can be purchased online, or alternatively downloaded as an e-book for iPad, Kindle, or in .pdf format. Downloads are free, but donations can be made to support the work of Healthy World Press and the Institute of Neurotoxicology and Neurological Disorders.

Ecotrust will display a smaller installation of the exhibit from May 3rd—June 14th.

 

Sisters empty their family's corn crib in San Miguel Cuevas. Photo by Matt BlackOn April 26th and 27th, Ecotrust and Blue Earth Alliance will co-host Collaborations for Cause, a national gathering of photographers, NGOs, activists, and communications professionals, to discuss the collaborative future of storytelling.  Panelists include experts from top-notch firms like Wieden+Kennedy and Second Story, communications innovators from Ecotrust, Rare, and American Rivers, and world renowned artists and photographers like Gary Braasch and Ed Kashi. The second day of the conference will be dedicated to storytelling workshops.

Photographer Matt Black will present his project The People of Clouds at Collaborations for Cause, April 26th and 27th. Photo: www.mattblack.com

Photographer Matt Black will present his project The People of Clouds at Collaborations for Cause, April 26th and 27th. Photo: www.mattblack.com

Matt Black will serve on the panel “Authenticity, Ethics, and Aesthetics” and will share his photography project The People of Clouds, which documents the land and culture of Mixteca in southern Mexico. A native of California’s Central Valley, Black was documenting an out-of-work family in his home town when he learned of their roots in Mixteca and decided to look at the larger story of the culture’s migration. Over 250,000 Mixtecs have immigrated to the United States.

The birthplace of corn cultivation, and once one of the most advanced cultures in pre-Columbian Mexico, the land of Mixteca has suffered from rampant erosion and environmental degradation—its collapsing hillsides have been labeled an “Ecological Disaster Zone.” Black’s photos depict landscapes filled with tin shanties, desolate roads, deserted storefronts, and dusty air. Families carry wheat and corn from ruined land, while mothers prepare meals in dirt-floored kitchens.

Sisters empty their family's corn crib in San Miguel Cuevas. Photo by Matt Black

Sisters empty their family’s corn crib in San Miguel Cuevas. Photo by Matt Black

Q. How has connection to land shaped your understanding of the story?

A. It’s dealing with big issues of the erosion of indigenous cultures—not just in Mexico, but globally. It’s kind of a parable for what’s happening around the world. Communities are being lost to urbanization.

I wanted to look at the root sources of immigration. It has been a way to explain who migrants are, where they’re coming from, and why they’re coming. No one migrates out of joy and pleasure — no one leaves willingly. Migration is made out of desperation.

Q. You’ve found and documented so much desperation…were you able to find any sort of hope?

A. Frankly? No. The hope left. I have found beauty. But the beauty is being lost. The universal values of relating to the land and connecting to one another are being lost. I have referred to this project as a requiem for a way of life that’s vanishing.

The hope is that we’ll try to understand the result of our [American] actions. The hope is more embedded in the question itself — in realizing that we’ve been exporting our way of relating to food and land to the rest of the world.

The People of Clouds from Matt Black Photography on Vimeo.

Q. What did you want to achieve through this project?

A. The goal has been to inform, to communicate, and to give this important subject matter its due. It’s about giving stories to these faceless, story-less people. It’s about recording the beauty before it vanishes.

Q. What are you looking forward to at Collaborations for Cause?

A. I’m looking forward to exchanging ideas with other photographers and storytellers.

 

Finn Ryan will serve on a panel at Collaborations for Cause, to be held at the end of this month.On April 26th and 27th, Ecotrust and Blue Earth Alliance will co-sponsor Collaborations for Cause, a national gathering of photographers, NGOs, activists, and communications professionals, to discuss the collaborative future of storytelling.  Panelists include experts from top-notch firms like Wieden+Kennedy and Second Story, communications innovators from Ecotrust, Rare, and American Rivers, and world renowned artists and photographers like Gary Braasch and Ed Kashi. The second day of the conference will be dedicated to storytelling workshops.

Finn Ryan will serve on the panel Constructing Collaborations, which will discuss working models between NGOs and content creators.

Ryan is a producer and educator based in Madison, Wisconsin. He directed the Emmy Award-winning multimedia project Climate Wisconsin, which features interactive data mapping tools and stories about industries and activities that are being affected by climate change, including forestry, fly fishing, farming, and shipping, among others.

Finn Ryan will serve on a panel at Collaborations for Cause, to be held at the end of this month.

Finn Ryan will serve on a panel at Collaborations for Cause, to be held April 26th and 27th.

Most recently, Ryan has been involved with an ongoing storytelling series called The Ways about the culture and language of Native communities around the central Great Lakes region. Created for students in grades 6-12 by the Wisconsin Media Lab, the website features videos, interactive maps, links to resources, and questions to ignite deep thinking and provoke conversation.

Q.You have degrees in special education, English, and curriculum and instruction—can you explain how you got involved with producing and directing videos?

A. I was working as a high school special education teacher for students with emotional and behavioral needs. I found the key to reaching students is engaging them in content that’s relevant to them. You have to see where a student is coming from and tailor it to their needs. I also always had a desire to produce media, and I had the opportunity to go to graduate school to study the intersection of these areas.

Q.The Ways multimedia project tells stories of Native communities, blending modern art with cultural traditions. The video Powwow Trail features the song “Electric Pow Wow Drum” by A Tribe Called Red. Can you explain the trend of remixing powwow music among young Native DJs?

A. A Tribe Called Red is a really popular music group among Native communities and I think people are acknowledging that there’s a space for Native youth to make traditional culture their own. The video also includes music from Dylan Jennings’ drum group Midnite Express. From an engagement and theoretical framework, our goal has been to connect tradition with contemporary culture through media interaction.

Powwow Trail from Wisconsin Media Lab on Vimeo.

Q.In “Prayers for a Song” hip hop artist Tall Paul (Paul Wenell Jr.) writes lyrics that speak to the struggles of being a Native man living in an urban landscape. How has this video been received by students?

A.Instructional media, unfortunately, can often mean “telling” instead of sharing a story. With this project we wanted to find and share stories that explore language outside of the classroom. After watching this video, a class of middle school students wrote their own songs and their teacher sent them to me. With Tall Paul’s video we can show students: this is language; this is identity. It resonates.

Prayers in a Song from Wisconsin Media Lab on Vimeo.

Q.What most excites you about the upcoming Collaborations for Cause conference?

A.I’m looking forward to engaging in discussion with people who are doing similar work. It might not be the same content, but we are approaching stories and issues in the same way to help bring about change.

 

Julie Mack, Healthy Active Schools Coordinator for the Centennial School District, was looking for fish. She needed enough for a district with a student enrollment of 6, 700 and it had to be caught or processed in Oregon.

Enter FoodHub.

Mack searched the online directory FoodHub, Ecotrust’s network that connects food buyers and sellers. She found Lyf Gildersleeve of Flying Fish Company. Gildersleeve fishmongers from a 176 square foot shack on Southeast Hawthorne in Portland. He set Mack up with an order of cod filet from Astoria.

Mack is using a $29,033 grant from the state Department of Education to bring more local foods into school cafeterias to expand food choices and help support local food producers. She presents new, locally-based dishes to the district on Wednesdays through the middle of May. That cod from Astoria featured once last month and will return to the plates again on April 22.

Centennial is one of 11 Oregon districts receiving a total of $189,000 in grants through a Farm to School bill passed by the 2011 Legislature. Ecotrust research made the case for that bill. Since 2007, Ecotrust has also been active in connecting schools, farmers, and other producers as the Western Regional Lead agency for the National Farm to School Network.

The new grants not only support purchases from farmers but fishermen as well, through what is becoming referred to as “Boat to School.”

FoodHub directly connects schools with local food distributors, like Flying Fish Company. Photo: Lyf Gildersleeve

FoodHub directly connects schools with local food distributors, like Flying Fish Company. Photo: Lyf Gildersleeve

Stacey Sobell, Farm to School Manager for Ecotrust, recently pointed out to OPB’s Ecotrope that grants play a key role in making more local food available to schools, and establishing the connections between all sorts of new producers and large local buyers like schools.

 Sobell said “center of the plate” protein items are a new focus for schools looking to serve local lunch food, and seafood is gaining traction in a handful of schools nationwide.

“This is a big new area that’s really taking off,” she said.

FoodHub and Farm to School are central to Ecotrust’s efforts to build a resilient food system that offers fresh, healthy food to all residents, economically viable food value chains that fairly compensate and respect the dignity of all participants, and methods of food production that renew our resources.

Flying Fish Company is the sort of company that forms the heart of that system.

Recently one of four nominees for Edible Portland’s Local Hero Award in the Retailer category, Flying Fish was first opened by Lyf’s father, Craig Gildersleeve, in 1979 in Sandpoint, Idaho. The family business now has branches in Colorado, Utah, and Oregon.

Flying Fish was recently one of four nominees for Edible Portland's Local Hero Award in the retailer category. Photo: www.flyingfishcompany.com

Flying Fish was recently one of four nominees for Edible Portland’s Local Hero Award in the retailer category.
Photo: www.flyingfishcompany.com

Flying Fish’s mission statement reads, “We would never sell anything we wouldn’t serve at our own dinner table.” They’re the kind of small business that can leverage FoodHub’s marketing and networking tools to find buyers like Centennial.

In addition to selling responsibly harvested seafood, including Oregon Dungeness crab and Oregon albacore tuna, the company also offers grassfed meat, including beef, lamb, pork, elk, and bison. Their specialty products range from hand-churned butter to wasabi. To continue stocking the shelves when seasonal products run dry, Flying Fish is now selling products like smoked salmon, sauerkraut, soup, crab and salmon cakes. Gildersleeve said he’ll be looking to FoodHub to help stock that supply chain as well.

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