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Local filmmaker explores Black people’s complicated relationship with water  –

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Hillary Van Dyke explores the complicated relationship African Americans have with water in her documentary ‘A Splash of Color: Getting Black in the Water.’

BY FRANK DROUZAS | Staff Writer

ST. PETERSBURG — In her documentary “A Splash of Color: Getting Black in the Water,” Hillary Van Dyke explores the complicated history African Americans have had with water and the current movement to see them participating in outdoor activities more.

Hillary Van Dyke, GBO adventure curator

As an adventure curator at the Get Black Outside (GBO) organization, Van Dyke believes it’s essential to get people into an outdoor environment for a variety of reasons.

“Firstly, I just think if you are out there, you tend to appreciate it more,” said the film’s writer and director, “and when you appreciate it, you care about what happens to it,” adding that “outdoorsy” doesn’t necessarily mean climbing mountains or kayaking, but merely fishing off a pier or even playing basketball.

Van Dyke began to appreciate spending time outdoors at a young age during family camping trips, which included kayaking, canoeing, biking and horseback riding. Her parents both had green thumbs and spent much of their time outside on weekends tending to their garden.

“I was outside all the time as a kid,” she recalled, “riding my bike, rollerblading, and then I worked for five summers at a girl’s summer camp where I got really into more water sports.”

GBO is a global platform designed to acknowledge, support, and unite black-led grassroots organizations and facilitators that bring outdoor programming to black audiences.

Andre Sesler, a participant of GBO along with his family, said that such organizations create opportunities for Black people to participate in events — activities that we otherwise wouldn’t partake in.

The Sesler family – Krystal, Zora, Zola, and Andre – are members of Get Black Outside.

“We’ve over the years expressed an interest as a family of getting outside and going camping, for instance,” he said. “Well, Get Black Outside facilitated those activities to make it seamless for us to show up and become fully engulfed in all the activities that they’ve planned for us.”

Sesler’s wife Krystal said the experiences her children enjoy in activities like snorkeling, kayaking, hiking on nature trails, bird watching and sleeping in tents are priceless.

Van Dyke shared that having recreational experiences with people that look like you are important, where you can “exist with already having these shortcuts to understanding without having to explain why a comment might have been offensive. Without having to defend your expertise, without having unsolicited advice thrown your way all the time.”

Rhonda Bartholomew, another participant of GBO, explained that the organization helped her enjoy the outdoors more because it made her feel comfortable to be around other Black people.

Justin Lovett founded the Unicorns of Diving, an organization for Black scuba divers and snorkelers, to inspire African Americans to not just get in the water but under the water.

Members of the Unicorns of Diving. Check them out on Instagram @unicornsofdiving.

“Going on a dive trip with a buddy, we realized we were getting a lot of stares,” Lovett recalled. “A lot of people looking and wondering, you know, why is it that they see not one but two African-American scuba divers? And my buddy and I just came to the realization that we’re unicorns! We’re something that people don’t see every day.”

Advanced rescue diver Chris Clark

Chris Clark, a member of Unicorns of Diving, is an advanced rescue diver on his way to obtaining his instructor’s certification to teach diving himself. He explained that he stood out amongst groups of white divers and noted the difference in a group like the Unicorns.

Tarissa Williams, volunteer diver at the Florida Aquarium

“Being with people who look like you, who have experienced the same things that you have experienced,” he said, “whether it’s how they were raised, the things that they go through in everyday life — it’s soothing.”

 

As there is an inherent risk in scuba diving, Clark said it helps to put everybody in a mentally safe place first. Tarissa Williams, another member of Unicorns, is also a volunteer diver at the Florida Aquarium in Tampa. She said she learned to overcome her fear of scuba diving by repetition.

“The more often that I got into different bodies of water, from springs to lakes to the ocean, shore diving, boat diving, repetition,” she said. “I grew to love the different types of water and the different ways I was getting into the water and loving everything I found under the water! It took away the anxiety and the fear and only left behind the excitement and wonder for what new things I was going to see when I got there.”

Jason Thompson, another member of Unicorns and GBO, said with the encouragement of these organizations, he is doing things he never thought he would do. He would like to see more minorities get involved in water activities.

Visual artist Vivia Barron created a series of paintings of Black people enjoying the beach and the water.

Vivia Barron is a Jamaican-born visual artist who creates paintings of Black joy and the deep connections Black people have with water.

“That’s motivated by the fact that I am from Jamaica, and I was surrounded by water growing up,” she said. “It’s a big part of my life. I moved to Florida, and I’m surrounded by water as well. For me, there was a gap in us being represented in those spaces, and it motivated me to create works showing us enjoying the beach and the water in a joyful way.”

Water safety advocate Kymbriell Finch

Kymbriell Finch, a water safety advocate, founded Courageous Leap, whose mission is to “reconnect humans to life before fear through swim lessons and partnerships.”

“I believe that through swim lessons, we are able to learn what it means to be courageous by putting yourself in an environment that’s not so comfortable to you,” she said, “Learning how to survive and thrive in that environment, I feel like that’s a mindset thing and if you can do that in the pool, you can do it anywhere.”

Kimberly Crawford, retired swim instructor, and Finch’s mother said swimming teaches children independence.

“Usually, they have to rely on someone to hold them up in the water, to help them to get to the side, but as they learn to swim, they develop an independence that can travel with them throughout their life.”

“A Splash of Color” delves into local Black history as Van Dyke noted the connection between African Americans and the water, including the Bahamian sponge diving industry in Tarpon Springs, which preceded the Greek divers.

In the 1890s, a number of sponge divers arrived in Tarpon Springs from the Bahamas to harvest and prepare the wealth of sponges found in the Gulf of Mexico at the mouth of the Anclote River.

“Historically, African people were people who got out into the water,” she said. “They did surf, they did fish … but now we really associate water with the trans-Atlantic slave trade, closed swimming pools during Jim Crow segregation, so I think this work really takes back that narrative to some extent and allows Black people to get away from the ways we’ve been convinced that we don’t like water.”

When organizing swim lessons, Van Dyke makes sure to tie in the area’s history, such as Spa Pool and Beach in St. Pete, a segregated area and focal point of the local Civil Rights Movement. After its integration in 1959, North Shore Pool opened as a landing for white flight.

Finch, a water safety and drowning prevention specialist at the Jennie Hall Pool in south St. Pete, explained that the pool came into being in 1954 when Hall, a white retiree, demanded the city make progress on a pool that African Americans could enjoy, as there were no such pools at the time. She gave the city $25,000 to make it happen.

“We have completely revitalized the community when it comes to their relationship with that aquatic space,” said Finch, crediting the many community elders who helped make it possible, such as Norvell Fuller and Shirley Hayes-Smith. She believes Hall would be proud of the work they’re accomplishing.

City Councilmember Bro. John Muhammad discusses the benefits of water bodies like Clam Bayou Nature Preserve, which runs through his district. Clam Bayou is used for recreation and stormwater runoff that can prevent flooding.

When speaking with people in his district, Councilmember Bro. John Muhammad said their concerns are housing, jobs and public safety, not pollution.

Williams noted that studies show it is psychologically beneficial to be in the water, as it reduces stress.

“Being out in nature, being in the water, it helps in a world where everything moves so fast to help us to re-ground and re-center ourselves,” she said.

Barron pointed out that when she even paints water, she feels grounded and connected.

“I live in Florida, and so I’m painting this water, and I’m connected to Florida in this way,” she said, attesting to the healing power of water.

Krystal Sesler said being near water is relaxing for her as she loves taking her two young girls to the beach at sunset to watch the dolphins come out, and her husband Andre said their family experiences on the waterways give him time to unwind. Lovett said he loves the calming seclusion of being able to hear his own thoughts and even his heartbeat while in the water.

The 40-minute film touches on water pollution and how it affects water activities. Andre Sesler said one of his family’s favorite pastimes is fishing. If pollution directly impacts the fish population, it decreases his family’s opportunities to enjoy the pastime together. Clark noted that pollution tends to stimulate overgrowth in the ocean, and an increase in algae can block sunlight to the reef.

Justin Lovett (above) founded the Unicorns of Diving, an organization for Black scuba divers and snorkelers.

Muhammad admitted that though the water pollution issue is crucial, it does not rank high in importance for many constituents he talks to. When speaking with people in his district, their concerns are housing, jobs, and public safety.

Finch, who is also the founder of Swim with Kym, said many in the Black community are just trying to survive.

“We don’t have the luxury of going out and experiencing boating and kayaking and the sea trek experience on the beach,” she explained, adding that many youths in south St. Pete, which is at the tip of a peninsula, have never experienced the beach.

“It’s important for us to remember that protecting people and protecting nature are not at odds,” Van Dyke said, noting that often “when a space is exploited, you’ll find that the people in that space are also exploited.”

Muhammad said the government should do a better job of promoting the waterways and sharing with the community.

“When you listen to people who are excluded from these spaces,” Van Dyke said, “you will learn ways to help them feel more included and to open access, but I also think when you open access to them, you’re really going to help open access to all sorts of communities that maybe you wouldn’t have realized were being excluded unintentionally.”

Hillary Van Dyke seen here enjoying the outdoors.

Van Dyke visualizes a day when Black folks can be outside doing things “without it being weird or being an exception.”

“When they can go to a hiking trail and not have to deal with people asking if they’re part of a church group or a family reunion,” she said. “Where they see people who look like them who aren’t with them on the trail, and we just normalize the idea that we belong in these spaces, and it isn’t weird when we are.”

Van Dyke debuted “A Splash of Color: Getting Black in the Water” at the Warehouse Arts District on Jan. 6 to an enthusiastic crowd. The next screening will be on April 18 at the Foundation for a Healthy St. Petersburg. For more information, visit instagram.com/asplashofcolorfilm

Photos from the Jan. 6 debut of “A Splash of Color: Getting Black in the Water.” 



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Raheem Fitzgerald discusses his intimate portraits at The Factory on Feb. 29 –

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Don’t miss St. Pete native Raheem Fitzgerald in conversation with The Factory’s Liz Dimmit this Thursday, Feb. 29, from 5:30-7 p.m. at The Factory, 2606 Fairfield Ave. S, in St. Pete. 

BY J.A. JONES | Staff Writer

ST PETERSBURG – Raheem Fitzgerald’s portraits startle with the emotional information each piece emotes.

“It’s in the eyes,” intoned his cousin Juan DaCosta. “The way they look at you.”

Fitzgerald has been a curator at The Factory in St. Pete for several years, bringing several art shows and music events to the space. “Re:Definition” is his first solo show in the space.

The description for “Re:Definition” notes that it presents Fitzgerald’s unfolding studies into art history and the Black experience. His work forms a continuum with the expressive figurative painting and politically engaged works of European and Black American artists.

Ice Cold, 2024 Raheem Fitzgerald

A St. Pete native who spent a chunk of his childhood in Atlanta, Fitzgerald returned in 2016 and has been an active member of the creative community. His evolution has included being a digital creator, DJ and founder of NHO, a lifestyle company created by himself and three friends outside a Starbucks in Atlanta.

He described his journey as embracing the artistic life with intentional decisions about everything from his singular hairstyle and demeanor — black and white images of Harry Belafonte and Sammy Davis, Jr. may offer a clue to his signature, somewhat retro clothing style of a white tee with fitted, slightly above the ankle jeans.

He’s also happy to credit the “artful tradition that preceded him,” which, according to his writing, “ultimately model a grander vision for himself and society. His work allows us to indulge in his belief in the idea of the masterpiece as an achievable aesthetic pursuit at a time when most have become disillusioned with the implication that the current economic and social order represents any semblance of a meritocracy.”

While his journey to find inspiration while presenting himself as an “icon” may be informed by named movements, he gives a nod to the Fauvists of 1920s France. His ongoing evolution as a painter ensures that his ultimate creations are self-determined. One of the artists involved in creating the “Black History Matters” mural in front of the Woodson (his was the first “T” in Matters), the bio for “Re:Definition”  notes that Fitzgerald is “looking to ‘redefine’ traditional subjects and reconstruct painting for his own purposes.”

Black Carmelina, 2024 Raheem Fitzgerald

While many of his works are strictly portraits of unnamed individuals whom Fitzgerald brings to life with rich, dark shades and haunting gazes, his interest in social and historical periods of unrest is also evident.

His examination of our fractured democracy undergirds his both whimsical and heavy painting “America Responding to War.” Painted in early 2023, after a trip to New York’s Modern Museum of Art, Fitzgerald explained, “It’s about, you know, being Black in America and like having to kind of keep it together when there’s like, excuse my language, really fucked up stuff happening around you. Those Ballerinas are dancing around a painting called The Charnel House by Pablo Picasso that features a pile of dead bodies; I went to the MoMA, and then I came back home and painted that. It’s what I think a lot of people can relate to; whether you’re Black or white, you got to keep it together in the face of some stuff that really ain’t easy. “

Another painting, “Black Congress,” is his rendering of images of the Black Panther Party for Self-Defense.

Aware of his increasing abilities and craft development, Fitzgerald has considered taking training at an MFA program. He admitted that his interest is “mostly just wanting to pursue higher education. It’s funny when I said that, you know, I think a lot of people in my family were like, ‘Wow.’  My grandma said, ‘Wow, I’m so happy to hear this,’ and my mom … always knew which kind of kid I was going to be.”

Les Femme Asisse, 2024 Raheem Fitzgerald

While he may shrug off the urge to go to school for painting to make his family proud, it’s also evident that Fitzgerald is a serious painter who desires to take his raw talent to a level that will have his work in international museums. When asked how he’s moved beyond the work of a young artist who is still relying on digital tools to do work, he’s cautious about judging; instead, he attributes it to consistent work.

To his mind, his abilities are the natural product of constant woodshedding. “[I] couldn’t say, “I’m a basketball player — when LeBron James goes to the gym every day. So, I think it just comes from the fact that I do this a lot … That’s why it looks different, or that’s why it occurs differently. Probably.”

His hard work and time spent indicate that Fitzgerald is going places; another sign is his curiosity about what makes other great artists tick and his awareness that it is more than technique.

For him, learning about painting is also “studying painters and the techniques they use to produce their work; the rooms they hang out in; the conversations they had with their peers. That’s more so what I mean. It’s like painting is about the actual putting the liquid and then letting it dry into a solid onto a surface, you know, but it’s also about just other things.”

Raheem’s evolution as an artist can be seen on Instagram, where he shares his work under the handle @abstractpoet.

You can see him talk about his work in person with The Factory’s Liz Dimmit this Thursday, Feb. 29, from 5:30-7 p.m. at The Factory, 2606 Fairfield Ave. S. In partnership with the Fairgrounds St. Pete, attendees at the talk will receive discounted tickets to the Fairgrounds, which features new exhibits.

“Re:Definition” runs through March 10. Click here for more information.



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Toms, coons and mammies reimagined at the Woodson –

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Patrick Jackson, (left), manager of education and outreach at the Woodson Museum and curator Dr. Cody L. ‘Spec’ Clark discussing the artifacts in the ‘Resilience & Revolution: An Immersion of Black Americana’ collection.

BY FRANK DROUZAS | Staff Writer

ST. PETERSBURG — Dr. Cody Clark stopped by the Woodson African American Museum of Florida on Feb. 10 to discuss his exhibit, “Resilience & Revolution: An Immersion of Black Americana,” co-curated by Montague Collection, an exhibition company dedicated to illuminating the richness and complexity of African American history through visual arts.

Clark was the program counselor for Gibbs High School’s Pinellas County Center for the Arts for more than 35 years and has been building his collection for over two decades.

Clark explained there is a distinction between Black Americana and Jim Crow art. As Jim Crow memorabilia thrived between the 1880s and the 1960s, it was created by whites and depicted exaggerated stereotypes of African Americans, such as the female “mammy,” a male “brute caricature” or the grinning young “pickaninny.”

Visit the Woodson and take a step back in time to the Jim Crow era, where you’ll explore the stark realities of discrimination.

“They are not designed by African-American people, and they are not really about our lives,” he said. “They are what the whites thought would be oppressive to African Americans.”

Black Americana includes art created by Black people or artists counseled by Black people. Clark said some believe even today that racism isn’t an issue, yet “when you look at something that has occurred in the making of thousands of these pieces … you can see the insidious work that such a thing can cause, especially in large numbers and especially in homes daily.”

Clark found most of his pieces in thrift stores and yard sales, while some of the more valuable ones came from antique shops. He pointed out that the pieces attracted his attention because while the message they send about a people is evil, they are genius in their effectiveness of what they have caused.

Before acquiring a piece, he asks himself: “What is it telling me beyond its horribleness? What is it telling me beyond its intent? What are the unintended consequences of looking in their faces?”

Clark has displayed his collection in Florida and Georgia, and it has been chiefly in front of a white audience, Clark admitted.

During the Jim Crow period, African Americans were confronted by institutional discrimination and acts of individual discrimination and generally treated as second-class citizens.

As an educator, he displayed some of these pieces in his office and discovered that his Black students didn’t experience as much discomfort with them as did white students and white faculty members.

“The Black students were able to understand a collection like this once explained,” he said.

In his experience, Clark said that white people often become nervous when the subject of racism is brought up. He said they don’t realize they’re in the fight, but they are.

“You have to be involved in the solutions of what racism is about,” Clark asserted.

He revealed that white people have given him some of these pieces, in essence, trying to unburden themselves of them.

“They had them and are afraid of them, so they believe me to be a safe place to give them. I can understand why they’re nervous, but they also believe they’re history,” Clark explained.

There have been Black people upset by his collection. Clark knows some who have acquired such items to destroy them. White people, on the other hand, don’t want to even think about their existence at all — both viewpoints are too extreme for learning purposes, he averred.

“If you don’t really look at how this could happen, you will not understand how we got here,” Clark said. “And you certainly won’t know the proper, effective ways of solving the future.”

We must acknowledge the past and must do better to understand the difference between saying or doing a racist thing and comprehending the system of racism, he affirmed,

“You can get over someone calling you the n-word,” Clark said, “but when you are caught in a system, and you really don’t know how to break that system, that’s a problem. All of us are in it.”

Touching upon the specific items, he referred to the well-known image of Aunt Jemima as the “queen” of them all. He said she feeds people, and children will not go hungry when you see her around. Figures such as this are in our lives, Clark noted, adding that he knew some white women who were “Jemimas,” who did not feed him with food but with advice and direction in life.

“Look out for the Aunt Jemimas in your own life and what they do,” he said. How were you fed? Real good food or not so good? Some of us have had to shake loose of some of what you were fed.”

Aunt Jemima with her husband, Uncle Mose.

Indicating a depiction of Uncle Mose, whose name was changed from Uncle Rastus to avoid confusion with the Cream of Wheat character; he was the husband of Aunt Jemima. Clark noted that he appeared smiling with his hat in his hand, as though he wouldn’t harm a flea, but he is really absorbing information to relay.

“He’s right there listening, paying attention,” he explained. “Not loud. Some of us have had to learn to be Uncle Mose on the inside and how to take back the information. Who is that in your life, Black or white or other ones that can quietly speak the truth to you without the bravado, without the noise, but be just as effective?”

The oldest piece, the “topsy-turvy doll,” likely made by the enslaved for whites before the Civil War, could switch its appearance from a Black girl to a white girl when turned inside out.

Dr. Cody Clark likened the topsy-turvy doll to today’s code-switching.

“There’s not a Black person in this room that doesn’t know what code-switching is about. There are times when, because you are not being met with your true self, you will have to turn into that,” he said, pointing to the doll. “Your language must change; your actions must change because the larger community — the white community — won’t understand you. You can’t get that job if you don’t know how to switch and bring it back when you come home.”

Another doll in his collection from the 1960s was of a Black girl but with “white” characteristics, notably in the style of the hair and shape of the face and nose.

Over the years, African Americans became more educated, but it had unintended consequences, he noted.

“The more educated African Americans become, the more we shoulder the work in trying to make whites comfortable with us so that we are more digestible,” Clark said.

He encouraged whites to be more active in understanding what life is like for African Americans on a daily basis, even suggesting they attend a Black church to “be the uncomfortable one surrounded around Black people and see how you feel about it and learn what that’s like.”

On Tuesdays and Thursdays after 1 p.m. through the end of the month, you can gain insight on the collection from Dr. Clark himself at the Woodson, and on Feb. 29 at 6 p.m., don’t miss the closing reception of “Resilience & Revolution,” featuring Dr. Clark, as well as Clinton Byrd and Cedric Jones of the Montague Collection.

The Woodson African American Museum of Florida is located at 2240 9th Ave. S, St. Petersburg.

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An Immersion of Black Americana’ at The Woodson Feb. 10 –

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Join Dr. Cody Clark for the ‘Resilience & Revolution: An Immersion of Black Americana’ on Saturday, Feb. 10, from 5-8 p.m. 

ST. PETERSBURG – The “Resilience & Revolution: An Immersion of Black Americana” exhibit, now on display at The Woodson African American Museum of Florida, is a thought-provoking and immersive experience co-curated by The Montague Collection and Dr. Cody Clark.

The exhibition will captivate visitors by delving into the rich tapestry of African-American history and culture. The “Resilience & Revolution” is a beacon of hope, knowledge, and understanding, challenging stereotypes and celebrating the resilience and contributions of African Americans.

Visit the Woodson this Saturday, Feb. 10, from 5-8 p.m. to hear co-curator Dr. Clark as he speaks about the artifacts in the collection. Coinciding with the Second Saturday ArtWalk, the reception will allow guests to view African Americans’ relentless pursuit of justice and equality during this period through ephemera, memorabilia, and narrative.

About The Montague Collection

The Montague Collection stands as a distinguished bespoke exhibition company dedicated to illuminating the richness and complexity of African-American history through the compelling medium of visual arts. With unwavering commitment and profound reverence, we curate exhibitions that pay homage to African Americans’ vibrant legacy and profound contributions, fostering cultural understanding and inspiring a more inclusive world.

About Dr. Cody Clark

Dr. Cody L. “Spec” Clark has had a long-standing career of over 35 years with the renowned arts magnet program at Gibbs High School as the program counselor of fine and performing arts. He was educated in Georgia and completed his bachelor’s degree in psychology at LaGrange College in LaGrange, Ga.

He completed both his master’s degree and his specialist degree in counseling education at the University of South Florida in Tampa. In 2003, he finished his doctoral degree in Children, Youth, and Family counseling services at Nova Southeastern University in Ft. Lauderdale. Clark specialized in African-American youth in the visual and performing arts.

Resilience & Revolution: An Immersion of Black Americana is on display through March 1.



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