INSIDE
LETTER TO THE READERS
Sonia Montalvo, Editor-In-Chief
WATER, HEALING, AND TRAVEL
An Article by Michaela Franklin
SPECIAL SECTION: SOUL OF C-VILLE Various Writers 4 6 12
THE LEGACY OF HOLLY EDWARDS
An Article by Sonia Montalvo
GLORIA WITT WANTS TO BE THE VOICE OF THE FIFTH DISTRICT
An Article by Sarad Davenport
ALICE WESLEY IVORY
An Article by Kay Slaughter
about this issue, fall 2024
Dear Readers,
As we settle into the rhythms of fall, Vinegar Hill Magazine aims to bring stories that embody the spirit of resilience and leadership. The individuals and stories highlighted share a common theme of devoting themselves to creating positive change and leading with purpose, inspiring those around them through their actions and unwavering commitment.
In this edition, we spotlight Gloria Witt, a woman whose journey from humble beginnings to advocate for justice demonstrates the power of determination. Gloria’s path has been shaped by her deep sense of responsibility to stand up for marginalized voices, and her work has become a guiding light for so many.
This issue also takes the well-deserved time to honor the legacy of Holly Edwards, whose impact as a nurse, City Councilor, and advocate continues to resonate in Charlottesville. Holly’s work was rooted in compassion and action, reminding us of all that the most meaningful change often comes from serving others with heart and intention. Her ability to connect and lead has left an indelible mark that is still felt today.
While these are just two of the remarkable stories we share in this issue, they offer a glimpse into the lives of individuals who have committed themselves to something greater. As you peruse our Fall issue, I do encourage readers to keep this question top of mind: What are you committed to changing in order to leave things better than they were before? As you explore the full issue and reflect on the narratives that speak to the power of purpose and resilience, remember that it simply starts with a decision to commit.
Sonia Montalvo
Sonia Montalvo Editor-In-Chief
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Water, Healing, and travel
BY MICHAELA FRANKLIN
I still remember the bottom of the lake. I remember the soft sand. I remember trying to breathe in and feeling nothing but gravel in my lungs. It was 1988, Virginia Beach, USA. A fun trip to the lake ended up going horribly wrong when a freak whirlpool took myself, my nanny and her fiancé down to the bottom. My nanny rescued me, and I had to be resuscitated. By medical definition, I
drowned that day.
Fast forward 30 years later, and 8,000 miles away. 6:00 am, Muscat, Oman. My mother had unexpectedly died the night before. I was in shock. My partner suggested we take a walk on the beach. As we strolled alongside the sand, the pebbles grounded me. The purple, orange, and red hues soaring in the sky looked like entry ramps into
heaven’s gates. The sounds of waves hitting the shore slowly eased my confusion. A body of water in my primary years almost took me out, but it was a body of water that also fully restored me during a period of agony and darkness.
The history of water is incredibly complex for Black people. Water was what essentially
uprooted us and put us in chattel slavery for over four centuries. It was used to divide our families, to inflict violence and years of abhorrent, generational trauma. In the 1960’s during the Jim Crow period, acid was poured into swimming pools and pools were drained after our usage. We had fire hoses filled with pressure water that could literally take the skin off you, turned on us, just for daring to sit at the same lunch counter and classrooms as White people.
To say our relationship with water is complicated, is simplistic at best. But for some reason, some of our happiest moments also involve water. Black folks love a yacht party. We love cruises, we love an overwater villa in the Maldives, Bahamas, Turks and Caicos. We love rafting and cliff diving in Jamaica. It’s almost
like despite our history, we know deep down, that water means us no harm.
I moved to Bali a few months back, and one of the first things that stuck out to me was how many water activities Black people are involved in. I also noticed something profound: outside the U.S., Black people exude a different kind of bravery. It’s almost like the mental and emotional chokehold that the US has over us, disappears once we leave those borders. We are doing cannonball jumps into the deep end at pool parties, we are taking three-hour treks up curvy mountains to stand underneath the Tegenungan waterfall. We wake up at 4 am to detox and purify ourselves at the Tirtha Temple. We are snorkeling, scuba diving, and getting surf lessons.
Back home, there’s a running joke: Black pool parties where no one gets in the pool. A few years back, a particular image from one of Rick Ross’ annual pool parties went viral. The image showed hundreds of Black people on the deck, but only a handful in the water. We got a lot of kikis on twitter about it, but it’s not funny. The lack of water participation reflects the deep-seated fear and unease Black Americans often feel about water, a fear that’s as much cultural as it is personal.
What’s the about, really?
I think to understand Black American’s deep and complex relationship with water would take months to explain, but I will try to summarize here. The fact is: we are woefully aware that the US is not a safe space. So many of us in the last
ten years alone are making mass exodus from the States, seeking refuge abroad. Often noting that the quality of life, (i.e. less racism and being able to simply exist and be Black), does not exist on American soil. It’s been said that the American Dream is not in America, but overseas.
In June 1964, James Brock dumped acid into the water at the Monson Motor Lodge in St. Augustine, Fla. He was trying to disrupt swimmers who were protesting the hotel’s whites-only policy.
We often forget that our ancestors found freedom in water. One of the penultimate forms of rebellion on the slave ships was to jump off the boat’s edges. We jumped, choosing to forego a life of physical, mental, and emotional bondage. We instead submitted to let the water fill our lungs and make an eternal home in the soft sands at the bottom. In Christianity, we are baptized, immersed in water as a form of spiritual renovation. To cleanse our spiritual palates and become closer to living a pathway that is deemed spiritually sound. We wrap ourselves in white clothes, lay on our backs, and let another person submerge
5th of last year, during the Montgomery brawl, aka “ Fade in the Water”. When a group of white men attacked a Black, elderly dockworker, it was a scene painfully reminiscent of the past, just 60 years before. But this time, a young Black teen, fully clothed, dove into the water, swimming across the channel to defend the man, who was also his colleague. A group of older Black men jumped off the boat as soon as it docked and headed towards the group that had assaulted the dockworker. What followed was a powerful display of solidarity, as Black men and women defended one of their own. In a poetic twist full of serendipity, the white attackers were forced to flee into the very water they had once used to control us.
The day before, a group of Black women had just done a blessing ceremony in that same water. I don’t believe these things to be coincidental. It’s almost as though that spiritual blessing created a veil of protection over the events that transpired. Water, which had been a tool of violence for so long, became a shield for justice.
So back to this article’s purpose. As a people, it’s so imperative that we nurture our burgeoning relationship with the water. Which begs several questions: What if we use water and the travel related to it as a method of freedom? What if we use travel to cultivate safe aquatic spaces? How can we utilize travel to embrace our fears of the water head on?
us completely. We come up coughing, sputtering, but feeling purified.
Water’s duality was evident again on August
To that point I think if Aquatic Freedom is what we are looking for, the Caribbean, Zanzibar Island, and Bali, Indonesia are the best places to let go and be free of aquatic chains. These places are incredibly Black friendly, as most of the inhabitants are either from the Diaspora or also fellow POCs.
It’s something I think that’s calming about those clear waters, that does something for our spirits. I visited Zanzibar a year ago and was able to work with a local organization called the Panje
Project. I arranged a day-long in-service training for their Master Instructors. The training did not take place in the pool, it was going to take place right in the Ocean. I was very anxious about this initially. But once I was in the Ocean, I realized that the fear wasn’t just mine. It was ancestral. And yet, the experience was incredibly liberating. It wasn’t just about swimming; it was about healing—for me and for everyone there.
When I say that that day was probably the most freeing feeling. Sitting in the Indian Ocean and seeing my fellow brothers and sisters at EASE in the water was a balm for my spirit. I wonder how many more of us would benefit from experiencing this and then bringing this newfound knowledge back
to US.
Since I’ve moved to Bali, I’ve noticed in the groups I belong to, there’s lots of requests for swimming related activities or lessons. I recently taught two sisters. Like many adult swimmers, their last occurrence with water was extremely traumatic. They were anxious, even timid. But something about the island, jumping out of their comfort zone, flying several thousand miles away from home, made them lose inhibition.
Over the course of the week we worked on stripping all of those fears. We meditated, we did breathwork. Somewhere during the week, I realized that what I was doing and assisting with was monumental. We were quite literally breaking off the chains one by one with each swim lesson. It eventually became less about swimming and more about bonding. We spoke on life, family, and problems. The water which was a terrible beast, now became a place where we laughed, and received validation.
Water, for so long a source of fear and pain, can also be a space for joy, healing, and liberation. We, as Black people, deserve that freedom. We deserve to be baptized by the water—not as a means of survival, but as a gateway to healing. And we can find it—in the Caribbean, in Zanzibar, in Bali, and in every place where the water calls us to let go, to dive in, and to be free.
Holly Edwards the Legacy of Lamb and Lion Lives On
by
sonia montlavo | Photos By Anica Marcelino
Holly Edwards was a force—both gentle and unyielding— who forever shaped Charlottesville’s community. Even now, nearly a decade since her passing, the ripple effects of her civic-centered work as a nurse, City Councilor, and community advocate are felt in both big and small ways. Holly was not just a public figure; she was a servant leader who showed up in people’s lives, day in and day out, with compassion, wisdom, and quiet strength.
To her family, she was the matriarch who led by example; to her neighbors, a trusted advocate and friend; and to the community at large, she was a woman of action, embodying what it meant to stand firmly for what is right while offering warmth and kindness to those around her.
Saturn Edwards recalls their mother’s advice: “You gotta be tough,” emphasizing her belief in balance: “She specifically said that we have to be like a lion and a lamb. You have to balance your energy when you’re interacting with other people, and you have to stand up for yourself while also doing it with grace.” Saturn and their twin, Jean, were the youngest of Holly and Ken Edwards’s children, growing up in a close-knit family alongside siblings Christen and Shelby.
Jean, fondly known as Novella, reflects on spending after-school hours at Westhaven with Holly, who seamlessly integrated family with her community work. “She would pick us up, especially during the
summer when she was working as a nurse, and be like, ‘I’m going to be in my office and do my own thing, but you guys can play with your toys.’” For the Edwards children, service was more than a responsibility—it was a natural part of life.
Christen and Shelby share similarly impactful memories. Holly supported and encouraged their interests: Shelby recalls her mother buying the book that the musical she starred in during high school was based on, while Christen remembers having empowering conversations with Holly about her teenage aspirations of becoming an Olympic swimmer like Michael Phelps.
Holly’s roots run deep in Charlottesville’s public housing communities, and Westhaven held a special place in her heart. Westhaven, Charlottesville’s oldest housing complex, was where Mrs. Edwards served as a Parish Nurse and Program Coordinator for the Public Housing Association of Residents (PHAR) at the Westhaven Clinic. Holly’s efforts brought healthcare directly to those who needed
it most, ensuring equitable access for all. She didn’t limit her work to just one facet of community care— she also pursued political change.
Ken Edwards, no stranger to community work, jokingly shares that he loved “the hype” surrounding his wife, Holly. As a Community Faith leader and long-time Government Service worker for the United States Postal Service, Ken has spent decades fostering spiritual growth, serving as a pastor at Union Grove Baptist Church and now the historic Zion Union Baptist Church in Charlottesville, Virginia. Alongside his late wife, the couple exemplified a life of unwavering service—Ken through his faithful leadership and commitment to public service, and Holly through her passionate advocacy for healthcare and social justice.
Reflecting on Holly’s tireless work, Ken expressed his admiration: “It was amazing how many people Holly touched in ways I never knew about... People would see her carrying the oxygen tank, taking care of the twins, and still showing up for the community. They were inspired to do more, to stop dragging their feet.” When asked about his own legacy, Mr. Edwards said, “I want people to know that I was friendly, I didn’t point the finger at anybody, I didn’t condemn anybody. I just tried to love everybody. Man, that’s what I want. If the church can get that right, guess what? We’ll be full every Sunday.”
In 2017, Holly Edwards passed away, and the community continues to deeply feel her absence, with many still mourning the profound loss of her leadership and compassion. One of her many initiatives still utilized in Charlottesville today is her “Meet Me at the Bus” program, where she stood at the Westhaven bus stop with donuts and fruit, chatting with families as they sent their children to school. This practice has since been adopted by other organizations in the area to foster engagement with community youth and their parents.
Today, Holly’s children continue her legacy in their own ways. Shelby Edwards, a versatile professional, has made an impact in both the performing arts and the nonprofit sector. A performer and teacher in the theater world, Shelby has acted on stages from Virginia to Illinois. In a full-circle moment of legacy,
Shelby also became the Executive Director of the Public Housing Association of Residents (PHAR) in 2020, the same organization where her mother once worked as a program coordinator. Now back in the Windy City, she continues her philanthropic work as a Director of Leadership Giving.
Christen, a leader in the education field, is involved in several equitable education initiatives aimed at supporting marginalized students and fostering inclusion. A graduate of North Carolina A&T and UVA, Christen was a part of the inaugural leadership team for Charlottesville’s first Freedom School, which provides a comprehensive education on Black and Brown history, social activism, and community involvement. She also started the first equity committee in the Charlottesville school district. Christen states, “I wanted to be able to talk about equity, diversity, and inclusion... the voiceless need a voice, and if I’m gonna come back home, I’m gonna give back to Charlottesville because it’s the same community that built me up.” She now serves as a Manager of Research and Evaluation for the National Center for Teacher Residencies, a Chicago-based education organization.
Jean and Saturn, recent high school graduates, are making their mark on the community as well. Jean, currently a student at VCU’s School of Arts for Theatre, said: “I don’t know. I just feel like it’s still very early in my career. Even though I am very young, and like I can speak on some of these issues, I feel like I still have yet to experience all of it. I’m mostly looking forward to being at VCU. I’m a transfer student. I didn’t enjoy my previous college. It was much too small for my taste, and I knew I wanted more.”
Saturn, following in their mother’s footsteps of activism, has become a vocal advocate for Black queer and trans individuals, focusing on visibility and inclusivity within the Charlottesville community. Like their mother, who worked passionately to uplift marginalized groups, Saturn continues this legacy by setting an example of Black queer joy and resilience. “I’m really setting an example for what Black queer joy can look like,” Saturn says. “That’s why I decided to stay [in Charlottesville]... so other Black queer and trans youth can see me on my journey and say, ‘Wow, I can do that and be happy.’”
gloria Witt Willing to be tHe voice and do tHe Work
BY SARAD DAVENPORT
In the heart of Virginia, in the rolling hills and tight-knit communities, Gloria Witt’s journey from a rural upbringing to a prominent advocate and leader is a testament to determination and a deep-seated commitment to justice. In a recent conversation with Vinegar Hill Magazine, Gloria shared her story, offering insights into her life, career, and the forces behind her work.
Born and raised in Amherst County, Virginia, Gloria describes herself as a “country girl” who grew up in a familyoriented community. “We lived off the land from a sustainability perspective,” she recalls, highlighting the self-sufficiency of her upbringing. This environment instilled in her a strong sense of community and justice, values that have guided her throughout her life.
Gloria’s early years were marked by her role as an advocate within her family. As the youngest child for seven years, she
naturally became the spokesperson for her older siblings. “I was the baby. I was the advocate. And I’ve been the advocate,” she says, reflecting on how this role shaped her future. “I’ve never been afraid to make the ask and to hold my space.”
Her journey into the professional world began in an unexpected place: the tobacco fields of Connecticut. From the age of 14, Gloria worked as a seasonal migrant worker, a role that was both challenging and rewarding. “You got paid by how fast you worked,” she explains, noting how this performance-based environment suited her competitive nature. It was here that she saved enough money to buy her first car, a bright yellow 1974 Toyota Corolla, which she fondly remembers as her ticket to independence. “I was mobile then,” she recalls with a smile.
Despite the hard work, Gloria knew that the tobacco fields were not her final destination. She set her sights on a career in business, driven by a desire
to break free from the limitations of her rural upbringing. After high school, she attended a business school, where she honed her skills in accounting and stenography. Armed with these skills, she targeted Babcock and Wilcox, a company she admired, and began her 32-year career in corporate America that took her all over the world to include France and Germany. Gloria’s corporate journey was marked by significant achievements and challenges. She rose through the ranks to become the North American Director of People Development, a role that allowed her to shape leadership strategies and talent management. “It was a rich career,” she notes, emphasizing her love for the job despite eventually retiring and starting her own company, Success Coaching and Facilitation.
Her commitment to social justice found a home in the NAACP, where she has been involved since she was 14. As a leader in the Amherst County branch, Gloria has been at the forefront of advocating
for equity and inclusion. The murder of George Floyd was a pivotal moment for her, galvanizing her efforts to address systemic racism and inequality. “George Floyd was a tipping point,” she says, describing how the event galvanized her and others to take action against systemic injustice. “It opened up the realization for young people,” she emphasizes, highlighting the need for continued advocacy.
In addition to her work with the NAACP, Gloria has been deeply involved in the nonprofit sector, including the Boys and Girls Club and the Virginia Center for Inclusive Communities or VCIC. Her efforts focus on creating safe environments for young people and promoting educational and career opportunities. “It’s all about building great futures,” she emphasizes, highlighting the importance of exposing youth to opportunities beyond their immediate surroundings.
Gloria’s dedication to health equity is also noteworthy. As a board member of Central
Health Systems, she is learning about the challenges of workforce development in healthcare and the importance of accessible healthcare. “There’s a real struggle to keep that workforce up,” she notes, pointing out the need for more doctors and healthcare workers in rural areas.
Her advocacy is driven by a desire to bring people together and find common ground. “Inclusiveness is in the heart of who America is,” she asserts, expressing her belief in the power of collaboration. Her vision for the future is one of growth and opportunity for all, rather than a return to the past. “We cannot go backwards,” she declares, confident that the voters will choose progress over regression.
I feel like I have a voice that can bring people together, and I feel like for District 5, I am that voice in this moment.
Gloria Witt’s life and career are a testament to her unwavering commitment to advocacy, leadership, and justice. Her journey from a rural upbringing to a successful corporate career and impactful nonprofit work is a powerful example of the difference one person can make. As she continues to be a voice for change, Gloria remains focused on her mission to help others and create a better future for all. Her story, from the tobacco fields to corporate boardrooms and community activism, is a reminder of the impact one person can have when driven by a passion for justice. As she continues her work, Gloria remains committed to being a voice for those who need it most, ensuring that the values of inclusivity and progress remain at the forefront of her efforts.
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beyond boundaries: tHe story of sculptor alice Wesley ivory
“My position as art instructor involves using art to enhance self-esteem in students. Its uniqueness helps students realize that Black women are able to perform functions other than cooking, house cleaning, etc.”
Alice Wesley Ivory, 1931-1999, Art Class Autobiography, 1988.
by Kay Slaughter | Photos by Alexandria Searls ©
In the summer of 1957, after several years of teaching at Jackson P. Burley High School, the area’s segregated Black school, 26-year-old Alice Wesley headed off to the University of Wisconsin at Madison to work on a graduate degree in art education.
Nearby University of Virginia (UVA) was not the place for her, a Black female, although the courts had forced admission of two Black men into graduate programs in 1950 and 1951. Even so,
Alice started her journey. breaking racial, gender, and economic barriers to become a renowned metal sculptor as well as a teacher of three decades.
“Beyond Boundaries: The Sculpture of Alice Wesley Ivory” recounts her story and legacy in an exhibit sponsored by the Albemarle Charlottesville Historical Society (ACHS) in cooperation with the Contemporary Gallery at Jefferson School African American Heritage Center (JSAAHC). The exhibit, open through mid-December
provides an opportunity for new generations to learn about the life and times of this pioneering artist. To find her creative path, Alice encountered many societal challenges as an African American female, but she also overcame obstacles by seizing the opportunities. Born in White Hall, Albemarle County, she grew up within a strong Black community grounded in nearby Mt. Olivet Church. Although her parents had no formal education, they were literate and hardworking, owning the family farm in White Hall.
The middle child of six, Alice walked two miles to attend elementary school; later, she rode a rickety bus for a long drive to Albemarle Training School near the current Ivy Creek Natural Area, the only high school for Blacks in the five-county area until Burley opened in 1951.
After graduation from Virginia State College (now University) an historic black college/ university in Petersburg, Alice joined the art faculty at Burley. During her sevenand-half year tenure, she spent most summers at the University of Wisconsin, receiving her degree in 1962.
In 1958, Alice had married Fred Ivory, another Albemarle native, who presented his metal sculptor bride with an oxi-acetylene torch: 30 years later, it was still in use. Fred often picked up scrap metal for Alice to rework into her pieces. The Ivorys had two children, and after their early childhood, Alice taught for 20 years at Blue Ridge School for Boys, becoming its first art director and the first Black on the faculty.
Yet when she entered University of Wisconsin in her 20s, Alice was accepted only as a “provisional student,” considered likely deficient because of her southern education. She quickly proved
her aptitude and talent, attaining student status without conditions.
Wisconsin became a life changing experience:
“I heard popping noises like small cannons exploding coming from next door. I peeked in and saw a group of young men waging a torch war, “ wrote Alice in her autobiography produced for an UVA art class two decades later.
With this encounter, she discovered what would become her lifelong vocation. She convinced a fellow student to show her some basics, and then prevailed
upon her adviser, Leo Steppat, an Austrian immigrant and metal sculptor, to help her master the techniques of the acetylene torch.
Alice described creating her first large piece: the Boar:
Word had gotten around to other classes; they wanted to see the woman make the pig. Almost every morning once it had a mouth, the Boar was fed an apple. I assumed that they came from generous classmates. . . . Leo Steppat refrained from bothering me. I would hear him mumble to himself as he went by, things like ‘Alice can really weld,’ ‘she’s a natural born sculptor,’ or ‘I’d give her three A’s if it were possible.
In the current exhibit, the art pieces depicting animals -- including Great Blue Heron, Fish, Beetle, Bull -- are accompanied by narrative panels recalling Alice’s personal odyssey and her views on education, religion, and art. The show features her work from the Virginia Museum of Fine Arts (VMFA) including Crow which won awards from the Museum. Another piece, Kangaroo, a mother with her “joey” in the pouch, was commissioned by the VMFA for a 1980 traveling exhibition allowing persons with vision problems and children to touch and feel the sculpture.
Exhibit panels feature photographs of two other works that were not physically present. Alice wrote about creating an outdoor fountain: “Turtle represents my first attempt at welding copper. It was commissioned by a person who wanted a piece of my sculpture. . . . Not knowing that copper is not usually welded, I assured the [owner] that I could do it in welded copper. . . . I consider it to be one of my best pieces. It is pictured at the water bin that was specifically constructed for it at the back of the owner’s residence. Incidentally, I had a live snapping turtle as a model, but the tail is designed for . . . [the sculpture]. I call the tail prehistoric.”
Another photographed work, The Eagle resides in Costa Rica. Its owner, the granddaughter of Charlottesville portraitist Frances Brand, accompanied her grandmother when she purchased Eagle and another sculpture in 1966, Dog, owned by the Brand Family.
Dog is displayed in the gallery along with a portrait of Alice with these two sculptures. The portrait is among Frances’ collection of Charlottesville-Area “Firsts,” which included notable 20th-century figures who broke barriers of race, gender, and/or ethnicity.
About her inclusion in this array, Alice noted: “I was pleased to have been chosen for one of Frances Brand’s Firsts.”
From her education at University of Wisconsin, Alice learned that metal forms should not look hard but need clean direct lines, and she focused on the form, rather than reproducing nature: “None of my sculpture is anatomically or biologically accurate. I sculpt things according to the mood I am in and base them on the way I feel about the subjects. The sculptures are not based on a love for the creatures. It is based on a love for beautiful form.”
VMFA had awarded certificates of distinction not only to Crow but also Wild Boar and Eagle I, exhibiting them in its galleries in the 1960s. The purchaser of Eagle I donated it to Virginia State University, where a relative viewed it in the 1970s, but the college currently has no record of it.
In 1967, VMFA hosted Alice’s one-woman show, and Charlottesville’s McGuffey Art Center and other local galleries also displayed her work. During her lifetime, Alice created more than 100 sculptures of animals, birds, fish, and insects. Since the exhibit’s opening, seven
Crow ca. 1960, Virginia Museum of Fine Arts, Richmond. General Endowment Fund, 61.11, Photo: Travis Fullerton © Virginia Museum of Fine Arts
more sculptures have been identified.
The exhibit runs through December 14, open to school classes as well as other groups and individuals. Group tours should contact Jefferson School. The gallery is open TuesdayFriday 1-6; Saturday, 10-12.
To reach teachers in public and private schools, ACHS worked with Annie Evans, education outreach director in historian Edward Ayers’ New American History Project to create a website: https://resources.newamericanhistory.org/ alice-ivory-breaking-boundaries
This exhibit was made possible through the generosity of the Joseph and Robert Cornell Memorial Foundation, the Mental Health Fund of the Charlottesville Albemarle Community Foundation, the Charles Fund, Jefferson School African American Heritage Center
Annual Fund and individual donors. The exhibit was collected, researched, and written by the Albemarle Charlottesville Historical Society. It was professionally mounted by Andrea Douglas, curator of the Contemporary Gallery.
Kay Slaughter, member of the Board of the Albemarle Charlottesville Historical Society and a lover of local history, was formerly mayor of Charlottesville and a member of City Council, 1990-98. She retired from practicing law at the Southern Environmental Law Center and researches and writes family history as well as essays about growing up in 20thcentury Virginia.
by Jaquan “dJ almigHty” middleton | Photo by Kristen Finn
Growing up in Brownsville, Brooklyn, I was surrounded by a vibrant community spirit, epitomized by an event we called Old Timers Day. It was a day when everyone, young and old, would come together, celebrating our shared history and strengthening our bonds. However, as I grew older, I noticed that this cherished event began to fade away, and with it, the sense of community started to unravel. Violence and gangs crept in, filling the void left by the absence of unity.
As a teenager, my life was a whirlwind of movement between New York and New Jersey. It was in New Jersey that I began to contemplate my future, eventually embracing the world of radio—a passion ignited by my family’s involvement in the industry, particularly an uncle who worked at WBLS in New York City. Radio became my calling, and I pursued it with fervor.
When I moved to Virginia, I was determined to make my mark in radio. I started at WNRN 91.9 Boombox and later found myself at 92.7 Kiss FM. When Kiss FM ceased operations, I saw an opportunity to fill the gap in Charlottesville’s urban radio scene. With a dedicated group of individuals, we established 101.3 Jamz, a community non-profit radio station with a mission to foster community engagement through events.
Inspired by the spirit of Old Timers Day, I envisioned the Soul of Charlottesville as a platform for community connection. Initially, it was a simple cookout, but I aspired for it to be more—a space where people could gather, socialize, and reconnect beyond the confines of social media. I noticed that as community gatherings like cabarets disappeared, so did the sense of unity. I wanted to recreate that environment, a place where we could celebrate our culture, showcase our talents, and support one another.
The Soul of Charlottesville has grown beyond my wildest dreams. This year, we introduced the Best in Black C-ville Awards, supported by the BPN Network, further cementing our commitment to celebrating our community. None of this would be possible without the incredible contributions of Kilahilah Jones, Sabrina Feggans, and the collaboration with the IX Park Foundation. Together, we’ve created an event where people can put their phones to good use— capturing memories, recording podcasts, and sharing our vibrant culture with the world.
As long as I have the privilege to serve on the panel for the Soul of Charlottesville, I am committed to ensuring its growth and success. I invite everyone, whether you’re a current resident or someone who once called Charlottesville home, to join us each year for this annual celebration. Together, we can continue to nurture the soul of our community.
2024 Soul of Cville Recap: Black Excellence, Bold Moves, and High Temps
by Khalilah Jones | Brian Dunn Photography, LLC
What. A. Weekend. Y’all, if you missed the 2024 Soul of Cville Festival, we can only assume you were out in the boondocks with no Wi-Fi or simply sleeping on all this Black excellence (don’t worry, we forgive you). This year’s theme was Black Excellence and, honey, the community came through and showed out! From the fashion to the food, to the nonstop dancing and some minor technical hiccups (because what’s a festival without a few challenges?), it was a celebration that will have the streets buzzing until next year’s event.
The Dream Team Behind the Magic Let’s give a huge round of applause to our key organizers. First up, the co-founders: Jaquan Middleton of 101 Jamz, holding it down on the airwaves, securing the talent and organizing the after party, and the ever-fabulous Khalilah Jones of Chic and Classy Image Consulting, who not only brought the glam but also spearheaded the creative direction of the festival’s HBCU-style fashion show (we’ll get to that stunner in a sec). These two? Pure magic.
And you already know Sabrina Feggans of Beyond Fitness with Sabrina brought her infectious energy and kept folks super hype as she co-emceed with Mr. 45 from 101.3 jamz. Not to mention the glue that holds it all together, Ewa Harr, Executive Director of IX Art Park, making sure this festival was as vibrant as the eye-catching immersive art park. Derek Weakly, IX Art Park’s Bar Manager, also deserves a shoutout for keeping everyone hydrated with… well, let’s call it refreshments.
Best
In
Black Cville Awards: Kicking Off in Style
We kicked off the weekend with the Best in Black Cville Awards at Live Arts, where the fashion was fly and the applause was loud. Shoutout to all the winners and nominees—you’re the heart of this community, and we’re so proud to celebrate you! And can we just pause for a sec to acknowledge that the Charlottesville City Council recognized the festival? Talk about official…where’s my whistle?! Black excellence isn’t just a phrase—it’s a movement, and Charlottesville is here for it.
Fashion: HBCU Vibes and Youth Brilliance
Let’s talk fashion. Directed by none other than Khalilah Jones, the HBCU-style fashion show was a runway show to remember. Micah Washington coached those models into serving nothing but fierce looks, while Avis Fields choreographed scenes that had the crowd in awe. Our stylist Khalilah, along with designers Santanna Burnley and Victoria Maxey brought the heat, with styles that left everyone checking their budgets and closet space. Special shout out to the models:
Men: Jamal, David, John, Jamie, Syrell. Women: Vonnie, Phaeja, Shenise, Sherica, Juanika, Courtney, Nicole, Avis, Micah.
And did we mention the Youth Fashion Show? These young models gave us a glimpse of the future, and let’s just say, the next generation of fashion is in great hands.
Huge shout out to the youth models:
Grant, Camden, Samari, Londyn, Selah
Art Meets Community
One of the most beautiful moments was the community mural in collaboration with The Bridge Progressive Arts Initiative. Everyone came together to create something lasting and symbolic of unity, resilience, and—what else?— Black excellence.
Line Dancing, Anyone?
Now, if you left without joining the line dance, you missed a whole vibe. Just saying.
Food, Vendors, and the Beats that Kept Us Moving
Lady Taij, Elite Empire, DND Dancers, Jeek, JaQueis, L.T., and Ebony Groove—you all kept the vibe alive. The music hit harder than the August heat, and even with the temperature climbing, the community stuck around for the beats and the eats. And oh, the food. Shout out to ALL the vendors but especially those who fed our souls—literally.
Despite the scorching temps and a few minor technical difficulties (whoever tripped the wire, we will find you), the vibes stayed high. After all, this is Soul of Cville, and a little heat never hurt anybody. Speaking of vibes, that Doyle rooftop after-party? Let’s just say we’re still recovering. Good times were had by all.
A Massive Thank You to Our Sponsors
Big love to all our sponsors for keeping this event lit: UVA Health Diversity and Communi-
continued on page 37
by Sabrina Feggans | Photo by Kristen Finn
The Soul of C-Ville event was everything you’d expect when celebrating Black excellence.
The multi-day event was a breath of fresh air with vibrant music, creative talent, delicious food, and unapologetic, energetic power of independence. From the moment I arrived and took the stage to co-host the event, the atmosphere was electric. Music filled the air, rich conversation and laughter echoing amongst vendors during setup. There was a sense of peace, pride, and rekindled friendships that you could feel as the event began. Vendors offered their talents & passion in an assortment of products and services that supported, build and educated the community while increasing economic growth. Whether a participant, an attendee, a photographer, bartender or volunteer, everyone had a connection to the community. The evening turned into a powerful testimony
of our black togetherness. It was a living testament of the strength, resilience and beauty of black culture in Charlottesville. As the event MC, I had the pleasure of introducing talent to the stage, ranging from hiphop artists, youth dancers and the notable fashion models symbolizing blackness in every shade. Hosting the Soul of Cville, it was a pleasant reminder that our Black culture is dynamic, evolving and filled with love – love for the culture, love for the support, love for empowerment. For once, it was a space to be unapologetic ourselves. Soul of Cville embodied the richness of traditions, courage and inspiration. This annual event is a gathering of people connected by experiences, history and hope for a brighter community and future. The Soul of Cville was not just an event it is a part of Charlottesville’s history, and I am blessed to be a part of this historic moment.
by Charles A. Lewis | IMHO
Talk Show
Peace & blessings to all. It was a honor for all who embody the Soul of Cville! It's potential from its inception has gotten closer & closer each year. The experiences and memories created has proven and reassures us: that we can produce and reap the rewards of a celebratory festival that is for us. Most importantly it was by us; that is the most meaningful part to me. This example now sets the momentum for future generations, that we own and are good stewards of our culture. It embodies all the forms of black beauty and black excellence. Businesses, organizations, performers, artists, culinary, and the list goes on and on. Even though it's hard to pick a favorite... The recognition of each other via Best in Black and circulating of the dollar amongst black businesses. The dynamic range of age and style of performers, stylist and many more captivated this moment. To the finale after party, it makes you hope & believe that black love would never end. I'm excited and grateful to be a part of this movement in history. What a time to be alive!
by Leah Puryear | Former City Councilor
For the past three years, I have had the opportunity to see the Soul of Cville grow and develop. The sense of community and enrichment is evident with each year’s growth. I cannot begin to imagine all that goes on behind the scenes, but this event always appears to be effortless. The fashions always catch my eye and with the introduction of teenagers, it adds an extra special touch. The idea of bringing a community together and giving a voice to the African American vendors and talents within Charlottesville and Central Virginia is both refreshing and informative. Although, I am not a metrologist, I am always concerned about the weather for Soul of Cville, however, the weather has been on our side, even in the hottest of days. I continue to enjoy the fashion show and the energy this event brings to Charlottesville.
by Brandon “LeeBangah” Dudley | Recording Artist
I’m Brandon Dudley, also known as LeeBangah, a hip-hop artist from Charlottesville, Virginia. I’m thrilled to share my thoughts on the Soul of Cville festival, an event that stands as a beacon of opportunity for hip-hop artists in our city. This festival fosters unity among all races and nationalities, creating a vibrant and inclusive cultural landscape.
Over the past two years, I’ve had the privilege of performing at the festival, and I’ve witnessed firsthand how it has helped my reputation flourish. The festival attracts visitors from surrounding areas, eager to experience the dynamic cultural scene that Charlottesville has to offer.
I celebrate the remarkable growth of this platform, which has been made possible by the generous support of esteemed sponsors, talented models, captivating live bands, dedicated vendors, and our engaged community. My sincere appreciation goes out to 101.3 Jamz, Chic and Classy, Vinegarhill Ix Park, and numerous others who have laid the groundwork for emerging musicians, dancers, and entertainers. Thank you again to everyone involved. This is just the beginning, and I look forward to seeing how the Soul of Cville festival continues to evolve and inspire.
by Rayona Johnson
Double The Glam Boutique
Participating in the Soul of Cville has been an incredible experience for me, both personally and professionally. In the first year, I joined as a clothing vendor, and the sales were absolutely amazing! The vibrant atmosphere and the enthusiastic crowd made it a memorable event. However, what truly captivated me was the fashion show. The creativity and energy on display were so inspiring that I knew I wanted to be a part of it in the future.
After the event, I spoke with a few models and was eventually introduced to the talented organizer of the fashion show, Mrs. Khalilah Jones. Her passion and dedication to the event were evident, and I was thrilled to have the opportunity to work with her.
In the second year of the Soul of Cville, I was able to showcase my brand, Double The Glam Boutique, within the fashion show. This was an incredible platform for me to promote my business and connect with a wider audience. The experience was not only rewarding but also a significant milestone in my journey as a fashion entrepreneur. I am eagerly looking forward to participating in the Soul of Cville again. The event has become a highlight of my year, and I can’t wait to see what new opportunities and experiences it will bring. Thank you to everyone involved in making this event such a success, and I look forward to being a part of it for many years to come.
by alex bryant | ix art
park former executive director
One of the most powerful pieces from the first year was the “There Are Black People in the Future” community mural, created with Jay Simple of the Bridge PAI. Inspired by Alisha Wormsley’s series, the mural debuted during the first Soul of Cville and is refreshed annually to reflect our community’s growing unity. Personally, witnessing the love and compassion expressed through bold colors and powerful messages moved me deeply, especially on the eve of my daughter’s birth, as I knew then that we were sowing the seeds of something bigger than ourselves.
Soul of Cville has always been a celebration of collective strength. Seeing people from all over the area come together to witness, reflect, and celebrate is incredibly powerful, and I’m grateful to have been part of its inaugural year. Soul isn’t just a festival—it’s a celebration of our community coming together to uplift one another.
RECAP continued from page 31
ty Engagement, Sentara, UVA Office of Diversity and Inclusion, Kovered by T, 101 Jamz, Chic and Classy Image Consulting, Beyond Fitness with Sabrina, IX Art Park, Charlottesville Area Community Foundation, Flow Automotive, Vinegar Hill Magazine, City of Charlottesville Office of Diversity, Equity and Inclusion, Albemarle County Office of Equity and Inclusion, Black Professional Network, and Jefferson School. Y’all are the real MVPs.
Year Five? Let’s Get It, Let’s Go! Now, for the grand finale—get ready, because the countdown has begun for Soul of Cville 2025! We’re expanding this festival to a full week, from August 12-17, 2025, with more family-friendly events, some grown and sexy vibes (sip n’ paint and 90s karaoke with Black Women Who Wine, anyone?), and even
deeper partnerships with community organizations that center Black communities (Blacks In Tech) and a focus on the state of the local Black community. Oh, and guess what? We’re launching a Soul of Cville social media page so you can stay connected, follow the countdown, and be the first to know all the deets. Stay tuned and keep an eye out for that!
Mark your calendars. You don’t want to miss year five—it’s going to be bigger, bolder, and Blacker than ever. Let’s get it, let’s go!
by Daniel Fairley | 100 Black Men
I love being a part of Best in Black Cville showcase held during the Soul of Cville. Standing on stage and speaking to the crowd during that event was the proudest I’ve ever felt as a Black man in Charlottesville. That moment gave me the chance to step back and reflect on the community that has supported me since I first arrived here, back when I didn’t know anything about this city. Charlottesville welcomed me with open arms, and I saw an opportunity to make my mark. I’m proud of what I’ve accomplished so far, but I’m even more proud of the people who have supported me and allowed me the chance to support them in return.
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