2020 SEED engagements

March 19-22: Slow Fish in Durham, New Hampshire

April 4th:
Master Gardener Symposium: Gear Up for Gardening
Moore Center, 12:30 – 4:30-5pm
Creative Frameworks for SEED Dispersal ~ Lee Lee
Working at the intersection of art and ecology, Lee Lee will present her methodology in cultivating creative frameworks for public engagement around wild land restoration. Material will include cultivating networks of living SEED libraries, SEED Sensoria, HugelCULTURE and following seasonal rhythms to respond to specific attributes of place in culturally relevant ways. 
Other workshops include: Grow your best Veggies by Marjorie Poronto of the Master Gardeners Extension program, Grow your best raspberries by David Handley, UMaine, Biodiversity by Reeser Manley, Creating a community garden, Edible Millbridge, and Improving soils by Paul and Karen Volkhausen of Happytown Farm.

April 4th: Sweetgrass talk with Carol Dana
Part of the Blue Hill Heritage Trust’s winter lecture series

May 23rd 9am – noon
Blue Hill Public Library Plant Sale
Find SEED under the apple tree as we disperse spring sown native grasses and wild mint along with sipping tea and drawing pollinators who benefit from these meadow plants

May 23rd 2-4pm (rain date May 24)
Mapping the Labyrinth Meadow workshop at Tapley Farm
As a community, we will map out the geometric path that will be maintained at Tapley Farm in Brooksville as a collaboration between the Tent Project, the Open Air Arts Initiative and SEED :: disperse. The labyrinth will offer a platform on which to creatively explore our relationship with the meadow landscape. Challenging the dominant local mowing practice of severing this important part of local ecology, this event kicks off a series of workshops to educate people on how to maintain meadows in ways that best support the pollinator and bird communities that are essential to healthy natural systems.

May 30
Alewife Festival at Pierce Pond
Join the Penobscot Alewife Committee, the Blue Hill Heritage Trust & SEED to celebrate the maturing landscape around the restored fish ladder into Pierce Pond. Learn about the plants that make up shoreline communities and the network of life supported by them.

July 11 – 27th: SEED Barn Artist in Residence: moira williams
Learn more about moira’s walking based creative practice:
I-Park Kicks off Seventh Art Biennale in East Haddam

July 25th 2-4pm (rain date July 26)
Embodying the Landscape: Walking the Labyrinth
We invite the community to walk the labyrinth with intention as we explore the plant communities that make up the meadow at the Tapley Farm. We will speak of how important it is to hold off on mowing our meadows until November by paying attention to the teaming life that fills the maturing meadow. We will think about the localized movement of pollinators as they weave their way through the landscape and think about the shelter provided by tall grasses for seed dispersers who call the meadow home. Open source images of the network of life that abounds in meadows will be available for creative exploration through words, movement and drawing.

August 22nd 10a-4pm
Blue Hill Maritime Festival
Discover the colonial medicine chest and tea gardens at the Pendleton House with the establishment of a new SEED library dedicated to preserving these heirlooms brought to Maine from across the sea.

October 3rd 2-4pm (rain date October 4)
Meadow Restoration workshop at Tapley Farm
We will look at techniques for restoring meadows for the final event in the Labyrinth series in collaboration with the Tent Project and the Open Air Arts Initiative. Thinking about the transformation from flower to seed, we will look at the community of seed eating birds who are supported by mature meadows as they migrate south for the winter. We invite people to wait until November to mow so as not to disrupt this important food source for the birds. Autumn is the best time for planting plugs and we will share techniques on how to best introduce native plants to meadow environments to broaden the diversity of what is growing around us.

October 8-12th: Terra Madre

Mountains Beyond Mountains

Restoration Liberation
2019 Ghetto Biennial

Katelyn Alexis + Getho Jean Baptiste + Wesner Bazile + Rossi Jacques Casimir + Noel Edgard aka Papouche + Lee Lee + Mimi Sheller + moira williams

We are exploring historic connections between Maine and Haiti with a series of workshops and performances; looking at the entangled mobilities between plant-human and non-human relationships held sacred by indigenous communities. We will consider the role plants played through the Haitian revolution and how plant-based practices in both geographies may inform each other as we navigate our way through food sovereignty, sacred/medicinal relationships and rewilding
efforts. We are interested in counterpractices that push against industrial agriculture and hybrid seeds.

I :: White Pines from Dawnland
The tall, straight trunks of Maine’s white pine trees were marked and severed from the landscape by French settlers to build ships that carried lumber to Haiti. Hawthorn trees were equally struck from the land, stripped of their thorns then used as nails in the same ships to Haiti (Hawthorne is resistant to rot unlike pine). Both Pine and Hawthorne trees carry sacred/medicinal relationships with indigenous people. Additionally, both trees were used to construct plantations that in turn, served as frameworks against which the Haitian revolution took place. Our project begins with tracing the ghosts of White Pine and Hawthorn trees. We will travel rural areas to find their traces, look at the functional differences between in-tact plantation grounds versus fragmented land passed down equally through generations of families after the revolution. We will connect these ghosts to the sacred/medicinal microgardens found in the pots and doorways of Port-Au-Prince through recorded conversations, knowledge sharing and movement.

SEED Barn - Blue Hill Falls, Maine
The SEED Barn was crafted by boat builder, John Cheever in 1835. Here it is seen with a schooner under construction in mulatamicuwon, now known as Conary Cove in Blue Hill, Maine

II :: Mountains beyond Mountains
The indigenous Arawak people met the first free Africans in Ayiti (Haiti), during the 1800’s. Ayiti means ‘mountains beyond mountains’ an expression from and of the land. Both cultures recognized one another’s interconnected, sacred relationships with the land. As a result, the Arawak shared their knowledge of the land and the medicinal qualities found in Haiti’s endemic plants with the Africans. Plant, food and soil knowledge continues to be cultivated, interwoven with multiple cultural nuances, as interventions of restoration and liberation throughout the tightest corners of urban Port-Au-Prince. These same plants are grown in microgardens around the Grand Rue.

III :: Control
Moringa trees provided Haitians essential nutrients during the petrol revolts this year. Moringas were brought to Haiti from Africa as seeds and thrive in areas where little else can grow. We will plant more Moringa trees, save their seeds to establish a nutrient dense Grand Rue – if you control food, you control people.

Confronting the failures of our work in the previous biennales, we will install a functioning SEED library at SAKALA. They have the capacity for preservation and are interested in seed saving due to food security threats from hybridization. Informed by the progress of SEED work in Maine with the Halcyon Grange and Blue Hill Heritage Trust, we will call on Haitian organizations to maintain a preservation ring. Potential SEED library branches AJDHVD network of school gardens, Minister of
the Environment, Botanic Gardens, SOIL & Lambi Fund farmer networks.

IV :: Restoration
In response to concerns that urban youth are being severed from the land, traditional plant, soil, health and cultural knowledge, we will weave aspects of re-wilding into our SEED work to promote
a whole-body ecologic revolution. We will do this with seed saving workshops and a combined art, citizen science, movement
workshops in the Grand Rue and SAKALA (SAKALA has a “wild” field). We will provide a school bus and invite the Grand Rue TiMoun to participate.

2019 installation:
Accidental Migrants

2019 Ghetto Biennale: THE HAITIAN REVOLUTION & BEYOND

2020 update

Because of the revolts over the course of 2019, we decided to elongate this effort by drawing out programming to support workshops on a month to month basis. We started with open source images of Ruby-throated hummingbirds & cedar waxwings printed for the installation for the 2019 Biennial. Both birds are considered ‘accidental migrants’ from the northeast. The woodworking community that makes up Lakou Basile are carving representations of these photographs on a workshop platform with neighborhood youth to learn relationships of flowers with pollinating hummingbirds & fruit dispersal through birds. The woodblocks will be sent to the SEED Barn and used to demonstrate printing techniques of Ukiyo-e style of woodblock printing during the 2020 season. In hopes this exchange ignites consideration of the ecologic and historic geographic relationships we maintain with lands which host migratory wildlife enjoyed throughout the Maritime region during the summer.

Accidental Migrants

Installation of migratory birds who connect the ecologies of Acadia & Ayiti for the 2019 Ghetto Biennale

Accidental Migrants
Sorting through open source images of Ruby-throated hummingbirds & cedar waxwings. Both birds are considered ‘accidental migrants’ from the northeast. The woodworking community that makes up Lakou Basile are carving representations of these photographs to learn relationships of flowers with pollinating hummingbirds & fruit dispersal through birds. The woodblocks will be sent to the SEED Barn and used to demonstrate printing techniques of Ukiyo-e style of woodblock printing during the 2020 season. In hopes this exchange ignites consideration of geographic relationships and how we maintain ties to lands which host migratory wildlife we enjoy throughout the Maritime region during the summer.
Ruby-throated Hummingbird
Cedar Waxwing
Cedar Waxwing
Cedar Waxwing
Cedar Waxwing
Ruby-throated hummingbird
Ruby-throated hummingbird
Ruby-throated hummingbird
Ruby-throated hummingbird defending her territory
Basile Wesner
Basile Wesner installs images sourced from the commons through his home during the 2019 ghetto biennale
Rossi Jacques Casimir
Rossi Jacques Casimir is instigating this project & is credited with the documentation in this article.

Valerian

Valeriana officinalis

Valerian flowers

Valerian is a calming herb. Traditionally, all parts of the plants have been consumed, and use has been recorded since the ancient Greek and Roman times. The Saxons would eat the roots along with other tubers and the leaves like salad. The 16th century English herbalist, John Gerard describes how the dried root was valued as a medicine by the poor in the north of England and the south of Scotland, so that “no broth or pottage or physicall meats be worth anything if Setewale [Valerian] be not there.” He stated that it was good for bruises and could help with coup, a recommendation supported by the 17th century astrological botanist, Nicholas Culpeper who said the root should be boiled with liquorice, raisons and aniseed to ease a cough.

The Mayo clinic states that many studies have shown that it ‘may reduce the amount of time it takes to fall asleep and help you sleep better’. However, they recommend developing the aptitude for falling to sleep through lifestyle choices instead of taking supplements. Studies have shown that it takes a regular dosage over several weeks for the herb to be most effective. The European Medicines Agency states that valerian can be used as a traditional herbal medicine to relieve mild nervous tension and to aid sleep. In Connecticut and New Brunswick, Valerian is considered invasive.

Sources: Mayo Clinic, Wikipedia, Please note that material provided here is for informational purposes only and are not to be taken as recommendations for treatment.

Valerian seedhead

Meadow Mandala

Meadow Mandala at the SEED Barn Maine
Thatcher Gray basks above the completed Meadow Mandala in the wet meadow alongside the SEED Barn.

Broadening perceptions of HOME to include outdoor spaces helps cultivate an understanding of the interrelationships between humans and wildlife. As for humans, good homes for wildlife include plenty of food, safe access to water and shelter, and enough space to raise the next generation. In this outdoor workshop, participants are invited to create an on-site, mandala inspired sculpture woven through the meadow landscape that will provide winter habitat for seed dispersers.

In the process, we learn how to work with natural materials in our own gardens to augment habitat for wildlife through winter months.

This is the final installment of the 2019 Open Air Arts Initiative Field Works, a collaboration between the Blue Hill Heritage Trust, Cynthia Winings Gallery & the SEED Barn. The culmination exhibition will take place at Parker Point the weekend of September 27-29.
https://www.facebook.com/events/596899880842603/

The SEED Barn is located at 53 Falls Bridge Road in Blue Hill Falls www.virtualvoices.org
http://www.openairarts.org/
https://bluehillheritagetrust.org/

Meadow Mandala at the SEED Barn Maine
Exploring different methods of working with materials on site, participants share ideas as the spiral form of the mandala is established
leaf chain
A leaf chain is woven with yarn and Norway maple leaves from the eradication of the invasive tree on another part of the property.
Leaf chain for the Meadow Mandala
Assembling the Meadow Mandala at the SEED Barn Maine
Working together to assemble the Meadow Mandala
Meadow Mandala at the SEED Barn Maine
The finished mandala
Meadow Mandala in winter. The structure persists into the winter and highlight the animal passages through the underbrush.
Mandala in Winter

Seaside Goldenrod

Monarchs sip nectar from September blooms of Seaside Goldenrod to prepare for their long autumn migration. After several generations of Monarchs have made their way north to Maine, this last generation flies the entire return trip to the alpine forests of central Mexico, where they will over winter.

While Milkweed is essential food for Monarch caterpillars, a diversity of late blooming plants offer important nourishment for migrating monarchs. It’s important NOT to mow fields until much later in the season so the flowers may continue to offer nectar…and then seeds to migrating birds!

Tansy

Tanacetum vulgare

Bombus on Tansy
Bombus loves nectar from the button shaped yellow flowers of Tansy

Tansy was a part of the Acadian medicine chest and was considered necessary in a garden by the British. It is used to repel insects, particularly flies, and to guard against worms. Acadians used it internally to expel intestinal parasites, and in New England it was added to coffins to guard against the dead being consumed by worms. It was used this way so much in the colonies during the 19th century that it became associated with death. Bruised leaves were placed on meat to keep flies at bay, and it was kept strewn about in homes with dried elder leaves to repel other insects. Colonialists would wear it in their shoes to guard against insect born illnesses. It is said that infusions of the root, flowers or seed can be a strong antidote for gout. The Irish would bathe in infusions of tansy and salt to ease joint pain. Up until the 1940s, diluted tansy oil was added to fleabane & pennyroyal to make a popular insect repellent. More recently, Swedish scientists have found it fairly effective at repelling ticks. The leaves and flowers are toxic if consumed in large quantities.

In addition to the way settlers used the plant, indigenous populations found this herb to be effective in addressing a broad range of ailments. Pulverized blossoms & leaves were infused by Cheyenne to improve weakness & dizzyness. Chippewa found that a weak infusion aided earaches, and that the roots either brewed or chewed were effective against a sore throat. Many tribes used it against stomach disorders and fever reducers. Micmac and Malecite used it as a contraceptive and Cherokee would tie it around the waist of a pregnant woman to avoid miscarriage during pregnancy. The Shoshoni used it as a warm anaseptic wash and Ojibwe would include it in a blend of dried plants that was burned to attract deer.

Tansy had culinary uses that are not generally practiced today. Because of the toxicity, some people react to consuming even small amounts. New leaves emerging in spring were used as an herb to add to omelettes or puddings, and paired with caraway when making biscuits and ‘tansy cakes’. Today it is only known to make a particular type of blood pudding in Cork, Ireland. The flowers are cultivated for aesthetic purposes and may be used to make a yellow or green hued dye. It is still used as a companion plant for non-chemical pest control, demonstrated to be highly effective against the Colorado potato beetle. When planted alongside cucurbits like cucumbers, melons and squash, or with roses and berry plants, it repels pests like ants, cucumber beetles, Japanese beetles and squash bugs. Beekeepers will sometimes add dry tansy to the blends they use to smoke out beehives.

Sources: The Harriet Irving Botanical Gardens on the Acadia University campus, Nova Scotia, Wikipedia, A Modern Herbal by Mrs. M Grieve and Native American Ethnobotany by Daniel E Moerman. Please note that material provided here is for informational purposes only and are not to be taken as recommendations for treatment.

Sea Shanties & SEED Stories


Celebrating the new gardens designed and built by Lee Lee at the Pendleton House, they set the stage for a display of Haitian artworks and maritime paintings during first Blue Hill Maritime Heritage Festival. In consideration of the historic use of the building to house sailors who needed temporary housing between seafaring journeys, garden plants were chosen because they were considered important enough for early settlers to bring with them across the sea. The plant collection will comprise a collection of tea and medicinal plants tended in these early colonial ‘medicine chests’.

In tandem with exploring what plants arrived here, we are considering the severance of the landscape for the raw materials that became the foundations for colonialism. What systems were set in place that still exist today? What are the long term social impacts experienced by indigenous populations in the Penobscot region as well as the Caribbean and African regions? How is indigenous practice informing the healing of these lands?

Featuring custom painted Maritime Chests and Historical Signs by Robert Jarvis Leonard III, the garden installation included crafts from Indian Island by Penobscot linguist Carol Dana and a selection of Haitian sculptures that offer a poignant reflection of the backwaters of (im)mobilities. An interactive component will invite visitors to share stories of their own relationship with plants and migrations.

Through the festival, songs of the sea will be sung both in the gardens and along the sea across the street at Emerson park. Bring an instrument and join in this Cèilidh style gathering.



Revolution

ARTISTS on view:
Basile Wesner
Katelyn Alexis
Love Leonce
Jean Frederic
Getho Jean Baptiste
Willem Guillome
Kombatan
Londel Inoocent
Evel Romain
Jean Claude Santillus
Zaka
Jean Herard Celeur

This exhibition initiates explorations of the historic connections between Maine and Haiti. Encouraging an examination of the entangled mobilities between plant-human and non-human relationships held sacred by indigenous communities, we will consider the role plants played through the Haitian revolution and how plant-based practices in both geographies may inform each other as we navigate our way through food sovereignty, sacred/medicinal relationships and rewilding efforts.

Sculptures by Atis Rezistans members are installed through the gardens around the SEED Barn and will remain on view through the summer. The sale of these artworks will directly support continued restoration efforts in the central urban zones of Port-Au-Prince. The SEED Barn in Blue Hill Falls was built by the ship builder, John Cheever, who constructed tall ships in Conary Cove. It is also located at mulatamicuwon, traditionally used by the Penobscot. The history which has unfolded in this place makes it a relevant platform to explore the ties between seemingly disparate geographies. 

Several members of the Atis Rezistans have work currently on view in the Museum of Contemporary Art in North Miami as part of PÒTOPRENS: The Urban Artists of Port-au-Prince, which traveled from Pioneer Works in Brooklyn, NY.

Bagaduce Alewife Celebration


Join the Penobscot Alewife Committee, Maine Coast Heritage Trust, Blue Hill Heritage Trust and Maine Center for Coastal Fisheries for the 2nd Annual Bagaduce Alewife Celebration!

Saturday, May 18th, 11am – 3pm
Pierce Pond in Penobscot


Learn about the native plant restoration work being done at Pierces with the SEED Barn & Blue Hill Heritage Trust.

Demonstrations on sowing native seeds, transplanting seedlings and providing habitat will compliment an art installation of cast paper butterflies. The public is invited to participate in this community restoration project by learning about the ecologies along the land water interface. Add your voice by composing messages to wildlife who use this passage, and bring home an assortment of native grass seeds to plant in your own yard!

Guided tours of future restoration locations will take place on on Parker Pond (9:30am)  and Walkers Pond (1pm)


Explore the Water!
Catch alewives to make observations, view a freshwater fish observation tank, taste smoked fish, and much more! There will even be a Virtual Reality set up so you can “swim with the fishes” through Maine Center for Coastal Fisheries!

For more information, please contact Blue Hill Heritage Trust at 374-5118 or info@bluehillheritagetrust.org

Participate in the Community Restoration of Pierce Pond through March by sowing native seeds specific to the river and lakeshore plant communities observed around Pierce Pond and gathered from the research in the Natural Landscapes of Maine guide published by the Maine Heritage Fund. Seeds are best sown at home, and we invite community members to establish some in their home gardens and sow some to share with the restoration project.