Farewell Post: Only a Hiatus

After this week’s blog posts, I’ll be waiting out the rest of 2012. These upcoming posts may very well be the last on this blog, but it’s much more likely that I’ll be returning in some fashion. Some incarnation of this blog will be continued in January 2013, possibly incorporated into another blog.

The narrow focus of chiefly Cumberland County history has been good for discovering oft-overlooked people, places, events and ideas. But I may broaden the scope. I wouldn’t necessarily say it’ll be something more ambitious. That’s a scary word that carries a connotation of –gulp—responsibility. And there is a trend of my oversold and overstated goals floundering completely. So I’ll be keeping it, whatever it turns out to be, simple and tight.

My first “greatest hit” is The First Pioneer Artist of Glasstown Speaks. I most enjoy watching the Dennis Tawes video, for he is a creative spirit. It didn’t take any prodding from me (nor much post-production editing) for him to weave together a coherent story from his disparate ruminations on art. My second greatest hit, and the post I most enjoyed writing was last week’s on The Tea Burning of 1774. It’s an event with a number of elements I find appealing: early American history, rebellion & social unrest, economics and even a little maritime activity. My third and fourth greatest hits are An Insight Into Glass and A Brief Comment on Glass Art. Glass is so central to South Jersey, especially Cumberland County. Glass, as an industry, commodity and artform, is so interwoven with the history of the area that it deserved three posts. David Iams is also very informative. My fifth greatest hit, and the post that got the most attention and feedback was the Moron post. A little low on the content side, I thought, but that will be fixed very soon. Very soon.

Thanks. After Monday, check back in January for updates.

The First Pioneer Artist of Glasstown Speaks

Fourteen years ago the city of Millville sought to establish a hub of economic and cultural activity. The efforts to renovate High Street into a centerpiece of the local community led to the creation of the Glasstown Arts District. What is ostensibly six blocks of stores and galleries has courted artists from across the country to reside there. The Pioneer Artist program offers loans of up to $5,000 at 0% interest to artists relocating there from elsewhere. The first Pioneer artist was Dennis Tawes from Jacksonville, who operates the Amethyst Gallery, a small cottage in a series of cottages located at 212 North High Street. His style is primarily that of wildly vibrant expressionism. The walls of his gallery are adorned with paintings, some of them naturalist, some of them abstract, all of them somewhat quirky. In the video below he goes into some of the detail of his process and reveals what he thinks art is.

Some of his work is available at his website. Or his work can be seen on the Third Fridays of every month.

The Seldom Mentioned History of Jewish Settlements in South Jersey

The era of “New Immigration” in the 1880s saw an emergence of immigrants from places like Russia that until then hadn’t typically been places immigrants emerged from. Within Russia was a multitude of Jewish citizens who existed in strife with the rest. The facets of Russian Nationalism, Tsardom and the Orthodox Church constituted the majoritarian will under which Jews subsisted. Though it could be suggested that the prima facie majoritarian will was really reflective of authoritarianism, the rule of Tsar Alexander III ensconced in “reactionary nationalism in the name of Slavophile ideals” ¹ A much more probable paradigm of populism would take shape during the February Revolution of 1917 and undermine (and shortly thereafter kill) the Romanov dynasty.

Jews, in an effort to escape the pogroms, forced ghettoization and lack of political franchise in Russia, were among the waves of immigrants in the 1880s. While many would come to reside in New York City, an overlooked amount came to New Jersey. Across the United States, Jewish settlers, contrary to stereotypes of Jews as merchants, shopkeepers and craftsmen that congregated at or near urban centers, instead became farmers. Farming colonies were formed in New Mexico, Kansas, Colorado, Iowa, Texas and Michigan, among other states. However, the farms in New Jersey survived the trials and tribulations that the farms in those other states did not. The colonies in the South and the West faced demise because they could not overcome “poor soil, the climate, malaria or some other disease, prairie fires, lack of water or wood or equipment, floods, crop failures, inadequate markets, high interest rates, [and] burdensome mortgages.” ² The colony on Sicily Island 160 miles northeast of New Orleans and the successor colony in Arkansas could not be saved from “the typical disasters of the region; torrential rainstorms, malaria, yellow fever, floods, heat, and isolation.” ³

The farms in New Jersey mostly survived where the others perished, excelling in spite of the difficulties, primarily due to congregating toward the fertile crescent that is South Jersey. Or whatever shape South Jersey is. In actuality, South Jersey is, or was, not particularly fertile at all: “When the poor, wild soil did not yield what it could not yield, when willing hands failed to find work that would help fill the bread basket, and when the aid of charity had to be invoked; then there was but little sunshine to cheer the dismal gloom. And the colonists had reason to feel discouraged. Theirs was a thin, shifting soil, which ages ago had been sorted and resorted by the waves, and the ocean was chary about leaving it little besides the rounded grains of quartz which compose 98 percent of the soil. Long years of hopeless toil, theirs and their children’s, were before them, and after all that work honestly and conscientiously performed what would they have? Unlike the fertile plains of the northwest, or the Tchernosyem of southern Russia, these South Jersey soils call for the application of manures or of commercial fertilizers, and without them they yield scarcely anything.” ⁴ The farmers persisted and found local markets for their produce and milk which was in great demand. They sold their grape wine in large quantities to New York and Philadelphia, especially to supply the Passover trade; “it is claimed by competent judges that some of the port wine from the South Jersey colonies is superior to that from California.” ⁵

“Three towns marked the roughly triangular area in which the first New Jersey colonies were established: Vineland, Bridgeton, and Millville, all in Cumberland County.” ⁶ There is some synchronicity to the founding of Vineland by Charles K. Landis and the founding of these farming communities; Landis’ acquisition of property was largely motivated by a utopian vision and so too had these Jewish agrarian surveyors been motivated by utopianism. There was the Zionist sort of impulse in continuum with idealistic and ambitious colonization efforts. “While Americans saw in the Russian immigrants an opportunity to disprove ‘the oft-muttered calumny,” young intellectuals and idealists in Russia also wanted to prove to the world that ‘the Jew can live from the produce of mother earth.’ Although they had no experience in farming, they were committed to the idea of cooperative agricultural settlements. In 1881, they formed two groups: Bilu and Am Olam. Bilu prepared for immigration to Erez Israel, Am Olam for farming in America.” ⁷ Whereas the Bilu path is more inveterate in the Zionist imagination for being the impetus for the creation of the modern state of Israel, the Am Olam path sought providence not in the arid Palestine at which movement would be conditional upon the Ottoman residers, but in America. Influenced less by religion than by utopian ideas of emancipation and secular humanism and even at times socialism, the promise of prosperity through merit and enlightenment through labor emblemized by America was most alluring.

The farmers had versatile reasons for choosing their lifestyles. Some cited economic concerns, or religious concerns such as adherence to the Sabbath being easier in a rural rather than urban profession. “Some spoke of an ancient desire to own land of their own, so long denied most of them in the Pale of Settlement. Restless and rootless, the Jewish farmers looked for ‘a better, quiter life’ for themselves and their families. In a very real sense, the land, the farm, was a place which could nurture the fragile shoots of an uprooted family. To become rooted to one place in America was to become rooted to the whole of the new country, to make it a home.” ⁸

1. Brandes, Joseph, and Martin Douglas. Immigrants to Freedom; Jewish Communities in Rural New Jersey since 1882. Philadelphia: University of Pennsylvania, 1971. 17. Print.

2. Brandes and Douglas. 49.

3. Brandes and Douglas. 47.

4. Bernheimer, Charles S., Ph.D. The Russian Jew in the United States: Studies of Social Conditions in New York, Philadelphia, and Chicago, with a Description of Rural Settlements. 1905. 376-388.

5. Bernheimer

6. Brandes and Douglas. 50.

7. Dubrovsky, Gertrude Wishnick. The Land Was Theirs: Jewish Farmers in the Garden State. Tuscaloosa: University of Alabama, 1992. 11. Print.

8. Dubrovsky. 47.

A Brief Comment on Glass Art

I recently spoke again with Wheaton Arts docent David Iams, who remarked on the changes in glass art. How recent innovations contrast with traditional techniques that had characterized glass art for centuries.

An Insight Into Glass

David Iams, docent at the WheatonArts glass museum and former docent at the Wheaton Arts Folklife Center, gave a brief but detailed insight into the history and development of glass in South Jersey.

Q When did glassmaking begin?

David Iams It was invented, or more likely stumbled upon in 2000 B.C. Initially it was likely puddled. Around 50 B.C.  the blow pipe was invented, which allowed for glass to become a commercial product. The techniques used in the Roman Empire are still in use in glassblowing studios today. The beaker (see image below), for instance, is hexagonal. It was blown into a mold. The handle on the top was probably patched onto it when it was still viscous.

Q What are some details of the glassmaking process?

Iams Glass is something that melts at about 2000 degrees. You can alter its state by adding other ingredients to make it melt at a higher or slightly lower temperature. Glass is basically made of silica sand, the kind you get on the beach, combined with limestone and potash. Those are two alkaline products, mixed with silica sand, which is basically an acid. Glassmaking was popular in New Jersey because a lot of the ingredients were available. [The availability of] sand and also wood, which when burned produces potash. Water was a way of transporting glass. Port Elizabeth was a major port on the eastern seaboard back in the 18^th century.

Q What are the techniques of glassblowing?

Iams Most vessels made in the history of glass were containers. [For window glass, frequently made in New Jersey], one way is to take a gob of molten glass from a furnace, blow it out and spin it. As you spin it, centrifugal force flattens it out into a disc. Take it and cut it into panes. Make them rectangular except for the one in the middle. [You emboss the one in the middle] to make Bullseye glass. That kind of glass is still used in some parts of Cumberland County, such as Greenwich, where there are a lot of historic buildings. It was ppular to use that glass to make a little framework of windows around a doorway.

Iams A glass [gets its green color] from the iron oxide in it. Add other ingredients to the basic mixture of glass and it’ll change color. It can be made almost completely clear by adding a mineral called manganese. That’ll [also] make it white, or if you add enough that’ll make it amethyst. Gold oxide gives glass a cranberry color.

Q What is the Folklife Center?

Iams It is a little museum that was started about 30 years ago. The building that houses it was part of the original Wheaton Village campus. It was developed under the auspices of New Jersey Council on the Arts. Initially, it was an exhibition of basic folklore and folk activities around [South Jersey]. For instance, there was the boatbuilding process of Dorchester, New Jersey. There was the Native American community here and their old folk crafts. The Jersey Devil, of course, is another famous piece of folklore. Recently it’s been getting away from exhibitions. The word “Folklife” is a term developed in the 1970’s or thereabout to define the body of traditional activity that governs day to day life in certain areas and traditions. Traditions are defined as beliefs and practices, that are passed down from one generation to another by word-of-mouth, not so much from formal training. So, if you learn how to make a pot from watching your aunt or uncle make a pot. The Folklife Center spent a lot of time focusing on the traditional arts and crafts around here. Boatbuilding, weaving, basket making, and similar activities. In more recent years, under its current director, the Folklife Center has more emphasized the ethnic traditions [of South Jersey]. There have exhibitions that have celebrated the [Mexican culture] here. A lot [of local Mexicans] come from Wahaca, in the South of Mexico, which has a very rich cultural tradition. We have also celebrated the Italians, who are very well assimilated, and the Indian-Americans, many of whom are professionals here. Most recently, there has been an exhibition of the culture of the Balkans. They have very colorful costumes. Like I said, the Folklife Center doesn’t do exhibitions so much anymore, and is changing its focus more on becoming an educational center. But that’s what got it started.

A Gallery of South Jersey Glass

Stained Glass Windowpane of the Art Nouveau Style

By Dale Chihuly

Whimsical glass pipe. Purchased from the estate of Charles Pedrick of Bridgeton, New Jersey, who had amassed one of the largest collections of South Jersey whimseys

Two of the oldest glass works in the country. Manufactured by the Wistar Glass Factory, the first American glass factory, established by Casper Wistar in 1739.

Vials, flasks, swirls and jars, in great demand in the 18th and 19th centuries, were needed to hold liquids and foodstuffs. The aqua green color of the glass is an effect of the South Jersey sand.

The pedals of the Millville Rose (left) were fashioned by the crimp (right).

Glass Variety

“[In order to press glass,] instead of blowing through a pipe, which would take years of training to become skilled at, they’d take a gob of glass, dump it into a mold, and then put another mold on top to press it into place. Subsequently, they’d pipe the glass into a mold to automate the entire process.”
– David Iams, docent of the glass museum at WheatonArts

The green jar by the Whitall Tatum Company, or Millville Glass Works. The purple flask by German glassmaker Henry William Stiegel, who started a glass factory in Manheim, PA. The amethyst color is from the abundance of manganese in the glass.

The Landis Theater

The Landis Theater in Vineland

It was 1937 and the United States maintained neutrality against the growing turmoil in Europe. The Great Depression was winding down in severity but the U.S. was on the cusp of a recession that would hit a year later. On March 12^th of that year Howard Hughes sent a steamy covert love-o-gram to Katherine Hepburn. Also on March 12th the Landis Theater opened in Vineland, New Jersey. Architect William Harold Lee constructed the design of the Landis Theater with the “streamline moderne” derivation of the Art Deco style. William H. Lee was a distinguished architect who in 1920 rebuilt America’s oldest theater, the Walnut Street Theatre, and was responsible for the interior design of the Royal Theater, the first black-run theater in Philadelphia. The parallel extremities of the theater contain glass block walls. The emphasis on unique glass work is particularly interesting considering Vineland’s neighbor city, Millville, is the home of the major glassware company Wheaton Industries. In 1987 the theater was forced to close its doors. It was restored and reopened in 2010, though it has struggled financially in the first two years of its return. Just a year and a half after its reopening the theater went to the city for tax credits to offset its debts. Luckily, this year Appel Farms arts organization partnered with the theater to help develop the theater and make it a vital part of the community again…hopefully to the effect of the theater being “in the black” and gaining financial stability in the near future. The Landis Theater is a major historic landmark in Vineland and a source of civic pride for Vinelanders. What began as a venue for film and vaudeville acts is now, in addition to all that, a community performing arts center that attracts local talent as well as big stars of stage and screen.