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Culture

PICK: Live Recipe Master Class

Vegan Delight: The smell of garlic cooking can be pretty irresistible—just don’t let it burn! Chef Antwon Brinson of AB Concepts guides you carefully through the process of making the popular Ethiopian dish Bakela Alicha with Moroccan Chermoula Sauce during the next installment in his Live Recipe Master Classes series. The creamy dish makes white beans the star of the meal, accompanied by a sauce made with fresh herbs and garlic. The class includes a shopping list, recipe, and video recording. 

Thursday, 5/27, $29.99, 5:30pm. culinaryconceptsab.com/classes. 

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Culture

Drinking buddies

While most of us have been trying to keep our distance over the past year, there’s been lots of pairing up in the wine industry. Area winemakers have been pursuing both formal and informal collaborations as a natural expression of their intellectual curiosity and creative spirit. And as you can see from the sampling of collabs below, these projects also involve local breweries, cideries, and distilleries. 

Blenheim Vineyards and Fine Creek Brewing Company

blenheimvineyards.com
finecreekbrewing.com

In 2018, when Gabe Slagle was head brewer for Fine Creek Brewing Company in Powhatan, he visited Blenheim Vineyards and left some beer for winemaker Kirsty Harmon. This simple exchange led to the development of a professional friendship, as Harmon wrote back to say thank you and offered to provide grape skins if the brewery ever wanted to use them. When Slagle visited Blenheim again, he brought along Brian Mandeville, Fine Creek’s current head brewer, and the collaborations began in force.

Over the years, Blenheim has had the opportunity to do wine pop-ups at Fine Creek, and has served the beer at its winery during special weekend events. On the production side, Fine Creek has used several different varieties of grape pressings in its beer, including viognier and rkatsiteli. There have even been some rosé-style beers that utilized skins from red grapes. According to Harmon, Fine Creek has “really gotten creative with how they have been able to incorporate our grapes into their beers.” In addition, “they are just really great people,” and she is hopeful that the collaboration will continue.

Lightwell Survey and Troddenvale Cider

lightwellsurvey.com
troddenvale.com

Winemaker Ben Jordan is no stranger to co-fermentation, where different grape varieties are combined to ferment together into a final product. In a recently released collaboration between Lightwell Survey and Troddenvale Cider, which is run by Will and Cornelia Hodges and located in Warm Springs, the concept goes a step further when grapes and apples are fermented as a single mixture.

For the project, Lightwell contributed petit manseng and vidal blanc grapes and Troddenvale contributed Harrison and Golden Russet apples. (All the fruit was grown in the Shenandoah Valley.) The juice from this fruit was combined, with care taken to ensure that the resulting mix was exactly 50 percent wine and 50 percent cider. Then, each party took half of the mix, and the rest of the fermentation, aging, and bottling was done separately. While the producers share a low-intervention approach, and the resulting beverages have similarities, it is interesting to see how the same original juice can yield different results in the hands of a winemaker versus a cidermaker. The Lightwell version was fermented in stainless steel with a bit of sulfur dioxide added at bottling. The Troddenvale was fermented in neutral oak with no sulfur additions. Both are selling two-packs featuring the paired products.

When asked why they decided to do this, Jordan says, “These grape/apple fermentations are something we are both interested in, we are each a fan of what the other is doing, and honestly, we were looking to have fun.”

Joy Ting Wine and Spirit Lab Distilling

@joytingwine
spiritlabdistilling.com

A quick survey of the world’s wine regions reveals that winemaking is always accompanied by distillation of wine into brandy. It’s a natural partnership and, at least historically, it was always made from local grapes grown in the region. Inspired by world-famous brandies from the Cognac and Armagnac regions of France, winemaker Joy Ting (this writer’s wife) and master distiller Ivar Aass of Charlottesville’s Spirit Lab Distilling are collaborating to make a Virginia brandy that they call Esprit Joyeux.

Aass and Ting are both focused on the brandy as a true expression of Virginia. As Ting explains, “The grapes are grown in the Shenandoah Valley. They are specifically managed and picked with brandy production in mind. After fermentation into wine, distillation occurs at Spirit Lab. Finally, the brandy is aged in barrels made from wood that comes from a forest in Culpeper.”

Every one of the above-mentioned partners goes out of their way to express their love for each other’s products—and all of them speak highly of the production quality and skill level of their collaborators. More notably, there is frequent mention of the great ideas, character, and heart of the people behind the products. It’s clear that there are many rewards for these producers in pursuing these projects beyond the final product that is imbibed.

Ultimately, though, it’s area drink lovers who truly benefit from these collaborations. Creativity and curiosity are a wonderful driver of the industry, but finding partners who are simpatico can truly spur things forward. These cooperative projects, especially ones that cross the boundaries of the wine, beer, cider, and spirits categories, result in new ideas, new flavors, and even entirely new categories of beverages, making it an exciting time to drink locally.

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Arts Culture

PICK: The Wilson Springs Hotel

Mixing it up: A band built during quarantine, The Wilson Springs Hotel typically finds Victor Mcmanus on electric guitar, Jacob Ritter on acoustic guitar, and Jacob Korona on upright bass, but since each musician plays multiple instruments, they may switch it up on you. Folksy, rootsy, and positively energetic, WSH draws from the musical traditions of bluegrass, country, and folk, while occasionally adding their own twist to keep it interesting. Find them on Facebook at www.facebook.com/thewilsonspringshotel/.

Thursday 5/20, No cover, 6pm. Pro Re Nata, 6135 Rockfish Gap Tpke., 823-4878.

Categories
Culture Living

PICK: Mermay

Sea it to believe it: During the day, Mermay offers underwater fun for all ages, from street performers and food trucks to beach-themed crafts and photo booths. But as evening falls, the two-part, mini festival gives way to Lore…home to selkies, sirens, and all that lurks in the deep sea. Float to music from Bro-X’s retro electronica and let Ships in the Night’s “ethereal ambient lullabies” wash over you like a wave.

Saturday 5/22, $10, doors at 7pm, show at 8pm. Ix Art Park, 522 Second St SE. 207-2355. 

Categories
Culture Living

PICK: Spring Wildflower Walk

About blooming time: All those April showers brought plenty of May flowers to the gardens at Monticello. Peggy Cornett, the estate’s curator of plants, leads the annual Spring Wildflower Walk at TJ’s place. And if the rigorous five-mile hike gave you pause in the past, you’re in luck: This year’s event is virtual, which means you can enjoy the beauty of the grounds from the comfort of home during a 35-minute tour that features Cornett’s extensive knowledge of spring botanicals, and a live Q&A.

Saturday 5/22, $10, 1pm. monticello.org.

Categories
Culture Living

Opening eyes

Late afternoon light pours into The Ridley’s stylish dining room through tall street-facing glass walls, warming a dark-wood interior accented by copper features and splashes of UVA orange. Sitting in a booth, chef Robert Anglin is shy, and calm, even though service starts in just two hours. The upscale restaurant opened its doors on April 1 in The Draftsman hotel on West Main Street, and it’s Anglin’s first executive chef position.

“Patience,” says Anglin. “With food you have to be patient. What I took from my culinary school experience is patience.”

That demeanor likely serves Anglin well. Opening a new restaurant is tough under normal circumstances. When you’re developing a concept that honors an important legacy, in the middle of a global pandemic, in a food-fussy town, the pressure is on. Fortunately, the 28-year-old has been working toward this moment for years.

In November 2020, hospitality partners Warren Thompson and Ron Jordan announced their restaurant, which is named for Dr. Walter N. Ridley, the first Black University of Virginia graduate and the first Black student to receive an academic doctoral degree from a traditional Southern white college or university. 

It was up to Anglin to shape a dining experience to complement the restaurant’s historical significance (a percentage of the Black-owned restaurant’s profits are donated to The Ridley Foundation). His opening menu is a celebration of familiar Southern comfort foods, elevated by lots of fresh seafood and a few flavorful surprises.

“A lot of our dishes have a little twist,” says Anglin. “I would ask people to come here and be open minded. Look for a lot of flavor in the food. There’s a lot of infused spices.”

Perfectly crusted fried green tomatoes show up in the Caprese salad and on an ample share plate piled with crab ravigote. The pork belly starter is an indulgent combo of sweetness and heat, and oysters can be enjoyed in a variety of dishes. The blackened snapper with andouille sausage, blistered tomato, and fried leeks over spicy grits stands out as an example of Anglin’s modern finesse.

Anglin leans forward with a determined look  as he passionately recounts the kitchen experiences that brought him to this point in his career. His first cooking job was as a teenager at Domino’s, where he says he loved tossing pizzas. “It’s like a piece of art, watching how it comes out,” he says.

A dishwashing gig at Pippin Hill Farm & Vineyards put him firmly on the culinary path. Pippin’s executive chef at the time, Amalia Scatena, nurtured Anglin’s curiosity about food and pushed him into the kitchen. “It was the black truffles that got me,” he says. “It clicked in my head and I wanted to learn more.” His commitment was so impressive that Scatena helped pay for Anglin’s formal culinary training. 

Local chefs Ian and Allie Redshaw were also mentors. “Robert had all of the makings for a good chef; attention to detail, ability to do production,” says Ian. “Allie and I spoke with Robert a lot about food and the ideas behind it. From there he has used his work ethic to move up the ladder. A true showing of where self worth can take you.”

Anglin’s food education came through observation—and exploring. Counting eating as a hobby, along with rollerblading and going muddin’ in his Jeep, Anglin often crisscrosses the region to find great restaurants. He’s into sushi, Asian spices, and has tried lots of squid. He’s also tasted cicadas, but alligator was the “weirdest.” “Maybe it was the preparation,” says Anglin.

What Anglin gleans from his dining findings is that simplicity and quality ingredients are the essentials. The Ridley dish he feels best represents his style is the pork chop. “I get a local pork chop from Madison County’s Papa Weaver, brine it for eight to 12 hours with vinegar and herbs. It’s served with kale, mixed fingerling potatoes…add white wine with garlic and a splash of butter. That’s me,” says Anglin. “Plain and simple. Earthy.” 

Thompson, who has served for eight years on both the Darden Foundation’s Board of Trustees and the Board of Visitors at UVA,  was a financial supporter of the university’s Memorial to Enslaved Laborers, which is within walking distance of The Ridley. He says he wants to replicate the connection between food and history that happens in other places, such as the National Museum of African American History and Culture in Washington, D.C., and its connection to Sweet Home Cafe.

Almost two months in, the COVID pandemic is easing up, and the restaurant is beginning to make its mark. “The Ridley is about bringing people together and nothing does that better than good food,” says Thompson. 

As for his take on the restaurant’s fledgling chef? “The shrimp and grits is more than a meal, it’s an experience,” says Thompson. “And if you’ve never had a fried lobster tail, you are missing out on one of my favorites.” 

Find The Ridley’s menu, hours, and more at www.theridleyva.com.

Photo by Eze Amos
Categories
Arts Culture

Spring emergence

By Sarah Sargent

According to Greek mythology, Hades, lord of the underwold, fell in love with Persephone, the daughter of Demeter, the goddess of the harvest. Hades kidnapped Persephone and pulled her down to his subterranean kingdom, until Zeus intervened and freed her. During her time in the underworld, however, Persephone ate a handful of pomegranate seeds. Because she’d tasted the food of the dead, she was forced to return for a few months every year. During those months, Demeter became sad, leaving the earth barren and causing winter. Persephone’s annual ascent would cheer her mother up again, bringing spring.

“Persephone Ascending: A Multi-site Group Show of Virginia Women Artists” at Chroma Projects/Vault Virginia, Studio IX, and a number of storefront windows along the Downtown Mall and off Harris Street, presents different voices, viewpoints, and interpretations of the myth. (A full list of artists in the show can be found at chromaprojects.com.)

“When I started planning this, the Downtown Mall was full of empty storefronts,” says Chroma Projects Director Deborah McLeod. “Walking along and seeing all that sadness and dearth, it just pulled you down.” Expanding the exhibition into those vacant places seemed like the perfect antidote, but managers of the unleased spaces were hesitant to display work that might turn off potential lessors. So McLeod turned to businesses to display the work. These include Water Street Studios (Renee Balfour), C-VILLE Weekly (Bolanle Adeboye), Silverchair (Barbara MacCallum), 2nd Act Books (Rose Guterbock), My Dance Shoppe (Megan Hillary), Uplift Thrift (Nina Burke), and Rethreads (Dawn Hansen and Ann Ray).

Naturally, pomegranates figure largely in the show. Susanne Arnold uses an actual one to form her figure’s body in “Persephone Rising.” Linda Wachtmeister’s halved pomegranate (“Consequential”) references Persephone’s bifurcated existence. A reduced palette of hot pinks and grays and a graphic style make the images pop. Undulating lines dotted with white seed-like shapes pulse away from the pomegranate, suggesting the ripple effect of Persephone’s consumption.

Alexandria Searls’ stunning photo collage, “The Face of Persephone,” has an appealing hard-candy lusciousness. The composition depicts a dangling plastic baggie containing two pomegranates. As if emanating from it, a miasma of fleeting images, including Persephone’s face, hovers above. The blurry collage contrasts elegantly with the crystalline quality of the shiny, red pomegranates sheathed in translucent plastic. 

How do you point out the entrenched racism and subjugation of women that exists within the world of classical ballet? With adorable little ballerina apples dancing across a stage. Megan Hillary’s “Of Pomegranates and Freshly Peeled Apples” alludes to a George Balanchine quote that describes how a dancer’s skin should be as pale as the flesh of an unskinned apple, i.e. never exposed to sun. While excluding dancers of color altogether, the quote also sets up parallels between Balanchine’s sun-deprived dancers and Persephone, who is also kept away from the sun by a powerful, controlling male. Hillary likens the rising of Persephone to the strides that have been made in ballet, as evidenced by toe shoes on the periphery of the piece that hail the (shockingly recent) introduction of different skin tone-hued ballet slippers. 

Chuxin Zhang’s poignant “Emergence” uses a found piece of driftwood with silver and white clay to depict Persephone’s/spring’s return. The snow that has encased the figure is melting and breaking apart, leaving little drifts that trail behind her. You can see wings tightly folded at her side as within a chrysalis—a suggestion that she will soon fly away and soar.

Other works less literally tied to Persephone’s story include the breaking laces of the corset, which represent the casting off of the trammels of female confinement, in Michelle Gagliano and Beatrix Ost’s “The Persimmon Burst.” Rosamond Casey’s “The Something Else that Had Been Lurking All Along Beneath the Thing that Was” exudes a distinct malevolence that dovetails with our idea of the underworld. There’s a decidedly corporal quality to the rent and moist looking “ductwork” that runs up through the center of the piece. One thinks of an esophageal tunnel, a discarded chrysalis, the interior of a stem, or perhaps Persephone’s route back from Hades ripped open by her flight.

Polly Breckenridge and Allyson Mellberg-Taylor attack the prompt through the aesthetic of vintage commercial art. It is quiet, but it packs a punch. Breckenridge’s “Qui Tacet Consentire Videtur” (they who are silent, appear to consent) pairs drawings of girls in different poses, possibly taken from some kind of manual on the human figure or pattern book, together with a variety of the patronizing things men (mostly) say to women and girls. Breckenridge uses glitter, a childish pencil scrawl, and smudged erasures to drive home the point that this indoctrination starts early.

Mellberg-Taylor’s message may be more oblique, but we see in the contemptuous gaze of the woman in “The Radish Cycle” someone who’s not going to take any shit from anybody despite what you might think of her overabundant collar of leaves. Mellberg-Taylor’s women seem to maintain their equanimity (and power) in spite of the strange circumstances they find themselves in. 

Persephone ascending back into the world is a celebration of the return of spring. It takes on enhanced significance this year as we emerge from the winter of COVID-19 into a vernal season full of promise, thanks to vaccines. And of course, as these artists have shown us, Persephone is a potent allegory of female empowerment whose relevance continues today.

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Arts Culture

By blood and by love

By Julia Stumbaugh

The majority of Charlottesville and Albemarle County’s adult population have received at least one shot of the COVID-19 vaccine—and we may have an enslaved Black man from modern-day Libya to thank.

Onesimus, who helped introduce the idea of inoculation to the West, is one of many enslaved Africans and descendants whose societal contributions are often whitewashed by American history. That’s one reason Live Arts partnered with Literary Collective of Black Women founder Vivian Feggans and playwright Mariela Edwards to put together We Are The Ones We’ve Been Waiting For: Our Ancestors Breathing, a pay-what-you-can virtual play that opens May 20 at Live Arts. (You can find tickets at livearts.org/wato/.)

The production draws from the voices and experiences of Black activists in America. From Nannie Helen Burroughs, a woman inspired by her formerly enslaved parents to open a school for girls and campaign for Black women’s suffrage, to Anna Murray Douglass, an abolitionist who helped her husband, Frederick Douglass, escape captivity by providing him with a sailor’s suit disguise, Our Ancestors Breathing draws on the stories of people who became activists through unimaginable trauma.

“That’s what they all have in common,” says writer and director Edwards. “They’re not broken down. When you can stand against adversity, and make something of yourself and contribute to the world and society, that’s what I call power.”

Edwards spent a year doing research for the play, which was written in hopes of inspiring others—especially other Black women—to recognize that same power within themselves.

“I found that I constantly share a lot about myself, because subconsciously, or even consciously, I wanted people to see how bright and beautiful and brilliant we are,” Edwards says. “I felt like I wasn’t talking for me, but for Black women in general.”

One of the most powerful women Edwards read about before the production’s debut  in 2019 was Harriet Ann Jacobs, who Edwards herself represents in the production.

To escape sexual abuse and protect her children from her enslaver, Jacobs hid in an attic so small she couldn’t stand up for seven years before she managed to escape and begin founding schools for people freed from enslavement. Her autobiography, Incidents in the Life of a Slave Girl, struck fellow mother Edwards to the core and inspired her to return to her activist roots.

“Even if you were taught to dislike people and hate people based on the color of their skin…sexism, racism, colorism, that was taught,” says Edwards. “We were made with an innate desire to be loved; we were not made with the innate desire to hate.”

Edwards hopes to remind audience members of their own inherent tendency to love other humans with her stories of joyful triumph over horrific adversity, all set to a drum-heavy score of stirring Ghanaian music.

The final activist represented in the production is Heather Heyer, who was killed just blocks away from the Live Arts theater while protesting the 2017 Unite the Right rally in Charlottesville. Although Heyer’s story is tragic, Edwards hopes that viewers leave not with a feeling of despair but rather one of hope and courage.

“I wanted some of these things to be an affirmation for [the audience],” she says. “Like the fact that you are loved, that there’s a groundedness that lives inside of you…our ancestors are always looking over you. They’re always connected to you, and these ancestors are connected to you by blood and by love.”

Our Ancestors Breathing, the latest of the Literary Collective of Black Women’s efforts to educate community members on racism in Charlottesville, is “not just performing for performance’s sake, it’s not just performing for a check,” Edwards says. “This production is a mission.” 

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News

Now hiring

For nearly a year, a “now hiring” sign hung at the entrance to Baggby’s on the Downtown Mall. With the arrival of the coronavirus vaccine, owners Jon and Erin LaPanta hoped that applicants would start rolling in—but none came.

“Now that business is coming back, we’ve had to turn business away,” says Jon LaPanta, who has operated the sandwich shop with his wife entirely on their own throughout the pandemic. “We’ve had 15- to 20-minute waits…and I’ve had to turn down catering, because I just don’t have the staff.”

Across the country, many businesses, particularly in the service industry, are also struggling to find workers. Though around 10 million Americans are currently unemployed, massive numbers of jobs at restaurants and retail stores remain unfilled, sparking debate over the impact of expanded unemployment benefits.

Thanks to the American Rescue Plan, qualifying workers can receive $300 per week on top of state unemployment insurance through September 6, adding up to $600 per week—or nearly $16 an hour. In Virginia, the minimum wage for restaurant workers is $2.13 an hour before tips.

At his array of local eateries, restaurateur Will Richey says it’s been “astonishingly hard” to bring in new employees as the economy has opened back up.

“Just nobody was looking for work [and] replying to the ads at all,” says Richey, who manages The Bebedero, Brasserie Saison, Revolutionary Soup, and other Charlottesville restaurants. “I’ve heard rumors that it’s just people sitting and still collecting unemployment, but I don’t know what it is. It almost seems like there aren’t people to take the jobs.”

Some business owners blame this staffing crisis on the extra unemployment benefits.

“We have employees who refuse to go back to work because they are getting more money collecting unemployment, but I don’t think they realize some of those jobs are going to disappear,” says Rebecca Haydock, director of the Central Virginia Small Business Development Center. “We have seen businesses that have had to close their doors because employees won’t come back to work.”

But according to University of Virginia economist Leora Friedberg, “there are many factors” contributing to the current situation. Friedberg points to the range of health risks service workers must consider before taking on a job. “Some of it is related to government payments, but that part of it is largely going to be temporary,” she says.

Friedberg also says childcare is a big factor keeping people from returning to work. Though schools in Charlottesville and Albemarle County currently offer in-person learning, students still learn from home at least once a week. And next month, schools will be closing again for summer break.

To bring back employees, businesses must guarantee safe working conditions and offer incentives that make it worth working there, including a living wage, flexible schedule, and competitive benefits, explains Friedberg.

“Wages are going to go up, and that means prices will have to go up also. The restaurants and stores…can’t just take the money out of pocket,” she says. “Ultimately consumers, who to some extent do have extra cash right now, are going to end up paying for all of that.”

In a Monday press conference, President Biden pushed back on the narrative that unemployment benefits were keeping people from working. “My expectation is that as the economy comes back, these companies will provide fair wages and safe work environments, and if they do, they’ll find plenty of workers,” said Biden. “We’re not going to turn our backs on our fellow Americans.”

Some area businesses have tried attracting employees with increased wages. Bodo’s co-owner Scott Smith says the restaurant had trouble finding workers this year. The bagel chain raised its starting salary to $13 an hour, and by keeping its dining room closed, Bodo’s has aimed to keep staff safe from infectious customers, says Smith. (Since the pandemic started, two Bodo’s employees have tested positive for COVID, but Smith says they did not catch the virus while at work.)

“The applicant pool is getting a little bit better now…especially as vaccines are kind of penetrating,” he says. “But boy in January and February, it was just really hard to find people.”

To attract applicants for his latest venture, the steakhouse South and Central, Richey realized he would have to sweeten the deal. Last month, he offered a signing bonus—those who kept the job for three months would receive an extra $500. But that only brought in a few more applications.

Through social media, Richey was able to find a demographic willing to take the job: high schoolers. This week, South and Central will open at Dairy Market with a “very large team of teenagers,” he says.

Across his restaurants, Richey says he has also upped the pay to encourage people to apply and stay on the team. A lot more positions are making at least $15 per hour, plus tips.

“We’re not [at $15] across the board, and still rely very heavily on the tip situation,” Richey says. “A 16-year-old coming on to take a job with us, we may start them at $10 or $12 an hour…but they’re getting closer to $14 or $15 an hour with tips.”

“The best thing that businesses can do is to create support and safety for people,” says Smith.

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News

Slow and steady

After over a year of debate surrounding Charlottesville’s stolen slave auction marker, the Historic Resources Committee began meeting with descendants of enslaved laborers, seeking their input on how to best pay tribute to the thousands of enslaved people bought and sold in Court Square.

The memorial’s story serves as an example of the process of creating new public monuments. And as Charlottesville continues to reevaluate its physical public spaces, stories like this will become more and more common.

At the beginning of the month, committee member and UVA history professor Jalane Schmidt, joined by city planner Robert Watkins, met virtually with nine descendants, including DeTeasa Gathers, Myra Anderson, Calvin Jefferson, Bertha French, and Diane Brown Townes. While most attendees have recent connections to the Charlottesville area, several live outside of Virginia.

During a May 14 committee meeting, Schmidt shared that the descendants urged them to be patient and not rush the descendant engagement process. “The process itself is just as important as what any eventual memorial might look like,” she said.

City Councilor Heather Hill asked if the descendants wanted the city to erect a temporary marker while the committee works on a permanent memorial, referencing the city residents who have placed homemade markers in Court Square since the plaque was stolen last year.

“We have heard from some facets of the community that would like to see something done sooner versus later,” Hill said.

Watkins and Schmidt explained that the descendants did not provide a definite answer, but were not anxious to put up something temporary.

“The thing I kept hearing was don’t feel pressured to move too fast, and to be listening to people into the process,” said Schmidt. “I did not hear from them, ‘yeah get something up there right away, that needs to be in place.’”

Committee co-chair Phil Varner questioned which descendants should have the most say in the creation of the memorial.

“It’s this huge spectrum of voices in this conversation,” he said. “How do we determine who we should listen to the most?”

“It seems to be that we should be prioritizing those who can trace their ancestry to Albemarle County, especially since this is the county courthouse,” responded Schmidt, pointing out that before emancipation, over half of the county’s population was enslaved.

Moving forward, Schmidt said she will meet again with the leaders of Descendants of Enslaved Communities at UVA, and ask them to help get more descendants involved.

“Fortunately, there’s been some really important work done by [genealogist] Shelley Murphy in tracking down people,” she said. “They’ve steadily built a database of names of descendants.”

Committee member Kay Slaughter also suggested reaching out to the Central Virginia History Researchers, which has engaged with descendants from the area.

Before next month’s committee meeting, Schmidt and Watkins plan to do one or two more virtual descendant engagement sessions. And as more people get vaccinated, the group hopes to host in-person meetings with descendants at Washington Park over the summer.