Category: Community News

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Light and beauty

Mariko Kusumoto, Take Akari sculptures grace the Morikami

Mariko Kusumoto, “Light as Air,” fiber-based, translucent, and crafted through tsumami‑zaiku techniques.

The buoyant sculptures of Mariko Kusumoto. Occupying the Morikami Museum and Japanese Gardens’ main gallery through April 5, expect an immersive, contemplative experience where light and proximity matter integrate. Fine detail is prevalent and parallels the authentic, methodical organization characteristic of a kimono. When viewed closely, the work is consuming.

Mariko Kusumoto. This Japanese-born artist is known for her delicate, floating fabric sculptures that blend traditional Japanese craft with contemporary installation. She creates whisper‑light fabric sculptures that seem to hover between craft and contemporary artistry. Raised in a 400‑year‑old temple as the daughter of a Buddhist priest, Kusumoto developed a keen attunement to subtle light, tactile surfaces, and the hush of carefully ordered space.

Mariko Kusumoto, “Ethereal Garden,” mixed-media sculpture (polyester and wire), 2024.

Kusumoto’s “Ethereal Garden” is an intricate, modular installation evoking underwater ecosystems through fabricated coral, sea anemones, and marine flora. The work explores themes of biodiversity, emotional fragility, and poetic buoyancy through textile manipulation and sculptural choreography.

Kusumoto’s practice is intensified by time‑honored Japanese handicrafts, especially the delicate folding and pinching of tsumami zaiku, with modern sculptural thinking. From tiny, exacting manipulations, she builds larger, translucent forms that evoke drifting blossoms, jellyfish, or underwater plants, inviting viewers to watch how shifting light and gentle motion reshape surface, depth, and perception.

Marine biodiversity as emotional landscape. While inspired by real marine life, Kusumoto’s forms are not literal replicas. Instead, they’re imaginative hybrids, blending both botanical and anatomical references, color radiation and molecular symmetry, as well as subatomic weight and poetic buoyancy where fantasy meets biology.

Mariko Kusumoto, pencil cases, 2011, mixed-media sculpture (hinged human‑form containers with embedded objects).

Mixed-media sculpture. Kusumoto, who is also a metalsmith and former printmaker, celebrates her earlier works with this sculpture, which features two hinged, human-shaped forms filled with miniature objects, including a clock, a ruler, a vanity, a flower, and cut‑out figures. They are arranged as internal “compartments” that explore themes of identity, memory, time, and personal ritual. It is a striking example of her narrative container series, where the body becomes a vessel for memory, identity, and symbolic layering.

Psychologically, the body represents a container for time, memory, and ritual. It is sociocultural, objectively gendered as a commentary on formation and subjective narrative—each of which, an artwork demonstrates a chapter in a personal or objective story.

Mariko Kusumoto, “Bamboo Garden,” mixed-media installation (polyester and wire), 2025.

A bamboo-inspired aesthetic. In “Bamboo Garden,” a vertical arrangement of vibrantly colored bamboo stalks of green, yellow, blue, and orange is presented as an immersive sculptural display. The work explores repetition, texture, and chromatic variation, transforming natural forms into stylized patterns that evoke both serenity and visual rhythm. Handcrafted by Kusumoto, whose signature practice involves delicate textile manipulation and organic sculptural forms, it’s an originally crafted, site‑specific installation for Tiffany’s. Kusumoto was inspired by Kabuki theater for Tiffany’s six‑story flagship in Ginza, Tokyo. It is an elegiac homage to Kabuki, one of Japan’s most stylized and dramatic performance traditions. Kusumoto has also collaborated with other notable names, such as Elizabeth Arden, Jean Paul Gaultier, and La Mer, and is represented in several museums around the world, including the Victoria & Albert Museum in London and the Smithsonian American Art Museum.

Take Akari: Bamboo Lights. The Morikami’s “Take Akari: Bamboo Lights” exhibit features expansive, glowing bamboo sculptures curated by Akihiro Mashimo, celebrating tradition, craft, collaboration, and sustainable management. Mashimo, a master bamboo artisan known for revitalizing community‑based illumination festivals in Japan, brings a contemporary sensibility to this centuries-old material practice. He is a leading figure in contemporary bamboo craft and is recognized for his large‑scale light installations that merge artisanal technique with ecological awareness and community engagement. Mashimo’s practice centers on hand‑carved bamboo illumination and collaborative making, which has helped shape the modern Take Akari movement through his commitment to sustainable harvesting and local participation.

The Morikami Museum first debuted “Bamboo Lights” on July 7, 2024. Following the exhibition, the museum commissioned the illuminated bamboo installations crafted by Akihiro Mashimo for long‑term stewardship and preservation within its collection.

Tanabata is Japan’s Star Festival, celebrating the once‑a‑year meeting of the lovers Orihime, the weaver princess (Vega), and Hikoboshi, the cowherd (Altair). Vega and Altair are the two stars at the heart of the Tanabata legend. Legend has it that they fall deeply in love, neglect their duties, and then are separated by the sky deity (the Milky Way) as punishment. Moved by Orihime’s sorrow, the deity allows them to reunite once a year, on the seventh day of the seventh lunar month. This reunion is the heart of the Tanabata festival mythology. It is marked by hanging colorful wish‑strips on bamboo and local festivals held between July and August.

“Take Akari” literally means bamboo light. It uses cut and drilled bamboo tubes fitted with candles or LEDs to create patterns of light and shadow across gardens and public spaces. Take Akari began as a grassroots response to abandoned bamboo groves and the social need to bring communities together. Makers harvest overgrown bamboo, carve decorative perforations, and light the pieces to form “lightscapes” that are both aesthetic and civic.

This practice has grown into community festivals and site-specific installations that celebrate local craft, reconnect people with nature, and draw attention to bamboo forest management issues.

Visitors can experience the world of illuminated bamboo at the Morikami Museum.

Akihiro Mashimo. Born in 1977 in Yokohama, Mashimo is a Japanese bamboo craftsman and artisan recognized for his mastery of takezaiku, traditional bamboo craft. He grew up in Nagaoka, Kyoto Prefecture, where bamboo was a constant presence. He was formally trained at the Traditional Arts School of Kyoto, graduating in 1998. Mashimo is known internationally for demonstrations, workshops, and collaborations in the U.S., Italy, and the U.K., where he promotes sustainable bamboo practices and contemporary applications of traditional techniques.

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A beach day in the shadow of the pier

The longest pier in Broward County, at 976 feet, is the Deerfield Beach International Fishing Pier, considered the crowning jewel of the beach, a landmark that attracts thousands of sightseers and anglers annually. I went there recently with my son Jacob—not to fish, but to walk the pier and take photos, to view wildlife, and to stroll along the beach.

We started with lunch at JB’s on the Beach, a nice seafood-focused restaurant overlooking the ocean. They have valet parking there, but we were planning to spend several hours at the beach that day, so we ended up parking in a parking garage just off A1A, not far away, and leaving the car there all day. Street and lot parking is at a premium in this area.

After lunch, Jacob and I walked the short distance over to the fishing pier, stopping to look at the screen for Spinner the Sea Cam, the city’s live underwater camera, at the entrance to the long pier. The sign next to the sea-cam screen says that Spinner is located at the end of the pier, 30 feet below the surface of the water. You can watch fish swim right up to it. It’s known as a fun, quirky local highlight showcasing the personalities and activities of the pier’s fish residents.

“Welcome to the amazing views of Deerfield Beach,” according to the city website. “Whether you are watching the early morning sunrise, a fisher on the pier fighting a feisty barracuda, or King Benny the Blenny yeeting sharks—we hope these awesome wonders will help serve as a reminder that we all have a responsibility to take care of the ocean and everything in it and around it.” (For more information and to watch a live feed of the sea-cam, visit DFB.city/beachcams.)

The iconic Deerfield Beach International Fishing Pier has been loved for generations. It stretches well into the ocean with great views, has a well-stocked concession stand for fishing amenities (fresh and frozen bait, rod and tackle rentals), and carries a storied history, including a dedication by President Gerald Ford in 1976. The pier serves as a symbol of the town, and the area around it provides a community gathering hub and entertainment spot, including hosting special events like “Pier Under the Stars.” Visitors can take scenic walks along the Atlantic in the clean sand, walk on the (not-so-sandy) green turf that runs just behind it, or go up on the “boardwalk” that runs along the back of the restaurants. For some, it’s the quintessential Florida beach experience. 

The first wooden Deerfield fishing pier was reportedly built in 1951–52. Because it was low and close to the water, it was a place for community members to gather and fish. In 1956 it changed hands, and new management built a restaurant, tackle shop, and chum machine. This all  brought fishermen flocking to the pier. Then in September 1960, Hurricane Donna wiped out the pier, destroying the wooden structure and sending planks floating away; the pier was rebuilt by 1963 through a city bond issue. Through the years different people leased the pier, though it was hard to turn a profit. The last lessee turned the pier back over to the city and became the pier manager, organizing events like fishing contests.

Today, it is a bustling pier, filled with several people fishing and cutting up their catch on tables while we were there, and others just watching the pelicans and other wildlife and taking in the ocean breezes. Jacob and I walked to the end of the pier and enjoyed the scenery. The cost to enter the pier is typically $2 for sightseers and $4 for those there to fish.

After we left the pier, we strolled along the boardwalk and listened to a pair of musicians playing at one of the restaurant patios; took a walk on the turf on the other side of the pier, taking in the sights there; and finally walked barefoot along the surf until we found a good place to set up our towels and enjoy the beach. From there, we could see the pier jutting out in the distance—it was a lovely day at the Atlantic.

For more information, go to www.deerfield-beach.com/1420/International-Fishing-Pier.

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Bustling farmers market on the waterfront

Did you know that one of the best farmers markets in the country can be found in South Florida? Yes, if you head up to downtown West Palm Beach on a Saturday, you’ll discover a cacophony of sights, smells, and sounds near the Intercoastal Waterway, in Centennial Square, and down Clematis Street. This is the West Palm Beach GreenMarket, where large crowds show up every weekend for this highly rated market.

With more than 130 vendors, the GreenMarket is in its 31st season, which opened in October; this year, it’s extended through the end of May. This season’s theme is “From the Ground Up.” In 2025, the West Palm Beach GreenMarket once again excelled in USA Today’s 10 Best contest for “Best Farmers Market.” This Readers’ Choice poll highlights the top 10 farmers markets nationwide. The GreenMarket maintains its status as a leading market, securing the No. 1 position in 2021, 2022, and 2023, and achieving No. 2 in 2024 and 2025.

After hearing a lot about this well-regarded farmers market, I went to check it out recently with my husband and another couple. Of course, with the popularity of this event, the free parking garages had already filled up by the time we got there, so we ended up paying $15 for a spot in a nearby garage. Early birds will have better luck, though. We had packed the car with soft coolers to store our purchases, as well as reusable tote bags to carry everything through the maze of vendors. We grabbed our bags and headed to the market.

There, we found the usual fresh vegetables and fruits (some very exotic), along with breads and baked goods, apple cider donuts and other sweets, Cuban coffee, teas, smoothies, spices, herbs, flowers, plants, dog products, and local wares. And that’s just a sampling of what there is. We experienced the fragrant smells of several kinds of delectable foods. Many of them, such as empanadas, crab cakes, and lobster rolls, you can get to eat right there, or bring them home to heat up later. And merchants sell a lot of local goods that you may not find anywhere else.

While strolling past the packed vendor stalls and plethora of savory and sweet offerings, you can also enjoy live music, some interesting workshops, lovely flower trellises, and the waterfront with its seagulls and assortment of sand sculptures. Deeper into the thick of it, the market gets very crowded, with some long lines, and even though there are picnic tables to sit at to enjoy your purchases, the tables all seemed full. (We ended up eating at a nearby restaurant but still got to sit out in the fresh air.) Also making their way through the crowds are lots of leashed dogs, adding to the hectic but fun and colorful scene.

This all started back in 1995, when former West Palm Beach Mayor Nancy Graham, inspired by the public markets of Europe, sought to establish the first weekly public farmers market in Palm Beach County. She envisioned a weekly green-market where people could buy fresh produce from local farmers as well as interact with friends and neighbors. She recalled that in the European markets, the people selling products knew their shoppers’ names, and the shoppers could ask questions about their wares. So she wanted to make that happen here.

In November 1995, when the West Palm Beach GreenMarket first opened, it took place in the parking lot of the old city hall and featured just 13 vendors. Despite its humble beginnings, the market became a hit, and local residents started to make it part of their routine to come to the GreenMarket on Saturday mornings. After moving to another location in West Palm Beach, the market eventually expanded to its current waterside locale in October 2010, in a place as well known for its beautiful scenery, Intracoastal breezes, and communal plazas as it is for its wide selection of fresh and delicious things to buy.

The GreenMarket is now an integral part of the bustling Saturday experience in downtown West Palm Beach. We’re glad we got to enjoy it—and take some of it home with us.

The West Palm Beach GreenMarket is open Saturdays from 8:30 a.m. to 1:30 p.m. at the Waterfront Commons. For more information, go to www.wpb.org/Residents/Community-Events/Events/WPB-GreenMarket.

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The Golden Rule(s): Steven Kummer

I had to stop for a lemonade while my husband and I strolled along Delray Beach’s art festival on Atlantic Avenue, passing by each of the booths until we finally stopped to view Steven Kummer’s work down the way. At first glance, I saw marble, but as I looked closer, it was the actual canvas I was staring at. Kummer’s process is deeply tactile, building layer upon layer, with resin binding it all. Ninety percent of his work involves painting with his fingers, guiding the movement of color to create compositions from predetermined themes or spontaneous inspiration. He describes his art as stress-free, evolving organically into form and meaning.

After a distinguished 40‑year career in information systems design and development, Kummer turned to painting, discovering a new medium for his lifelong creativity. Though new to the art world, his technical background informs his approach. He studies the chemistry of paints and media to understand their interactions, insisting on the highest-quality materials and craftsmanship.

Kummer’s work is driven by a desire to evoke strong visual responses. Shock, movement, balance, and depth are just some of the feelings often expressed through his bold color compositions and metallic accents. Influences from his wife’s Chinese heritage appear in the form of embedded characters, each carrying profound meaning that connects directly to the themes of each piece. Kummer’s attention to detail can be both powerful and even overwhelming, perhaps, as he recalls one viewer moved to tears by the symbolism in his work, an experience that reshaped how he channels energy into his art.

Beyond painting, Kummer is a martial artist with 15 years of training, having retired while preparing for his fourth‑degree black belt. Teaching, competing, and judging honed his discipline, yet he remains humble, likening himself to a gardener, rather. Where his professional life demanded aggression, art provides him balance—a practice he considers essential to his well‑being.

“Achievements,” 30″ x 30″ heavyweight canvas with a 2.5″ profile; acrylics, metallics, and epoxy resin. First in a series of three. 

“Achievements.” This work  was created using vibrant acrylics and metallic paints to embody the “gold stage of life.” The work is painted largely by Kummer’s fingers, building upon it layer after layer, until it is formed to represent the building blocks of success bonded by the richness of achievement. Gold metallic acrylic symbolizes the knowledge gained along the way, while iridescent colors reflect the fruitfulness of an achiever’s journey. Within the composition are two Chinese characters, handwritten by the artist’s wife, that translate to “work hard” and “prosper,” reinforcing the theme of accomplishment.

The painting’s texture was achieved through a process of layering and metallic spray, as Kummer describes, pulling the lower layers forward while the paint is still wet. It is a technique that he experimented with for the first time. The piece itself conveys strength, stability, and pride in one’s accomplishments. It is the first in a series of three works—“Achievements,” “Beautiful Life,” and “Strength”(not pictured)—each defined by a metallic theme, with gold emphasizing richness (“Strength” is in silver for clarity).


“Beautiful Life,” 30″ x 30″ heavyweight canvas with a 2.5″ profile; acrylics and metallic copper tones, epoxy resin. Second in a series of three.

“Beautiful Life.” This work is saturated with vibrant acrylics and metallic copper tones. The painting celebrates vitality and joy, inspired by the artist’s relationship with his wife. The embedded Chinese characters, written in her hand, translate to “beautiful life,” embodying their shared journey. Layers of imagery include trees with green leaves in the background, setting the symbolic foundation of a meaningful life, while a waterfall of vivid colors represents the energy, happiness, and support found in companionship. Copper serves as the metallic theme for this work, and it represents vitality. As the second in the series, “Beautiful Life” builds upon the richness of “Achievements” and precedes “Strength,” which features silver to symbolize clarity.

“A Walk in the Park.” This work, capturing the quiet beauty of seasonal change, is a must-see. The uniqueness of this piece is that the “park” can be easily overlooked if not aware of it (the photo doesn’t do it justice). Soft sky blues form the background, while layers of rich, shifting colors mirror the transformation of leaves in autumn. The painting evokes the serenity of a peaceful stroll, encouraging viewers to look upward and embrace the natural palette of life.


“A Walk in the Park,” 30″ x 40″ heavyweight canvas with a 2.5″ profile; acrylics, metallic tones, and epoxy resin.

“Nature’s Yin Yang.” This work explores the balance between ambition and peace. Golds and reds symbolize drive and aggression, while blues, grays, and whites counterbalance with stability and calm. Kummer started the piece on opposite edges, articulately bringing it to form. The composition reflects the constant clash and reconciliation of these forces, a theme rooted in Kummer’s 15 years of Tang Soo Do martial arts training. The work embodies the discipline’s philosophy of balance, translating martial practice into visual form.


“Nature’s Yin Yang,” 24″ x 48″ heavyweight canvas with a 2.5″ profile; acrylics, metallics, and epoxy resin.

Steven Kummer is a local of South Florida; his origins root from New York. For more information about him and his artwork, go to www.artfullydonellc.com.

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Subliminal Doubt: A Tribute to No Doubt 

            No Doubt About It:   Monica Leamy Channels Gwen Stefani with Talent & Charm

A double-shot of punk-pop nostalgia takes center stage as Subliminal Doubt channels the spirits of Blondie and No Doubt with gleeful exuberance.

On a recent Friday night, the central Florida-based tribute band headed to Lakeland, Fla. for a repeat performance at Union Hall.

With a setlist spanning two decades of pop rebellion, the group aims to capture the raw energy of Blondie’s disco-punk anthems and the ska-infused spirit of No Doubt’s ’90s hits.

At the center of it all is lead singer Monica Leamy, 48, – a doppelganger for Stefani – known to fans as “Fake Gwen,” channels the charisma of both Debbie Harry and Gwen Stefani as the eyeliner-clad crowd dances and sings along to “Just a Girl,” “Don’t Speak,” and “One Way or Another.”   

In the 1990s, No Doubt had hit songs with “Hollaback Girl,” “Spiderwebs,” “Underneath It All,” “Sweet Escape,” “Don’t Speak,” “Hella Good,” and “Hey Baby.”

Leamy and the Subliminal Doubt band, Danny Siper (drums), 29, Jonathan Leamy, 40, (bass) and Steve Osborne, 42, (lead guitar) took to the stage with an enthusiasm and mission to resurrect two decades of pop rebellion, the swagger of Blondie’s disco-punk sounds and the spirit of No Doubt.

The group travels the state and the northeast, recently playing in New York City at Sony Hall and has played at Revolution Live in Fort Lauderdale, Crazy Uncle Mike’s in Boca Raton and Sharkey’s Bar and Grill in Coral Springs.

“I’m a huge fan of both Debbie Harry and Gwen Stefani,” says Leamy, a formally trained dancer and singer who grew up in Florida and has performer at Disney, Universal Studios and Sea World.  “When I heard Gwen Stefani’s “Just a Girl,” I was spellbound; I didn’t leave my tape player for weeks.”

Leamy, who, when dressed in character, has a strong resemblance to both Harry and Stefani, says she loves Stefani’s whole vibe, her retro look, her fashion sense, her vocal style and “everything about her.”

She was dubbed “Fake Gwen,” by the real Gwen, at a No Doubt concert in Las Vegas, when she and her bandmate, Jonathan Leamy, married and went to Las Vegas for their honeymoon in 2019.

She was dressed in her best “Fake Gwen” hair and makeup, in jeans and a T-shirt reading, “Blonde Rebel,” from Stefani’s “This is What the Truth Feels Like Tour,” in 2016.  Stefani asked her, “Have I met you before?” before bringing her up on stage and bestowed the nickname of “Fake Gwen.”

With the recent announcement in October that No Doubt will reunite for a residency at the Sphere in Las Vegas in 2026, both Leamys plan to be there, coincidentally, coinciding with their wedding anniversary.

Born in Guam, where her father was a musician in the U.S. Navy, Leamy knew from an early age she wanted to be a performer. 

She took gymnastics from the age of three, started dance class at the age of six, took singing lessons in high school and majored in flute at Edison College (now called Florida SouthWestern State College) in Ft. Myers, earning her associate’s degree from Valencia College in Orlando in 2004.

‘I never saw another option,” she says.  “I wanted to be Madonna.”

Not only Madonna, but Paula Abdul, Katy Perry, Audrey Hepburn, Marilyn Monroe and Taylor Swift (her impersonation is called “Taylor Thrift”). She has been listening non-stop to Swift’s latest album, “The Life of a Show Girl,” and, despite mixed revieiws, loves it

In later years, Leamy developed personas for these performers and uses them as inspiration for her shows.

“I’m not sure, exactly,” she says when asked how she channels each singer, “but something just happens.”

Once she warms up her voice, puts on her costume, listens to their music or watches a music video, she gets in the mood and is able to express herself organically as Debbie Harry or Gwen Stefani.

Jonathan Leamy, who was born in France and grew up in Hawaii, says he loves working together as a team with his wife, Monica Leamy.

He showed an early aptitude for music and began playing guitar as a child.  Later, he played the trombone in his high school marching band.

He joined 69 Fingers, a punk-ska band, where he met Osborne and performed at Disney Springs for ten years.  He taught music theory and music production at the private, for-profit Full Sail University in Winter Park, Fla.

Among his musical influences are jazz, funk, classic rock, the Beatles and he got into ska reggae and punk music in his late teens.

“It’s still a big part of what I do,” he says, admitting that he sometimes slips an Allman Brothers riff into one of their Blondie or No Doubt performances.

With career highlights, including the recent performance in Times Square at Sony Hall, New Haven’s iconic Toad’s Place and an appearance on “Live from Daryl’s House,” an award-winning on-line music series created by Daryl Hall (of Hall & Oates renown), Jonathan Leamy says the band is happy with their success.

“We’ve met and exceeded our goals,” he says.

They hope to keep on making music and to grow the Blondie shows.  Jonathan Leamy has a new appreciation for No Doubt’s bass player, Tony Kanal, and hopes to meet him one day.

“I’m surprised by how much his music has affected my life,” says Jonathan Leamy.  “I thought I’d make it as a ska or punk rocker.  I never thought my success would come as part of a No Doubt tribute band.”

The group has recently released their first original song and video, “Cutdown Culture,” (“You don’t know me; but you say you hate me”), a commentary on social media, available on streaming sites, and hope to create an original body of work.

“I feel fortunate to work every day with Monica, and Steve and Danny are like brothers to me.  We’re all very close,” he says. “Who else can say they get to work and travel with their wife and best friends?”

“It’s a rare thing and I’m grateful for it,” says Jonathan Leamy.

For Monica Leamy, stepping into the spotlight each night as “Fake Gwen” or “Fake Debbie” is more than a tribute — it’s a rallying cry for women’s empowerment.

And while Gwen Stefani once belted “I’m Just a Girl” sardonically and with irony, Leamy has claimed the refrain as her own — proving that being “just a girl” means you can be anything you want to be.

Visit them on Facebook or at https://subdoubt.com.

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Becca’s Closet Providing Homecoming and Prom dresses for girls in need

School is back in session, and that means, for most high school students, Homecoming is fast approaching, and with it, the opportunity to dress up and celebrate with peers at a formal dance. For many girls, this is an exciting time and a chance to go shopping for the perfect dress. But for others, the expenses involved create unnecessary financial stress that, in some cases, may force them to miss out on a major high school milestone.

Rebecca (“Becca”) Kirtman wanted to change that. While a freshman at Nova High School in Davie, she realized that purchasing dresses and accessories for Homecoming and Prom presented a significant financial hardship for some students, and she made it her mission to ensure that all girls, no matter their financial situation, had access to formal dresses.

The idea came to Becca after reading an article in a teen magazine about female students at a private school in California who decided to donate their dresses to a less affluent school in their community. Inspired by the article and determined to create this kind of opportunity for less affluent students in her own community, Becca began writing letters to different manufacturers requesting dress donations.

Through her project, known as the Nova High School Dress Bank, Becca singlehandedly collected and donated more than 250 brand-new formal dresses, helping girls across Broward, Miami-Dade, and Palm Beach counties attend their high school Proms and Homecoming dances.

When a tragic automobile accident took Becca’s life in 2003, her parents immediately decided to continue their daughter’s work, turning her project into a registered nonprofit organization named Becca’s Closet.

“It was a very easy decision,” recalls Jay Kirtman, Becca’s father and president of the organization’s Board of Directors. “She started this and we needed to continue it, so we formed the organization within 10 days of her passing.”

The Kirtmans changed the name to Becca’s Closet both to honor Becca and because her friends were always raiding her closet and borrowing her clothes.

From the beginning, Becca’s Closet garnered a lot of support from the community, with several members of the Florida Panthers organization jumping on board. “It took on a life of its own,” says Kirtman. “We were almost immediately on CNN, the ‘Today Show,’ ‘Inside Edition,’ and many other TV shows.”

The national media coverage spurred inquiries from people across the country wanting to do the same thing in their communities. Becca’s Closet now has a national presence, with more than 50 chapters across the United States all run by volunteers.

South Florida remains the organization’s operational center. “We currently have over 7,000 dresses locally in South Florida,” says Kirtman. Becca’s Closet recently received a donation of 1,000 dresses from fashion retail chain Windsor. “When the organization receives a large donation like this, we reach out to chapters around the country to see who needs dresses and then distribute them accordingly,” explains Kirtman.

Every year, Becca’s Closet dresses thousands of girls in South Florida, and tens of thousands across the country. “The most rewarding thing for me is the appreciation people have when they get a dress,” says Kirtman. “Hopefully they know what Rebecca did and what she stood for. And we only hope they continue doing something in their own communities.”

To qualify for a dress, you must be a high school student with financial need who cannot afford to purchase a dress for a school-sponsored event/dance.

“We’re on the honor system,” explains Kirtman. “If they tell us they can’t afford a dress, we give them a dress.” The honor system is in place to protect the girls. “It’s hard enough for kids who can’t afford things to jump through hoops and prove everything. We want this to be a positive experience.”

Girls seeking a dress need to provide a current high school ID and answer the question of how they would get a dress if they didn’t get it from Becca’s Closet. They do not have to provide tax returns or other financial documentation. “We’ve had a couple of kids in our 20-plus years who have gone home without a dress,” recalls Kirtman. “You can count that on one hand, and those are the kids who are trying to beat the system.” Becca’s Closet also serves a lot of girls in the foster care system, girls who are homeless, and those in the court system.

For the past 23 years, Becca’s Closet has had a donated central distribution center located inside Festival Marketplace in Coconut Creek, where girls could make an appointment, go see the dresses, and try them on. “They worked one on one with an adult volunteer and two student volunteers and had their own private dressing room,” says Kirtman.

In lower-income areas, the organization will sometimes get more than 30 students from the same school and takes thoughtful steps to ensure that each girl still feels special.

“We keep logs on which high school the girls go to and what dress they got, because we don’t want to give the kids who go to the same high school the same dress,” explains Kirtman. If a girl does choose the same dress that someone in her school already chose, the volunteers inform her and give her the option of selecting another dress.

With the closure of Festival Marketplace in May, Becca’s Closet is now looking for a new home. “We have not been able to find a home to distribute dresses for girls who need them,” says Kirtman. “If we don’t procure something, we’re going to be doing pop-ups at a major hotel and will be doing a big giveaway at the end of September.” Ideally, Becca’s Closet would prefer to remain in central Broward near major highways to be easily accessible for kids across Palm Beach, Miami-Dade, and Broward counties.

On Nov. 11, the organization is hosting its annual fundraising luncheon at Anthony’s Runway 84 in Fort Lauderdale.

To donate dresses, to get involved, or for more information, visit www.beccascloset.org.

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Pelican Harbor Seabird Station Nonprofit celebrates 45 years and 45,000 animal rescues

Pelican Harbor Seabird Station (PHSS) is Miami’s premier native wildlife hospital, which over time has evolved into a world-class wildlife rescue, rehabilitation, release, and education center. This nonprofit organization, now in its 45th year, is an internationally recognized seabird rehabilitation center that has rehabilitated and released more than 45,000 native animals.

Like most nonprofits, PHSS started with humble beginnings. In 1980, PHSS founders Harry and Darlene Kelton lived on a houseboat and had no experience in animal care. After moving their houseboat to the Pelican Harbor Marina, they found an injured brown pelican, removed a fishhook from its mouth, and decided to nurse it back to health.

When people learned of what the Keltons had done, they started bringing injured pelicans to their houseboat. What began as a love of pelicans quickly grew into a larger calling.

As more and more people began bringing injured pelicans and other animals to them, the Keltons knew it was time to expand, to create a real rescue and rehabilitation center. Others got involved, with the Miami-Dade Parks Department providing land, and in 1992, Miami-Dade County built the organization’s current facility, which is part of the Pelican Harbor Marina.

In 1996, former Executive Director Christopher Boykin led the effort to expand PHSS’s patient intake beyond seabirds to include all Florida native species, with the exception of rabies-vector animals such as racoons and foxes, as the facility did not have space to safely quarantine them. In 2023, PHSS treated more than 2,000 animals spanning 131 native species.

The Keltons remained involved with PHSS their entire lives and were known for helping revolutionize the rehabilitation and care of brown pelicans. Harry and Darlene developed a special medical procedure called “the cotton fish,” where they would stuff fish with cotton balls and feed them to a sick pelican with a hook in its stomach. Once the fish was digested, the cotton would cover the fishhook, and in many cases, the pelican would regurgitate it.

“We still use the cotton fish technique,” says Renata Schneider, DVM, a staff veterinarian at PHSS. “I would guess that it works 50% of the time. It’s noninvasive, so we always try that first. Then if we have to do a manual or surgical removal of the hooks, at least the metal is wrapped up in cotton.”

In October, PHSS will move to a new location along the Little River (about five minutes away from its current location). The new Wildlife Hospital and Education Center is 14 times larger than the current facility and will feature more ambassador and rehabilitation pens, a center for hosting school groups, natural history exhibits, and a manatee viewing location.

“At the new building, we plan to dramatically expand our educational programming as we will finally have space on-site to welcome larger groups of children and adults,” says Marianna Niero, PHSS’s communications manager. “We are planning enhanced tours, hands-on experiences, lectures, day camps, and other programming. The additional space will also allow us to offer more volunteer opportunities of various kinds, all with the aim of creating opportunities for people to connect with our native wildlife and to the ecosystems of South Florida.”

As PHSS has grown, it’s remained committed to its mission of improving the lives of sick, injured, and orphaned native wildlife with the goal of releasing healthy animals back into the ecosystem, enabling future generations.

One of PHSS’s recent rescues was a great blue heron white morph, a rare, federally protected bird that was a victim of animal cruelty. A fisherman threw a rock at it and broke its wing. The bird required multiple surgeries, but they were able to rehabilitate and release it. “The bird’s wing looks droopy, so we still get calls from people thinking it’s injured,” says Niero. “It’s nice because usually when we release a bird we don’t know how it’s doing. But because of these calls, I know it’s still there and doing well.”

According to Niero, more than 90% of the animal injuries PHSS sees are because of humans, and 70% of seabird injuries are from improper disposal of fishing equipment. “It might be cruelty, a car accident, pollution, or loss of habitat because of overdevelopment,” explains Niero. “That’s why it’s important to support organizations like ours. We owe it to wildlife because we are taking so much from them. They have no space and their environment is so polluted because of us. We should give back as much as we can.”

Some of the animals that cannot be released back into the wild become ambassadors for PHSS and help with education and outreach programs. One such ambassador is Mowgli, a female screech owl that fell from the nest as a baby and was attacked by a cat. The attack left her with a permanent injury to her left wing that makes her unable to fly properly and therefore unreleasable.

In addition to being an ambassador, Mowgli is also a teacher, training young screech owls how to hunt. “When we raise orphaned baby screech owls, before we release them, we have to make sure they know how to hunt and survive in the wild,” explains Niero. “We put Mowgli in an enclosure with the young owls, and we release mice. Thanks to game cameras, remains, and by weighing the owls, we can tell if they are learning. We call this ‘mouse school,’ and once they pass mouse school, they are cleared for release if everything else is fine with them.”

PHSS also has a library program called “Books with Mowgli,” where children can meet Mowgli and learn more about owls.

In addition to its educational programs, PHSS is open to the public as well. Free tours are available Saturdays at 11 a.m., and self-guided audio tours are available Monday through Friday from 9 a.m. to 5 p.m. For a more in-depth experience, guided “Behind the Scenes” tours are available and must be booked in advance.

For more information or to get involved, visit PelicanHarbor.org.

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“Walk the Runway”: ArtServe

Turn left onto East Sunrise Boulevard. Then turn right onto Northeast 14th Street. It will be on the right. That’s right, ArtServe is where we are going this month. This nonprofit organization is for everyone, which is why admission is always free to view its exhibitions and attend its receptions. The gallery’s capacity, however, holds up to around 200 people, so be sure to come on in. Its new showcase will be held from July 18 through Sept. 19.

ArtServe. This arts venue first opened to the Fort Lauderdale community in 1989. Since then, it has grown into a vibrant arts incubator and cultural hub, supporting thousands of local artists and nonprofit organizations across Broward County. It’s not just a gallery—it’s a creative laboratory where exhibitions, performances, and workshops come together to spark connection and innovation.

ArtServe focuses its efforts on lower-income communities, typically west of I-95, offering not only opportunities for local artists, but also free workshops for small art businesses, teaching grant writing, marketing, and even how to start a small business. ArtServe serves to inspire artistic development, supporting the advancement of its diverse members, including artists and the community, through education and creative exploration and presentation opportunities in both the visual arts and performing arts.

“Walk the Runway.” Highlighting South Florida’s local fashion scene, ArtServe is currently showcasing local fashion designers, bringing individuality, liveliness, and, even more fascinating, its call for oceanic awareness to center stage.

Recently broadcast on Local 10, Young At Art presented “Reef Restyled,” a fashion phenomenon set to raise awareness out to the public about the coral reefs and the need to save them. These vibrant ecosystems support about 25% of all marine life, despite covering less than 1% of the ocean floor.

Currently, 84% of the Earth’s coral reefs are in danger. Runoff from agriculture, sewage, and plastic waste smothers reefs, blocks sunlight, and introduces toxins. Even sunscreen chemicals like oxybenzone can damage coral DNA.

Young At Art brings this pollution problem to the forefront, using fashion to come to the ocean’s defense. Seventeen participating local high school–age artists in the program used 75% upcycled and/or recycled materials to showcase their reef collection. Coral reefs aren’t just beautiful—they’re vital for human life. In the Walk the Runway showcase, the Young At Art collection will be exhibited in one of ArtServe’s solo galleries.

Chelsea Rousso. Another exhibitor is the esteemed glass artist and fashion designer Chelsea Rousso, who bridges the boundaries between the two media and is an innovator in her use of fused glass in fashion. While her work has been exhibited in numerous museums, galleries, and art shows across the nation and in Canada, Rousso, aside from her glass sculptures, is best known for her exquisitely wearable glass swimwear, corsets, bow ties, and masks.

Rousso’s book, “Fashion Forward: A Guide to Fashion Forecasting,” is being used in several colleges and universities around the world. Her installation for this showcase heavily features her Alice and Wonderland Collection.

Rousso holds a bachelor of fine arts from Pratt Institute and a master of fine arts from Goddard College. For more information, visit https://chelsearousso.com.

More about ArtServe. For most exhibitions, ArtServe does a call to artists (CTA), typically advertised through its social media or e-blasts. There are both long-term and short-term artists who keep up involvement with the organization.

ArtServe is self-affiliated, and its funding goes to operational costs of the building, its employees’ salaries, artist fees, and exhibitions. ArtServe’s artists always get paid for their work, and they are promoted via ArtServe’s social media and e-blasts.

Aside from CTAs, artists may also come from the Broward County Cultural Division for exhibition space to carry out its grants, or through collaborations that ArtServe does with other nonprofit organizations. Some of these past initiatives were set to amplify the healing and transformative power of the arts, reflecting ArtServe’s mission to be not just a gallery, but a community catalyst for good.

In 2020 and again in 2025, ArtServe has been the recipient of the Community Care Plan Non-Profit Awards hosted by 211 Broward, as the Non-Profit Organization of the Year. In 2024, ArtServe received Yelp’s “People Love Us” award.

ArtServe has been said to be a cultural trendsetter, due to its leadership role in the local arts community. It supports more than 350 nonprofit cultural organizations and around 10,000 artists across Broward County.

Some of ArtServe’s sponsors include FPL, Seacoast Bank, the Hudson Family Foundation, Topo Chico, and OutClique Magazine, all of which are local supporters invested in the creative economy.

For more information about ArtServe or how to respond to its calls for artists, visit https://artserve.org.

Picture:

https://www.dropbox.com/scl/fo/azd8co0umod56h72i96nd/APz6YnD6HfAKla6kpVvhbk4?rlkey=edahezpfo6c8xru8hl9t8wc1u&st=gfb2sga4&dl=0

Some other exhibitions

https://www.dropbox.com/scl/fo/7u44upp28b1atn6wogt9j/ADogl1jXVlRmwykhpLf_UkA?rlkey=wsd3zxn8eb9nx97qcot2hpeyt&st=cujn6o54&dl=0

 

 

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Roots and realism: Sophia Lacroix

Haiti’s deep history is one of resilience, revolution, and cultural richness. It endured the 15th-century Spanish colonialization, the 17th-century French takeover of the western part of the island that led to its revolution in 1804, isolation from global powers, economic struggles, and internal conflicts. It has faced political turmoil and natural disasters. Despite the challenges, Haitian culture has flourished, influencing the world by its artistic magnetism in music, literature, and the visual arts.

Sophia Lacroix brings focus to Haiti in her true-to-life paintings by her cultural reminiscence. Lacroix, who was born in Haiti, migrated to South Florida at the age of 15. Since then, she has used her talent in oil paints and charcoal drawings to keep the scenes alive from her memories of everyday life, Haiti’s people, and her culture.

Currently on display at the Pompano Beach Cultural Affairs Department is “Ede’m Poté Li,” or “Help Me Carry It” (2024), a 31.5-inch by 40-inch, limited-edition, hand-embellishment Giclée print. It is among the many paintings garnished with sapphire-symbolic detailed blends of norms that encompasses Haitians’ daily lifestyle. In Pompano Beach’s exhibition, “Roots and Realism: A Haitian Artist’s Reminiscence,” traditional methods of daily customs are alive and vibrant in a variety of ways, echoing Haitian ethos through compositional transcendency of principle. The exhibit runs through June 21 at the Ali Cultural Arts Center.

Realism. In this style, the principles of art play a crucial role in capturing life as authentically as possible. The threads that twine Lacroix’s experiences to voice these echoes are emphasized in sharp details and light techniques. Light censors are by sources that are clearly complimented by their opposing shadows. Lacroix applies cohesion to colors and proportions to grow rhythmic palettes of her subjects in each of their organic landscapes.  it’s like being a tourist as a viewer because she draws you into the culture.

 

In twine. Lacroix’s portraits sustain a sapphire-symbolic durability that apprehends the same critical elements in authenticity as the platform of its landscapes. The cultural significance of “Bel Ti Fi” (2025), a 23.5-inch by 24-inch graphite on paper—blended with texture and depth by its medium—is one representative of Haiti’s people. The child, an embodiment of their heritage and their future. Lacroix strings life intrinsically through art value.

Lacroix’s “Jocelyn,” a 30-inch by 24-inch oil on canvas, is similar in that it digests as a mineral’s complacency as she demonstrates her commitment to accuracy, mirroring how light interacts, producing variations in tone and highlights, and portraying her subjects with honesty and precision. This piece follows Realism’s tradition by transforming its simplistic human element into a work that is visually compelling and technically refined. Lacroix’s attention to detail is apparent throughout the entire composition, as she captures the subtle variations in light and shadow. Each strand of hair appears meticulously woven, and the shading of her subject’s face enhances depth and dimension, which reinforces the sense of realism.

“Macchan Laye.” Lacroix’s 16-inch by 8-inch oil on paper (2025) refers to the merchants who play a critical role in local commerce, selling everything from local produce to handmade crafts. The painting puts the macchan at the center of the focal point, vacating details away from those surrounding her, and as she walks into the distance, so does the solidity of the imagination, and into her subject’s reality.

Paintings of macchans are accented around the room in the spirit of Pompano Beach’s Roots and Realism exhibition. That is, until one approaches still life, where it and Realism share a deep artistic connection, particularly through the art principles that govern composition and technique. In contrast to the paintings of different macchans in motion, movement is instead implied through curved shapes and leading lines, accurately scaled and reading to subject as the delicacy at hand.

In almost 30 years of professional painting, Sophia Lacroix has exhibited in both group and solo shows throughout the eastern and central parts of the nation. Her work has been recorded in several publications and has developed a loyal following of collectors around the world. Lacroix’s passion began at 4 years old, and she is a self-taught oil painter who began selling her work in 1995 while working in social services helping the underserved. It’s highly recommended that you pay a visit to the Ali Cultural Arts Center for a brief vacation into the painted depths of human observation. For more information, visit http://sophialacroix.com.

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Trooper’s Law and the importance of animal hurricane preparations

As hurricane season approaches, a new law is going into effect to further protect dogs. Trooper’s Law, effective Oct. 1, will make it a third-degree felony to abandon a restrained dog during a natural disaster. The measure was inspired by Trooper, the bull terrier who made national headlines last year when state troopers found him tied to a fence and left in belly-high water on Interstate 75 during Hurricane Milton evacuations.

Trooper was adopted by Parkland residents Frank and Carla Spina and was honored at Parkland City Hall in January. “The state troopers appeared and presented him with a ‘Junior Trooper’ Florida Highway Patrol badge, which he wears around his collar,” says Frank Spina.

After being rescued and adopted, Trooper went through an even greater ordeal, requiring surgery to remove cancerous tumors from his body, and then undergoing a four-hour endoscopy to remove more than 100 pieces of garbage from his stomach. Thankfully, the procedures went well, and Trooper is now thriving.

Trooper and the Spinas have been invited to witness Governor Ron DeSantis officially sign Trooper’s legislation into law. “The governor and his wife are very big proponents of Trooper,” says Spina. “They think the world of him.”

Trooper’s situation was not the first to force lawmakers to expand protections for animals during natural disasters. The Pets Evacuation and Transportation Standards Act of 2006, known as the PETS Act, was passed and codified into federal law following the aftermath of Hurricane Katrina in 2005, when an estimated 200,000 pets were stranded and close to 150,000 perished during the storm. The act requires states to include the needs of households with pets and service animals in emergency preparedness operational plans in order to receive federal funding for those plans.

Florida was one of the first states to revise disaster relief plans to include household pets and service animals, creating pet-friendly shelters and aiding in pet evacuation and transport. But where the law still falls short is in protecting farm animals, including horses. Because they are not considered household pets, the PETS Act does not require states to incorporate hoofed animals into their emergency plans, and Florida does not have specific legal protections for these animals during hurricanes, despite the need for it. During Hurricane Ian, one dairy farmer in Myakka City lost 250 dairy cows.

The Florida Department of Agriculture and Consumer Services offers guidelines on disaster preparedness for horses, livestock, and pets, which include what to consider when sheltering in place or evacuating. For horse and livestock owners, it’s important to maintain contact with private businesses and nonprofits as many of them often step up during a storm, offering aid and/or shelter. During Hurricane Ian, the World Equestrian Center in Ocala provided free shelter for 3,000 horses, and American Humane helped rescue farm animals stranded during the storm.

Many of these organizations also offer free online resources on making preparations for your animals in case of a hurricane. It’s never too soon to prepare.

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Tomorrow’s Rainbow When tragedy creates new purpose

Abby Mosher turned a personal tragedy into purpose, creating one of the most magical places for children in Coconut Creek—Tomorrow’s Rainbow.

Tomorrow’s Rainbow is a 501(c)(3) nonprofit organization that provides free mental health support services for children ages 3 through 18, their caregivers, and adults healing from grief, loss, or trauma. What makes Tomorrow’s Rainbow special is that it incorporates animals—specifically, horses, goats, and mini donkeys—into its program, providing outdoor, experiential sessions where children explore their world through interactions with the animals.

This year, Tomorrow’s Rainbow will celebrate its 20th year of providing these life-saving services to children—services inspired by Mosher’s difficult loss. On a family vacation in Texas 25 years ago, a head-on collision took the life of Mosher’s husband, Paul. She and her 7-year-old son, Dustin, survived but were thrust into a world of grief and loss that didn’t have many resources available for children.

“When we came back to Florida, I thought, with Broward County being the sixth-largest school district in the nation, that there’d be tons of resources available,” says Mosher. “But I found that Broward County had no children’s grief center.”

Thankfully, Mosher had insurance, so her son was able to receive individual therapy. But that therapy had its limitations. “The social isolation for him was devastating,” explains Mosher. “He didn’t have a single friend he could relate to.”

That’s when Mosher decided she wanted to create a space where families could come together with other families who knew what it was like to have someone important in their life die. She also wanted to make it accessible for those who couldn’t afford individual therapy.

Mosher didn’t know at the time that her newfound dream would quickly align with her childhood dream of owning a horse. Through her work with the parent-teacher association, she knew Wally Hennessey, a Hall of Fame harness track racer. She and her son would go to the track to watch Hennessey race.

“After the race, Wally would take his goggles off, and he’d be covered in sand, and the horse’s nostrils would be flaring from winning the race, and Wally would be perfectly peaceful,” recalls Mosher, who wanted whatever that peacefulness was. When the Hennesseys introduced her to a woman with miniature horses, she knew the animals had to be part of her program.

Three years later, Mosher met her current husband, Shel, and shared with him her dream of supporting grieving children with horses, and he was on board. Together, they purchased a 2.5-acre mini-ranch adjacent to Tradewinds Park, and in 2005, Tomorrow’s Rainbow opened its doors.

It wasn’t until after opening and going through trainings with the Equine Assisted Growth and Learning Association that Mosher realized how powerful horses are in the healing process. “Horses are the only animal that can mirror our behavior,” explains Mosher. “The horse is the mirror for the child. So if the child doesn’t like what they see, if they adjust themselves, the horse will adjust as well.” Mosher likens it to a football player watching game tapes to get better. With horses, you watch their behavior to improve your own.

Tomorrow’s Rainbow offers bereavement group sessions and individual equine-assisted psychotherapy. When children first arrive, they undergo a screening process. Those who have suffered trauma in addition to grief are put into individual equine-assisted psychotherapy, where they work with a horse, an equine specialist, and a therapist. “We have to support the trauma before we can support the grief,” explains Mosher. “So we get them into our individual services and then when they’re ready, they can transfer to our bereavement group services.”

A bereavement session begins with introductions under a large tree, followed by an activity, horse grooming/interaction, and then play. “Kids can’t stay in their grief for a long time,” explains Mosher. “So we have to have opportunities for them to laugh and be kids.” During the bereavement session, adults are in a facilitated talk circle and given some psychoeducation on raising grieving children.

Children often tell their stories through the activities, acting out what happened at the puppet theater, or building something related to their loss at the LEGO table. Program facilitators are trained to honor the children’s stories and provide the space for them to express without judgment or shame. “We’re not teaching them how to grieve,” explains Mosher. “Children are experts in their own grief. We are supporting them. We’re not giving advice, we’re not problem-solving. It’s not a problem we can fix.”

At the end of a session, children are taken into a room filled with teddy bears where they can symbolically light a candle to remember their loved one. These charming, child-friendly touches run across the property, from the puppet theater to the teddy bear hospital to the wishing well. “We have dissolving paper so the children can write messages to their loved ones and put them in the wishing well, and the paper will dissolve, but the words will stay floating on top of the water until they’re ready to swirl it,” says Mosher.

To ensure that children of all economic backgrounds have access to these services, there is no cost for the bereavement groups. A combination of corporate and private donations, along with grants from organizations including Parkland Cares, Broward Behavioral Health Coalition, and the Jim Moran Foundation, helps offset the cost of individual psychotherapy sessions, which are normally $150 per hour. The organization runs on a tight budget, but for Mosher, the priority is the impact these services have on children.

“They come in with the weight of the world on their shoulders, and they leave joyful,” enthuses Mosher. “The energy completely changes when they realize they’re not alone and they don’t have all that stuff bottled up inside anymore, because they had a safe space for it to come out. And nobody made fun of them, nobody told them how to feel, and nobody tried to change them in any way, they just honored their journey.”

In addition to its on-site work, Tomorrow’s Rainbow has a “Grief on the Go” trailer to support underserved communities in Broward and Palm Beach counties through partnerships with nonprofits that work with at-risk children.

For Mosher, Tomorrow’s Rainbow has become her life’s mission. “I feel like I don’t work a day in my life,” she says. “To see the children and the impact this program has on their lives is a blessing. I knew we were going to help children heal. But what I didn’t know is that we would literally be saving lives, and that’s pretty powerful.”

For more information, visit TomorrowsRainbow.org.

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Playing it forward Teen organizes drive to support student athletes in Africa

For Jordin Bekker, a freshman at North Broward Preparatory School, a recent school service trip to Tanzania was the perfect opportunity to give back to her native continent.

“I felt really inspired, being from Africa and knowing I was going to go on this trip, to give back to my community,” says Bekker, who grew up in South Africa and has lived in Parkland for almost three years.

A lifelong athlete whose love of sports helped her develop confidence, engage with people, and release her anger in a healthy way, Bekker wanted to support student athletes.

“Since sport is my passion, and there are many kids in Tanzania who don’t have the opportunity to pursue a passion like sports because they lack equipment and facilities, I wanted to give back part of what I was able to experience growing up,” explains Bekker, who decided to do an athletic clothing drive.

Bekker and her mother created a Facebook post about the drive, asking for used athletic clothing donations, and the response from the Parkland community was overwhelming. “The people of Parkland are absolutely amazing,” enthuses Bekker, who received three seasons’ worth of brand-new lacrosse uniforms from Marjory Stoneman Douglas High School alone. “I didn’t expect this to blow up as much as it did. We received messages multiple times a day from people telling us they had bags and bags for us.”

Bekker spent weeks collecting and washing clothes and cleats and sorting them by size and age group. Due to the volume of donations, she had to put a shed in the backyard and is already planning on expanding her efforts next year. “It’s definitely something I want to keep doing,” she confirms. “I love kids.”

With the help of her fellow classmates and travelers, Bekker was able to transport 27 duffel bags, each filled with two T-shirts, two pairs of shorts, a pair of cleats, a soccer ball, and a ball pump.

The bags were distributed to students at Ngongongare Primary School, which has four sports teams and more than 700 students. “Giving them the sports equipment made me cry,” recalls Bekker. “Before we gave them the equipment, I watched them play during recess. They were playing barefoot on stones that would pierce your foot. Their field was slanted with long grass, and a goal made out of wooden planks. They were so happy when we gave them the equipment. They sang and danced to say thank you to us.”

Since returning from her trip, Bekker has already collected 50 more pairs of cleats and has begun registering her charity, aptly named Play It Forward, to continue and expand her mission of providing clothes and sports equipment to children in Tanzania.

For more information, visit platitforwardinc.com. {Is this URL link correct? It doesn’t work. And playitforwardinc.com doesn’t have anything on the site yet.}

https://playitforwardinc.com/ coming soon

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