Skip to main content
Category

Blog

A black man wearing a work life vest on a boat with a bridge the skyline in the background.

Profiles in Steel: John Mahn, Jr.

By Blog

John Mahn, Jr., at work on the Explorer riverboat.

Profiles in Steel

Rivers of Steel’s Profiles in Steel series shines a spotlight on the talented members of our organization’s community.  From staff and volunteers to collaborators and patrons, it takes a dedicated group with many and varied talents to support the community-based initiatives offered through Rivers of Steel.

In this installment, we meet John Mahn, Jr., a deckhand on the Explorer riverboat. Breaking barriers is something John Mahn, Jr. has been doing his entire life, from his time working in the steel industry to his recent distinction as the first Black person appointed to the Pennsylvania Fish and Boat Commission. While he understands the significance of such steps, what is really important to him is connecting people with the outdoors.

John Mahn, Jr.’s Story

By Brianna Horan

Meet John Mahn, Jr.

If you’re looking for John Mahn, Jr., the odds are good that you’ll find him outdoors and near a body of water—preferably with a fishing rod in hand.

His favorite local spot these days is Cross Creek Lake in Avella, where John and his then eight-year-old daughter, Brandee, were among the first to cast a line when it opened for public fishing in 1985. He spends a lot of time on the Monongahela River—John’s last name happens to sound the same as its nickname, the Mon—because it’s so close to his home in Charleroi. The part of the Youghiogheny River near his home runs slower and shallower than in other areas, making it good for wading. John knows a lot of great fishing holes “all up and down I-79,” and if he follows it north to Erie, he can take the boat he has docked there out on “the big lake.”

Growing up as a youngster in Cambridge, Massachusetts, John’s draw to water was just as strong, but his options were considerably more limited. “It was a city; we didn’t have creeks running everywhere like in Pennsylvania. There was the Charles River, and that was about it,” John says. He quickly figured out that the best fishing in town was at the local water supply lake, which were all ringed with ten-foot fences topped with barbed wire. “They had blue gills, sunfish, and bass in them, though, so if I wanted to fish, I’d sneak under one of the fences and hide in the bushes to fish from there.” His parents also helped him experience the great outdoors whenever the opportunity arose. “My dad wasn’t a fisherman. He wasn’t outdoorsy or anything like that—but he was into whatever his kids were into,” John says. “My older brother was into scouting, so my dad got into scouting. I liked to fish and run around in the woods, so my mom and dad made sure I got plenty of that. I went to church camp, I went to scout camp, I went to YMCA camp, and I even went to the Jewish community center camp.”

He remembers the impact that those experiences had on him as a child, shaping him into the person he is today. Retired from a 35-year career as a supervisor in the steel industry, John is heading into his eleventh season as a deckhand on Rivers of Steel’s Explorer riverboat, having joined the crew when the vessel was owned by RiverQuest. Explorer was built as a floating classroom, and it typically welcomes 3,500 students on board every year to participate in hands-on education programs. In a region that is defined by river valleys, creeks, and waterways, for many students these field trips are their first experience on the water.

“The first thing they ask me is, ‘Where is the poop deck?’” John laughs. “They all want to see the poop deck, and I have to tell them that we don’t have one. Then they see [Explorer’s Captain] Ryan [O’Rourke], or they see me, and they say, ‘You mean you can actually make money working on a boat?’” It’s an eye-opening experience before the education programming even begins. “I think about it every time we have those kids on the boat,” John says. “They have so much available right in front of them, and some of them are clueless about the opportunities that they have. It’s kind of sad in another way, because I think about some kids like me who never get the opportunity, and this is right in their back yard.”

John Mahn, Jr. and Magisterial District Judge Eric Porter pose for a picture together after John’s swearing in to the Pennsylvania Fish and Boat Commission in December, 2021.

Connecting Kids with the Outdoors

Connecting kids with the outdoors is one of John’s top priorities in his newest role as a Commissioner appointed by Governor Tom Wolf to the Pennsylvania Fish and Boat Commission. Appropriately, John made sure Washington County Magisterial District Judge Eric Porter, who John used to take fishing when the judge was young, swore him into the position. “He was a classmate of my son John Wesley’s, and when he was little the only way I’d get him to go fishing with me was to take a friend with him.”

The Fish and Boat Commission is an independent state agency with a mission to protect, conserve, and enhance the Commonwealth’s aquatic resources and provide fishing and boating opportunities. John will serve as a commissioner for the next four years representing District 2, which includes Allegheny, Armstrong, Beaver, Fayette, Greene, Indiana, Washington, and Westmoreland counties. John will serve not only the current anglers and boaters in his district, but also those who have yet to realize their passion.

“I told our executive director the other day the Pennsylvania Fish and Boat Commission is so far off of these kids’ radar. If you’re growing up in Homestead or Braddock, the Fish and Boat Commission might as well be on the moon it’s so far away from you,” says John, who is working on an initiative with the agency that would bring conservation officers and outdoor recreation instructors into classrooms to talk about all of the ways to enjoy time in nature. “Something that always sticks with me is the idea that talent is evenly distributed, and opportunity is not. There is no doubt that there are some future outdoorsmen and outdoorswomen sitting in the schools—they just have to get the opportunity to get outside,” John says. “Some of them will grab it and run if they’re given the chance. The worst thing you can tell a kid is ‘You’ll never be able to do that,’ or ‘We don’t do this.’”

Two images of John Mahn holding up fish he caught.

Left: John Mahn holds up a norther pike in Ontario, Canada. Right: John Mahn shows off a lobster on his friend’s boat, off the coast of Cape Ann, Massachusetts.

A Life Filled with Firsts

Limiting preconceptions like those held no water in the home John grew up in or in the life that he’s shaped. At age 71, John is the first man of African American descent appointed to the Board of Commissioners, a stride that begins to make the agency more representative of the population it serves—particularly at a time of increased scrutiny of the barriers that people of color face when accessing the outdoors are encountering increased scrutiny. But being the first or only Black person in a space is nothing new to John.

“I understand the significance of it, and I want other people to understand the significance of it—but to me, it’s not a big deal because I’ve run into it so much in my life,” John says. “If there was something I wanted to do, I wasn’t going to let anyone else tell me that I couldn’t do it. I love to fish, and I would go to different places to fish, and I would run into the same thing—people who’d say that you can’t stay here. Well, I’m here, I came here to fish, so I’m going to find a place to fish. I never let that bother me. I would do what I had to do.”

John’s mother modeled that same mentality and determination while he was growing up in the 1960s, whether participating in sit-in demonstrations at the local Woolworth’s lunch counter or insisting that her sons be educated alongside white students at the local public school. “There were only two high schools in Cambridge, a vo-tech school, and Cambridge High and Latin School,” John explains. “If you were Black and you were a boy, you were going to the vo-tech because you weren’t going to college.” But that wasn’t going to be the case for the Mahn boys—their mother engrained the notion that they would be college graduates before they were old enough to understand what college was. John’s older brother, seven years his senior, was one of the first two Black males to attend High and Latin in the early 1960s. John couldn’t help but notice that his brother came home from school with torn shirts and black eyes almost daily during that first year. It also didn’t escape his attention that his own elementary school principal—who lived across the street—drove past him every day as he walked to school. “When I went to school my classes were integrated, but when I went home the neighborhoods weren’t,” John says. “I didn’t know it at the time, but we were redlined. I never thought much about it, that his side of the street was white, and on my side of the street it was all Black. And I didn’t know about redlining at that time. All I wondered was how come Mr. Murphy sees me every day going to the same school he’s going to, it’s wintertime—why didn’t he offer me a ride?”

Shortly after John’s older brother graduated from High and Latin and began his studies at Franklin & Marshall College, their mother passed away. John was in eighth grade at the time, and also had a younger sister. “A single parent back in those days was almost unheard of,” John recalls. “My dad now had three kids and a job [as a machinist] to handle.” The Fox family, who had employed John’s mother  as a domestic, helped his father formulate a plan to enroll John in a boarding school just south of Boston. With John’s older brother away at college, that would leave only his little sister at home.

The year he started at Milton Academy, he was one of the first three Black students admitted in the boarding school’s history—one in eighth grade, himself in ninth grade, and another in tenth grade. “For myself, I think the Jewish kids had a lot harder time of it than I did,” John says. “I remember people saying the N-word, not directly at me, but within earshot. As far as being treated differently or being treated poorly, I didn’t remember that as part of the experience.”

It was during these years that John began to realize his love for boating, joining his friends on their families’ boats and cruising from Boston to Maine. “Every day was like an adventure,” he recalls. “You never knew who you were going to run into, you had to plot a course, you had to navigate by compass and buoys. You never knew right where you were. You might sail all day and never see another boat.” John also worked on a lobster boat during high school. “There was a lobsterman, and we said we were helping him, but we were just in his way, really. He put up with us and let us haul the traps,” John recalls.

Eager to see more of the world outside of Boston and Cambridge, John followed his brother’s path to attend Franklin & Marshall College in Lancaster, Pennsylvania, in 1968. The school became co-ed while he was a student there, so his younger sister also enrolled there when she graduated from high school. Finding adventure in the great outdoors remained a priority for John, and he spent the summer of 1971 in a Rambler on an epic road trip with high school friends. They headed west across the United States and then back east via Canada, camping in National Parks and staying with friends and family along the way.

John, his mother-in-law Maxine, with his wife Jeannie celebrate the holidays.

Making a Home in the Mon Valley

Another thing John found in college: love. John and Jeannie met while attending a friend’s wedding in New York City—he was a friend of the groom, and she was a friend of the bride, and soon they were married themselves during John’s junior year. “When I graduated, it was time to figure out what we were going to do. She wanted to stay in New York, and I just could not do it—I am not a city boy. We couldn’t afford to move back to Boston. So, reluctantly, she agreed that we could move back here,” he said, referring to Jeannie’s hometown of Charleroi. “We’d visited many times while dating, and there was a strong outdoor tradition that I was into.”

Jeannie ended up moving back ahead of John, and her father helped her get a job in human resources at Wheeling-Pittsburgh Steel Corporation’s Allenport Works, where he worked as the only Black supervisor among about 3,000 employees. When John arrived in Charleroi to join Jeannie, the young couple lived with her parents at first. His father-in-law let John know that the plant manager at the Allenport Works was aiming to hire another Black supervisor who had a college degree. “I’m sitting at the table eating his food, and he’s telling me that so-and-so’s looking for a worker—so I figured I better try it. And so I went and had the interview,” John says.

John landed the job, and he and Jeannie moved to an apartment in little California for about a year, about ten miles from where they’d been living with her parents. “My wife is from a very large, tight-knit family, and she felt it was too far away from them. She wasn’t seeing her family as much as she wanted to be, so we bought a house in Charleroi so she could be closer to them,” John says.

By the late ’70s, John Wesley and Brandee were born, and Jeannie left her job at Wheeling-Pittsburgh to raise their children. John advanced through managerial positions at the mill over the course of a thirty-five-year career. “I can’t say anything bad about the mill. I bought a house, I put two kids through school. It was a good living, and it served our needs,” John says. “I ran the roll shop until I retired, and I was the supervisor the whole time. The one thing I liked about it was that the majority of the guys I supervised had the same interests that I did. I wasn’t a golfer, so I didn’t golf—but it seemed like everyone that worked under me was either a hunter, a fisherman, or a boater. So when I was off, I was always doing one of those things.”

Some of the men who John managed weren’t interested in finding common ground, however. “Once Jeannie’s dad retired, I was the only Black supervisor in the mill.” And while this wasn’t a new experience for him, he saw clear differences between the way that the mill workers reacted to his presence and the way his fellow students had treated him in school. “Adults are sometimes not afraid to express their true selves. I had to supervise guys who didn’t take kindly to me giving them orders, and they made that known . . . Let’s just say the Mon Valley wasn’t the most enlightened workforce. The guys worked hard. They had hard jobs—they had hot, dirty, uncomfortable jobs to do. I give them credit, but there was also a small minority that spent more time trying to get out of work than if they’d just done the job to begin with. I got an education in college, but I also got an education of a different kind in the mill.”

That discrimination extended in the community outside of the mill, where many organizations and establishments made sure John knew he wasn’t welcome. “As much as I love to hunt and fish, I could never figure out why the gun clubs and sportsmen’s clubs were always full and never accepting members. When it came time to teach my kids about the outdoors, those kinds of facilities weren’t available to me. But I made sure they learned what they needed to and had those kinds of experiences. When my son was young, I bought a boat and took him fishing,” John says. “To this day, there’s a place two streets over from my house that I can’t walk into and get a drink. This is 2022, and I can’t walk in there and get a drink.”

It’s a reality that’s strikingly similar to his wife’s recollections. As a high schooler in Charleroi in the 1970s, she was not permitted to eat inside restaurants; Blacks were refused a seat and received their order in a bag to go. “Technically, they weren’t denying you service, but you’d have to take it somewhere else to eat,” John says.

His father-in-law faced even more blatant racism in the early 1980s, when he met with a group of fellow former mill employees at the local Italian Club. “It was the early ’80s, and the company—business was bad, so they laid off the union guys. But the people who were on salary and were managers were just fired. It worked out that all the guys who were let go were older, so they got together and hired a lawyer from Detroit to fight age discrimination,” John says. “They had one meeting, and the president of the club went up to them and said, ‘You can meet here again, but he’s not getting back in here,’” referring to John’s father-in-law. “This was twenty or thirty men meeting there for two or three hours drinking. I give the other guys a lot of credit, because they took their business elsewhere.”

Blue skies and clear pale green water surround John, dressed in a white shirt with his head covered in a red cloth, as he holds up a nearly clear fish.

John, with a wrapped head to protect himself from the sun, displays a bonefish in the Bahamas.

A Life Outdoors

Even as intensity inside the mill and the injustice outside of it remained present, the outdoors was still a steady constant in John’s life. “You go in the mill, and it’s hot, it’s noisy and dirty. So you need—or at least I do—some adventure in my life,” he says. “When you get in the outdoors, when you go fishing, you never know if you’re going to catch something or not. It’s all unknown, and it’s something you have very little control over. That sense of adventure is what the outdoors is all about for me.”

As a freelance outdoors writer for the Mon Valley section of the Tribune-Review newspaper’s Sunday edition, he captured that sense of adventure for readers for about thirty years. He’s also a past president and current member of the Pennsylvania Outdoor Writers Association. “Doing that for so long, I got to see a lot of kids being introduced to the outdoors—not just fishing, but boating, camping, and hiking.”

One outdoor experience he’ll never forget is a fishing trip in New York on Lake Ontario with his then thirteen-year-old daughter Brandee, which turned out to be a good reminder of the surprises that can come along when they’re least expected. As they were casting their lines, Brandee asked her dad if he would get her fish mounted if she caught a big one. “I thought, ‘What are you going to catch?” so I said, ‘Sure,’” John remembers. “Well, I had to get it mounted, and it’s still hanging on the wall. That was in 1991, and it’s bigger than any fish I’ve ever caught! I still kid her about that to this day.”

A black man in a hat works the bow of large vessel as it heads up a wide river lined with trees.

John Mahn, Jr. during a charter excursion on the Explorer riverboat, 2021.

Working on the Water

In the early 2000s, John returned to his native state and earned his Coast Guard license to run a passenger boat at the Massachusetts Maritime Academy on Cape Cod, where he was once again the only Black student in the class, and this time one of the oldest. That license would come in handy when the mill he worked for closed in 2009, bringing an end to a 35-year career in steel industry management. Before long, he was behind the wheel of Miss Pittsburgh, a 50-foot enclosed pontoon boat, shuttling passengers to sporting events in Pittsburgh. His work with this company ended up taking him far beyond the three rivers. When the owner purchased a new vessel, Fantasy, in 2010, John signed up for what he thought would be a two- or three-week voyage to bring it from New York City via the Hudson, across the Lake Erie Canal, and into Pittsburgh via the Ohio River.

With his bags packed with warm clothes for October weather on northern waterways, John and the rest of the crew were surprised to find out that the Fantasy was too tall to go on the Erie Canal when they arrived in New York. A new plan was devised to bring the boat out to the Atlantic Ocean, heading south to connect into the Intracoastal Waterway. After cutting across Florida on the Okeechobee Canal, Fantasy redirected North to enter the Tennessee-Tombigbee Waterway in Mobile, Alabama. From there, the crew navigated to the Mississippi, and finally to the Ohio River and its destination in Pittsburgh. “That was a long, long trip,” John recalls, noting that Fantasy’s top speed was around ten miles per hour. “We would stop every night, and on Sundays we’d find a Steelers bar wherever we were, and then we’d get on our way. Towards the end, we’d go around the clock and take shifts because it was taking so long.” The crew was flown home for Thanksgiving, and then resumed the voyage. John eventually had to return home by the time the boat had made it to Tennessee, but he was waiting in Pittsburgh to greet his fellow crew when they arrived in Pittsburgh. “That was an adventure, to say the least. That was one of the things that you got into having no idea what is going to happen,” John says. “You think one thing is going to happen, and it’s nothing like that—it was 180 degrees different than what I expected.”

By 2011, John’s fellow captain on Miss Pittsburgh, Curt Graham, let him know that he was getting slammed with hours at his other job piloting the Explorer riverboat for RiverQuest. John didn’t need much convincing to start training on that boat to help his friend out. Sadly, after about six months of training, John was diagnosed with prostate cancer in 2012. “I took forty-some radiation treatments, and you have to go every day to get your radiation. By the time I got out of those treatments, there was no way I could [also continue training],” John says. When he returned to Explorer later that year in remission, the boat was fully staffed with captains. “I didn’t want to quit, so I decided I’d just take a deckhand position. I was still out on the water.”

More than a decade later, John remains a constant fixture on the Explorer, assisting with deck operations, handling the lines, keeping watch for traffic and obstacles, and working with the rest of the crew to maintain a safe and welcoming environment on the riverboat—even if it does lack a poop deck, to younger passengers’ dismay.

“I love that job,” John says. “I don’t tell [Captain] Ryan, but I would probably do it for nothing.”

Brianna HoranBrianna Horan is the manager of tourism & visitor experience at Rivers of Steel, where she helps groups design customized travel experiences throughout southwestern Pennsylvania. She also lends her considerable writing talents to this blog on occasion and can often be found on the Explorer riverboat, where she manages Rivers of Steel’s public tours and private charter experiences. 

For more stories from our Profiles in Steel series, check out the interview with Ed Parrish, Jr.

Josh Gibson with a crowd of young ballplayers

Community Spotlight—Josh Gibson Foundation

By Blog, Community Spotlight

Josh Gibson with a crowd of young fans. Image from the Josh Gibson Collection of the Rivers of Steel Archives.

Community Spotlight

The Community Spotlight series features the efforts Rivers of Steel’s partner organizations, along with collaborative partnerships, that reflect the diversity and vibrancy of the communities within the Rivers of Steel National Heritage Area.

By Gita Michulka, Contributing Writer

Connecting a New Generation to the Negro Leagues and Baseball Great Josh Gibson

In 1972, Josh Gibson became only the second Negro League player ever to be inducted into the National Baseball Hall of Fame. And even though it took the MLB another 42 years to recognize Negro League stats as “Major League,” Gibson’s records stand up as some of the greatest of all time. Gibson, who played for the Homestead Grays and the Pittsburgh Crawfords, is credited with some of the greatest career numbers of any hitter in the game’s history, with a .365 batting average (second only to Ty Cobb), a .449 on-base percentage, and 1.139 on-base plus slugging percentage. And his .441 batting average in 80 games in 1943 is now the best in baseball history without needing a qualifier.

A black and white photo of men, women and a few children standing in from a plaque decorated with emblishments.

Josh Gibson’s family gathers with representatives of the Baseball Hall of Fame when the baseball legend was inducted into the institution in 1972.

To honor that legacy and to highlight the accomplishments, triumphs, and barriers Gibson experienced in his life, members of the Josh Gibson Foundation set out to create a virtual platform that would educate users about the Pittsburgh legend and the Negro Leagues.

“The whole concept began during the COVID pandemic, when everything became this whole new virtual thing—everything was on Zoom, a lot of kids weren’t in school,” says Sean Gibson, great-grandson of Josh Gibson and executive director of the Josh Gibson Foundation. “So we had made a decision to do something educational but also fun—virtually—so it doesn’t have to be something that has to be played in person or in school, and it can reach not only the people in Pittsburgh but also through other cities and the surrounding areas.”

With funding from Rivers of Steel’s Mini-Grant Program, the Gibson team linked up with Tea, a creative agency based in Los Angeles, to begin the process of creating a virtual tour, with the final product evolving along the way. The end result is the Josh Gibson Virtual Baseball Game, an app that features trivia questions about the famed player and the Negro Leagues, that is played like a game of ball.

Half a dozen students at desks examine a game on their laptops and a larger screen.

Students who beta tested the app gave feedback and were able to have their questions answered as they interacted with the developers and creators of the virtual game.

The Josh Gibson Foundation

Rooted in the experiences Josh Gibson lived while in Pittsburgh, the foundation in his namesake is dedicated to the improvement of the lives of young people in the city, ensuring that the youth of our communities remember the legacy of Gibson while providing life-skills coaching and educational support.

The organization offers several programs for kids aged 6 – 14, including after-school programs, mentoring partnerships, summer camps, a Business of Sports Academy, and a S.T.E.A.M. program for 8th grade boys in partnership with Pittsburgh Classical Academy.

The current S.T.E.A.M. class was a key focus group as the Virtual Baseball Game was being developed. The kids had an opportunity to test the app while having their questions answered as they interacted with the developers and creators of the game. This direct interaction provided them the insight to understand the software and programming they were using as well as the issues the team faced while creating the app.

“The main goal that we wanted, for middle-school and high school-aged groups, was something to be of course educational, to learn about Josh Gibson, the Negro Leagues, Homestead Grays . . . but we also wanted it to be entertaining,” says Gibson. “Our 8th grade S.T.E.A.M. boys were our testers, and they had some great feedback.”

Gibson noted with laughter some of the things the boys pointed out that the development team hadn’t thought of. “You know how when you go to a Pirates game, or you go to a baseball game, and when somebody’s batting up they have music when they come to the plate. One of the boys was like, how come they don’t have music as they’re coming to the plate? And I had to explain to them, well you know, I know you guys are thinking of today’s times, but you’ve got to think about this history is back in the 1930s and 40s!”

It was important to the team to layer in those teachable moments. “Even though we are going to add some components of today’s era, we still wanted to have that rich tradition of the Negro Leagues era of the 1920s, 30s, and 40s,” continues Gibson.

A student looks at the game on his laptop.

A student interacts with the game on a laptop.

A Sense of Place

This year marks the 50th anniversary of Josh Gibson’s Hall of Fame induction, which Sean Gibson finds fitting for the rolling out of this new game. While the development team is putting the finishing touches on the app, Gibson is brainstorming ways it can be utilized as part of his outreach programs with regional schools.

On the heels of the Centennial Celebration of the founding of the Negro Leagues, Gibson is thrilled to also see other initiatives popping up to honor the legend, including a mural of Josh Gibson on the Voodoo Brewery building in Homestead by Pittsburgh artist Jeremy Raymer that was completed last spring.

“It’s important to us that we work on connecting the community to see and understand the rich history of southwestern Pennsylvania,” he says. “The creation period brought forth a larger learning platform that has reached people that never knew about the Negro Leagues and Josh Gibson. We’re able to teach people not only about the player, but also the landmarks where he played and lived.”

To learn more about the Josh Gibson Foundation, its educational programs, and upcoming events, visit joshgibson.org.

Four people look up at a mural.

Rivers of Steel staff check out the newly painted mural of Josh Gibson in Homestead, July 2021.

About the Mini-Grant Program

Rivers of Steel’s Mini-Grant Program assists heritage-related sites and organizations as well as municipalities within the Rivers of Steel National Heritage Area to develop new and innovative programs, partnerships, exhibits, tours, and other initiatives. Funded projects support heritage tourism, enhance preservation efforts, involve the stewardship of natural resources, encourage outdoor recreation, and include collaborative partnerships. Through these efforts, Rivers of Steel seeks to identify, conserve, promote, and interpret the industrial and cultural heritage that defines southwestern Pennsylvania.

The Rivers of Steel National Heritage Area is one of twelve supported by the Pennsylvania Department of Conservation and Natural Resources (DCNR). Funding is provided via DCNR’s Community Conservation Partnerships Program and the Environmental Stewardship Fund to Rivers of Steel, which administers the Mini-Grant Program. The Josh Gibson Foundation is one of six organizations who received Mini-Grant funding through this program in 2021.

Gita Michulka is a Pittsburgh-based marketing and communications consultant with over 15 years of experience promoting our region’s arts, recreation, and nonprofit assets.  

If you’d like to know more about community projects supported by the Mini-Grant Program, read Gita’s recent article about the digitization of the Donora Historical Society’s collection of glass plate negatives.

Identicaly houses are closely groups in a grid in a black and white photo

Community Spotlight: Glass Plate Negatives Tell a Story in Donora

By Blog, Community Spotlight

Image: An image from the Bruce Dreisbach Collection of what is now the Cement City Historic District in Donora, PA. Built 1916-1917 as housing for employees at American Steel & Wire’s Donora plant, this community of Prairie-style buildings is noted for the innovative use of poured-in-place concrete construction.

Community Spotlight

The Community Spotlight series features Rivers of Steel’s partner organizations whose work contributes to the vibrancy of the Rivers of Steel National Heritage Area.

By Gita Michulka, Contributing Writer

Donora Historical Society’s Bruce Dreisbach Collection Opens a Window to Everyday Life in the Early 1900s

It’s safe to say photographer Bruce Dreisbach took his job as quality control technician at the American Steel & Wire Company very seriously. Tasked with recording the daily goings-on at the mill, his love of photography also bled out into his daily life. On and off the job, Dreisbach spent most of his time photographing his surroundings, and a collection of his glass plate negatives now offers one of the most comprehensive glimpses back in time in the region.

“The thing that’s exciting for us is we’re able to tell stories,” says Mark Pawelec, a long-standing volunteer at the Donora Historical Society and Smog Museum. “A story sometimes isn’t as good as when you do not have pictures that accompany it, and these do that for us. We can show people exactly how life was like in Donora a hundred years ago . . . whether it was related to the steel mill or some of the different other subjects that we promote.”

Hundreds of workers, mostly whilte and nearly all in dirtied work clothes, pose for a picture in front of what may be an administrative building with a shed full of smokestacks adjacent to it.

American Steel & Wire Workers

When Dreisbach passed away in 1959, his collection of thousands of negatives was passed along to his widow, and a portion of that collection was found in her apartment when she died in 1986. With the help of funding from Rivers of Steel’s Mini-Grant Program, Pawelec and the other volunteers who run the Donora Historical Society have steadily been working to have the glass plates digitized and preserved.

Though the process can be painstaking, Pawelec is quick to point out the value in the project.  “It’s really incredible,” notes Pawelec. “We’re so fortunate that somehow somebody had the wherewithal to preserve those glass plate negatives and not sell them. We have different documents, we had different photographs in our collection that kind of show the way life was like in Donora in the early 20th century, but we didn’t have a full collection of photographs, and that’s what these provide us.”

Smoke bellows from at least ten industrial buildings along a river in this historic image.

Captioned “The Wide Mill, Donora, PA.

Years ago, previous museum volunteers who were familiar with a working steel mill did a cursory identification of the negatives to begin sorting them by theme. Over the years, as the museum acquired funding, volunteers have continued to sort the images before taking batches of them to be processed at Bernie’s Photo Center in the Northside. Pawelec calls Bruce Klein, who owns and operates the shop, critical to the success of the project.

“Bruce takes the negatives and handles each one individually. It’s impressive the amount of expertise that he has with the old photographic technology. But more than that, our ability to hand deliver boxes of these plates ensures their safety and allows us to stretch the funding more than if we had to package them and ship them somewhere to be processed. We trust that Bruce will complete our projects with a high degree of quality, and he’s also extremely flexible as we work through the batches.”

The most recent round of funding from the 2021 Mini-Grant, along with Klein’s partnership, has allowed the Historical Society to process 70+ glass plates, nearly the end of the collection, with one exciting addition: digitizing five-foot-long panoramic photos of American Steel & Wire Company.

Panoramic River veiw of the mill and town.

These images of American Steel & Wire’s Steel Mill and Zine Works, along with the neighboring scenery were digitized from five-foot long prints.

Dyno Nobel, an industrial and mining explosives manufacturer, currently occupies the site of the former Donora Zinc Works, with buildings that date to 1915. “After having multiple discussions with Dyno Nobel’s Donora Plant over the past few years, they have graciously loaned us these prints to have scanned,” says Pawelec. “To get any artifacts from the steel mill or Zinc Works is a rarity, so the fact that Dyno Nobel loaned us these photos is a huge get for the Donora Historical Society.”

Hundreds of children reflect a sea of small faces in this historic image.

The Bruce Dreisbach Collection includes images of the community, not just of the mill sites. This image is of children at chrismas visiting the mill for a treat.

This new addition to the museum comes on the heels of the organization’s 75th anniversary, which has been working to preserve Donora’s past since 1946. Though they are most famous for their Smog Museum, the Dreisbach Collection has opened doors for programming and partnerships with the Carnegie Science Center, the Heinz History Center, and the University of Pittsburgh, among others, and has prompted tourism from the tri-state area.

Eight blast furnace stoves and one stack rise up behind a sign that reads "Donora Next to Yours the Best Town in the USA."“Rivers of Steel is thrilled to play a part in the long-term conservation of this wonderful collection of glass plate negatives within the Donora Historical Society’s holdings,” said Ron Baraff, the director of historical resources and facilities for Rivers of Steel. “The story that their collection unveils of life in the mill is a wonderful complement to the rich archival holdings preserved by Rivers of Steel and other area repositories. Partnerships such as these, through our mini-grant program and regional cooperation, allow for all of us to tell, more succinctly, the enduring industrial and cultural history of our region and its legacies’ impact on the nation—and the world.”

Visit the Donora Historical Society and Smog Museum website for more information on upcoming tours and presentations and to learn more about the Bruce Dreisbach Collection.

Additional funding for the preservation project has also been provided by the Pennsylvania Department of Conservation and Natural Resources, the Washington County Community Foundation, and a generous donor—Steve Acai from Raleigh, North Carolina, who has ties to Donora.

All images provided by the Donoral Historical Society.

About the Mini-Grant Program

Rivers of Steel’s Mini-Grant Program assists heritage-related sites and organizations as well as municipalities within the Rivers of Steel National Heritage Area to develop new and innovative programs, partnerships, exhibits, tours, and other initiatives. Funded projects support heritage tourism, enhance preservation efforts, involve the stewardship of natural resources, encourage outdoor recreation, and include collaborative partnerships. Through these efforts, Rivers of Steel seeks to identify, conserve, promote, and interpret the industrial and cultural heritage that defines southwestern Pennsylvania.

The Rivers of Steel National Heritage Area is one of twelve supported by the Pennsylvania Department of Conservation and Natural Resources (DCNR). Funding is provided via DCNR’s Community Conservation Partnerships Program and the Environmental Stewardship Fund to Rivers of Steel, which administers the Mini-Grant Program. The Donora Historical Society. is one of six organizations who received Mini-Grant funding through this program in 2021.

Gita Michulka is a Pittsburgh-based marketing and communications consultant with over 15 years of experience promoting our region’s arts, recreation, and nonprofit assets.  

If you’d like to know more about community projects supported by the Mini-Grant Program, read Gita’s recent article about The Westmoreland Museum of American Art’s latest exhibition, Stephen Towns: Declaration & Resistance.

Heritage Highlights: Heritage Craft Kits

By Blog, Heritage Highlights
Artist Benjamin Aysan writes his name in italic letters.

Heritage Highlights

Rivers of Steel’s Heritage Arts program strives to represent the region’s diverse cultural heritage, from ethnic customs and occupational traditions to new American folk arts and urban cultural practices. Usually passed down from person to person within close-knit communities, these traditions are as varied as they are unique, each representing another part of southwestern Pennsylvania’s rich ways of life.

Heritage Craft Kits for the Carnegie Library of Homestead

Jon Engel HeadshotBy Jonathan Engel

So other than the stories about local artists that we share in this forum, how does Rivers of Steel’s Heritage Arts program realize its goals? Especially during 2021, we’ve had to get creative in addressing these core questions: What are our communities’ art traditions? How do we bring them to more people? And how do we use those traditions to improve those people’s lives? With those questions in mind, we look for projects that increase the accessibility of art and seek partners that also value local culture.

The Carnegie Library of Homestead is one such partner. They have always sought to connect our neighbors to the resources they need to explore and express themselves. During the first social distancing period of the pandemic, the library began releasing monthly activity kits, free to anyone. They consisted of art supplies and instructions on how to make a simple craft. They were designed for children, suddenly stuck at home, without the creative outlets that they might otherwise have had access to—or have never had access to.

We’re excited to share that we have collaborated with the Carnegie Library of Homestead to produce a round of kits for them, co-created with local Turkish calligrapher Benjamin Aysan. Free as ever, anyone can pick them up at the library—located at 510 East 10th Avenue, Munhall PA, 15120—and begin creating their own works of handwriting art today. We hope that they bring you joy—and pull you a little bit closer to the rich heritage of one of our many wonderful communities.

Calligraphy Bookmarks with Benjamin Aysan

Benjamin Aysan, a frequent collaborator with Rivers of Steel, has designed our first Heritage Craft Kit. Benjamin is originally from Van, Turkey, and has been a practicing calligrapher for over ten years. Calligraphy has a long history in Turkey, extending at least as far back as the early days of the Ottoman Empire. Practitioners, then and now, decorated mosques with stylized passages from the Quran. Benjamin writes in both Arabic and English, adapting his talents to his new home in Pittsburgh. In this kit, he teaches us how to write our own name on some beautiful bookmarks for all our library favorites. To learn more about Ben, read this brief biography (pdf link).

This craft kit, available at the Carnegie Library of Homestead, contains: a set of calligraphy pens, a pair of scissors, paper, and instructions on how to cut the bookmark and make your letters. The kit is best for children in sixth grade or above, or third to fifth grade with adult accompaniment. You can view and download a PDF of the instructions here, and you can pick up a kit of your own at the Carnegie Library of Homestead at 510 East 10th Avenue, Munhall PA, 15210.

For more information about Benjamin Aysan, read an interview with him from the Heritage Highlight series, published in January, 2021. You can also check out the most recent Heritage Highlight, which features the Bulgarian Macedonian National Educational and Cultural Center

Community Spotlight: Examining the American Dream through the Lives of Black Americans

By Blog, Community Spotlight

By Gita Michulka, Contributing Writer   |   Image: Stephen Towns in his studio by Jermaine Táron Bell

Community Spotlight

The Community Spotlight series features Rivers of Steel’s partner organizations whose work contributes to the vibrancy of the Rivers of Steel National Heritage Area.

Stephen Towns: Declaration & Resistance exhibition opens at The Westmoreland Museum of American Art

The work of Stephen Towns is a metallic-infused, gold halo-topped bright light shining out of the COVID-19 pandemic. In a way that is both reverent and celebratory, the mixed-media artist elevates laborers and hidden figures from a historical timeline in this exhibition that weaves a connection to current events.

Southwestern Pennsylvania is no stranger to this pull of history on the present day. Pittsburgh and the stretches of land along the three rivers that define the area are well known as a blue-collar region that is deeply ingrained with the history of industry and labor movements. The Westmoreland Museum of American Art’s newest exhibition aims to elevate one aspect of this collective history that shines a light where it isn’t often cast.

Stephen Towns: Declaration & Resistance, which opens on Sunday, January 30 and remains on view through May 8, features newly created work by the artist, including over 30 new figurative paintings and story quilts. Organized by guest curator Kilolo Luckett in collaboration with Towns, the exhibition examines the American dream through the lives of Black Americans. Using labor as a backdrop, Towns highlights the role African Americans have played in the economy and explores the resilience, resistance, and endurance that have challenged the United States to truly embrace the tenets of its Declaration of Independence.

A Black woman and A black man stand in front of the wall with text labeling the exhibition. He is holding his hands up as he speaks.

Curator Kilolo Luckett and artist Stephen Towns lead a walk though of the exhibition during a press preview on Wednesday, January 26, 2022.

“Much of the work in Declaration & Resistance began when I was quarantining in the spring of 2020. I thought about how I had the privilege to take a step away from my work. When I returned to my studio, I reflected on how I had gained a deeper appreciation for essential workers risking their lives in the midst of a global health crisis. I come from a long line of laborers in Georgia and South Carolina. Prior to being a full-time artist, I also worked many laborious jobs. This show is a testament to my ancestors and also the coworkers I have befriended along the way,” indicated Towns.

Two mixed-media images of coal miners

Two portraits by Stephen Towns from the Coal Miners series, which features six coal miners from West Virginia. The figures are surrounded by black mica to symbolize the mines. The flags represent the miners’ dedication to the American promise of a better life. Ancestral spirits in the form of yellow canaries protect each miner from the toxic conditions and constant threat of injury or death. Stephen Towns (b. 1980), “After the Shift,” 2020, and “Underneath the Mountaintop,” 2020. Oil, acrylic, fabric, buttons, Bristol paper, mica flakes, graphite, glitter, and charcoal on panel, 40 x 30 inches. Courtesy of the Artist and De Buck Gallery, New York, NY and a private collection, respectively.

The exhibition expands on the historical narratives of enslaved and free people who toiled under extreme hardships. Through acts of rebellion, courage, guile, and determination, they persevered. They are deftly portrayed here by Towns, whose use of color, pattern, and choice of materials radiates the character of these individuals, reaching beyond the scope of their trials to imbue their triumphs. Towns explores these stories in his painting and quilts, often creating a series of work reflecting a type of industry. Many of the featured artworks depict arduous trades often associated with historic roles, including coal mining and agricultural and domestic labor. However, he has also crafted images that highlight care and nurturing, such as nursing—a theme that the artist felt was important to pursue as he created new works during the COVID-19 pandemic, works that highlight the racial disparities that continue to plague the country.

“This is my most ambitious project yet,” said Towns. “I want this show to be a celebration,” noting how repeated motifs in his work exude this vibrancy. “For me, the butterflies represent spirituality . . . flowers emanate joy.”

A black woman looks at acolorful painting of a black woman.

Curator Kilolo Luckett discusses the leisurely nature of the subject in Stephen Towns painting “Ms. Elsie Henderson,” 2021. Ms. Henderson worked for the Kaufmann family. Luckett noted how you imagine the source image having been taken poolside near the Fallingwater residence. Courtesy of the Artist and De Buck Gallery, New York, NY.

Guest curator Kilolo Luckett is a Pittsburgh-based art historian and curator. She is the founding executive director and chief curator of Alma|Lewis, an experimental, contemporary art platform for critical thinking, dialogue, and creative expression dedicated to Black culture.

“I’m very committed to questions around American patriotism, exceptionalism and labor. I’m also interested in querying the foundations of belonging and access, and unsettle some of the assumptions we have. Through his beautifully imposing quilts and mixed-media paintings, Stephen offers viewers sobering truths and tender stories of Black life that break away from dominant narratives that continue to plague society in the United States of America,” Luckett stated.

Accentuating Towns’s work, an adjoining gallery holds a collection of work by other artists in similar media. Notes Luckett, “It was important to put Stephen in the context of a broader range of artists.” This gallery, titled End of an Illusion, features nearly 30 pieces of art and draws connections between the work of Towns and those who have preceded him. Other artworks include pieces by Thomas Doughty, the first American artist to work exclusively as a landscapist; Master of San Sepolcro’s Angel with Crown of Thorns and Spear, a circa 1330 painting on loan from the Frick Art Museum; a collection of Charles H. “Teenie” Harris images; and work by Joshua Johnson, the earliest African American known to have made a career for himself as an artist.

Stephen Towns (b. 1980), Mary McLeod Bethune, 2021, Natural and synthetic fabric, polyester and cotton thread, crystal glass beads, metal and resin buttons, 43.5 x 64 inches. Courtesy of the Artist and De Buck Gallery, New York, NY.

The Breadth and Depth of American Art

The Westmoreland Museum of American Art, located in Greensburg about 45 minutes east of Pittsburgh, is the only museum dedicated to American Art in western Pennsylvania. Its permanent collection highlights the breadth and depth of American art, with a strong focus on the art and artists of southwestern Pennsylvania.

“At the core of our permanent collection are scenes of industry, highlighting the labor of this region during the big steel era. This exhibition centers the lived experiences and contributions of Black Americans, whose labor built this nation, through beautifully rendered multimedia and textile works. With a shared focus on labor, Stephen’s art connects well to our collection, but more importantly, his works reveal stories that have been largely left untold in American history and in American art. This is why we are so honored to have the opportunity to collaborate with him and Kilolo in presenting Declaration & Resistance and to bring more light to these stories of resilience,” commented Anne Kraybill, The Richard M. Scaife Director / CEO of The Westmoreland.

Declaration & Resistance was funded in part by Rivers of Steel’s Mini-Grant Program, which is dedicated to uplifting projects that define our region’s cultural and industrial heritage.

“Funding made possible to present this exhibition shines a light on the importance of the state providing support for these Mini-Grants and the partners like Rivers of Steel who administer them,” says Rhonda Madden, Director of Advancement at the museum.

“The works of Stephen Towns are an absolute treasure—and the exhibition a must-see experience,” adds Carly V. McCoy, director of marketing and communications for Rivers of Steel. “It’s an honor to support a project like this. Rivers of Steel was founded by the desire to preserve the stories and the culture of our region’s workers. The Declaration & Resistance exhibition is presented in that spirit, connecting our present day and with an understanding of the past. Stephen’s work offers viewers a chance to understand his carefully selected subjects in a new way and, in this case, take joy from them.”

“Scenes of industry are well known at The Westmoreland and reflect a key time in our region’s history,” says Madden. “The Stephen Towns exhibition enriches this story and highlights the important contributions of Black laborers.”

Visiting The Westmoreland

The Museum’s operating hours are Wednesday–Sunday from 10 a.m.–5 p.m. General admission to the museum is free with advanced registration. Visit thewestmoreland.org for more information.

Stephen Towns: Declaration & Resistance will travel to the Boise Art Museum in Boise, Idaho, in the summer of 2022 and to the Reynolda House Museum of Art in Winston-Salem, North Carolina, in winter of 2023.

Visitors to the exhibition will also want to make sure they view the adjacent exhibition, Cultivation: Journey of the Work by quilter Tina Williams Brew, which examines the artist’s 40-year journey of self-discovery, teaching, and linkages to cultures not always found in the history books.

About the Exhibition

Stephen Towns: Declaration & Resistance is generously supported by Eden Hall Foundation; The Heinz Endowments; Hillman Exhibition Fund of The Westmoreland Museum of American Art; Arts, Equity, & Education Fund; National Endowment for the Arts; and De Buck Gallery.

Additional funding was provided in part by a grant from the Pennsylvania Department of Conservation and Natural Resources, Bureau of Recreation and Conservation, Environmental Stewardship Fund, administered by Rivers of Steel.

About the Mini-Grant Program

Rivers of Steel’s Mini-Grant Program assists heritage-related sites and organizations as well as municipalities within the Rivers of Steel National Heritage Area to develop new and innovative programs, partnerships, exhibits, tours, and other initiatives. Funded projects support heritage tourism, enhance preservation efforts, involve the stewardship of natural resources, encourage outdoor recreation, and include collaborative partnerships. Through these efforts, Rivers of Steel seeks to identify, conserve, promote, and interpret the industrial and cultural heritage that defines southwestern Pennsylvania.

The Rivers of Steel National Heritage Area is one of twelve supported by the Pennsylvania Department of Conservation and Natural Resources (DCNR). Funding is provided via DCNR’s Community Conservation Partnerships Program and the Environmental Stewardship Fund to Rivers of Steel, which administers the Mini-Grant program. The Westmoreland Museum of American Art is one of six organizations who received Mini-Grant funding through this program in 2021.

Gita Michulka is a Pittsburgh-based marketing and communications consultant with over 15 years of experience promoting our region’s arts, recreation, and nonprofit assets.  

If you’d like to know more about community projects supported by the Mini-Grant Program, read Gita’s recent article about Center of Life’s collaboration at the Hazelwood Green.

If you’re interested in learning more about Black labor in southwestern Pennsylvania, check out John Hughey & the Legacy of Black Workers at the Carrie Furnaces by Ryan Henderson.

The word "Community" written in graffiti style-writing.

Community Spotlight—Murals on a Mission: New Kensington

By Blog, Community Spotlight

By Gita Michulka, Contributing Writer   |   Image:  This CommUNITY mural by Shane Pilster inspired the Murals on a Mission: New Kensington project.

Community Spotlight

The Community Spotlight series features the efforts Rivers of Steel’s partner organizations, along with collaborative partnerships, that reflect the diversity and vibrancy of the communities within the Rivers of Steel National Heritage Area.

Partners Create Arts Destination in the Newly Reawakened City of New Kensington

The tale of New Kensington is not one that is unique in this region.

Located along the Allegheny River about 20 minutes northeast of Pittsburgh, New Kensington was once home to the Pittsburgh Reduction Company—later branded as Alcoa—and then the city saw a decline in residents and resources after the facility closed in the early 1970s. Like so many other industrial towns in southwestern Pennsylvania, the decline continued over the years until only a shadow remained of their once-vibrant business and cultural district.

But the town’s recent regeneration may just be one of the most unique stories around.

A colorful mural of a woman's face next to a diamond and the word "Shine"

“Shine” by Ashley Hodder. Ashley is a local Pittsburgh artist specializing in large-scale public art projects.

Where other revitalization initiatives typically include big development companies and cautious buy-in, if any, from the residents, the story of the new New Ken started with a one-man shop and has been fueled by a rally of overwhelming community support. Michael Malcanas, of Olde Towne Overhaul, saw potential where others might have seen blight. After purchasing several dilapidated properties in the downtown corridor, Malcanas chose to renovate them instead of tearing them down, preserving a piece of the city’s history. Beyond the renovations, his efforts have also been grounded in how he can help the people of New Kensington bounce back with as much vigor as the buildings he is remodeling.

This investment in relationship-building is paying dividends. Despite the complicating factor of opening a business during a pandemic, the downtown district has seen a dozen new businesses move in over the last year. The buzz is building among New Kensington residents and beyond.

This groundswell of grassroots energy has been building over the last few years and is now coalescing around a newly envisioned Corridor of Innovation located on Fifth Avenue in the downtown area. Combined with coordinated strategies at the district and county level through the Reimagining Our Westmoreland comprehensive plan and the Alle-Kiski District plan, New Kensington is poised for future growth.

A mural reads "Welcome to New Ken'

“Welcome to New Ken” by Shane Pilster. Shane is an artist, muralist, curator, and graphic designer. Bridging his expertise in graffiti and urban arts with community involvement, he prides himself in also being an educator, advocate, mentor, and well-rounded, creative individual.

The Voice of a Community and the Graffiti Art that Represents It

In 2020, Rivers of Steel began a partnership with the city of New Kensington, Olde Towne Overhaul, and other local business and community representatives to develop a public mural project designed to energize the community through high-impact public art. Murals on a Mission: New Kensington was developed with the knowledge of the larger growth strategies already in place and with the intent to catalyze further investments in creative placemaking throughout the Corridor.

“We believe in the power of public art,” says Shane Pilster, graffiti art curator and outreach coordinator for Rivers of Steel. “When you’re coming around a corner and see the side of a building with a beautiful mural on it, you just stop in your tracks to ponder it all. Some murals invoke the imagination, while others are more of a historical telling. Through the Murals on a Mission project we aimed to give people words of inspiration and hope for the future of the city.”

Backed by seed funding from the Creative Catalyst Program at the Pennsylvania Council on the Arts, Rivers of Steel and the Murals on a Mission: New Kensington team worked with six local artists to install eight graffiti-style murals throughout the city’s downtown between May and November of 2021. The process leaned heavily on community involvement, and in the end over 3,000 residents engaged with the project through surveys, at events, and during the mural installation. The Murals on a Mission team collected over 130 words and phrases of inspiration about New Kensington.

Rivers of Steel staff and project team members also visited with local organizations, such as the New Kensington Art Center, to hear from local voices and learn more about other activities underway nearby.

“Great Beginnings,” in progress, by Max Emiliano Gonzales. Max is a muralist, printmaker, curator, educator, and social activist, is a fourth-generation Mexican American.

“My favorite part of this project was interacting with community members and learning their individual stories and the history they could share about the area,” notes muralist Max Gonzales. “This piece did adapt over the time of its completion, with each day providing more insight into what New Kensington can mean to individuals.”

Great Beginnings, Great Work, Progress, Together We Can, You Are Not Alone, Do What You Love, Just Step Forward, Down But Never Out, and Make Offer—these are all of the words and phrases used in my mural,” continues Gonzales. “The theme of the mural is cross-generational communication. With the first and most prominent phrase being Great Beginnings, this mural seeks to promote a sense of community and understanding. The imagery includes technology from the early 20th century until the present; all referencing forms of communication or broadcasting. The phrases all connect to one another and can be read in a variety of orders to always create a narrative of collectivism.”

“Fill Your Heart with Love” by Christian Miller. Christian, also known as “Mad Rabbit,” is an artist who aims to create as much as possible. Working in several mediums, he produces hand-painted signs for small businesses and creates mural projects to bring color and positivity to the neighborhoods.

In addition to works by Pilster and Gonzales, murals were completed by artists Ashley Hodder, Juliandra Jones with Dejouir Brown, Christian Miller, and Jewels Antonio. Every artist selected their word or phrases from the list acquired from the community and residents. Each concept had few limitations, says Pilster, aside from approval from the building owner. “Our goal was to allow the artists to showcase their styles and personalities through their work, and that really shined through.”

“All of the artists were incredible to work with, very professional, and they all went above and beyond with what they painted,” notes Pilster. “We only requested a certain size of mural per our budget, but each artist went beyond that to showcase their skills and to convey the idea of solidarity through art. They all deserve an extra shout out for the work, time, and effort they put into to creating these murals with love for the art form and the community.”

A black woman's face represents the letter "U" in a mural that spells out Be-You-tiful

“BeYOUtiful” by Juliandra Jones & Dejouir Brown. Juliandra is a visual artist and muralist who believes in the power of community and using art to elevate the voices of all people. Dejouir is an urban artist with a distinct cartoonish style.

A Sense of Place

Like a beacon for the arts, the work in New Kensington also attracted regional partnerships like the Hemispheric Conversations: Urban Art Project (HCUAP, pronounced, “hiccup”). HCUAP is an international initiative, based out of the University of Pittsburgh, that seeks to create platforms for conversation and education about urban art production (graffiti, street art, and muralism, among other genres) and to explore aesthetic and historical connections between postindustrial cities.

During the 2021 production period for Murals on a Mission: New Kensington, HCUAP hosted a residency for Latin American artists to visit Pittsburgh and participate in various public art projects. This year, Mexican artist Eva Bracamontes, Argentinian artist Sasha Primo, New Kensington artist Anton Bachman, Spanish artist Tomas Garcia, and Pittsburgh-area artists Max Gonzales and Shane Pilster worked collaboratively to contribute an additional mural for the city located at Ninth Avenue and Barnes Street.

Muralist Dejouir Brown reflected on why this work held value for the community. “True Art is self-expression and holds unlimited possibilities in the impact it can have on another onlooker. It’s great to have murals that incorporate people of color—done by people of color—to show others growing up that it’s ok being who you are and to love yourself, and to show you anything is possible.”

The word "Chrysalis" in graffiti script.

“Chrysalis” by Jewels Antonio. A mural artist and printmaker, Jewels has owned and operated the Pittsburgh-based screen-printing studio Public Print House since 2015 and has been traveling the Midwest painting text murals for the last decade.

Lessons Learned to Recreate Success

As the mural project began wrapping up, after almost two years of invested time, planning, collaboration, and implementation, Pilster and the Rivers of Steel staff worked to turn their experiences with Murals on a Mission: New Kensington into a community toolkit for other industrial towns on the cusp of a similar regeneration.

“The toolkit outlines our path for the entire project from getting the grant, the overall objectives, collaborating with businesses, working with artists, and connecting with the community,” says Pilster. “Some of the key features include an in-depth look into the city we are working with, our process and work within the city prior to the project beginning, connections that were critical with businesses and artists, and ideas on community engagement that we found to be successful.”

Pilster also emphasized the importance of having a partner like Mike Malcanas. “Olde Towne Overhaul went above and beyond to make the mural dream in New Kensington a reality. They were able to make many of the building owner introductions, assisted with setting up a live painting event, and included us in other events around town. Without having an instrumental connection to businesses in the area, I believe it would have taken longer to make those connections organically, but I also believe that it starts with just one solid connection to make a project like this start to flourish.”

Click here to download a copy of the Murals on a Mission: New Kensington Community Toolkit.

“This is something that could be utilized in cities across the state on a either a smaller scale with a minimal team or on a much larger scale with multiple organizations involved. Large-scale public art is a sign of revitalization, creativity, and a city moving in a positive direction. The plethora of positive feedback that we received from residents passing us by while painting the murals was worth everything and makes me believe that this would work in many cities across the country.”

"Revival" artwork

“Revival” by Shane Pilster.

About the Murals on a Mission: New Kensington Program

Murals on a Mission: New Kensington is a project designed to energize the community of New Kensington, Pennsylvania through highimpact public art. The partnership harnesses the power of large-scale, text-based murals to enhance the visibility of the city, create a sense of place—and bring color, vibrancy, and new character to the urban environment. View the Community Toolkit here.

Murals on a Mission: New Kensington was made possible by generous support from the Pennsylvania Council on the Arts and Bloomberg Philanthropies, who provided the crucial seed funding necessary to launch this pilot. In the months since its inception, the project has continued to grow, complimenting other public art in the city, creating renewed energy downtown, and attracting new projects throughout the Corridor of Innovation.

Rivers of Steel remains a committed partner in the effort to reimagine the future of New Kensington. The organization will continue to work with the project team to bring new, creative programs to the city as an extension of its mission to serve the Rivers of Steel National Heritage Area.

Gita Michulka is a Pittsburgh-based marketing and communications consultant with over 15 years of experience promoting our region’s arts, recreation, and nonprofit assets.  

If you’d like to know more about community projects in the Rivers of Steel National Heritage Area, check out this recent collaboration between Center of Life, Arts Excursions Unlimited, and Carnegie Mellon University’s School of Architecture.

a man stands with sculptures in front of a small scale iron furnaces with an industrail former blast furnace behind them

Introducing Industrial Grit and Graffiti

By Blog

By Carly V. McCoy, Director of Communications   |   Above: Artist Carlos Mare, one of the two lead artists for the Industrial Grit and Graffiti residency, stands with cast iron sculptures created at the Carrie Furnaces in 2017. Image courtesy of the artist.

Carly V. McCoyA Grant from the National Endowment for the Arts will Fund Industrial Grit and Graffiti Program

In the decades following the collapse of big steel, the Carrie Furnaces became a laboratory for experimentation—a time on the site when graffiti writers crossed paths with urban explorers, scrappers, and sculptors who recognized the latent creative potential in abandoned mills.

Through a variety of arts initiatives, Rivers of Steel celebrates this postindustrial era and its influence on a generation of artists and community leaders who continue the difficult work of channeling that energy into creative solutions for the community. Now we’re excited to announce a new program that will explore the connections to this era through the unique convergence of graffiti and metal arts—the Industrial Grit and Graffiti artist residency at the Carrie Blast Furnaces National Historic Landmark.

With support from the recently announced Grants for Arts Projects award from the National Endowment for the Arts, the residency will pair two lead artists, New York-based artist Carlos Mare and Pittsburgh native Michael Walsh, with up to four regional artists to explore the unique convergence of graffiti and metal arts. Designed to explore the intersectionality of the two art forms, the residency’s scope also considers the connections with residents of the adjacent Monongahela Valley communities—communities whose character has been shaped by both their industrial and postindustrial heritage.

Graffiti on the Stock House wall at Carrie, as it appeared in 2006.

“The story of both graffiti and metal sculpture is woven into the postindustrial story of the Carrie Blast Furnaces, and Pittsburgh alike,” said Chris McGinnis, director of Rivers of Steel Arts. “During the 1980s and 90s the shuttered furnaces, and countless other abandoned mill sites, became an unlikely catalyst for the creation of new ideas that pushed the boundaries of both mediums. As the steward of this National Historic Landmark, Rivers of Steel is uniquely positioned to tell this story and establish an ongoing program, like Industrial Grit and Graffiti, that provides support for today’s artists to take similar risks in their creative work.”

The Industrial Grit and Graffiti residency is among 1,248 projects across America totaling $28,840,000 that were selected to receive this first round of fiscal year 2022 funding in the Grants for Arts Projects category.

“The National Endowment for the Arts is proud to support arts projects like this one from Rivers of Steel that help support the community’s creative economy,” said NEA Acting Chair Ann Eilers. “Rivers of Steel is among the organizations nationwide that are using the arts as a source of strength, a path to well-being, and providing access and opportunity for people to connect and find joy through the arts.”

With the funding from the Grants for Arts Projects award, Rivers of Steel will connect the lead and community artists for a weeklong metal arts residency at the Carrie Blast Furnaces in June, followed by extended metal arts workshops for the community artists. July through September will engage the artists in a series of community events, dubbed the Community Learning Series, which includes an open house at the Carrie Blast Furnaces and off-site Hot Metal Happenings, among other activities.

In late summer, Mare and Walsh, two pioneers of the graffiti sculpture movement, are scheduled for a public engagement at The Warhol Museum to share their experiences with the residency and reflect on the national graffiti sculpture movement and history.

Carlos Mare, Rodriguez, also known as Mare139, grew up between Upper Manhattan and the war-torn South Bronx; he was part of a group who revolutionized subway graffiti during its peak in the 1970s and 80s. Combining his passion for contemporary art with graffiti style-writing, Mare began creating metal artworks inspired by his unique approach to lettering.

Artist Michael Walsh was born in Pittsburgh, PA, in 1974, and his career as a graffiti artist and sculptor evolved throughout the late 1980s and 90s during the collapse of the American steel industry. He has worked diligently over the past two decades to develop his work and to forward the trajectory of the graffiti sculpture movement.

After the completion of the residency, the newly created metal artworks will be on display at the Carrie Blast Furnaces for the remainder of the 2022 season and possibly beyond.

Stay tuned—in early spring, we will announce which community artists have been selected for inclusion in the program, along with dates and event details for the Community Learning Series.

Want to stay informed about this project? Sign up for our newsletter at the bottom of this page!

Two recycled metal birds appear on a sculpture in from the the stack from the Carrie Blast Furnaces.

A Literary Look: Life in the Iron Mills

By A Literary Look, Blog

A detail of Jan Loney’s Flight sculpture from Alloy Pittsburgh 2021 in front of the stack and stoves of the Carrie Blast Furnaces.

Life in the Iron Mills and the Industrial Muse

A Literary Look is a new series that features recommended reads from the Rivers of Steel staff. For the inaugural post, Dr. Kirsten L. Paine, our site management coordinator and interpretive specialist, offers up an examination of one of her favorite books, Life in the Iron Mills, a novella by Rebecca Harding Davis that was first published in The Atlantic Monthly in April, 1861. In this piece, Kirsten examines the enduring legacy of the industrial muse and how the human spirit can triumph over the laborer’s toil.

By Dr. Kirsten L. Paine

“It always has seemed to me that each human being, before going out into the silence, should leave behind him, not the story of his own life, but of the time in which he lived.” – Rebecca Harding Davis, Bits of Gossip (1904).

When Rivers of Steel’s Alloy Pittsburgh 2021 tri-annual exhibition opened at Carrie Blast Furnaces in August 2021, visitors explored connections between multimodal art installations and their surroundings. The contrasts between Carrie’s sharpness and softness, light and shadow, riots of color and muted tones altogether enhanced, engulfed, challenged, played with, echoed, and reflected six pieces of art from six distinct perspectives. Visitors to the site found themselves immersed in an environment that can transform all manner of human experience. The furnaces are giants that made the twentieth-century out of fire. They stand in witness to thousands of stories about that century and about the people who experienced it.

Sculptures of metal, glass, and rope; drawings and paintings of people and things; an enormous green jacket and invisible signs in the sky—all of these contain thousands of stories, too—stories about the people who lived and worked at the mill. The art, the work of making it, and the experience of seeing it, thrives in reciprocal community because it becomes a way for people to tell stories to themselves and to ponder a very big question: What does it mean to be human?

A larger than life scale "greens" jacket hangs on the wall of the blowing engine house.

Bradford Mumpower’s installation at the Carrie Blast Furnaces was inspired by the “greens” that workers wore while on the job, scaled to a size proportionate with the historic importance of the site itself.

This universal question has innumerable answers, but here is one: being human means creating art. Life in the Iron Mills, a novella by Rebecca Harding Davis and first published in The Atlantic Monthly in April of 1861, is about a poor Welsh immigrant named Hugh Wolfe. Hugh is a puddler in an iron mill, and he spends his life turning ore into pig iron. As he works, Hugh skims the slag from the top of the molten iron and uses it to create strange and wonderful sculptures. He is a gifted artist, sensitive and delicate, but he is hardened by strenuous work. He lives with his cousin, Deborah Wolfe, a disabled woman who yearns for a more peaceful life. One day the mill’s owners and managers tour the facility and watch the workers, but they do not seem to recognize people like Hugh and Deborah as more than parts of their giant machines. The men leave, but through an increasingly desperate situation involving stolen money, confessions, and imprisonment, the Wolfes are left heartbroken. When the story ends, readers are left only with the sublime statue known as the Korl Woman and the narrator’s voice imploring readers to not just look at the conditions of working-class life, but to see people as inherently beautiful.

This is a basic plot summary of Life in the Iron Mills, and it sounds like a depressing book; however, the story is an opportunity for readers to discover light in the darkness.  It remains one of the finest early examples of American realism, and it was a smash hit from the start.

In the 1860s, literary realism was one element of an emerging artistic style that sought to represent, through image and language, an authentic depiction of life.  Photography demonstrated technological advancements in creating mirrored images of the day-to-day. In one frame, a photograph captured and held a moment in its most quotidian fashion. A photograph showed the human body with all of its imperfections, and such an image could represent a lifetime’s worth of memories.

Literary realism uses words in a way that closely follow what photography transforms with images. For example, Davis uses unvarnished language in her descriptions of a mill town, a furnace, the workers, and the struggle to hang on to one’s own life as “pits of flame waving in the wind; liquid metal-flames writhing in tortuous streams through the sand; wide cauldrons filled with boiling fire” (Davis 45).

teeming archival image

Although it is a more contemporary image, this photo of the teeming process captures the color and heat Davis describes. Image from the collection of Rivers of Steel.

As you read, feel the heat as Deb, body hunched over from years of hard physical labor, brings a pail of dinner to her cousin the puddler. See the licks of orange and yellow fire as she walks past men with shovels and pickaxes. Imagine as the acrid sand tinges the nose. Deb walks past “crowds of half-clad men, looking like revengeful ghosts in the red light, hurried, throwing masses of glittering fire” and mutters—with a heavy Welsh accent—“’T looks like t’ Devil’s place!”(45). The straightforward language Davis uses compares the factory floor to Hell without going directly to that mythical place. It has what is called “verisimilitude,” or the quality of seeming real.

An Illustration of the Belmont Iron Works

The Belmon Iron Works in Wheeling, West Virginia was likely the basis for the mill in Davis’ story. Image courtesy of Ohio County Public Library, Wheeling, WV.

Davis threads lifelike passages of exposition that capture the sights and sounds of a nineteenth-century iron mill between characters’ thoughts and conversations. When Mr. Clarke (the factory manager), Young Kirby (the owner’s son), Dr. May (the town physician), and Mitchell (the owner’s son-in-law) walk through the factory floor with a reporter to inspect the machines and marvel at the industrial wonders they have financed, they cannot grasp how or why one of their workers has made sculptures from korl. Korl, which is an older term for slag, is the limestone waste leftover in the smelting process, and it has been transformed. Hugh uses the off moments during his shift to chisel the “light, proud substance, of a delicate, waxen, flesh-colored tinge” into “figures,—hideous, fantastic enough, but sometimes strangely beautiful” (48). The men stop and stare at one piece in particular. It is a figure of a woman. She is twisted, knotted like tree bark, but she reaches upward with an outstretched hand and looks up.  Her stone face wants for something. Mr. Clarke, Kirby, and the other professional, educated, middle class men—the men who do not actually make iron—discuss who she might be and what she might want, and then they ask Hugh.  He answers them plainly, “She be hungry” (53).  For what, they ask, not understanding what hunger is. He answers again, “summat to make her live, I think,—like you” (54).  The group of men cannot seem to reconcile the juxtaposition of art and labor, so they nod and move on.

The rest of the novella plays on a continuing notion of hunger in the search for life’s meaning. Despair is found where despair is felt. Peace is found where peace is required. However, at the molten core of it, Life in the Iron Mills is about what happens to art when the machinations of industry wreak havoc on the human spirit. And yet it holds up a woman made out of slag, reaching, searching, as the salvo. The waste is not wasted. At the end of the story, the narrator brings the reader back to her room overlooking the Ohio River and reveals the korl woman hidden behind a window curtain. The dim morning “suddenly touches its head like a blessing, and its groping arm points through the broken cloud to the far East,” where the sun rises (74).

a black and white image of the Carrie Furnaces from across the river.

“Carrie Furnace Scenic View” appears courtesy of the William J. Gaughan Collection, University of Pittsburgh, July 1946.

In 2022, Life in the Iron Mills is mostly taught in college English courses. Sometimes readers stumble across the book by way of internet listicles, and sometimes readers discover it while combing through library stacks in search of something completely new. No matter the mode of introduction, Life in the Iron Mills is worth the time and attention paid to it because it tells the story of a time not so long ago and a place not so far away from Pittsburgh and a people not so different from who people are now. Try reading the book, and then come to visit Carrie this spring. See all the colorful graffiti, the welded chairs, and the deer made of hose, pipe, and wire. Walk on pathways laid in korl and consider all manner of art made on the site. Look at what human beings can make.

Bibliography

Davis, Rebecca Harding. Bits of Gossip. New York: Houghton, Mifflin and Company, 1904.

Davis, Rebecca Harding. Life in the Iron Mills. Boston: Bedford St. Martin’s, 1998.

Enjoy Dr. Kirsten L. Paine’s article? Read her piece Getting to the Heart of the Hardest Working River

 

Celebrating Silvester—A German New Year’s Eve Tradition in Southwestern Pennsylvania

By Blog

By Brianna Horan, Manager of Tourism & Visitor Experience | Image: In the Historic Harmony District, the ball is dropped at 6:00 p.m. to ring in the new year on German time, as part of the Silvester celebration.

Brianna HoranCelebrating Silvester in the Historic Harmony District

As the calendar turns from what is often a rollicking evening of socializing to a usually quiet and introspective first morning of a new year, our minds naturally turn to reflections on the past and visions of what’s to come. The Silvester New Year’s Eve celebration in Harmony, a quaint historic district in Butler County, does that too, wrapping up historic ethnic traditions in a salute to a new year that’s still six hours in the future. The town comes together in the afternoon of New Year’s Eve to celebrate when the clock strikes 6 p.m.—which is midnight in Germany—to usher in the new year alongside a country that has shaped much of Harmony’s history.

This celebration of Silvester—German New Year’s Eve—is free to attend and has been going on for more than a decade in the village, which was the first settlement in America of the Harmonist Society, a group led to the United States by George Rapp of Württemberg, Germany. The town was laid out by 90 families in 1805 as a “Community of Equality,” and named Harmony for one of the society’s core principles. When the Harmonists left in 1814 in search of more land and better water transportation (they would eventually end up founding Economy in present-day Ambridge), a farmer and blacksmith from Lehigh named Abraham Ziegler purchased it, and then led a group of German-speaking Mennonites from eastern Pennsylvania to resettle in Harmony.

Today there are more than 50 preserved buildings in the Harmony Historic District, a National Historic Landmark, about half of which date to the Harmonist period. In addition to Silvester, the town also hosts annual Oktoberfest and Weihnachtsmarkt (Christmas market) events that draw on traditional crafts and culture.

The ties between Harmony and Germany aren’t just a thing of the past—Rodney Gasch, president of the Harmony Museum, remembers a local resident’s story of playing phone tag with her cousin in Leipzig, Germany, in the days after Christmas. Finally, the two connected at about 5:30 p.m. local time on December 31. “Before long she heard fireworks start to go off over the telephone where her cousin was in Germany, and then a few seconds later heard them go off here in Harmony,” Gasch recalls. The women celebrated Silvester together even though there were more than 4,000 miles and an ocean between them.

So why is New Year’s Eve called Silvester in Germany? December 31 is the Feast Day of Pope Silvester I (his name is also spelled Sylvester) in Western Christianity, a day that marks the burial of this Roman-born saint in the year 335. In 1582, the Gregorian calendar placed the last day of the year on December 31, combining the two occasions. Many of the traditions that are observed during German Silvester stem from an even older pagan celebration in Bavaria called Rauhnächtelike making a lot of noise to drive away evil spirits. Fireworks do the trick these days and are a big part of New Year celebrations in both Germany and the United States. In Harmony, fireworks go off at 6 p.m. after a countdown and ball drop, orchestrated by a local tree trimmer who donates the use of his bucket truck to lower a sparkling ball in the middle of the town square. After that, attendees have the rest of the night to revel until midnight—or sleep soundly knowing that they did their part to welcome the new year. “We have a lot of families with little kids who get to see the fireworks and then go home in time to not miss their bedtimes,” Gasch says.

a crowd of people in the snow by a clocktowner and with a ball dropping

New Year’s Eve, 2019 at Historic Harmony

Attendees can even take home a traditional German dinner meant to bring good luck in the new year: pork loin with sauerkraut, mashed potatoes and gravy, green beans, applesauce, a cookie, and roll with butter. Typically, the meal is served in one of the historic buildings in Harmony, but because of the pandemic the meals are all carryout this year, and must be ordered ahead of time by December 27.  “The Harmony Museum has a couple of volunteers who like to cook for large groups of people, so it’s all homemade,” says Gasch. “Pork with sauerkraut is traditionally considered good luck in the coming year. One of the reasons for that is because a pig roots forward to gather his food, and in the new year you always want to move forward. Isn’t that appropriate for the end of 2021?” Sauerkraut is also thought to bring blessings and wealth in the new year, and before enjoying it diners wish each other as much goodness and money as they number of shreds of cabbage in the pot of sauerkraut—which is quite a lot! You can read more about Silvester food traditions in Germany by clicking here.

Speaking of dinner, one of Germany’s most consistent New Year rituals is watching Dinner for One on television while gathered with friends and loved ones around the dinner table. This ten-minute British comedy sketch is shown on German television every year on New Year’s Eve, and holds the Guinness Record as the most frequently repeated TV show in history as a result. In past years, the sketch has been shown in the town’s historic wine cellar, built in 1809. While it’s a beautiful space built from hand-cut stone from the nearby hillside, indoor activities have been eliminated from this year’s festivities because of the pandemic. “It’s usually a really nice place to get out of the cold,” says Gasch.

Runners, many in shorts, leave the start line as it gently snows.

Participants run in a 5K during a “Silvester” celebration, reflecting the HarmonyÕs historic German roots, Tuesday, Dec. 31, 2019, in front of the Harmony Museum.  (Steph Chambers/Post-Gazette)

There are still a lot of ways to stay warm at Harmony’s Silvester New Year’s Eve. A 5K Run / Walk and 1-Mile Fun Run kicks off the festivities at 3:30 p.m., an event organized by the Harmony Parks Board, which also sponsors the ball drop and fireworks.  Another more recently adopted tradition that emerged in Germany is the Christmas Tree Toss. Harmony Museum volunteers drive the streets of Harmony and neighboring Zelienople in the days leading up to New Year’s Eve looking for Christmas trees that have been tossed to the curb early. Then at the Silvester celebration they get tossed dozens of more times! There is a men’s and women’s division for the competition, along with a wreath toss for kids 12 and younger. The farthest throw in each category wins a gift certificate for $20.22 to one of Harmony’s local coffee shops. This tradition isn’t followed precisely, however. “In Germany, they culminate in tossing all of the Christmas trees in the town square and lighting them on fire for a big bonfire,” Gasch explains. To avoid a big blaze, the tournament is contained to the driveway of the Harmony Museum, and no fire is involved.

Sheila Yencik of Ross participates in the Christmas tree toss during a “Silvester” celebration, reflecting the Harmony’s historic German roots, Tuesday, Dec. 31, 2019, in front of the Harmony Museum. (Steph Chambers/Post-Gazette)

Gasch has the perfect winter warmer for those who prefer to watch the festivities rather than tie up their racing shoes or roll up their sleeves: Gluhwein. He often spends Silvester in the Gluhwein hut, dressed in lederhosen, knee socks, and a German alpine-style hat while he serves a warm blend of burgundy wine, apple cider, and spices that that translates to “glow wine” in English. This traditional beverage is found at many of the traditional Christmas markets in Germany. Harmony’s is served in a glass keepsake mug that can be brought back that evening or to future events for low-cost refills.

But gluhwein in hand or not, chilly weather is no reason to stay home. This year will mark the return of Silvester after a year off last year due to the pandemic, but in the past around 3,500 people have participated in the German New year’s celebration, which is organized by both the Harmony Museum and the Harmony Parks Board. The crowd is filled with locals and visitors from around the region. Gasch says he often meets people who are recent immigrants to the area from Germany, who studied there, or were stationed in the country while serving in the military. “It’s a great excuse to bundle up and be outside,” says Gasch. “Several years ago, we had gigantic snowflakes that were floating down as the ball dropped and the fireworks started. It was magical, and we’re hoping that happens again!”

Silvester New Year’s Eve starts at 3:00 p.m. and ends a bit after German midnight at 6:00 p.m. on Friday, December 31. The event is free, and full details can be found by clicking here.

All photos provided by Historic Harmony, Inc.

As the manager of tourism and visitor experience for Rivers of Steel, Brianna Horan is always discovering new things to do throughout the Rivers of Steel National Heritage Area—and getting to know its people! Check out her itineraries for other adventures in southwestern Pennsylvania.

A log cabin with a sidewalk in front and a large pine tree to the side.

Community Spotlight: Harmony Museum’s Newest Display will Showcase how 19th-Century Settlers Worked

By Blog, Community Spotlight

By Gita Michulka, Contributing Writer   |   Image: The Carothers Family cabin in the Historic Harmony District will showcase how 19th-century setters worked.

Community Spotlight

The Community Spotlight series features Rivers of Steel’s partner organizations whose work contributes to the vibrancy of the Rivers of Steel National Heritage Area.

Harmony Museum’s Newest Display will Showcase how 19th-Century Settlers Worked

Harmony Historic District—a National Historic Landmark sitting north of Pittsburgh “30 miles and 200 years from the big city”—is home to one of the region’s largest preserved collections of buildings dating to the first quarter of the 1800s. The Harmonists, a communal society from Germany, first settled in the area in 1804. “They were very industrious,” points out Rodney Gasch, President of the Harmony Museum. “When they left in 1814 after just 10 years, they left 135 buildings, of which we have 25 left. It’s a great concentration of old buildings, and we’re really blessed to have all of this historic structure here in town.”

Thanks to a generous donation from a supporter of the museum, paired with funding from River of Steel’s Mini-Grant Program, this historic collection has grown by one log cabin and one unique display.

“There is a supporter of the museum, the P.W. Carothers Family, and the house that they grew up in was getting torn down, and the basis of that house was a circa 1820 log cabin,” says Gasch. “They offered to donate the log cabin part of the building to the museum so it could be preserved. We were able to partner with the Borough of Harmony—they had what was just a gravel municipal parking lot at the entrance to Harmony’s Historic Landmark District—and we reassembled the log cabin on that gravel parking lot to serve as a new focal point as you enter the historic district.”

A collection of Harmony Museum volunteers worked to dismantle, relocate, and reconstruct the log cabin. Work included numbering the logs as they were taken down—so they could be put back together “like Lincoln Logs,” sealing the area between the logs with cement chinking, installing a roof, and adding an era-appropriate porch.

Once this work was complete, the porch was used to house visitor information for both Butler County and places of interest in the Borough of Harmony.

“But we didn’t have the funding to finish the inside,” explains Gasch. “And so the Mini-Grant Program was really crucial for us, because we could match the Mini-Grant money with our labor, and we have a lot of really talented volunteers. Like most nonprofits, funding is a challenge, but we have skilled people who are happy to help out.”

Harmony Museum volunteer Frank Luek applies a finish to the beadboard ceiling. Recessed ceiling lights, powered by rooftop solar panels, provide the lighting.

The Harmony Museum is already home to a similar cabin that was donated about 40 years ago, which is included as part of the museum tour to showcase how a 19th-century pioneer family would have lived. The display includes old rope beds, a spinning wheel, and candle making tools, among other artifacts.

Once completed, the Carothers Family cabin, which Gasch considers a “sister cabin” to this current display, will showcase how settlers from the same era worked.

With the funding from the Rivers of Steel grant, the interior of the cabin is in the process of being completed as true-to-the-era as possible. The cabin received a new sub-floor, and a museum member with a particular interest in having things look historically correct arranged for the delivery of hemlock plank flooring. The interior chinking has been fortified, and Gasch was also able to locate rosette nails from a manufacturer in Massachusetts that still makes the old-fashioned square-headed nails, to complete the look.

Installing solar panels on the cabin.

In order to have greater flexibility to offer programming throughout the year while staying true to the integrity of the time period, the museum also had solar panels installed on the roof that will power recessed direct-current lighting to illuminate the cabin during tours and programming. “The cabin is still ‘off-the-grid’,” notes Gasch, “but we now have flexibility to hold events into the evening hours or during dreary winter months.”

An additional donation from the Carothers Family will be put toward the final installation of the exhibit itself, which will include wood working tools, blacksmith tools, rake making, and representation of domestic work as well, with 150-year-old washing machines and butter churns.

Visitors to the cabin will also be able to learn how settlers utilized natural freeze / thaw cycles to create what locals call “barn stones”—massive chunks of sandstone that were carved down into square building blocks used as bases for buildings and structures.

Beyond the permanent displays, a new feature of the museum’s programming will be an artisans-in-residence series offered at the cabin. The exhibits housed in the center of the space will live on moveable panels, allowing the museum to open up the cabin to showcase an artisan at work. “We can invite a wood carver, or someone who spins or weaves, to come in and spend some time demonstrating their craft,” says Gasch. “We’re looking forward to highlighting artists who can demonstrate these skills that would have also been integral to the daily lives of the 19th-century settlers.”

Harmony Museum volunteers are working to complete the interior of the cabin and the displays by the spring of 2022. Learn more at harmonymuseum.org.

All photos provided by Historic Harmony, Inc.

About the Mini-Grant Program

Rivers of Steel’s Mini-Grant Program assists heritage-related sites and organizations as well as municipalities within the Rivers of Steel National Heritage Area to develop new and innovative programs, partnerships, exhibits, tours, and other initiatives. Funded projects support heritage tourism, enhance preservation efforts, involve the stewardship of natural resources, encourage outdoor recreation, and include collaborative partnerships. Through these efforts, Rivers of Steel seeks to identify, conserve, promote, and interpret the industrial and cultural heritage that defines southwestern Pennsylvania.

The Rivers of Steel National Heritage Area is one of twelve supported by the Pennsylvania Department of Conservation and Natural Resources (DCNR). Funding is provided via DCNR’s Community Conservation Partnerships Program and the Environmental Stewardship Fund to Rivers of Steel, which administers the Mini-Grant Program. The Historic Harmony, Inc. is one of six organizations who received Mini-Grant funding through this program in 2021.

Gita Michulka is a Pittsburgh-based marketing and communications consultant with over 15 years of experience promoting our region’s arts, recreation, and nonprofit assets.  

If you’d like to know more about community projects supported by the Mini-Grant Program, read Gita’s recent article about Center of Life’s collaboration at the Hazelwood Green.