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Interview with new Native Plants Journal editor Lora Perkins

Welcome to Native Plants Journal and UW Press, Lora Perkins! Can you start by sharing a bit about your background and experience in the fields of restoration and ecology?

I am a plant ecologist working primarily in the field of restoration ecology. My educational background includes three land grant institutions, New Mexico State University, Oregon State University, and University of Nevada, Reno. I am now a Professor at South Dakota State University. This track through land grant universities has instilled in me a deep appreciation for research that increases our basic scientific understanding as well as provides locally relevant boots-on-the-ground application. For example, we want to understand the basic science around dormancy in native seeds and we also want to get the little buggers to germinate during ecological restoration!

My past research has focused on both native and invasive plants and I have worked in hot deserts, cold deserts, and prairie ecosystems. I (along with a co-author) was awarded the 2019 Bradshaw Medal from the Society for Ecological Restoration for outstanding contribution to the field. More recently, I serve on the Advisory Board for the Center for Excellence in Bison Research, on the Prairie Reconstruction Initiative Advisory Team, and am part of the executive team for the Northern Great Plains Native Seed Partnership.

As the new editor of Native Plants Journal, what inspired you to take on this role? What aspects of the journal’s mission and focus align with your professional interests?

Native plants hold tremendous importance both for our environment and for cultural heritage. Native plants are diverse and interesting. Some natives are iconic and widespread (for example, Andropogon gerardii (big bluestem): tall, easily recognizable with the ‘turkeyfoot’ inflorescence, and a distribution from Saskatchewan to the Gulf of Mexico. Some native plants are rare and ephemeral (for example, Penstemon haydenii (blowout penstemon) that is a habitat specialist found only in the sandhills in Nebraska and Wyoming. Native Plants Journal is THE place to share essential information about all plants native to North America.

Assuming the role as editor is a profound opportunity to cultivate the journal in its mission to be leading forum to share information on North American native plants. I aim to help the journal to grow and blossom with increased use and impact.

What is your vision for the future of Native Plants Journal? Are there specific initiatives you hope to implement to expand the journal’s impact and reach?

One goal I have for the Native Plants Journal is to expand the spatial distribution of our editorial board and manuscripts. In the past, we have been really good at distributing information about plants native to the western United States. I would like to achieve more balance by adding editorial board members and increasing the number of manuscripts from other regions throughout North America.

Our sister journal, Ecological Restoration, is also under new editorship. We are excited to explore cross-journal initiatives and collaborations.

Are there specific thematic areas or topics within native plants and restoration that you believe deserve more attention in the journal?

I enjoy journal volumes with a theme. However, I do not necessarily think these themes must necessarily come from the top down. I am open to suggestions and to see if there are themes that naturally emerge from submissions. That being said, some potential themes that come to mind are based on phylogenetic groups (i.e., a related group of plants), geographic groups (i.e., native plants from a given area), plant life stages (e.g., floral traits); or a practical topics (e.g., treatments to increase seed performance in restoration).

In your view, what role can Native Plants Journal play in promoting awareness and understanding of the importance of native plants in conservation?

Native Plants Journal should be the go-to source of information for anyone looking for information about plants native to North America. It is the role of our journal to consolidate, disseminate, highlight, and elevate information about biology, ecology, conservation, restoration, or production of native plants.

What advice do you have for aspiring researchers and authors looking to contribute to Native Plants Journal? How can they ensure their work aligns with the journal’s goals and standards?

Any aspiring researcher or author who has work about native plants should consider our journal. We publish five different types of manuscripts: refereed research (rigorous scientific research); topic reviews on native plant-related subjects; germplasm release articles; propagation protocols; and general technical articles. The key is that the work must be about plants native to North America. We accept work on a single species as well as work on many species. We want articles published in our journal to be accessible to academics, practitioners, growers, as well as folks just interested in native plants, so the writing must be clear and easy to understand.

Ecological Restoration editor Steven Handel awarded LaGasse Medal

Steven Handel, Distinguished Professor Emeritus of Ecology and Evolution, and editor of Ecological Restoration was recently awarded the LaGasse medal by the American Society of Landscape Architects (ASLA). This award “Recognizes notable contributions by individuals to the management and conservancy of natural resources and/or public landscapes.”

The LaGasse Medal is the highest honor the ASLA can award to a non-landscape architect professional. It represents the significant achievements Dr. Handel has made in nearly 40 years working in this field. With this award, Handel joins esteemed recipients including former Secretaries of the Interior Sally Jewell, and Bruce Babbitt. Handel’s medal will be given to him this Fall at the ASLA annual meeting.

The University of Wisconsin Press had the honor of interviewing Dr. Handel about his award. The transcription can be found below:

Congratulations on winning the prestigious LaGasse Medal! Can you tell me how you felt when you first learned about this recognition and what it means to you?

Steven Handel:
Well, I was called by the person who nominated me, and I was surprised, and I was really thrilled. It’s a national honor that only goes to one person in the United States each year, and I was just astonished. I worked very hard for a long time and most of the work of an academic is private. You know, you sit in your office, or in the field working and to realize that a huge professional organization gave me their highest honor for natural resources. I just was like a light went on in a dark room.

It was just wonderful and the people I work with, the landscape architects and so on were also just thrilled for me and said some very nice things. My son asked: “Is this the capstone of your career?” I said, well, I don’t know about that, but it certainly makes me feel that these last 20 years of work and designing public landscapes was appreciated, and I’m grateful for that.

The LaGasse Medal is awarded to individuals who have made significant contributions to the management and conservancy of natural resources and public landscapes. Could you elaborate on the contributions you were recognized for and what impact you believe these projects have had on the field as a whole?

Steven Handel:
That’s right. The nomination said I did 5 things that were worthy of this honor. One is I that I’ve managed the Rutgers Forest, which is an uncut primeval forest, one of the few left in the eastern US, and I helped save that from deer pressure and invasives, so formally helping a national natural landmark.

I’ve done writing, of course, for your journal Ecological Restoration, and also in the scientific literature on restoration, and bringing back natural biodiversity. I’ve done that for many years, many people read that, and I hope, respond to it.

A third, I’ve trained students, both undergraduate and graduate students, over 20 PhD’s and master students, over the years in restoration ecology. I’ve helped train the next generation, and I’ve lectured not only at Rutgers, but also at Harvard University in their Graduate School of Design, which is the biggest landscape architecture program in America. They invited me to give a required course to all their students. I did that for four years about using ecological principles in landscape design, and I hope that’s had an impression.

Finally, was helping to design public parks. I’ve worked with several leading landscape architecture companies to tweak or modify their designs to make them more ecological, more diverse, and more sustainable, and that’s been very interesting for me. Most of my life I worked with scientists, but here I was working with a very different profession of designers and landscape architects, so it’s a transdisciplinary collaboration. It’s so interesting to me that many of these people really listen to what I have to say and make their designs more biodiverse, and I hopefully more sustainable in a changing world.

What motivated you to pursue a career in the restoration of native plant communities and sustainability? Did you always have an interest in restoration work, or did your interest develop over time?

Steven Handel:
There was an actual moment where I decided I’d better look into this. I had spent about 20 years studying plant populations, how they spread, how they reproduce, pollination, seed dispersal and had a fine time.

That was sort of straight scientific population biology work, and one day I took my class out on a field trip and we went to an old landfill in New Jersey. It had been 25 years since they stopped dumping garbage there and at the top of the landfill were just a few weeds. Every textbook in biology says after 25 years of abandonment, you should get ecological succession. It should be perennial wildflowers and shrubs and young trees, and that did not happen on this landfill, and I said, why not? How is it possible to restore these 20 acres into a natural landscape? So I got a grant and we started doing some experiments there to find out why hadn’t it developed into a natural community.

That started this whole part of my career. We learned what some of the problems were and about four years later I got a call from a landscape architecture company. A big one. They said: “We’re doing a project and an old landfill. We heard you study landfills. Can you help us?” I started collaborating with them, and the next thing you know, I won the LaGasse Medal 20 years later.

Could you share some of the challenges or obstacles you encountered along your journey and how you overcame them?

Steven Handel:
Yes, so many people are interested in nature in the city greening American cities. But it’s hard, you know, cities are not Yellowstone National Park. They have many, many stresses and all those stresses have to be addressed using ecological scientific principles. Cities are hot because of traffic and buildings, and cities have fragmented landscapes, so each little bit of green land is surrounded by asphalt, not by other forests. Cities have a lot of invasive species, crummy soil because of past land uses, and each of these constraints has to be overcome to bring back biodiversity and healthy landscapes. Healthy for us, not just for birds and butterflies.

So we started learning what the constraints were, and what kinds of plants and what kind of protocols or processes to use. We had to bring back biodiversity, not what was there 400 years ago. Rather a biodiversity that could survive current stresses, in a climate which is changing rapidly, getting hotter and drier. So, it’s been very interesting as a study of applied ecology.

What are the problems? Well ecological links have to be used to address those problems, and you know, I have to work with landscape architects because they are the only ones with a license to do blueprints. I can’t do a blueprint, and also, they deal with all the other needs of a landscape: where people have to walk, where to put the restrooms, where to put the athletic fields, and I work on the spaces around that.

How can we make maximize ecological health? And my award is for trying to get landscape architects to do that, to add some ecological feature to every project they work on.

As a recipient of the LaGasse Medal, you join an esteemed group of individuals (including a former Secretary of the Interior) who have made significant contributions to the field. How does it feel to be recognized alongside such renowned figures?

Steven Handel:
A few of them even, including Bruce Babbitt, who was Secretary of the Interior for President Clinton. So, it’s amazing to read the list of names. Well, first I’ll say I think it’s an important recognition for my field more so than for me. The idea that ecology can play an important role in landscape design and that restoration ecology can partner with the design field. So, I think it’s a way of getting my field better seen, and I hope it will make more ecologists work with the design professions, architecture, and city planning.

For me personally, it just feels that people have appreciated all this hard work I’ve done. I once told your journal manager, Toni Gunnison, I work 50 to 60 hours a week, and I sometimes wonder if anybody even sees that. And so, I felt that it justified all that hard work after all these years.

The LaGasse Medal is a testament to your dedication and commitment to the restoration field. How do you envision the future of the field, and what are some of the emerging trends or challenges that you believe will shape it?

Steven Handel:
Well, that’s a good question. I think nationally people are finally getting to see the immediate impacts of climate change. I mean this horrible, polluted air that’s come down from the big forest fires in Canada, the rising sea levels at all of our coasts, the increased storms which are also part of climate change. People are desperate for solutions with these public problems. Restoration ecology and adding green solutions to the infrastructure are ways to help, so I’m hoping that people will see that ecological science is part of the solution for a healthier, more economically sustainable future for our country.

I completely agree. And the world?

Steven Handel:
One country at a time, my boy. Well, you know, just last week I got a call from a guy who’s a professor at Stockholm University in Sweden and he asked if I could come to Stockholm in September to help them in in a similar project. So, you know there is one international program that’s starting, and even the United Nations has gotten interested. They’re doing something now. They called this the Decade on Ecosystem Restoration and are trying to get other countries to realize adding back green solutions and natural solutions as part of protection. It’s for people, not just for butterflies and birds, and I stress that whenever I talk to a government group. By having healthy, sustainable infrastructure, it makes human health better, less asthma, less mental health stresses, and so on.

Lastly, what advice would you give to aspiring professionals in your field who hope to make similar significant contributions to the field?

Steven Handel:
Oh that’s good. I would say to my ecology colleagues and students: reach out to other disciplines. Science is fascinating, wonderful and makes great advances, but to make a better world, we have to reach out to other professions like landscape architects.

The old days of silos with each of us is in our own professional island, has to end, and the only way we’re really going to succeed to improve our country is for people with science backgrounds to work with public policy and the design communities. And they will welcome you.

One of my jobs at Harvard was to build links between biology and landscape architecture, and I think I succeeded a bit. Those kinds of academic and training links have to occur. I tell my ecology graduate students, get to know people in the design professions because you have so much to offer them.

And I think that is starting now nationally. I hope the LaGasse Medal is a recognition of that, and that we’ll get other landscape architects to think about working more closely with ecologists. There are some 15,000 members of the American Society of Landscape Architects and they all will get the news release about this medal and I hope it will make them think to reach out to a local university or ecology group to have them partner in new landscape designs.

Postnationalism in the Street Carnival of Rio de Janeiro

Pre-carnival parade of Céu na Terra. Photo by Andrew Snyder.

For the next five days, the streets of Rio de Janeiro will fill with the sounds of diverse musical traditions. The music of carnival has traditionally played an important role in Brazilian national identity, explains Andrew Snyder in “From Nationalist Rescue to Internationalist Cannibalism: The Alternative Carnivalesque, Brass, and the Revival of Street Carnival in Rio de Janeiro,” from the Luso-Brazilian Review. Snyder shows, however, how new movements are expanding Rio’s street carnival repertoires, creating diverse new affinities and identities. In the following interview, he describes the ethnographic fieldwork that led him to write the article, including his experience playing trumpet among the four hundred musicians of Orquesta Voadora (the Flying Orchestra) in Rio’s street carnival.

How did you decide to pursue this topic?

This Luso-Brazilian Review article was part of my dissertation research for my PhD in ethnomusicology, and it examines the national and international repertoires of the brass movement known as neofanfarrismo (“new brass band-ismo”) that emerged from Rio de Janeiro’s street carnival. I came very haphazardly to write my dissertation on this musical community and its engagements in local activism. Though I had always loved and played Brazilian music and had majored in music and Romance languages, my earliest graduate studies were focused elsewhere. In 2011, Occupy Wall Street exploded, and I found at those protests the Brass Liberation Orchestra (BLO), a brass band in the Bay Area that emerged to play solely for protests during the 2003 Iraq War and is still going strong. Though I was also a music major focused on guitar and piano, I hadn’t been playing trumpet much, but I was quickly swept up into playing in the BLO during those exciting political times. Now trumpet is my main performing instrument!

In 2012, we played at the HONK! Festival of Activist Street Bands in the Boston area, where alternative and activist brass bands play on the streets for free in support of social and political causes. Through that festival network, I learned of a vibrant musical world in Rio de Janeiro where brass ensembles historically connected to the street carnival were experimenting with diverse global repertoires and playing on the front lines of protest. In search of a dissertation topic, I first visited Rio de Janeiro for a preliminary fieldwork trip during the momentous 2013 June protests, which these bands were musically supporting. Still, I couldn’t grasp the full, massive scope of what goes on in the neofanfarrismo community until undertaking fieldwork in Rio de Janeiro between 2014 and 2016 spanning two carnival seasons. This was a fascinating eighteen months between the World Cup and the Olympics and, in retrospect, it was the beginning of the end of the Workers’ Party and the Pink Tide, which had helped set the conditions for the street carnival revival to explode in the early twenty-first century.

What is one part of your research that surprised you, and why?

It would be quite an understatement to say that the neofanfarrismo community “surprised me”—more that it stunned me—but I would say that the biggest thing that stuck with me is the difference between a musical scene and musical movement, the street carnival and neofanfarrismo communities most certainly being the latter. I had no concept of the level of dedication and organization that could be put into community-led mass street music events. The scale of carnival beyond the samba schools, which I also participated in and are also amazing, is bafflingly awe-inspiring. The main group I worked with, Orquestra Voadora, the band that really pushed the neofanfarrismo community beyond traditional repertoires like the marchinha (traditional carnival songs), is a band of about 15 people who organize around 400 people to play for over 100,000 people on carnival day. That’s not even a really big bloco (carnival music ensemble). The more traditional brass bloco Bola Preta brings two million to the streets!

Despite, or because of, this enormity, the neofanfarrismo community is incredibly close-knit and collaborative, with musicians actively working through oficinas (classes or workshops) to teach music to other people. The “-ismo” suffix really underlines the fact that the bands are not just a loosely-connected scene but a social movement. Though the Bay Area also has a vibrant musical scene, I can’t say that there is anything that comes close to neofanfarrismo in the United States; though the international HONK! movement and New Orleans come to mind as related phenomena, they seem quite small in comparison. I certainly believe that this difference between the countries is especially due to the availability of playing in, and yes also drinking in, public space. I have come to see the ways public space is regulated as being a crucial part of the abilities of social movements, especially culturally defined ones, to thrive. Scenes are what evolve in a more splintered cultural worlds like the Bay Area where we are bound to celebrate most often in private clubs.

How did your role as a musician combine with your role as an ethnomusicologist to guide the direction of your research?

As a professional trumpet player, I was immediately “dentro do cordão,” or inside the cords that separate bloco musicians from the crammed audiences that would follow the musicians. It would certainly be possible to study street carnival and neofanfarrismo from alternative perspectives (which some are doing), focusing, for example, on the experiences of the audience or what it is like to be a new musician learning in the movement’s oficinas. But certainly playing trumpet was an asset in accessing “key informants,” getting the insider perspectives, and being a “participant-observer.” That research methodology language really does not capture my experience with the community, however, which could be summed up, with all due respect to more “sober” disciplines, by what I would tell people at the time: if you can’t do academic research while playing music and drinking in the street, is it really worth doing?

As a trumpeter, I was able to play in almost all of the bands and blocos I wrote about. I taught trumpet in the oficinas and participated in their movement of mass musical education. In 2016, I went on tour with the Carioca band Bagunço for five weeks in France. I helped organize the very first HONK! Rio Festival de Fanfarras Ativistas, which Mission Delirium, a band I co-founded, attended in 2015. The HONK! festivals are grass-roots international street/brass band festivals that originated in the US in 2006 and are spreading around the world. There are now five HONK! Festivals in Brazil alone! During preparations for that first festival, I and some co-organizers were robbed at gunpoint in Santa Teresa, and I lost my trumpet, my most crucial “fieldwork tool.” The local community took it upon themselves to organize busking events to help me, an American researcher, with the finances of my loss. I can’t speak for my informants, but I felt known first and foremost as a musician who was firmly part of the movement, rather than a researcher. I wouldn’t want to have done it any other way.

Andrew Snyder’s research explores the political and social impacts of mass public festivity, especially focused on brass and percussion ensembles in diverse locations including Rio de Janeiro, New Orleans, San Francisco, and beyond. He completed a PhD in Ethnomusicology at UC Berkeley in 2018 with a dissertation focused on the carnival brass band community in Rio de Janeiro, the basis for his current book project with Wesleyan University Press. Beyond his article in the Luso-Brazilian Review, his research appears in Journal of Popular Music Studies, Latin American Review, Yearbook for Traditional Music, and Ethnomusicology, and he is co-editor of HONK! A Street Band Renaissance of Music and Activism (Routledge 2020). An avid trumpet player in diverse musical groups, he is co-founder of San Francisco’s Mission Delirium Brass Band, which has toured to Brazil and throughout Europe. Currently a Research Associate at UC Santa Cruz, he has taught at UC Berkeley, University of the Pacific, and UC Davis.

Last Days of Theresienstadt

John Tortorice, Director Emeritus of the George L. Mosse Program in History, sits down with Skye Doney, the translator and editor of a new book in the Mosse Series, Last Days of Theresienstadt by Eva Noack-Mosse.

John Tortorice: Eva Noack-Mosse was a trained journalist who valued detail, distance, objectivity. She was related through her father to one of the most influential German Jewish publishing houses that was active throughout Germany prior to 1933. She came from a family of well-educated, strong, resilient, notable women, including her cousin Martha Mosse, a lawyer. How did her background affect her writing of the diary?

Skye Doney: One of the most impressive aspects of the Noack-Mosse diary is that it is so well-written. As a prisoner, Noack-Mosse renders her personal experiences of daily life in Theresienstadt in striking detail. At the same time, as a journalist, she is able to stand back from her own hardships to document the crimes and brutality around.

Throughout her ordeal, she identifies reasons not to despair. These range from engaging conversations with friends and family to small acts of kindness she observes among the inmates. Noack-Mosse also sees beauty in the nature both within and around the camp—most notably, the birds nesting outside her barracks window.

John Tortorice: This comes across as an authentic account of diary entries, yet you also note that it has been edited after the War. How did you deal with the juxtaposition of what sounds like on the spot observation and retrospective editing?

Skye Doney: The document from George L. Mosse’s archive is best understood as an annotated diary or as a hybrid diary-memoir. Noack-Mosse acknowledges that she typed up the work before sending it on to George L. Mosse. But her “supplemental text” greatly enriches the account. For instance, she writes in Theresienstadt of the agony of composing a thirty-word postcard home that must also survive censorship. Then, she interjects that after the war only one of the eight postcards she wrote made it home. Additions like these render the work a text that is both present and past. For readers, I have offset these retrospective interjections in italics throughout.

John Tortorice: Noack-Mosse gives a scrupulous account of what is happening in a world of great cruelty and death, yet without any self-pity. Her ability to empathize with herself and her situation is still intact, yet what happens is not “about” her?

Skye Doney: Right, yes, she actually resolves to document her experience before she learns she will be deported to Theresienstadt. From the outset, she notes that “I have written down how I experienced Theresienstadt in order that their [the those who died in Theresienstadt] sacrifice should not be in vain. So that there shall never be a second Theresienstadt anywhere in the world.” She is tasked with typing up endless lists for the SS, so she learns quickly that the Nazis have perpetuated an unspeakable crime. She writes so that no one will forget. Her own experience stood in for everyone unable to write their own story.

John Tortorice: How did you convey a nuanced voice in translation? Was your approach to interpret freely rather than attempt perfect transparency? The manuscript was jointly translated by you and Professor Birutė Ciplijauskaitė. How did this affect how you approached the translation? Did your translation styles, your translation “voice” differ?

Skye Doney: Professor Ciplijauskaitė began the translation before falling ill in 2016. She passed away in June 2017. She was a great friend of the Mosse Program and helped with many translations after her retirement from the UW-Madison Department of Spanish & Portuguese.

Yes, we had very different approaches. Professor Ciplijauskaitė completed the first portion of the translation and adopted a very literal approach. For example, she translated the ranks of German SS officers. I went back over her work to reintroduce the nuance and wit of Noack-Mosse’s language. And part of that “re-translation” work was to heavily annotate the text with explanatory notes. In the end, this was a collaborative effort, as the annotations were supplemented by your comments, by the then Mosse Program Project Assistant, Kilian Harrer, as well as by the anonymous peer reviewers. Together we have preserved Eva Noack-Mosse’s candid perspective and beautiful prose.

John Tortorice: Tell me about her correspondence with her second cousin, the historian George L. Mosse? What was their relationship like after the war?

Skye Doney: Very friendly. Noack-Mosse calls him “Georgie” in some of their correspondence. It is clear that they met frequently in Munich when Mosse traveled to Germany for research. They also shared many mutual friends and discussed the family efforts to get back property stolen by the Nazis after the war. You can read some of their correspondence at the end of Last Days of Theresienstadt.

Noack-Mosse also asked for help with getting her memoir translated and published. For the Mosse Program, we are honored to complete this request first made in the 1950s.

Skye Doney is the Director of the George L. Mosse Program in History and a Series Editor for the Mosse Series in European Cultural and Intellectual History. He received his PhD in German History from UW-Madison in 2016.

John Tortorice is Director Emeritus of the George L. Mosse Program in History and a Series Advisor for the Mosse Series in European Cultural and Intellectual History. He directed the Mosse Program for nearly twenty years before his retirement in May 2017.