SALISBURY — Jumpfest 2025 attracted thousands of guests to Satre Hill for a weekend of ski jumping, traditional treats, bonfires and brews Feb. 1 and 2.
Typically a three-day event, Friday night’s festivities were canceled due to rainy conditions, which made for slick slopes on Saturday and Sunday.
Saturday was bright, clear and on the cold side in the mid-20s, with an irregular wind that the jumpers had to be mindful of. Snowflakes were flying when the action kicked off at about 9 a.m. with the youth competitions on the K20 jump.
Youth ski jumpers gather at the landing zone to recognize the national anthem before the Eastern U.S. Ski Jumping Championship began at Satre Hill.Lans Christensen
“It’s very winterlike here at Satre Hill,” said WZBG Radio’s Dale Jones, who once again assumed announcing duties for the competition. Gusty winds had fortunately mostly abated for the jumpers of smaller stature, with windows of sunshine intermittently breaking through the flurries and illuminating the paint-streaked landing hill.
SWSA’s own Caleb Bodwell, who placed 2nd last year, put down a sizable 10-meter jump. Shortly after, Catherine Chor flew 11.5 meters, the furthest of the day so far.
Henry Loher flew farther than any other competitor at Jumpfest 2025, gliding 71meters on Sunday, Feb. 2.Randy O’Rourke
Larry Stone, a ski jumping coach in winter sports mecca Lake Placid, New York and Chief of Competition for the weekend, said that Catherine’s sister Caroline would be one to watch later in the day in the older age group. The sisters train together at their local jumping facility in Hanover, New Hampshire, Stone explained: “They’re a good twosome.”
Temperatures dropped as the day went on, and in response the two bonfires flanking the landing of the big jump kept growing. Lakeville local Fisher Rydingsword was stoking the flames with scrap wood, a picnic table and seemingly infinite pallets. At 16 years old, this is his eighth year tending to the fires, and he likes the work: “It gives me an excuse to play with fire,” he said as he heaved another pallet atop the blaze.
Youth cross-country skiers depart.Alec Linden
The Cook Shack was busy around mealtime, as was the food truck offering pulled pork and mac and cheese.
To wash it down fans could choose between craft beers or hot toddies made with bourbon or rum as the main ingredient. The action was steady here too.
Some fans coped with the wind with tent-like shelters, but most were content to be bundled up and rely on the sun to stay warm. If that failed, there were the usual two bonfires on either side of the main jumping hill and a number of smaller fires in buckets and portable fire pits.
Hot toddies remain a staple treat at Jumpfest, plus SWSA bratwurst from the Cook Shack.Lans Christensen
Salisbury Central School eighth grade students Bryce Salmon, Quin Sheil and Tommy Downey prowled the crowd selling baked goods and handwarmers. The boys were raising funds for the annual class trip to Washington, D.C.
A little before 1 p.m., a well-prepared group were getting in the mood. Steve and Adrienne Fayette from Newtown and Rich and Amy Ferrari of Brookfield had comfy chairs and were well and warmly clad. They were fortifying themselves with salami, cheese and crackers and a bottle of red wine to start. Rich Ferrari said after that they’d get to the sandwiches.
“We love this event,” he said.
Ski jumpers pack into the shuttle truck for a lift back up to the K65 jump on Sunday, Feb. 2.Randy O’Rourke
At about 2 p.m. fans were still coming into Satre Hill. The parking lot was completely full, and people were sticking their cars wherever they could and hoofing it.
Sunday saw less wind and grayer skies for the Eastern U.S. Ski Jumping Championships with temperatures remaining more solidly in the mid-20s. These were good, fast conditions explained Jones, and the jumpers took advantage, putting on a spectacle of flight for the crowd.
The tone of the afternoon, though still joyous, was less boisterous and more focused than on Saturday. As skiers dropped in from their perch high on the tower, a hush would fall over the crowd, broken by cheers and the clang of more cowbells once the skis returned to snow.
Caleb Bodwell lands a jump on the K20 hill.Tom Brown
Salisbury’s own Islay Sheil surpassed 40-meters on her best Sunday jump. Sheil, who is 14, is the first SWSA youth athlete to have jumped the K65 since SWSA coach Seth Gardner jumped it in his early days, Spencer Taylor said.
Colin Delaney, who described himself as the “official/unofficial” coach of the Eastern Ski Jumping and Nordic Combined team, said that Jumpfest is a vital component to the national circuit. “It’s a really important hill size for training,” he said, emphasizing that the event “brings together athletes with different goals in the sport.”
Bonfires keep guests warm on crisp winter days.Lans Christensen
While the Eastern Championship is a wrap, jumping season is far from over. Loher, who emerged from Jumpfest highly decorated, will be competing at the Junior World Championships on Feb. 11, while other jumpers on the team will travel to Park City, Utah for the Junior National Championships on Feb. 22.
Jumpfest 2025 was well attended with an estimated 1,600 guests on Saturday and 1,500 on Sunday.
See 99th Jumpfest competitors soar to great heights for official Jumpfest results.
The SWSA crew maintains the slope at Satre Hill.Randy O’Rourke
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Stephanie Haboush Plunkett
“The field of illustration is very close to my heart,” she said. Inspired by that example, she studied illustration at Pratt Institute and began her career as an illustrator before shifting toward museum work. An internship at the Brooklyn Museum proved pivotal. “It was inspiring to see the children come alive in front of art,” she recalled.
In addition to her curatorial work, Plunkett is the author of two children’s books, “Kongi and Potgi: A Cinderella Story from China” and “Sir Whong and the Golden Pig,” and has written or co-authored numerous books on illustration, including “Drawing Lessons from the Famous Artists School” and “Leo Lionni: Storyteller, Illustrator, Designer.” She earned an MFA from the School of Visual Arts and built a museum career that included positions at the Brooklyn Museum, the Brooklyn Children’s Museum and the Heckscher Museum of Art before joining the Norman Rockwell Museum, where she has worked for 31 years.
But elevating illustration has meant challenging decades of critical skepticism.
“The goal has been to shine a light on this important American art form and to elevate public awareness of its artistic and cultural importance,”Plunkett said.
As a popular and widely circulated art, illustration is sometimes thought of as inferior to fine art, such as painting and sculpture. Plunkett considered why. She theorized that the 1913 New York Armory Show, the International Exhibition of Modern Art, with works by artists such as Picasso, Matisse and Duchamp, initially contributed to this evaluation. In the 1930s and ’40s, abstract expressionism became the art of the nation, and the rift widened further.
“Norman Rockwell became the antihero for many art critics of the time,” said Plunkett. “Illustration was viewed as too commercial and sentimental because of its emphasis on visual storytelling.”
Plunkett calls illustration “art with a job to do.” She explained, “Illustrators are adept at solving visual problems for their clients while expressing their own aesthetic and artistic vision.”
Visitors consider Norman Rockwell’s paintings on Civil Rights for Look Magazine, “New Kids in the Neighborhood” (1967) and “The Problem We All Live With” (1963.) L. Tomaino
She noted that the line between the fine and applied arts “is much more porous now, with many artists working across platforms and styles.” She cited late-20th-century illustrators like Marshall Arisman, Barbara Nessim, Robert Cunningham, Bernie Fuchs and Mark English as illustrators who forged unique approaches to working and seeing.
Plunkett commented that people want to see the original illustrations. “Generally, Rockwell exhibitions bring high attendance. Currently, our traveling exhibition, ‘Norman Rockwell: From Camera to Canvas,’ is at the New Britain Museum of American Art, but we’ve traveled Rockwell and illustration to 45 states and several countries, including Japan, France, Italy and Germany.”
Nowadays, illustrators take on subjects that are important to them. “The children’s book industry is committed to sharing the richness and diversity of people and cultures with young readers.” Plunkett cited the late illustrator Jerry Pinkney’s commitment to this goal. As a boy, Pinkney found no books portraying children like him, and “his life’s mission as an artist was to present inspiring, positive images of children of color.”
The Norman Rockwell Museum and Rockwell Center seeds were sown when “Rockwell placed the first 199 artworks in the care and collection of the Norman Rockwell Museum upon its founding in 1969, some of which he personally acquired for the fledgling collection,” said Plunkett. “The museum’s current Rockwell holdings include 865 original artworks, the artist’s Stockbridge studio and an archive of 400,000 photographs, letters, props and first uses of the artist’s work. We also hold about 25,000 illustrations by other artists, from the historical to the contemporary.”
“We call ourselves the home for American illustration. We have a real commitment to illustrators and what they’ve accomplished,” said Plunkett.
The Norman Rockwell Museum is located at 9 Glendale Road, Stockbridge. For more information and to purchase tickets, visit
nrm.org
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A tray can help group items in a way that looks and feels thoughtful and intentional.
A tray creates a moment. It gives the eye a place to land and turns everyday objects into something intentional. More importantly, it’s approachable. There’s no measuring, no commitment, no pressure to get it “right.” It’s a small, easy project — affordable, functional and even a little fun — that can be tailored entirely to you.
One of the things I love most about styling trays is that your cozy “moment” becomes mobile. Everything you love is gathered in one place and can be easily moved from room to room as your day unfolds. A tray that starts on an entry table can later migrate to a coffee table or kitchen counter, adapting to how you’re actually living in your home.
In one client’s entryway, we styled a tray that sets the tone the moment you walk in. A simple pair of brass candlesticks adds warmth, a blue-and-white chinoiserie vase brings character, and two vintage books ground the arrangement. It’s not decorative for decoration’s sake — it feels collected, welcoming and personal, all while keeping the surface from becoming cluttered.
In another home, a coffee table tray became the quiet anchor of the living room. We included a strand of wooden beads for texture, the TV remote tucked neatly into a small vintage box, and a plant nestled in a pottery bowl. The tray keeps everyday necessities close at hand while making the space feel relaxed and lived-in rather than chaotic.
Styling a tray can give a home or room a re-fresh.Kerri-Lee Mayland
Kitchens may be where trays work hardest, especially in winter when we’re cooking inside more and gathering more casually. For one client, we styled a tray with a pepper mill; a shallow bowl for garlic, shallots and onions; and a white Italian ceramic container filled with olive oil. It’s practical and beautiful, and it makes cooking feel intentional instead of rushed. The tray warms up the counter while keeping essentials within reach.
Another version I often create is the cocktail, mocktail or tea-and-coffee tray — endlessly useful for friends popping over to say hello. A few cups, a teapot or carafe, honey or sugar, and a candle create an inviting setup that’s ready at a moment’s notice. It says, “Stay a while,” without any fuss.
What makes trays so effective this time of year is that they respond to winter’s quieter rhythm. Winter decorating isn’t about bold color or dramatic statements — it’s about texture, warmth and restraint: wood, stone, ceramic, linen, candlelight. A tray helps you edit rather than add, grouping items so they feel thoughtful instead of scattered.
When the seasons shift, the same tray evolves with you. Heavier elements can be swapped for lighter ones — fresh flowers, glass, pale ceramics — without starting over. One tray, styled seasonally, becomes a constant that gently changes rather than something that has to be replaced.
Remember, good design doesn’t have to come from big gestures. Often it comes from small moments done well — a surface that feels intentional, a corner that feels cared for. In winter’s stillness, creating a simple tray may be just enough to make your home feel calm, personal and complete.
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