FALLS VILLAGE — The National FFA Organization is developing the next generation of leaders.
Each year, FFA chapters around the country celebrate National FFA Week. It’s a time to share what FFA is and the impact it has on members every day.
The FFA mission is to make a positive difference in the lives of students by developing their potential for premier leadership, personal growth and career success through agricultural education. FFA helps members discover their talent through hands-on experiences, which give members the tools to achieve real-world success.
A combined 850,823 students from throughout the United States, Puerto Rico and the U.S. Virgin Islands have chosen to be a part of FFA. Of those members,116 are from our chapter. Each year these numbers grow as more young people become a part of the organization. FFA was chartered in 1928 as the Future Farmers of America.
The organization changed its name from the Future Farmers of America to the National FFA Organization. The name changed because FFA is not only for future farmers, but it is for any and all students despite what their plans are for the future. It is an organization that provides countless opportunities and develops leadership skills that can carry over to all careers.
Housatonic Valley FFA (HVFFA) members are involved in local, statewide and national events throughout the year. This past summer, students attended the Washington Leadership Conference (WLC), the Sound School chapter exchange, and the Alumni Picnic hosted at Laurelbrook Farm. While at WLC, students spent the week with fellow FFA members from all over the U.S. to develop leadership skills and ways to help their community.
This summer, HVFFA partnered with the Sound School in New Haven for a chapter exchange program. Members from our chapter were invited on a deep fishing excursion, and in exchange, we gave their chapter members a tour of agriculture in our part of the state. The Housatonic Valley FFA Alumni Association sponsors both of these summer activities.
HVFFA also has many activities and events throughout the school year to help members learn and grow. Students prepare for and compete in numerous state competitions called Career Development Events (CDEs) and Leadership Development Events (LDEs). This past November, the Ag Communications team (Anne Moran, Simon Markow, Hannah Johnson and Chris Crane) and Creed speaker (Riley Mahaffey) competed at the National FFA Convention representing Connecticut.
In addition, students attend IMAGE, COLT, JLC, State FFA Convention, and the National FFA Convention. We give back to our community by helping with the Falls Village Car Show, volunteering at the Big E and the Goshen Fair, and sponsoring a rabies clinic over the summer.
HVFFA chapter members are looking forward to spring competitions, conferences and our annual ag open house. We appreciate all the ways that the community supports our program.
Lauren Sorrell is a student reporter at HVRHS and a member of HVFFA.
Submitted
Melanie Rundall and Tyler Anderson worked at the FFA Holiday Store at HVRHS this past winter.
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Falls Village, CT
Saturday November 8 Tag Sale in the Barn: 91 Main Street in Falls Village 10 to 3 pm. Please Park in town parking available along Main St. Tools, wood working tools, bench, furniture, antique doors, out door planters, Halloween and Christmas decorations and much more.
That sense of shared purpose is at the heart of the invitation Gast extended to artists Natalie Baxter and Janis Stemmermann to process a bumper crop of Japanese indigo (Persicaria tinctoria) at her studio this fall. All three artists’ practices intersect through material, process and an interest in the handmade. Gast and Stemmermann have collaborated on a series of hand-knit vests dyed with black walnut, available through Stemmermann’s store, Russell Janis. Baxter is a Wassaic Project residency and fellowship alum, who is leading a community quilting workshop there on Nov. 15. She also co-directs “Cottage Courses” with artist Polly Shindler, a series of hands-on artmaking workshops throughout the region.
“Lisa Dachinger of Hilltop Farm & Fiber Arts north of Pittsfield, Massachusetts had an abundance of indigo this year,” said Gast of her learning about the crop’s availability.In two trips to the farm, Gast harvested the plants and began experimenting with the ancient art and science of extracting pigment from the plants and transforming it into rich, layered blues.
Artists Christy Gast, left, and Natalie Baxter in Gast's studioPhoto by Natalia Zukerman
“There are a lot of steps,” Gast noted with a laugh, as vats of aerated indigo bubbled in the corner of the studio. The process is slow and physical, dependent on timing, temperature and a kind of faith in chemistry. The freshly harvested Japanese indigo leaves are first soaked in warm water and left to ferment for several days. The plant matter is then removed, the solution is strained and the pH is raised with the addition of calcium hydroxide, and then the mixture is aerated, poured back and forth between containers until it oxidizes and the pigment turns dark blue. After the indigo settles to the bottom, the resulting paste is filtered, dried and ground into powder. Only then is it ready for dyeing.
But as Stemmermann pointed out, “It’s not a dye. It’s a coating and reaction.” Indigo’s elusive chemistry means each piece is unpredictable, shaped as much by chance as by control. To achieve a deep, saturated blue, “you have to layer it and dip it up to eight times,” she explained.
Each artist uses dye in their work, albeit quite differently, yet all share a deep sensitivity to material and process. “There is a seasonality to textile work,” said Baxter, referring to dye plants.“First, there’s the planting. And then you wait for them to grow, you harvest them, you dye the fabric and then it’s wintertime.” During quilt season when our attention turns inward, the patient, hands-on process becomes a meditation on slowness for Baxter, mirroring the rhythm of the earth and a quiet longing to move with it.
Processing Japanese indigoPhoto by Natalie Baxter
For Gast, working with plant dyes is a way to align artistic practice with ecology and activism. “I’m working on a project that will be showing at Mass MoCA in 2027,” she explained. “It’s a collaborative opera about peatlands for which I’m producing a textile installation that functions as the curtains. I’m using as many natural and regional processes as possible because our work has to do with local-to-global activism and conservation. There is a chemical alchemy in peatlands, which despite covering just 3% of the Earth’s surface, capture more than twice the carbon of all the planet’s forests combined. There’s a direct poetic alignment between plant dye processes and peatlands, which preserved some of the earliest textiles we know of. And the color palette is ancient, both familiar and uncanny.”
There’s a certain chaos in balancing experimentation with intent. For Gast, Baxter, and Stemmermann, this first attempt at pigment extraction has been as much about curiosity as outcome, a communal act of making, rooted in patience, experimentation and discovery.
To find out more about these artists, visit: christygast.com, nataliebaxter.com and janisstemmermann.com
