Vickie Fremont brings her art to Harare

Belatedly, a post about Vickie Fremont's exhibition at HIFA in Harare, Zimbabwe.

This exhibition took place from May 1 to May 6, 2018, under the title “Birds of Freedom”, as part of the 18th edition of the Harare International Festival of the Arts (HIFA), which will run under the theme “We Count”.
Vickie Frémont , as we know from various articles and blog posts, "has been conducting workshops around the world, using a hands-on approach for the transformation of rejects or trash into useful everyday objects. Her workshops... take place in schools, community centers, universities, and even in commercial malls. They include lectures on the destructive effects that trash of every kind has on the environment and on climate change.
She has conducted her workshops using recycled materials at The Fashion Institute of Technology,

Vickie Fremont at HIFA

The Bank Street School for Children, The Henry Street Settlement in New York City, Community Works, and numerous museums, libraries, and public and private schools" (from the HIFA press release). 
And may we add that she has been on at least two tours of Peru for the Alliance Française?

The show “Birds of Freedom” included: 
A map of Africa, a map of Cameroon, a country where more than 130 dialects are spoken: showing the country’s rivers and borders embroidered with trade beads, many of which have been used in the slave trade, large puppets representing some African countries with their traditional textiles (Cameroon, Mali, Kenya, Congo), and Birds and their nests: artworks similar to the puppets using recycled materials, in which beads, fabrics and recycled materials such as coat hangers, CDs, old rags, plastic containers, and cutting boards are combined; the resulting work bears no resemblance to any of the original materials.

"The show Birds of Freedom is about the connection between continents, and the waves of migration. Birds don't have borders but they know how to go back to where they came from.

Many people from African countries emigrate to find jobs. The 12 birds portrayed symbolize the movement, the migration, and the central nests are the guarantee that a return home is always possible.
Vickie Frémont has an abiding passion for the art, culture, and music of Africa. Although Vickie left Africa many years ago, Africa has not left her." (from the press release)

Introductory Away From Africa post about Vickie.
More African puppets by Vickie.
http://vickiefremont24.wixsite.com/arts/single-post/2015/05/07/My-hands-my-tools
Tel. +1 212 283 70 72 USA
Email: myhandsmytools@gmail.com

Atelier Lilikpó: Sika Viagbo, Parisian mosaic decor

Two tables, one design, by Lilikpó

The Viaduc des Arts in the twelfth arrondissement in Paris now houses cafés and chic shops, including the Lilikpó workshop managed by Sika Viagbo.

Walking by, the first thing you notice is the originality and the beauty of the creations through the store window.

It's a workshop visible from the street: the designer, Sika Viagbo, works on her creations in front of passersby eyes.




Before starting her own company, she worked with Pierre Mesguich (Paris), an internationally known mosaic designer, who has worked all over the world. Sika also interned separately in Tokyo and in China.

The company's name means "cloud" in Ewé, one of the languages spoken in Togo, where her parents immigrated from. Her own design influences are multicultural, inspired by her travels and experience.

How did Sika get started in this profession?
She grew up in Vitry sur Seine, a Paris

suburb. As a music major at the University of St. Denis Paris 8, she discovered the art of mosaic making, and at first made it into her hobby. One of her friends saw her work, and put in an order for decor for a relative's hairdressing salon. At that junction, Sika decided to make it her profession.

After interning at Pierre Mesguich, she studied architecture for two years, in order to better understand interior design construction sites, as her main customers are architects, interior designers, and decorators. At the outcome of these two years, she opened her own workshop.

Her inspiration? Fashion, textiles, embroidery, art exhibitions... everything in her surroundings... it is hard to pinpoint exactly what influences the final product.

WIshing Sika and Lilikpò all the best, competing in one of the world's design capitals, Paris!

Sika and the architect Amélie Essesse

Work in progress

Materials

Fashion: Made in Africa - Zuri's "One Dress"

Zuri dresses in San Francisco

Thanks to the internet, and the global economy, Made in Africa fashion is becoming more mainstream than ever before.

Two partners had a hit on their hands when they designed and produced one simple dress, in a variety of African print fabrics: Zuri. The company has been featured in the New York Times and the San Francisco Chronicle, among other publications.

Zuri has a brick and mortar shop in New York City, but San Francisco residents got a first taste at the pop up shop, in October 2017.

The dresses' reputation caught the attention of Eden Stein, owner of Secession Art and Design. Usually only local designers are featured, but her customers were clamoring for the dresses.

A Zuri dress in the Secession store window

In her words: "I was at a gala for Artspan, mingling with 800 emerging and established artists, when I saw artist Soad A. Kader in her Zuri dress. I beelined to give her a compliment. She told me about a pop up they were doing that weekend in SF. I went and instantly connected with the designers. This wearable art gem is the perfect dress buttoned or easy as a coat over a more casual look. One dress that fits so many women is helping create a sustainable economy in Kenya for the Zuri production team.  I feel honored to be their first store in San Francisco. This is a great way to connect our local design community with what is happening globally."

The dresses initial conception was through Sandra Zhao, who needed to travel in Africa with clothing that would be comfortable, stylish, yet easy to pack.
She later met Ashleigh Miller, who was taken with the concept of comfort + style (she was pregnant at the time), and they partnered to create the business.

A short interview with Sandra and Ashleigh:

The partners: Sandra Zhao and Ashleigh Miller
in San Francisco

- How do you choose the fabrics? 
We select our fabrics based on a couple of factors: 1) quality of the material (we try to select material that we know to be colorfast, 100% cotton, and preferably unwaxed finish for a more natural swing when worn); 2) design: we pick what we love! We try and pay attention to seasonality in the United States, but in general, we just pick the prints we like.  There are SO many to choose from; it's a serious exercise in filtering, but luckily we have the same taste, so we agree on pretty much everything. Additionally, if a customer writes to us, and says there is a color or print they'd love to see, we always keep my eyes open to make sure we get it for them (for everyone who writes, we assume there are others who feel the same way).
- How do you handle production with local tailors?
We have worked with a couple different ethical manufacturing partners who do our bulk production here in Kenya. They're amazing! We are really proud of the impact they have on the local communities, as well as (of course) the quality of their work. We also work with a tailor here in Nairobi who has been our rock through this whole process. She got us started and helped us push through our first flood of orders; she's been our advisor, our champion (and sometimes, our psychologist...).  We still work with her team to do our prototypes for new products before having the digital pattern made.

Zuri dresses production at Soko

- How many people earn a livelihood thanks to Zuri?
We are currently working with 32 tailors and cutters to produce our dresses. Additionally, we buy huge amounts of fabric every 3 weeks from about 20 independent kitenge dealers in Tanzania.  We have a couple of point people there who source for us between trips, and then of course the baskets, shukas, our motorbike ("boda boda") team for local deliveries, etc.  I'd say we probably fully support 40 people, and Zuri is a major part of the monthly income for another 20 people.

This just in: Secession Art & Design is hosting a pop-up for clothing designers Zuri on Friday, March 30, 4-8pm. Designers Ashleigh and Sandra recently spent time in Africa, choosing new fabrics for spring and meeting with their makers. They would love to tell you the stories behind what it's like to work globally and create a fair-trade "one dress" that looks amazing on so many women. Stop by Secession to see our current collection, or shop for one night from their limited styles. They're packing two suitcases full of dresses that will help you be part of this #JustOneDress movement.

Fabric shopping - Kariakoo market, Dar es Salaam, TZ

Without any pretense at philosophy or economics, Made in Africa is slowly but surely on the rise, with both "born in Africa" and foreign designers. In the specific case of fashion and the clothing industry, it is important that local professionals continue to be employed, as their livelihood has been reduced though imports of donated clothing from the Western world, as well as Chinese imports (it was sad to see that the "daishiki" fabric popular in the sixties and seventies is now polyester, made in China). The future, hopefully, will bring ever larger operations to the continent, and renewed confidence in the capacity of local industries.

A previous Away From Africa blog post about fashion and clothing in Africa: http://www.awayfromafrica.com/2010/08/traditional-and-contemporary-dress-from.html

Fare thee well, Boukary

Photo courtesy of Suzanne Lehn

Boukary Konaté, 1977 (?) - September 2017

He left us much too soon.

Around early 2009, as I was still new on Twitter, I looked for Africa-centric communities and found Global Voices, and then Claire Ulrich, Anna Gueye, and finally Boukary Konaté from Bamako, Mali.
We became quite friendly - albeit online - and I admired his desire to further his own education as well as promote and safeguard Malian culture, and bring the internet to rural areas. A group of his online friends, led by First World Music's Akenataa Hammagaadji, in New York, sent him a solar backpack for that purpose.
Boukary was a teacher in a Bamako high school. He wrote one of the rare blogs in Bambara, in fact one of the rare blogs in any African language in general: Fasokan. The blog won a Bobs (Best of the Blogs) award in 2012.
In 2014, he created a blog and Facebook page called "Quand le Village se réveille" (When the village awakes), that showcased traditions from all around Mali: ceremonies, objects, proverbs, and more. The last post in the blog was in January 2017; on the Facebook page, in June.
When I needed photos for my 2010 blog post on African attire, "Traditional and contemporary dress in Africa," he sent me photos from Mali. I had already written about him earlier on the now defunct site, Sosauce.com.
These past years, we were less often in touch; however, I saw that he appeared to be doing well in his endeavors. And then, I came upon the GoFundMe page (from Phil Paoletta), and discovered the terrible news that he had liver cancer, at first misdiagnosed as an ulcer.
Studies show that liver cancer is one of the leading cancer types in men and women in Sub-Saharan Africa. A silent death sentence that is usually discovered too late. We can only pray that this illness will soon not be taking so many Africans.
Phil raised enough funds to take Boukary to Tunisia for an operation. However, once there, they found out that it was impossible to operate on his liver. Boukary was brought back to Mali, where he passed away shortly after.
He was so sick that he was unable to write anymore; Phil Paoletta wrote, in his name, that he appreciated all that had been done for him, from his friends all over the world.

Here are a few more tributes to Boukary:

From France 24:

Hommage à notre Observateur Boukary Konaté, grand défenseur de la culture malienne

À Boukary Konaté (A. Gaudin)

In memoriam : for Boukary Konaté, the best among us
(In French: In memoriam : pour Boukary Konaté, le meilleur d’entre nous)

Mali: décès de Boukary Konaté, blogueur et collaborateur de RFI - RFI

The CFAO - an Interview with Cameroon Technology Director, Joël Roux

Thanks to the professional social networking platform, LinkedIn, I connected with Joël Roux, General Director of CFAO Technology Cameroon. Later, during a stay in Douala, I had the pleasure of meeting him in person.
Many of us wonder about the information technology and especially web access capacity of Sub-Saharan Africa. A while back, I wrote about IBM in Africa but was still searching for more in-depth information.
Mr. Roux kindly accepted my request for an interview. Of course, he, also, is bound by his organization's confidentiality clauses, but he offered some additional insight.

Joël Roux in his Douala office

First of all, what is CFAO and its history?
Formerly known as SCOA, the company was founded in 1881 in St. Louis, Senegal. It used to be a trading company  between Africa and France. It was renamed CFAO in 1887.
In the meantime the company grew to be a multinational conglomerate represented in 34 African countries, 7 French overseas territories, Vietnam and Cambodia. Over 12,000 staff members work in 145 operational units. Currently 97% of the capital is held by the Toyota Tsusho Corporation.
CFAO includes several branches: automobile equipment, pharmaceutical products distribution, plastic industries, retails (in a joint venture with Carrefour), and
CFAO Technology.
CFAO Technology covers technology integration, consulting, information services and network management. CFAO Technology Cameroon built several data centers in Cameroon.

Joël Roux's background Mr. Roux started working at CFAO in February 2004 as General Director of the Senegal Technology subsidiary. After two years in Senegal, he spent three years in Ivory Coast, and five years in Algeria. He has been working in Cameroon for the past three years.
Prior to his CFAO positions, he worked at Cisco and Unisys.

Cameroon's Internet access The latest estimates of Cameroon's population state 24 million. 21% accesses the internet (around 5 million people).

Comparatively to other Sub-Saharan French-speaking countries, Senegal's internet access is around 50.7% of a population of 14 million people, and about 30% in Ivory Coast, a country that has a similar GDP to Cameroon. Cameroon appears to be lagging behind, however, in the past five years the percentage doubled. Smartphones are becoming more easily affordable; this fact coupled with better 3G and 4G availability have boosted internet access.
Cameroon currently has four cellphone service providers: Camtel, Orange, MTN, and Nexttel. They cover much of the territory. There are multiple special offers, and prices are getting lower; access is improving thanks to fiber optic lines in the larger cities. All points towards great improvement in digital access.
Information technology and telecommunications should see more rapid improvement, thanks to the above factors, as well as the fact that Cameroon currently boasts good local technical colleges, that will bolster the labor pool in these specialized fields.
The situation in North Africa differs for several reasons:
-  The GDP is higher
-  Internet penetration is 44% in Morocco, 46% in Algeria and in Tunisia
-  Mobile digital access developed faster
- Many call centers serving Sub-Saharan Africa are located in distant countries. In Morocco, however, these centers are increasingly located within its territory.
Ever since smartphone usage became more common, internet access grew along the same curve as the sales of smartphones. All over the world, it is easier to access the internet through a mobile device than via a computer.* In Joël Roux's opinion, mobile telephone access has been the most important factor in Morocco's more rapid growth of information technology and telecommunications in comparison to Sub-Saharan Africa, but there is also the important role played by the Moroccan population's higher purchasing power.
In Cameroon, as elsewhere in the world, cloud storage utilization is becoming increasingly commonplace. Since several years, many banks and other large companies use online services for their information technology. In 2016 we started observing the emergence of Microsoft's Office 365.

Photo by Lars P. via Flickr
"No. 10 is important!" **

To store large data files, it has become more affordable to use online storage systems such as Box, Dropbox, or similar, rather than invest in local servers. As soon as an organization has efficient internet access, it becomes more cost-effective for them to use an on-demand storage service. It must be however noted that some "sensitive" information needs to be stored in-country, such as financial data. In Africa, these data residency laws already exist in Algeria and in Tunisia, and are in preparation in Cameroon, among other countries.
Senegal is already creating local data centers and Cameroon will most probably follow.
CFAO's future
CFAO has been in operation for over 160 years, and has evolved alongside technology and adapted to the reality of each country it is working in and using the most efficient technology possible to improve operations.
Markets are increasingly joining the "shared economy." CFAO Technology will continue to improve its digital tools and resources in order to remain a leader in the fields it covers.
As mentioned above, Central Africa is evolving at a rapid clip. The region's countries are all installing fiber optic lines in order to improve broadband access at a cheaper rate. Cameroon created an Internet Exchange Point (IXP) in order to improve the speed of communications and lessen the distances covered. It was inefficient and illogical for a message going from Douala to a user in Yaounde to go through Europe or the United States. Ever since the IXP was set up, financed by the Cameroonian government, all intra-Cameroonian messages remain in Cameroon; and thanks to improved access and the IXP, cloud storage is much more in use.
It is our hope that local digital providers will continue improving service in the entire territory as well as decreasing consumer costs, so that more and more Cameroonians can access the internet. It is proven that increased internet access encourages economic growth. For many years, current thinking was that better content would drive higher usage of the internet. Joël Roux's personal opinion is that improved, and cheaper, internet access will bring the consequence of more young people creating tools better adapted to local needs.

The future

GDG DevFest Yaoundé 2014.
Photo: Hinault Romaric via Flickr

Joël Roux's comments above demonstrate his optimism relative to the future of the African continent, its young population. The capacity to accelerate development will increase with the tool of online access, that breaks international barriers, and can create unexpected innovation.
The development of information technology must go through improvements in smartphones, which are often more powerful than small computers. Mobile devices are more accessible to the general population, are always connected, and although their storage capabilities are limited, cloud storage offers a remedy.


We now live in an information era that knows no borders, no color, and no religion, offering us the prospect of forming a universal family.

* The situation is similar in low-income neighborhoods in the United States, which is one of the reasons behind the Digital Van program at NY City Housing Authority, as it is difficult to write a resume on a smartphone, to take one example. The vans offer laptop and printer/scanner use and wireless internet access to residents of lower-income New York City communities.

** https://www.flickr.com/photos/lars_p/4703596121

Five English-language novels by African women

These past months, I read five novels, all written in the last ten years by African women from different English-speaking countries/regions.

Americanah by Chimamanda Ngozi Adichie (Knopf Doubleday, 2013)
Ghana Must Go by Taiye Selasi (New York Penguin Press, 2013)
Behold the Dreamers by Imbolo Mbue (Penguin Random House, 2016)
Homegoing by Yaa Gyasi (Penguin Random House, 2016)
The Book of Memory by Petina Gappah (Farrar, Straus and Giroux, 2016)

They were all interesting and engrossing, and cover a large swath of issues, especially the relationship between Africa and the United States of America (more directly in three of the novels).

 

 Americanah and Ghana Must Go both feature protagonists who live and/or have lived in the United States and in their African home country, in the United States for a long enough time to have enjoyed American success stories. Americanah describes especially well the tensions in the relationships: between Africans from the recent diaspora and African-Americans, between blacks and whites, between African returnees to the "homeland" and those who never left.
Behold the Dreamers, on the other hand, stars an immigrant family yearning for the American dream, and the lengths to which an immigrant will go to hold on to this goal.
Homegoing was one of my personal favorites, although not all may concur with me. It weaves together the story of two branches of a family - one remains in Africa, the other, through slavery, ends up in the United States.

The Book of Memory is the least entwined with the world outside Africa, in this case Zimbabwe. However there are many references to the Western world (which can be confusing, especially towards the beginning of the book); but one of the main leitmotivs is the experience of being an albino in a land where the majority has dark skin.

I thank Dr. Faith Adiele, Professor of African Literature at the California Center for the Arts, for introducing me to several of the books, and on clarifying the academic viewpoint on these novels.

Professor Faith Adiele introducing the author
 Yaa Gyasi at the CCA

The author of Homegoing, Yaa Gyasi, autographing
her book at the CCA.

New York Times article: May 8, 2017: A Portrait of the Artist as a Young African Immigrant

Update! Oprah Winfrey selected Behold the Dreamers for her book club.

Professor Mark Dike DeLancey, DePaul University

Professor Mark DeLancey

Mark Dike DeLancey is an Associate Professor of History of Art and Architecture and Director of the Islamic World Studies Program at DePaul University in Chicago, Illinois (USA).

He wrote an article within the Cameroon chapter of a soon-to-be-published book about African Architecture (DOM Editions), which is how I heard of him (I had written and compiled information for the chapter). As I got to know him via Facebook, I became curious about his background, as he appeared to have extensive ties to Africa in general and Cameroon in particular, beyond his academic specialty.

Dr. DeLancey was born in South Carolina, USA. His family moved to Cameroon when he was two years old, in 1975. Both mother and father were Professors of African Studies; as Dr. DeLancey recounts it: “They became interested in Africa as a result of being stationed in Buguma for 2 years with the Peace Corps.”  

Sir B.M Okororie with Virginia H. DeLancey,

 Mark W. DeLancey and Mr. Okororie's wife. 

His mother’s doctoral fieldwork was on the relationship between women in the workforce and fertility. One and a half years later, the family moved to Nigeria, where his father taught at the University of Nsukka.

Mark DeLancey received an Igbo middle name from the headmaster of the school where his parents taught, in Buguma, Sir B.M Okororie (who named his own child DeLancey Okororie), and became Mark Dike (Dike meaning "strong or courageous person").

Six months later, the family returned to South Carolina, where Professor DeLancey Senior (the father) was a professor at the University of South Carolina in Government and International Studies.

in 1980, the family moved to Yaoundé (Cameroon) where Dr. DeLancey’s father taught at the University of Yaoundé for a year on a Fulbright grant, before returning again to South Carolina.

In 1985, his parents divorced, and the two younger children (in 1978, a younger sister, Elise Deeqa, was born) lived with their mother in Mogadishu, Somalia, and later in Cairo, Egypt.

Education

After graduating from high school, Dr. DeLancey attended Oberlin College in Ohio, USA, a well-regarded liberal arts college. It was quite the change for him to live in a colder climate, in a small town of 9,000 inhabitants, after living in the teaming metropolis of Cairo, with 12-15 million denizens!

He majored in Combined Studio Art/Art History, after spending another year in Cairo, this time at the American University of Cairo (AUC) studying Arabic and Islamic Art, and taking full advantage of being able to visit the buildings and art he was studying, even speaking with the caretakers! Upon his return to Oberlin, the department chair, seeing the work he had accomplished in Cairo, urged him to continue on the art history path.

At that time, very few people were researching Islamic art in Sub-Saharan Africa (those who were: Rene Bravmann and Labelle Prussin); also Professor DeLancey was eager to find a path back to Cameroon, where Islam is practiced in northern Cameroon and part of West Cameroon.

Harvard was one of the rare schools to have a graduate program, with tenured professors, in both Islamic and African Art. He was accepted at Harvard in 1996 for the PhD program, and it was there that he attended his first African art class.

In 1999 he went to scout out Cameroon research locations, traveling from Maroua to Ngaoundere, and decided that Ngaoundere would be his home base, due to climate and ease of contact.  In late 1999 he did archival research in France, Germany, and Switzerland.  He returned to Cameroon in early January 2000 for a year, living in the Peace Corps house for a few months, until renting a flat in the Quartier Bamoun neighborhood.  His research was focused on the palace at Ngaoundere for the first six months, to attain an in-depth sense of one important palace.  It was also a great place to work due to the presence of the University of Ngaoundere, the only university in the Grand North at the time, and the presence of Ngaoundere-Anthropos; the latter was a joint University of Ngaoundere/University of Tromso research institute.  Important players in this project were Lisbet Holtedahl from Tromso, Eldridge Mohammadou at Maiduguri, and Hamadou Adama and Gilbert Taguem Fah from University of Ngaoundere, amongst others.

It was a complex place to work.  He was at least attuned to life in the north and the concerns of a Lamidat. The last six months he spent traveling almost continuously to 14 palaces, going out for several weeks and then returning home for a few days before heading out again.  He had no vehicle, so all travel was by minibus, bush-taxi, moto, or riding on the tops of lorries. 

After returning to Harvard in 2001, he completed his PhD in 2004.

His book on palace architecture was published this year: Conquest and Construction, Palace Architecture in Northern Cameroon (Brill, 2016).

Teaching Career

In June 2003 he had his first position teaching art history at James Madison University in Harrisonburg, Virginia. In 2006 he moved to DePaul in Chicago, which boasts a more research-oriented environment, museums with African art, and colleagues at DePaul, Northwestern, University of Chicago and more. 

Dr. DeLancey teaching at DePaul University

Work in progress

In the past few years Professor DeLancey took an alternate research interest in calligraphy and manuscripts in Mauritania.  This interest came of a chance encounter with professor emeritus of history from the University of Illinois, Charles Stewart, who recently published a two-volume text on Mauritanian manuscripts, which he has worked with for several decades now, but largely as historical documents rather than as aesthetic objects.

Professor DeLancey is also working on an article on the palace of King Njoya, Sultan of the Bamoun (West Cameroon), which he hopes to publish in 2017.

Languages learned

As a child in Yaoundé, Cameroon, Professor DeLancey started learning French at the American School. He started learning Arabic at AUC and continues taking classes on a regular basis to perfect his knowledge of the language. To gain better understanding during his research on North Cameroon palace architecture, he started learning some Adamawa Fulfulde. This language is related to Pulaar, the dialect of Fulfulde spoken in western Africa: as in much of Senegal, Guinea… (Adamawa Fulfulde is grammatically simpler and incorporates much Hausa and Kanuri vocabulary.) He also took an intensive German language class at Harvard in 2001.

And... on his personal relationship with Africa... "It's a part of me from the very beginning ... or I'm a part of it. When I fly into Douala and see all that lush greenery below, I get that same joy anticipation of returning as I do going back to SC. The humidity, smells, sounds, food all trigger that deep sense of belonging."

As a woman married to someone born and raised in Douala, of Duala descent, and having lived there myself for many years, I know that it is not the most lovable city in the world. So this feeling will be much appreciated by the people of Douala, I am sure! 

Watch: A video of Professor DeLancey with his students, at the DePaul Art Museum.

Family photos

His brother Blaine carrying him at Ekona, 

SW Province, Cameroon, c. 1975.

 

Pr. DeLancey's sister Elise Deeqa Mugabo, her husband Liban Ali Mugabo, their eldest daughter Ayaan Mugabo, youngest daughter Aragsan Mugabo, and brother-in-law Aden Muhire. (Not pictured is their now 1 1/2 year old son Mahad Mugabo.) Ms. Mugabo has an international MBA from University of South Carolina and currently works with with the nonprofit organization PSI, that moved the family to Monrovia where they now live.

Dr. DeLancey with his father Mark Wakeman DeLancey, his Cameroonian stepmother
Rebecca Neh Mbuh, and his youngest sister, Margarette.  

From left to right: Dr. DeLancey, Aragsan, Liban, Mahad, Elise, Ayaan,
mother Virginia DeLancey, and mother's pup Snuffles.