The VI Breast Cancer Project & DPNR Celebrate Afro-Crucian Culture

by Denise Lenhardt Benoit 

This past fall, the Virgin Islands Breast Cancer Project (VIBCP) and the VI Department of  Planning and Natural Resources, Division of Libraries, Archives, and Museums (DPNR/DLAM), hosted two powerful art workshops that celebrated Afro-Crucian culture, time honored traditions  of old and the hope of the future. The Art of Making Masks for Healing, and Making a Way, a  mixed media art class, were co-curated by Diane J. Hampton, co-founder of the VIBCP and  Monica Marin, DLAM Chief Curator. 

Since 2019, cancer survivor Diane J. Hampton, has made it her mission to advocate for, and  inspire Virgin Islanders on their cancer journey. Her unique brand of respite activities has  evolved over the years from day spas, and weekend retreats at local venues and historic great  houses, to art therapy classes, as part of the Art of Healing: Threads of Resilience, Healing Arts,  Heritage and Culture Series. These classes are free of charge and were made possible by the St.  Croix Foundation’s support, through the 2025 Healing, Humanities, Art and Culture Mellon  Grant. 

As chief curator and director of cultural arts programming at Fort Frederik Museum, Monica  Marin produced two major art exhibitions in 2026: “When the Walls Answer”, a tribute to  Gerville R. Larsen and El'Roy Simmonds, made possible by the VI Architecture Center for Built  Heritage and Crafts (VIAC), and the 2026 annual commemorative emancipation group show,  "Ancestral Memory: Caribbean Futures". Given Diane and Monica's shared vision and  commitment to Crucian history, art and culture, their collaboration seemed like a "no brainer". 

The Art of Making Masks for Healing was taught by treasured masquerader, storyteller, and  musician, Asta Williams. Born and raised in Frederiksted, she comes from a long line of culture  bearers and is an expert on all things Crucian. Her entire life has been steeped in Afro-Crucian  tradition and the preservation of Virgin Islands culture, particularly the art of  masquerading. Williams says that she is always happy to share this time honored tradition, but  finds that it has evolved to a degree that is apart from the original purpose behind masquerading,  which was and remains widely practiced in West Africa. 

The tradition of masquerading was part of an annual event to honor the ancestors, called  Egungun, in West African society. The celebration incorporated music and dance, and was  viewed as a way of connecting the living with the ancestors. The masqueraders represented the  eternal authority of the ancestors and reinforced the importance of maintaining peace, good  character and behavior, and community values among the villagers. To that end, Williams  explained the identity of the masqueraders was always hidden underneath a mask, hat and  multiple layers of clothing. From head to toe. The Egungun masquerade served as a reminder to  the people that the ancestors are always watching. Behave yourself! 

Mama Asta, as she is affectionately called, affirmed that she is always honored and happy to  share the art of masquerading as it was taught to her, but laments that modern-day masqueraders  prefer to wear very little clothing, which, while exciting and festive, differs widely from the  original intent of the "masquerade". Nevertheless, she will always make herself available, in the hopes that present and future generations remain connected to their African heritage. 

That being said, Williams began to guide the participants on an artistic journey to create two  types of masks; one out of paper and the other using a light pliable mesh material. Special  crayons, paint, sequins, gemstones, feathers, assorted flowers, glitter and glue, were on hand to  embellish their creations. 

One would-be artist said working with the mesh and hot glue proved to be a bit challenging, if  only because it took patience to get the desired effect. Overall, everyone in attendance was  delighted with their finished product and to have had the opportunity to be in the presence of a  living monument to the culture of the Virgin Islands. 

Digital artist/painter, Adrian Michael Edwards, by his own definition, is a Crucian  multidisciplinary artist. A traditionalist, Edwards work explores memory, freedom, identity, and  the intersections of Afro-Caribbean history, philosophy, and speculative futures. Working across  painting, writing, and digital media, he creates narratives that invite viewers to imagine new  possibilities while remaining rooted in the histories that continue to shape the present. 

Edwards says his art is inspired by the histories of freedom in the Virgin Islands and the  realization that every generation must continue that journey in the face of new forms of bondage.  His painting, Making a Way, served as the featured cover art and the core thesis for the 2026  Annual Emancipation Art Show, which highlighted the importance of African diasporic cultural  memory and traditions that continue to inform art from the Virgin Islands. Using the imagery of  sugar cane, African and Afro-Caribbean symbolism, and contemporary references to technology  and consumer culture, the painting suggests that while the plantation has changed its appearance,  the work of making a way toward freedom — spiritual, intellectual, cultural, and economic — continues. 

Making a Way, was thus the perfect title for the VIBCP Art of Healing: Threads of Resilience,  Healing Arts, Heritage and Culture 2026 season finale. The people of Ghana (Twi), have 129  Adinkra symbols which are visual icons that express African philosophies and values of life.  Participants in the class were asked to create art from the one symbol that best represented their  personal outlook on their lives and/or cancer journey. 

Sixteen-year cancer survivor Terry Vanterpool chose the Adinkra symbol that represents  strength, which she says really resonated with her. "Strength is not just defined by the personal  or the physical. It is also spiritual. In this cancer journey, you need all three. Spiritual strength is  understanding that our power to overcome, ultimately comes from God.”  

Fellow artist and painter, Gigi Michelle attended the mixed media class with her husband, cancer  survivor, Bill Stancil. They both agree that Edwards is a gifted artist and insightful teacher.  Commenting further, Michelle said that "it was amazing to create representations of where we all  are, have been and hope to be in our journeys."  

Discussing his approach to making art, Edwards commented, “I was reminded of how tender and  precious life really is. It is a gift. The beautiful souls I spent the day with, chose to step away from their daily routines and make time to simply live, create, and be present together. I hope I  never forget the lesson in that simple choice. It reminded me a lot about the gift of life and how  fragile it is and how precious every moment can be." 

Diane Hampton says, “through art, heritage, and cultural activities, our program offers survivors  opportunities to express themselves, connect with others, and find moments of joy and  encouragement during and beyond cancer treatment.” Monica Marin added, “contemporary art  practiced in the VI continues to be informed by African cultural legacies that pass on knowledge.  Present-day artists and culture bearers from the Virgin lslands are carrying this work forward.” The DPNR/DLAM Keeping Masquerading Traditions Alive initiative is supported by grant  funding through the St. Croix Foundation’s Healing Humanities Grant. 

An exhibit showcasing the art created during the series is now open through January 2027 at Fort  Frederik Museum in downtown Frederiksted.