IF YOU VISIT MY HOME YOU WILL KNOW ME | The Home Visit | SARAH LEIBOWITS, Educator

Imagine a radical school curriculum where 4 and 5 year old children are required to visit the homes of every student in the class. I speak with Sarah Leibowits, a lower school educator at the Manhattan Country School in New York, who has taken her class on  these very home visits for 20 years. Established as a 'private school with a public mission’,  lessons at the school from kindergarten through 8th grade, are built on the celebration of unique difference.

Transcript

IF YOU VISIT MY HOME YOU WILL KNOW ME

The Home Visit | A Radical Curriculum for 4 and 5 Year Old Children at the Manhattan Country School

Sarah Leibowits

S2 Episode 2: TRANSCRIPT April 3, 2022

Sarah

“One of my favorite stories, on the home visit and it's about food. One of the children was a biological child, and the child who was on the home visit was their other child, the younger one, was an adopted African-American child. Mom is Italian. Dad is Jewish. So a very diverse family, but something that was very important to them was the Italian identity and the food. So, on the home visit, we ate the family recipe of meatballs, and they explained that when they make the meatballs, they put the pictures of the ancestors all around them in the kitchen, and they play a CD of Dean Martin singing 'That's Amore'. And so, we sat there at about 10:30 in the morning at the dining room table, each child with a meatball on their plate. We were surrounded by pictures of the ancestors. And then, all of a sudden you could hear 'when the moon hits your eye, like the big pizza pie', and we listened to that song as we ate meatballs.”

Nina

“I'm Nina Freedman, and this is WHEREING. WHEREING  explores where we are. It is dedicated to those who believe in the inherent right of belonging, and all the ways we feel we belong and connect, to ourselves, to each other, and the spaces that hold the stories where all of this comes alive. Where each experience of belonging is a work of art, created by chance or by design. Dare I ask, is belonging where you are, not what matters most? WHEREING is the spatial story. Welcome.”

Imagine a radical school curriculum, where four and five-year-old children are required to visit the homes of every student in the class. I speak with Sarah Liebowitz, a lower school educator at the Manhattan Country School in New York, who has taken her class on these very home visits for 20 years. Established as a private school with a public mission, lessons at the school from kindergarten through eighth grade are built on the celebration of unique difference. 

Hi, Sarah! Thank you so much for taking the time on your day off.  I've been so looking forward to this. 

Sarah

Hi. So have I. I'm really excited to be here. 

Nina

I'm really glad to hear that. Sarah,  I think it would be helpful for our listeners to know about the community of the  Manhattan Country School, and I'm intentionally using the word community. How did it begin?

Sarah

Well, in 1966, or I should say some years before that, the founders of the school, Gus and Marty Trowbridge, they wanted a school that showed the diversity of New York. You know, at that point public schools were very segregated. In fact, I think they still are very segregated. Gus was teaching at a prestigious private school, which was extremely segregated, and he was very passionate about the civil rights movement, and about the teachings of Martin Luther King Jr.  He and Marty wanted a private school with a public mission. That's what they always called it. They wanted a school where there was no racial majority, that was a diversity of races, a diversity of people from different neighborhoods. So, they worked together and they found this building on East 96th street. We are no longer in that building. We have doubled, and we're in a new building, but he wanted this building to be on East 96th Street, because he saw it as the dividing line, like the Berlin wall between the very wealthy upper east side, and then the ,less wealthy, the poorer  Spanish Harlem.  The school opened with 66 children and grew from there. Some years later, they bought a farm in Roxbury New York, which is up in the Catskills, because they also wanted children to understand food, and where food comes from. You know, food doesn't originate packaged in a supermarket. They wanted them to understand the origin of the food we eat from a farm. And so, the children go to the farm several times a year, for a week at a time, and they work the farm. So, this is why it's called Manhattan Country School. A lot of people always think it's kind of like a country club, and that's not the reason for the name of the school. It is the connection between the city and the farm, the city and the country. And then, one of the founding families in the school, in the early seventies, helped to develop what we call the tuition reform plan, so that Manhattan Country School could then offer a sliding scale tuition. The idea behind this, which I think is the most wonderful idea, is to not separate the haves and the have nots. When you look at most private schools, they have the idea of scholarship, or financial aid. The problem with that is you see the few people who are on those scholarships. Being a child who went to a private school myself, in the seventies, we knew that all of those small group of children of color, were all of the children on scholarship. Whereas, Manhattan Country School wanted it to be that everybody filled out what they call the family financial worksheet, and everyone paid tithes into the school, about a 10%. So, if you earned $20,000 a year, you would be paying $2,000. If you earned $500,000 a year, you would pay the top tuition, but be expected to pay the rest of that 10% in a donation to the school. It was the idea that you were paying a tithe into the community, and, no one knew who was on any financial aid and who wasn't. And in fact, to this day, over 70% of our student body is on some kind of financial aid, on the sliding scale. 

Nina

It was so interesting that they located the building, specifically as a metaphor on the class line.   The tuition scale, I would imagine relies on some kind of endowment though, or having a number of people who have the wealth in order for their tithes to be significantly greater, to subsidize the rest. 

Sarah

Yes.  In the early days of MCS, that's what we call it MCS, in the early days they did build an endowment, and it was written into the plan that we would pull interest from the endowment as well as do other fundraising throughout the community, to cover the extra that was needed, because of the sliding scale. And, I should say that one founding family and who wrote this tuition reform plan is Frank Roosevelt, who is a professor at Sarah Lawrence College, but who is the grandson of Franklin Delano Roosevelt, and his children and grandchildren all went to MCS. 

Nina

I have a quote here from the MCS founder, that was in one of the articles I was reading about this ritual that we're going to talk about, if I may read it? 

Sarah

Yes, please. 

Nina

"Integration is beneficial to all children. Differences must be immediately experienced to be treasured and understood, and a school which avoids differences directly and obliquely, places education outside the context of living." 

Sarah

He was an incredibly brilliant, insightful man. And I mean, I was hired by Gus and have worked with him before he retired. He passed away about four years ago. You know, very deep, sad moment for our community, but he lives on in the school, and his daughter is still the director of the lower school.

Nina

What a legacy. Sarah, how long have you been teaching there? 

Sarah

I began in 1991, as a student teacher. I went to the Bank Street School of Education. I was in the pre-service program. That's what they call people with no teaching experience. So, they just placed you as a student teacher.  I told Gus Trowbridge on my interview. I remember saying, I wonder how I would be a different person, if I had come to MCS, because I was politically active, into the theater, and kind of made fun of at my school. And, I thought maybe I would be a different person, and maybe more confident, if I had been at a school where my differences were appreciated.

Nina

 And celebrated. 

Sarah

Yes. 

Nina

Let's  talk about this innovative ritual, which I believe is structured as a research project, for four and five-year-old children, and it's called the 'home visit'. How did the home visit begin? 

Sarah

The home visits began, I don't have  an exact year, but I would say in the late seventies. Lois Gelernt, who was then the four-five year olds teacher, had a student who was from India, and he said to her, he said, Lois, my friends don't understand what it means that I'm Indian. They hear Indian, and they think of me as American Indian, someone having feathers. They don't understand. I want them to know who I am. I want them to come to my house and I want them to hear Indian music playing. And I want them to see my mom in her sari, and to eat Indian food. So, Lois arranged a trip. The whole class went to this boy's house and his mother greeted them wearing her sari. And, the Indian music was playing in the home and they ate Indian snacks, and Lois then said, you know, there's something to this. Everyone has something about their home, their family to share, that is different. Also, at the same time as we all have these differences, there are also threads of commonalities between us. And so, she started it at that point. She started developing this curriculum, and it has been going on in the four -fives since that time.

Nina

There's another quote  which I'd like to read. "The home visits helped children discover commonalities", which you just mentioned, "between families, and learn to cherish differences. The visits form a foundation in which children begin to think and speak about complex aspects of society, such as race, class, gender, languages, family constructs, and accesses to resources in the community." 

Sarah

Yes. And I think the way we speak about them, is more the visiting and the concrete things children notice. I don't think they speak about it in a way that older children might or adults might, but they make concrete observations about what they're seeing and experiencing.

Nina

The selection of the four five-year-olds to go, rather than an older group of children - was it thought about, whether it should be a four or five-year-old part of the curriculum or older, or is it what you're saying, that children at that age haven't yet developed that sense of who's richer, who's poorer. Was it strategic or it organically evolved like that? 

Sarah

I think it organically evolved, but I think it happened because children at that age, as you said, don't put those values that older children, that society imposes. They don't necessarily look at a Park Avenue duplex and think, this is better. They just think, this is different. And maybe a person who lives in a one bedroom, a studio apartment, has an incredible, cool toy of a transformer. And they're like, wow, I want that. Or, they might live in a neighborhood where there's a bodega on the corner where their building is, and children are going to be excited that we walked into this bodega and the, bodega owner came and greeted us, and spoke Spanish with us. And, we got some candy from the bodega and they're thinking, wow, I wish I have that. There's no bodega near my home.  Or, wow, look at this, you can see the George Washington Bridge from this person's window. You know, so they notice these concrete differences that are just exciting to them, without any judgment. And, I think that's how it organically begins in the four fives, and why we continued, because at this age, they don't have any of those prejudgments. And, I can give an example. In our school we talk about the civil rights movement from the four year olds all the way up. And we talk about the origins in slavery, and there is a time after telling the story about slavery and telling the story about civil rights, where children are in the park, and they're acting it out. They might be acting out slave and slave owner. And, I remember sometimes parents coming to me saying,  they're too young for this. Look what they're doing. My child wants to be a slave owner. They're acting this out. And, I try to explain to parents that children make sense of the things they're learning through dramatic play, and they're not putting a judgment on it. They're just processing the information, and the judgment and the discomfort comes from adults. I just heard an incredible quote this weekend while watching CBS Sunday morning, where they were talking about book banning and they said, we learn through discomfort, and I think that's so important. There are moments in this home visit study for adults, that could be uncomfortable.

Nina

These parents have specifically chosen this school, because these things are addressed and sometimes we don't know what that's going to feel like, so  it's an education for the parents as well. Isn't it? 

Sarah

Yes. Yes it is. And what is exciting about it is that Gus Trowbridge had said that he felt that this was the most radical curriculum that MCS has, in that we are using the families as the center of our curriculum. And, it shows each family has incredible value and importance within the community. 

Nina

That's so moving. 

“This is Nina Friedman with  WHEREING. I am speaking with Sarah Leibowits, who is telling us about the unique home visit curriculum at the Manhattan Country School.”

Nina

Before the home visit  happens, how do you lay the ground for the experience for the children as part of the mission of the school?

Sarah

I think we build community together, and get to know each other, and learn about each other and ask questions to start exploring the things that make us different and the things that unite us and our commonalities. Before the home visit curriculum, we actually do something called the baby study, and we bring in babies and toddlers to come visit the classroom so that children can notice the developmental changes. We actually start with pregnancy to birth, until age five. It's like their first look at history through themselves. So while we're bringing in visitors, and they're often younger siblings of our students coming in to visit, they also are bringing in their own baby pictures from birth to age four or five, and writing their own story. And, we share those stories. So we have children who are living in different cultures, we're seeing different neighborhoods, just through the photographs. We are seeing children who are adopted. We are seeing children who have two mommies or two daddies, or who have a single parent, maybe even someone who lives with their grandparents. These are things that we begin seeing just by getting to know each other, throughout the year and through the baby study. 

Nina

That's amazing. When you start to introduce the idea of the home visit, do you  ask the students why that might be important for them, or if they have feelings about that process?

Sarah

We do. We ask them about why do you think we visit each other's homes? And again, there are four and five, so most of them are thinking in a concrete way. They understand that it's to see each other's families, to see where we live, to see how we get to school and how we come back, how we go back home, what places are in our neighborhood, what toys do we have at home. And as far as how they feel, I have always had the children feel so excited. They're just so excited to share about themselves. At age four and five, the children are still so egocentric. So to have this moment on the stage where they get to really share the thing that is the most important to them, which is home. Home is for most people, but especially for a child, the most important thing in their lives.

Nina

I would  say that's even an adult thing.  It's so rare that we are asked about ourselves. And, people for the most part, when they feel safe, like to talk about themselves or share things that people don't know about them, and their homes, their lives, their family .A concealed part of people is their home.

Sarah

Yes, it is.  For adults, I would say that that's very true. And for children, it is just very exciting to open the door, and be a tour guide. We often talk about it as a museum. We're going to museum and they are the docent. They are the tour guide and we need to listen,  and they have a sense of power that everyone is listening to them about something that they are very knowledgeable about.

Nina

They are the authority. 

Sarah

Yes. And we have rules. You may not touch anything unless you ask the person whose home we're visiting. This is not a play date. We're very specific. We actually interview them before, and the children have clipboards and trip sheets and they are exploring, and then they have questions to answer.

Nina

Right. So how are the home visits actually structured? 

Sarah

It takes a lot of planning. We start with a meeting with the parents just to explain, and I tell them the story that I told you about the origin of home visits, and we talk about why they are important. We show them the books that we read. We read a lot of books about family and about homes and about traveling through New York City. We then have the parents sign up for the visit. We plan them usually twice a week  in the morning. At about nine o'clock we leave. The idea is that the parent would bring the child to school, drop them off and go, because the child is the leader, not the parent. So, the parent needs to be home waiting to open the door for us. Occasionally, if the visit's very far away, we might have the parent travel with us, but they stand off to the side.  They choose the date that works for them. We travel in small groups.  About one third of the class goes, and the rest of the class stays at school doing their regular schedule. And then when they come back, they report to the remaining class about what they learned. But, we don't have three different groups that travel together all the time. Each home visit has a different combination of children. So it takes a lot of planning, making a spreadsheet and thinking about a combination of boys and girls, a combination of children from different backgrounds, but more important, we want children to be visiting places they have not been. So we're thinking, oh, this child has never gone to Harlem. This child has not gone to the Bronx. This child has not gone on a subway, so we want them to have different modes of transportation on the visits. They get about five visits per year. The visits all happen in the spring, and they want different kinds of transportation, different types of buildings. This one's a walk-up, this one has an elevator, different parts of the city. Places they've never been. So if we know that this child has had lots of play dates with this other child, they will not be on each other's home visits, because want a chance for children to know different people. 

Nina

The journey is very much a part of this process. 

Sarah

The journey is a huge part of the process. We don't just get on the mode of transportation and sit there and start the trip when we get off. We are talking the whole way to the subway station. We are  looking at the train we're taking, and looking at the maps, and where we're going. And along the way, what are we seeing? Especially if we're on a bus, what are we passing? Are we going north and south? This is where we begin talking a little bit about directionality, and  introducing a little geography to the children. 

Nina

And do the students know that they're going to go to somebody's house that morning, when they come in? 

Sarah

They do not. We do not tell them in advance. The only child who would know would be the child whose home we're visiting.

Nina

It's amazing they can keep a secret.

Sarah

They know that they're going. So if it's Susie's day, she knows she's going, but she doesn't know in advance the children who are going on her visit. The teachers know. We don't tell them because we know children can get very excited and even a little anxious, a little worried, and we don't want children losing sleep. We don't want children who might not feel well to think, oh my gosh, I can't stay home, cause I'm supposed to be on Susie's visit. So, we have our morning meeting. We announce that it's time. And then I say, if you hear your name, go put your coats on. Sometimes, there's disappointment. There are some times tears, but we're trying to teach the children that you will all have five home visits. So, sometimes you just have to wait, and it's okay to be disappointed. And it's about sportsmanship in some ways too, because we tell the children whose names are called, you can be excited, but don't jump up and go, yeah, I going, because it might make someone else feel bad, who's not going. So it's all right to be excited inside and to go and get your coat, but we're teaching each other about community and caring for each other. 

Nina

That's beautiful. You touched on introduction to the parents  a little earlier in our talk. Can you speak a little bit more about parents concerns?

Sarah

Generally parents are very excited about this. They know about it before they even decide to come to the school. It is definitely spoken about on tours,  because it is really one of our most unique pieces of curriculum that we have, and I don't think I really see any other school that does this. So they know about it. Parents are generally excited. The concerns they have are often logistical concerns. Sometimes it's a scheduling concern. They are sometimes concerned about travel . Part of the getting ready for the home visit, I have  parents fill out on a spreadsheet, please tell me if your child is allergic to animals, or is afraid of any animals. Please tell me ,if you are feeling comfortable with your child traveling by car. The biggest concern when we talk at the meetings, which is kind of funny, is cleanliness. Will my house be clean enough and acceptable enough? This is what the parents worry about. And we always joke because we have had parents who actually painted before the home visit. And so Mary Trowbridge and I joke at the meeting and say, please, don't paint your house. You don't have to do an extra cleaning of the curtains.   We try to reassure them that the children are looking to learn about their classmates. 

Nina

They're not seeing it through the child's eyes. 

Sarah

They aren't. They're seeing it through their own eyes. Occasionally there have been concerns and I believe it only happened once. So, there were parents who did not want their children leaving the building without knowing where they were going. So they insisted that I give them a list in advance of which children were going on which home visit. It had never happened to me before, and it never happened to me again, having a group with this worry. But they insisted and reluctantly, we agreed. And we said, please don't tell the children, you keep this to yourselves. It's just for you to know when your child would be leaving. One thing did happen though. There was a parent who saw that their child was going on a home visit to a child who lived in Northern Manhattan. This was in the spring of 1998. So that area was a little different than it is now. The mother of the child who lived in that neighborhood, came to me one morning very uncomfortable, and said, I got a call last night from one of the parents asking me if our neighborhood was safe. I was very upset by that. We did speak to that parent privately, and expressed some disappointment in the asking of a question like that. The home visit was beautiful. I remember it. We went on, and I've never had a group again, who asked those questions. 

Nina

Tell me about this idea of the trip sheet.

Sarah

The idea is that, as you said, early in this, is that it's research. It's not a play date, and the children do have such a good time and they see things that are exciting to them and they learn things about their friends that they do then want to return and have a play date. But, this is to learn. So, we'll ask about musical instruments that they see. Draw a picture of a collection that the child has. We'll draw pictures what they saw from the child's windows or on the way to the child's house. Sometimes we'll stop at a favorite park or playground. Sometimes we'll stop at a favorite store. We've stopped at pizzerias. There's about an hour spent actually giving the tour. Then we fill out the sheets, and the family offers a snack that the child has chosen. The snack could be simple, and it could be  intricate as, in one home they made a whole taco plate for the children. We have had snacks that are culturally important.  One time on a home visit we had basmati rice at the corner restaurant, because that is what the child wanted us to eat. 

Nina

That's so great.  

Sarah

The family and its traditions are so much what makes the home. Some of the traditions that I've experienced on these home visits, as simple as having a dance party in the home together, because that's something that they do as a family. One family I'm still in touch with this family. They're actually white Jewish, but they're both practicing Buddhists and they had a Buddhist altar. I remember all of us kneeling before the altar and looking at the pictures of their ancestors, as something special. One of my favorite stories, and it's about food. One of the children was a biological child, and the child who was on the home visit was their other child, the younger one, was an adopted African-American child. Mom is Italian. Dad is Jewish. So, a very diverse family, but something that was very important to them was the Italian identity and the food. So, on the home visit for our snack, we ate the family recipe of meatballs and tomato sauce and they explained that when they make the meatballs, they put the pictures of the ancestors all around them in the kitchen, and they play a CD of Dean Martin singing 'That's Amore'.

Nina

Oh, wow. 

Sarah

And so, we sat there at about 10:30 in the morning at the dining room table, each child with a meatball on their plate. We were surrounded by pictures of the ancestors. And then, all of a sudden you could hear 'when the moon hits your eye, like the big pizza pie', and we listened to that song as we ate meatballs.

Nina

I want your job. 

Sarah

 I have great memories of so many home visits. 

Nina

So, when they come back to the classroom ,they meet up with all the other children who have been going about their day- how does it get integrated back? 

Sarah

We often  join the other children at the park. They would play together. And then upon returning, we all sit down in our circle and the home visitors debrief, and they say from start to finish what they learned, how we traveled, what kind of building we went to, people we met along the way, the favorite things that they saw at the apartment. 

Nina

So, the students then feel, at least they have a sense, even if they haven't gone themselves. 

Sarah

Yes. We take pictures and have the trip sheets, and the teachers put together a book every year. Children look through the book, and they get to see the visits that they went on, the visits they didn't go on. That book actually travels up through the school with them. 

Nina

Wow. Wow. That's great. 

“This is Nina Friedman with WHEREING. I am speaking with Sarah Leibowits, who is telling us about the unique home visit curriculum at the Manhattan Country School.” 

Nina

This home visit is a foundation for student projects in later years. I was curious about  the impact it had on the curriculum going forward, and the impact on the students who speak about it, when they're older.

Sarah

It has a very large impact. We do go on to have different kinds of projects that are in the same theme. So in the seven, eight year olds class, the children, for the first half of the year study families. But, they're then studying less about themselves, but moving a little bit into the past where they'll do things like tell a pass down story, or bring an artifact from their family, or interview and write a biography of their parents.  Something that we're just have finished is writing a letter, asking questions to their grandparents about what life was like for them when they were seven and eight, and then the grandparents right back. That is the most spectacular experience, moving it into an intergenerational learning about each other. Then, in the seventh grade, the students write autobiographies. Very often students will write a chapter of their autobiography about their home visit, recalling the memories. Alumni will come back, tell stories and remember who was on their home visit, and what they ate. 

Nina

This project that you just mentioned, I was reading about a project called the identity project. Is that what that is? 

Sarah

I think the identity project might be something they do in the sixth, seventh or eighth grade, with the Spanish teacher. Honestly, I think that identity is something that is a project from the four or fives all the way through the eighth grade. I mean, I think that we're doing it in the seven, eight year old class talking about our families. They're doing it in the nine tens as they study their own family's immigration history. And definitely in seventh and eighth grade, they're constantly talking about identity, whether identity is racial, gender.  Our school is very  active in supporting children who have different kind of thinking about their gender identity. So, I think identity is a huge, huge focus all the way through our school. 

Can I say something about identity? I wanted to tell a story about my own daughter, about the valuing and celebration of the different identities. So, I'm Jewish and my daughter's father is from Ecuador and she looks though, very light. She's someone who you wouldn't know was Latina if you looked at her. In the seven- eight's class, her teacher did an experiment with the children, much like the brown eyes blue eyes experiment done in the sixties. But he actually used skin color and he had all of the children with brown skin sitting on the rug and doing their reading. And, he sent all the children with the light skin to the tables. He wanted to have them do that experiment and see what it felt like. He sent my daughter to the tables with the other children with light skin. And, she went up to him insistent saying, no, I'm brown, I'm brown because that's the side of her, her Latina Ecuadorian side that she felt, and that she could celebrate in this school, even though it wasn't clearly visible on her skin. 

Nina

Awesome.  Listening to this, I can't help but wish that the home visit could happen in every school, private and public, nationally and globally. What happens as a meaningful experience for children, naturally percolates back into the family, and then possibly to families, plural, and then into community, who share the memory with their beloved children. So, if an early childhood teacher anywhere is listening to this, and we have listeners from all over the world, is there a way to get information on how to institute this program at their school? And, I also have a question if public schools have ever approached Manhattan Country School to learn how to do this in public schools here in New York City. 

Sarah

I don't believe we've ever been approached by public schools. I think there could be legal issues or issues with certain rules in the Department of Education, as well as a sensitivity to children that may not have homes.  In our school, this is mandatory. This is something that is part of the curriculum. I think it's definitely wonderful. It is going to look different in a more elite, segregated, private school that's primarily wealthy and white, but it's not to say that even then children don't have differences and commonalities that they can celebrate. And, if it could be done in public schools, if you are allowed to do it, I would be happy for anyone to reach out to me via email. Also, I co-wrote an article about this curriculum for a magazine called 'Social Studies and the Young Learner', that was really written for educators in case they wanted to try this in their own schools. 

Nina

Okay. That's great.  For those who are interested in reaching out to Sarah, you can email her at sleibowits@manhattancountryschool.org . That's spelled s l e i b o w i t s. You can also find additional links at thewhereing.com.

Nina

Sarah, this was such a great conversation. I have to admit that talking to you today brought me back to those years when I had a child at that age in school, and the witnessing as a parent, the efforts and the integrity of teachers in schools to help shape our children as citizens of the world.  Thank you for bringing those memories back and making them alive for me again. Thank you for your work, and for your time today.

Sarah

Oh, you're welcome. It was really my pleasure. 

Nina

“Dear listeners, thank you for being here. I invite you to reflect on what you've heard today and send your thoughts or stories. We would love to hear from you. Stay in touch on Instagram, or on our website thewhereing.com .Subscribe free to WHEREING wherever you get your podcasts, so that you are alerted when the next episode airs. WHEREING is a pro bono initiative of Dreamland Creative Projects, which provides architectural and interior design services for the places where we live, heal, age, and inspire. If you wish to have a design consultation, visit dreamlandcreativeprojects.com or email me nina@dreamlandcreativeprojects.com. Until we meet again, goodbye from WHEREING.”