W.Va. Factory Keeps Old-School Playground Game Rolling

A line of third-graders files into the gymnasium at Ashford-Rumble Elementary School and onto the wooden bleachers. Nearly every kid has a box or plastic bag in their lap, filled to bursting with marbles.

For a couple weeks each March, Ashford-Rumble’s physical education teacher, Jerry Halstead, puts up the jump ropes and basketballs. For the next 10 class periods, his kids are consumed with marble madness. It’s a tradition that dates back to Halstead’s first year of teaching, at this same little school.

“Being a young PE teacher, we don’t have nothing to go by,” Halstead says. “We have to make our own units. I wanted to introduce old-school recess, 1930s type [games].”

He wanted to teach old-school playground games like hopscotch, jacks and marbles. The thing is, he didn’t know how to play marbles. And this being the late ‘80s, there were no YouTube videos to show him how.

So he turned to his uncle, Ray Riggs.

“Everybody knew my Uncle Ray was the man of marbles. And he told me how to play,” Halstead says.

Halstead took what he learned from his Uncle Ray and introduced it to his students. It was an immediate hit.

“I did jacks and they didn’t bite on that. They didn’t bite on hopscotch either,” Halstead says. “But they bit on the marbles.”

I attended Ashford-Rumble Elementary where Halstead was my PE teacher. Thirty years later, I still remember how obsessed my friends and I were with the game. We played it outside gym class, at recess and at home. As with most games of skill, I generally got my butt handed to me. But that didn’t matter — there was nothing more exciting than throwing my marbles into the ring, and playing for keeps. 

Jerry Halstead and Addy Taylor during PE class.  

Zack Harold/ West Virginia Public Broadcasting

Sometime after I left Ashford-Rumble Elementary, Halstead did too. He taught at a few different schools and everywhere he went, he took his marble unit with him. And everywhere he introduced the game, students fell in love.

Eventually he returned to Ashford-Rumble Elementary, only to find a school more passionate about marbles than any he’d seen. 

“They carry marbles all year long. You walk down the hall, you hear their bags rolling,” Halstead says. “They’re always trading on the playground. It got to the point they were driving their teachers crazy.”

These kids enjoy playing, but it’s the marbles themselves they’re really crazy about. Their favorites feature swirls of color and metallic flakes. They’re called “vampires” and “iguanas,” “Milky Ways” and “rainbow bennington leg-breakers.”

Grayson Casto shows off his favorite marbles.  

Zack Harold/ West Virginia Public Broadcasting

I don’t remember any of these fancy designs in my marble rings. We mostly had swirlies and cat’s eyes. But of course, we didn’t have Amazon.

Many of the marbles Halstead’s students now covet are imported. There’s only one factory in the United States still churning out marbles, and they’re the old-school kind I remember.

This factory just happens to be a few hours away on the banks of the Ohio River in Paden City, West Virginia.

This is Marble King, the last remaining industrial manufacturer of marbles in the United States. 

Pulling into the factory’s parking lot, you hear its monstrous furnace long before you see it. Workers feed this fiery beast with buckets of recycled glass shards. The molten glass comes out the front, riding a corkscrew gear that shapes the red-hot orbs into perfect spheres. When it’s fully up and running, the machine spits out a million marbles a day into big black buckets.

“Those marbles are approximately 2,100 degrees Fahrenheit,” Marble King president and CEO Beri Fox tells me. “If we put a piece of paper in one of those buckets, it would actually ignite it.”

Marble King president and CEO Beri Fox gives a tour of the factory floor.  

Zack Harold/ West Virginia Public Broadcasting

It takes 24 hours before the marbles are cool enough to be handled. Then employees hand-check every single one. There is still no replacement for the human eye when it comes to detecting defects.

Precision is important because most of the marbles Marble King produces are now used in industrial or architectural projects. Marbles can be found in everything from washing machines and dishwashers, to NASA air balloons and spray paint cans. Architects work them into fountains and murals.

But the company hasn’t forgotten its playground roots. 

Marble King still makes plenty of marbles used exclusively for fun. The on-site gift shop features playing mats, racing tracks and other marble-powered toys. Kids can pick up a shooter marble emblazoned with the company logo, or fill a leather pouch with a rainbow of cat’s eye marbles — a style of marble that Fox’s dad Roger Howdyshell pioneered.

“My dad actually formulated a process where the cat’s eye is a true eye. When you look in ours, you’ll see four veins of glass in the interior portion,” Fox says.

A photo of former Marble King owner Roger Howdyshell in the company’s office.  

Zack Harold/ West Virginia Public Broadcasting

Howdyshell started working at Marble King fresh out of college. He worked his way up through the ranks and in 1983, he bought the business at the age of 60. He died just eight years later, leaving Fox’s mom Jean Howdyshell to take over. Up until then, she’d been a full-time homemaker. Running Marble King would be her first paying job.

With support from her kids — and the company’s longtime employees — Jean Howdyshell was able to keep the factory afloat and eventually turn it over to her daughter.

Marble King will celebrate its 75th birthday later this year. To mark the occasion, they asked employees to come up with a special edition marble to honor Roger Howdyshell. The result is a beautiful peacock blue marble — featuring the cat’s eye design he invented. 

“[They] turned out beautifully, the ones we’ve made so far. And the guys love…that part of this job: Making the different cat’s eyes, making the unique swirls, trying to do unique things with this glass,” Fox says. “Be a glass artist, do what you want. Here’s the stuff, let’s see what you can make.”

Marble King will release a special peacock blue catseye to celebrate its 75th birthday,  

Zack Harold/ West Virginia Public Broadcasting

Just as Marble King faces competition from overseas competitors, the game of marbles faces lots of competition for kids’ attention spans. But Fox says the game still holds an appeal.

“A lot of times today, as opposed to it just being an in-school activity, it’s a marbles club. It’s a group. They learn how to play marbles…and they learn good sportsmanship,” she says.

Halstead knows something of the game’s lasting appeal, too.

“You ever see someone like grandpa, 80, and he has a jar of marbles in the attic? Why do they still have them, when they’re 80? Because they won them and they won’t let them go,” he says. “Even though they’re 80, they won’t get rid of them…because they’re trophies.”

While none of his former students are quite 80 — yet — there is a growing chance there’s a grandparent somewhere with a jar full of marbles they won in this gymnasium, under these same buzzing lights.

Glassblowing Traditions And Protecting An Endangered Salamander, This West Virginia Morning

On this West Virginia Morning, Blenko Glass has been making everything from stem and table ware to decorative glass figurines for more than a century and proposed federal protections for the spring salamander.

On this West Virginia Morning, Emily Rice toured the Blenko Factory in Milton where Blenko Glass has been making everything from stem and table ware to decorative glass figurines through traditional, hand-carved cherry wood molds for more than a century.

Also, Curtis Tate spoke with a senior scientist at the Center for Biological Diversity about the spring salamander and proposed federal protections.

West Virginia Morning is a production of West Virginia Public Broadcasting, which is solely responsible for its content.

Support for our news bureaus comes from Concord University and Shepherd University.

Listen to West Virginia Morning weekdays at 7:43 a.m. on WVPB Radio or subscribe to the podcast and never miss an episode. #WVMorning

Blenko’s Glass Festival Returns

Blenko Glass Company founded the Festival of Glass at the turn of the 21st century to celebrate and preserve the heritage of glassmaking in Appalachia. 

On any particular day at Blenko Glass Company in Milton, West Virginia, the furnaces blaze with innovation as artists mold their glass creations into shapes that become iconic pieces of West Virginia history.

Charles Chafin has worked at Blenko for nearly three decades. He is passionate about his work and passes that gift along to his trainees.

“I’m having the best time in my life teaching the young ones all about Blenko glass, and they’re moving up quicker and I’m really loving that,” Chafin said.

A worker’s tools lay cooling after use in the fiery furnace.

Credit: Emily Rice/West Virginia Public Broadcasting

Blenko Glass Company’s Festival of Glass will make its return this year on Aug. 5, and Chafin is excited for the return of the event. He said he enjoys meeting visitors from out-of-state.

“We are getting ready for our festival and it’ll be a great one,” Chaffin said. “We’ve been missing it for two or three years over this COVID. And now we start back, and I can’t wait to meet all the people. They come from all over the United States, they do. We had some three years ago, they were from Hawaii, California, Wyoming, Maine and we had Maryland, Ohio, Kentucky and West Virginia. I hope we have a lot more out-of-state people come to see this. It is pretty cool.”

Blenko Glass Company founded the Festival of Glass at the turn of the 21st century to celebrate and preserve the heritage of glassmaking in Appalachia. 

The company is a cultural icon of the Mountain State with roots that run deep through its passionate employees.

James Arnett, creative director of Blenko Glass, said the Festival of Glass is a chance for visitors to have an immersive experience in the workshop.

“We have run this festival of glass every year as a kind of immersive experience for our customers and our collectors to come to Milton, West Virginia to take classes to have hands-on glass experiences, to buy specialty wares to enjoy the products that we make for the festival of glass,” Arnett said.

For each festival, Blenko creates a one-of-a-kind collector’s piece. This year, the festival’s theme is ‘Be There Or Be Square’ as an homage to this year’s square peg decanter.

“This year, as we do every year, we’re going to be making a special festival of glass decanter, called the square peg decanter. This year it’s squared olive decanter with a cobalt wrap and a crystal cube stopper,” Arnett said.

Blenko Glass’ 2023 square peg decanter with assorted glass pieces for the festival.

Credit: Emily Rice/West Virginia Public Broadcasting

Blenko used to be one of 400 glass companies in West Virginia. Today, it is one of a handful in operation. To honor those fallen companies in the past, Blenko has been able to acquire old molds from those production companies to include in their festival piece.

However, this year, the festival’s main staple is slightly different.

“Blenko glass is of course known for its mid-century modern design,” Arnett said. “So for this year, in honoring British modernist art glass, we’re folding in some of that inspiration, some of that aesthetic and honoring other glass makers who have made tableware much like Blenko has by hand with bright colors and using old techniques.”

While Arnett may have only been in his position for four months, his passion for Blenko Glass runs deep.

“There’s nothing like being able to come into a place like this and be surrounded and suffused with color,” Arnett said. “It really drives me.”

Blenko is a 130-year-old company with roots that extend deep into West Virginia’s history.

“We have a history and a heritage here in West Virginia that’s hard to match anywhere,” Arnett said. “[Blenko] has been so deeply situated in place and with the people here in the Milton tri-state area and Appalachia.”

Glass decorations lay in a pan ready to be affixed to various pieces.

Credit: Emily Rice/West Virginia Public Broadcasting

Choreography of Light and Glass — W.Va.’s Professional Dance Company

The West Virginia Dance Company, based out of Beckley, W.Va., often performs dances that tell stories about social or cultural topics in the Appalachian region. One of their recent performance pieces, https://vimeo.com/297156785/e3a17ea8e1?fbclid=IwAR2c4QK4mhSarO5m1zPE7ea6izsZJjzIUMdDm_30uaWTBJ8x88JsdbWPjiQ” target=”_blank”>“Catching Light,” choreographed by Toneta Akers-Toler, was inspired by West Virginia glassmaker Ron Hinkle. In a special report exploring folkways traditions, as part of the Inside Appalachia Folkways Project, Jordan Lovejoy profiled the choreographer and her work. 

Akers-Toler points out that, like dancers, glassmakers often have to move quickly and with precise intention to create their pieces before the glass cools and hardens. 

A local of Raleigh County in southern West Virginia, Akers-Toler is the founder and managing artistic director of the West Virginia Dance Company, the only professional touring dance company in the state. 

A few years ago, Akers-Toler’s son, Holden, gave her a glass vase made by Hinkle. Later, she met Hinkle, who mentioned the process of making glass is similar to her own craft. “He said, ‘so many people have said it’s like we’re dancing.’ And he said, ‘I’ve always wanted to, you know, see a dance about that.’ And I went ‘oh!’” 

Credit Kelli Whitfield / West Virginia Dance Company
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West Virginia Dance Company
West Virginia Dance Company dancers fling white fabric during a performance of “Catching Light.”

“Catching Light” is not the only piece Akers-Toler has created based on some aspect of West Virginia’s culture or history. She’s choreographed pieces that explore labor history and the West Virginia Mine Wars, literature by writers from the area like Pearl S. Buck, the struggles of addiction, and even the relationship between people and the environment through modern dance.

“People laugh at me for saying this, but I wanted to share dance with my people, and I felt there was a need here. We had lots of excellent dance schools, but we didn’t have any really thing intensely in modern dance at all, and we didn’t have a professional touring dance company.” 

https://www.youtube.com/watch?v=6qrh0EYOU-o&feature=emb_title

 

Modern Dance in West Virginia 

But there are challenges to running a modern dance company in southern West Virginia.  Akers-Toler’s company travels widely to rural communities throughout the region, performing in a variety of spaces. Because there are not the same resources that larger cities have, the company often manages its own light design, sound production, costuming, promotion, booking, and grant writing, which is a similar situation for many other artists in rural areas.

While some may have seen building a modern dance company in a heavily rural space like West Virginia as a long shot, Akers-Toler embraced the unique challenges and rewards of the work: “I personally feel that I have had more of an opportunity to grow and to learn because I am here. I don’t know. I just feel like I would — and a lot of us — would not have gotten the opportunities to grow as artists if we weren’t here. Because the struggle also brings knowledge.”

 

Credit Kelli Whitfield / West Virginia Dance Company
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West Virginia Dance Company
West Virginia Dance Company dancers perform “Catching Light”

 

Being an artist in West Virginia also comes with other unique benefits like the low cost of living, according to dancer Donald Laney, a long-time friend of Akers-Toler and co-artistic director of the West Virginia Dance Company. “Where else can I make a living in the arts and not pick up any other jobs? Most people don’t think West Virginia would have something like this.”

Laney said telling a story through dance is similar to the process a writer uses, but instead of selecting words to tell a story, choreographers carefully choose unique movements. “We train our bodies, so our physical, our bodies tell stories,” Laney said.

 

‘Catching Light’

 

“Catching Light” is an example of one such story. On stage, six dancers wear glistening, iridescent pants to give the appearance of glass, and their bodies move through yoga-type shapes and angles to suggest glass transitioning from liquid to solid. 

The score was composed by Dr. Richard Grimes and West Virginia storyteller and musician Adam Booth, who also narrated part of the dance. “Then, we roll the glass on a slab of iron or carbon. This is called marvering, and it is where the glass begins to take form.” 

As Booth speaks, the dancers swirl into different directions across the stage, flinging pieces of flowy white fabric to represent the chaotic movement of hot, liquid glass as the spinning blowpipe pulls it from the fire.

 

 

The Human Element in Sharing Art

One of the key fascinations Toneta Akers-Toler had with glass was its human element: “In order to get it to live and become a bigger structure, the human being actually breathes into the art form, so part of their chemistry is always in that piece of art.”

The glass’ transformation from solid to liquid to solid again could only be performed by the body and breath of a craftsperson. Similarly, a dance only comes to life by the body and breath of the dancers, especially as they perform the story for an audience.

 

Credit Kelli Whitfield / West Virginia Dance Company
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West Virginia Dance Company
Toneta Akers-Toler

According to Akers-Toler, the audience brings the final crucial element to the dance. Without them, there would be no story to share, and modern dance is a shared storytelling event between dancer and spectator. “They would have a certain feeling about the whole thing. But at least 50% where they can bring their own experiences into watching it, and then they can have their own story.”

At a performance in February earlier this year in Lewisburg, W.Va., audience member Ethan Serr said that’s what brought him to come see “Love of Power vs. Power of Love,” one of the dance company’s latest pieces. “I know it’s very, a narrative, it’s very expressive. And so I guess I’m just trying to be swept along, swept along for the journey.”

 

 “Just to watch it, to see the form, to see people of our state be out pushing this art form. It’s just part of capturing that magic and love of the art,” said Marcus Fiorvante, who came to watch the performance.

 

Despite the cancellation of their season because of the pandemic, the West Virginia Dance Company still maintains their storytelling and communicating with audiences through some digital performances online, and Akers-Toler says they hope to resume their in-person performances as soon as it is safe. 

 

This story is part of the Inside Appalachia Folkways Reporting Project, a partnership with West Virginia Public Broadcasting’s Inside Appalachia and the Folklife Program of the West Virginia Humanities Council. The Folkways Reporting Project is made possible in part with support from Margaret A. Cargill Philanthropies to the West Virginia Public Broadcasting Foundation. Subscribe to the podcast to hear more stories of Appalachian folklife, arts, and culture.  

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