On Friday, April 1, the College welcomed esteemed author, lyricist, essayist and playwright Quiara Alegría Hudes to our (virtual) campus to talk about her career and her latest book, My Broken Language. Alegría Hudes is a native Philadelphian and wrote the novel "In the Heights", which was turned into a Tony-winning Broadway musical and a major motion picture. In 2012 she also received a Pulitzer Prize for Drama for her play Water by the Spoonful. She also co-founded Emancipated Stories, which helps incarcerated people write about and share their life stories.  

The talk was moderated by English professor Jeff Markovitz, and organized and funded by the Liberal Arts and Communications pathway in the Division of Liberal Studies.

Hudes is a self-described “born and bred Philly language girl.” Her autobiography My Broken Language is the Free Library of Philadelphia’s One Book One Philadelphia citywide read for 2022.  

Markovitz steered the event with thoughtfully positioned questions. Remarking on the way that Hudes’ book recalls the simple facts of her life in such gorgeous detail, he asked, “What is Philly to you?” This question prompted Hudes to explore themes that hold universal truths felt by many in this city. 

Growing up in the 80s and 90s, Hudes is of mixed Jewish (on her father’s side) and Puerto Rican (on her mother’s side) heritage. She lived on the 800 block of St. Bernard Street until she went away to college. Her own neighborhood was roughly half African-American and half first-generation families from places like Cambodia, Ethiopia and Vietnam. “That's how life is, I thought, life is mixed. No one speaks the same language as their parents. Everyone comes from a different place. And it was kind of continually shocking to me throughout my childhood when I would go into spaces that weren't like that.” 

When she got older and could afford to buy SEPTA tokens, she came to experience “many Philadelphias,” always feeling as though she never fully had both feet in one community. While her father moved to Paoli and Malvern after her parents had separated, she spent much of her time with her grandmother and other family members who lived in El Barrio, where residents at the time were almost exclusively Boricua.  

My Broken Language tells a story that is near and dear to many in our College community. It describes Hudes’ experience growing up in a city of neighborhoods, eventually learning about what those stratifications mean to different communities, and to the different parts of herself.

“No one would come into [El Barrio]… and these are people who had to build their community when they arrived. They didn't arrive into a prebuilt community,” Hudes explained to the audience. “I do think of the Puerto Rican community I was part of [that] they helped build the city of Philadelphia. That said, it was always on my mind that there weren't trash cans on the corner... there weren't the same level of community of municipal services that you [see when you] go a few miles [south].” 

In her novel Hudes explained how she grapples with her inherited legacies as a storyteller growing up in a bilingual and multicultural environment. Looking back on the contradictions of this in-between state of existence evoked a powerful response in Hudes’ book and in her conversation at the College. She talked about her coming of consciousness in a world that often considered [her Puerto Rican family members] “other and often less than.” 

While eventually, this understanding grew into a fierce pride for her family's origins and a desire to share their stories, Hudes said she regrets that she would correct her mother’s pronunciation when she was young. Her book is autobiographical, but it is also about language. There are chapters about body language, the language of the spirits, the language of possession and so forth. She read for the audience an excerpt from the chapter about her mother’s accent.

In her book Hudes imagines what it must have been like to learn English as a second language in the first grade back in Puerto Rico, to then move to the Bronx at eleven and “have girl gangs mock your ‘sp*ck’ accent; to have a college counselor say you are not capable of attending college with the implication that your intelligence is lesser, and because you’re too poor."

The passage goes on to describe how Hudes’ mother turned all that was used against her into her purpose and became an advocate for immigrant mothers who couldn’t afford cereal or proper prenatal care. She was honored by the National Organization of Women for getting those moms cereal and prenatal care, and then hired by state senator Hardy Williams to help draft legislation to meet the needs of immigrant and Boricua communities. 

“Mom, if you ever read this book and make it this far without disowning me, I ask you one favor, break this English language today. And tomorrow and the day after and bestow it new life with each breaking. Endow your fullness upon this cracked colonial tongue. You language genius. This is your English; you earned it. I am only a guest here,” said Hudes. 

Meet Ahmad Mitchell, a second-year student who is participating in the self-study process for accreditation by the Middle States Commission on Higher Education. Accreditation by the Commission is important because it ensures academic excellence for students. Learn more about Ahmad and the reaccreditation process in this brief Q&A!

Q: Who is Ahmad? Tell us about yourself. 

A: I am a Culinary Arts student in my final semester of study at CCP. My expected graduation date is in May. After graduation I plan to pursue my bachelor’s degree in Food Studies/Hospitality Management.

Q: What is your involvement and participation in College organizations?

A: I am the president of the SGA, a Democracy Fellow with the Campus Vote Project, an avid volunteer with the Institute and a member of the CME. 

Q: What is your role in the Middle States reaccreditation process, and what has the process been like so far?

A: As a student leader, my role is to provide the student perspective and my opinion of the College’s institutional priorities and their implementation. So far, the process has been rewarding. Learning about the institution’s processes and method for delivering their product shows me the dedication they have to empower CCP students.

Q: Tell us why it’s important for students to be part of the Middle States reaccreditation process.

A: Student voices are essential to the reaccreditation process because all administrative and faculty decisions ultimately affect students. Before any changes are made it is the duty of student leaders to advocate for the best interests of students in every meeting, discussion and decision they make.

Q: What has being part of the process taught you? What have you learned?

A: The process has taught me the strength of setting goals and following a plan. When we commit to a good idea guided by ethics, we all benefit. I have learned the success of institutions like CCP [is] the result of dedication by educators, administrators, and students working together to improve the institution we share and to increase the value we contribute to our society.

Q: As a student, how does it feel alongside College faculty and staff? 

A: Working alongside faculty and staff feels rewarding. They are insightful people and genuinely want to see students succeed. My best memories are of projects and events I will have on my professional résumé in partnership with CCP staff and faculty.

Q: What are you looking forward to? What do you hope students get out of the reaccreditation process? 

A: I am looking forward to students reading about the details and structure the College considered when forming the pillars of the self-study. It really is impressive that their goals are informed by not only educating [students] but educating to benefit society. As a student you read that and say, “Wow! I can see a future for myself here, this program is right for me.”

Learn more about the Commission online. 

Terry Peterson is a graphic designer, and has been teaching Design, Computer Art, and Graphic Design courses at Community College of Philadelphia for more than 25 years. When asked what originally sparked his interest in the graphic design field, he recalls watching a 1980s Diet Pepsi commercial, when he was younger (pictured right).

He notes while most people may have been focused on the fancy jingle and the body types of the models, he felt he was the only one who noticed how the lines in the backgrounds matched the lines on the can of soda He says there was something about those lines – a subliminal message – that literally made a connection. At the time he says he didn’t recognize the commercial as art, but knew that whatever it was, he wanted to learn those skills and be a part of that career. 

This led Terry through what he calls “several academic zigzags” early in life until he ended up at the College. Not as a professor, but as a student. After obtaining an associate degree from an unaccredited institution in 1986, and spending the next three years working in commercial art, Terry finally decided to pursue his bachelor’s degree at a local art college. However, he was told that they would not accept his credits from the previous institution, and that he would need to take at least 15 additional credits to enroll in their college — and they suggested the he do that at Community College of Philadelphia, before they would look at his portfolio. 

He decided to take classes here at the College in 1989 to see how it would pan out. He says once he got here, he loved it. 

“The program was really strong and exciting,” Terry said. “The teachers were very supportive and kind. I loved my experience here and left with an even stronger portfolio than I came in with. But more importantly, I left with more options in terms of schools to get my bachelor’s degree.”

After graduating from the College in 1991, Terry went on to attend Rhode Island School of Design (RISD): one of the first and top-ranking art and design schools in the United States. He majored in graphic design. After graduating, and working in the book publishing industry for several years, he got a call from one of his former CCP professors asking if he would be interested in covering a computer art class for the semester. 

Although hesitant at first, Terry says this professor reassured him that he not only knew the material but that he could excel as a teacher in the classroom. 

“The class started in three weeks from that phone call,” Terry recalled. “My former professors, Bill Woods and Bob Paige, took me under their wings and gave me a crash course in how to properly teach a class. From putting together a syllabus to pacing assignments; through their guidance, I was able to do it, and I truly surprised myself.” 

He said while that first semester was not at all perfect, he wouldn’t have made it through without the help and kindness of the College’s Art and Design Department. Amongst the faculty members who continues to stand out is Professor Jeffrey Reed: his former drawing and painting professor. 

“Jeff has long been a supportive mentor and is a strong advocate for our department,” Terry said. “He’s been here the longest now and is a strong voice of reason. He’s like a big brother.”

All of the mentorship that Terry has experienced paid off tremendously. In 2016, Terry was a Lindback Award recipient. And last fall he returned from a sabbatical after working in a relatively new discipline for him: pottery. While he has always liked using his hands to create artwork, Terry says he never thought of actually touching clay. 

“When I was in enrolled in classes at RISD, I had a roommate who was a ceramics major,” Terry said. “At the end of our first semester, he gave me about 20 pottery pieces from the semester. This was the start of my pottery collection. I’ve amassed a nice collection since then.”

It wasn’t until 2006 when Terry finally gave ceramics a try. One of his former colleagues – Marian Pritchard – first taught him how to work on the wheel. Under her guidance over the course of several weeks, he was able to create about a dozen pieces. But then, didn’t touch the medium for 15 years.

When the idea of taking a sabbatical came around, Terry thought that would be the perfect time to give pottery a proper shot. 

“I wanted to show our students that in the art world, and within the variety of classes they take, they can combine their passions and their interests,” Terry said. “That’s what artists do. As someone who specializes in graphic design, that doesn’t mean I can’t also explore and be interested in painting, photography, or pottery.”

He added, “These classes aren’t just for them to get a grade. We look at how we can connect these classes together to create a larger artistic voice for ourselves.”

During his sabbatical in spring of 2021, Terry enrolled in classes at The Clay Studio (then in Old City) for 10 weeks to further sharpen the skills he had lost over the years. He even had a chance to connect with Roberto Lugo, a Philadelphia-born potter, social activist, and educator. Roberto even gave him a few of his pieces. 

Terry’s pottery exhibit, titled Under the Tutelage, showcases his open-mindedness, his evolution in the arts, and his connection with other artists. “That’s what my life has been,” he says. 

The exhibit, free and open to the public, is available to view in the Cohen Gallery in the Mint Building until the end of April. Terry showcases up to 35 pieces – even some that he has made with his mother. 

When asked to reflect on the significance of his sabbatical, Terry said, “The sabbatical is ongoing. It’s really sparked my interest to continue working within this space; to connect it to graphic design, narrative, bookbinding, printmaking and collage — all of which are disciplines that I love. And to continue to help students find the overlapping connections that exist within their varied classes, disciplines, and studies.”

He added, “I’ve learned to be more patient with myself. I’ve accepted that although some of the work in ceramics may not completely survive — we keep going forward — learn from what might seem to be ‘mishaps,’ and embrace the experiences overall.”

To celebrate Women’s History Month, Dr. Generals led a Fireside Chat that delved into the inspiring and sometimes overlooked legacy of Angela Davis, from influences in her youth and early career to how she began her work in prison abolition by successfully defending herself in court after being placed on the FBI’s most wanted list and death row. The discussion illuminated the historical context of her work, as well as the substantial role she has played in shaping contemporary social justice dialogue.  

Although the Jim Crow Era of the United States can seem like a distant past, it was a bitter reality for the now 78-year-old Davis. She witnessed atrocities committed by the Ku Klux Klan, as well as the bombing of the 16th Street Baptist Church where four young Black girls, two of whom were her friends, were murdered by white supremacists. 

Due to her excellent academic record, Davis was able to move to New York City to attend a progressive high school. She received a scholarship to Brandeis University and earned a degree in French literature, later realizing that she wanted to study philosophy. She moved to Germany to complete a graduate program at the University of Frankfurt, “and this is where her embrace of communism and Marxism began,” said Dr. Generals. She began fully diving into the works of Hegel, Marx, John Locke and their peers, earning a doctorate in philosophy at the University of Humbolt in Berlin.

Feeling like the privilege of her academic career was removing her from the suffering of those she wanted to help the most, Davis returned to the United Stated to teach at UCLA.

She began protesting more and joined the Black Panther Party, where Dr. Generals explained, “they really resented the idea that a woman was a leader in their movement.”  Davis also became an activist within the Communist Party, where there was a distinct lack of emphasis placed upon the oppression caused by systemic racism. 

Ronald Reagan, governor of California in 1970, heard that a Communist was teaching at a California state school, and he attempted to get her fired.  “During this time, she became a target for the right wing,” Dr. Generals explained, saying that she received constant death threats, forcing her to hire private security.

One of these security guards, Johnathan Jackson, was the brother of George Jackson, one of the Soledad brothers, who were accused (Davis believes falsely) of causing a prison riot that resulted in the death of a police officer. Davis took great interest in the case and advocated for justice for the Soledad brothers, but without Davis’ knowledge, Johnathan Jackson took hostages at the court hearing for his brother. This resulted in a shootout that caused the death of the judge. It was later discovered that it was the San Quentin guards who opened fire, who were responsible for the death of the judge, and the other prisoners and Jonathan.

Because her weapon was used, Davis was blamed by law enforcement. She attempted to escape imprisonment by going underground, but was placed on the FBI’s most wanted list and was eventually located by law enforcement. They imprisoned her in the Manhattan Detention Complex and placed her in solitary confinement. 

“But her advocacy for prison reform really began to take hold there,” said Dr. Generals.  She saw the inhumanity with which the women in prison were treated and “when she got [out of solitary confinement] the women embraced her, and they began protesting their treatment within the jail.” 

“They yelled out the windows and coordinated with activists to get supplies and funding for bail. They created a protest movement to reform the bail system, because nobody in that prison could afford bail,” explained Dr. Generals. Over the course of 18 months, Davis was able to free several of her fellow inmates. 

People around the nation and world rallied for her release, and by February 1971, including pop culture icons like Aretha Franklin, John Lennon and Yoko Ono, advocated for her release. After 16 months she was released on bail.

On June 4, 1972, she famously represented herself in front of an all-white jury and was proven innocent.

“Thank you, Dr. Generals, for keeping Angela Davis’ legacy alive,” commented one of the audience members who also wanted to share with the group Mahalia Jackson singing part of the song, Lord, Don’t Move the Mountain: “No, don't move the mountain. Give me strength to move my mountain. But lead me all around.”

Her voice was all-encompassing, soulful and clear. It was the perfect way to end the Fireside Chat and celebrate the power in women’s history. 
 
 
 
 

To celebrate Women’s History Month, Dr. Generals led a Fireside Chat that delved into the inspiring and sometimes overlooked legacy of Angela Davis, from influences in her youth and early career to how she began her work in prison abolition by successfully defending herself in court after being placed on the FBI’s most-wanted list and death row. The discussion illuminated the historical context of her work, as well as the substantial role she has played in shaping contemporary social justice dialogue.  

Although the Jim Crow Era of the United States can seem like a distant past, it was a bitter reality for the now 78-year-old Davis. She witnessed atrocities committed by the Ku Klux Klan, as well as the bombing of the 16th Street Baptist Church where four young Black girls, two of whom were her friends, were murdered by white supremacists.  

Due to her excellent academic record, Davis was able to move to New York City to attend a progressive high school. She received a scholarship to Brandeis University and earned a degree in French literature, later realizing that she wanted to study philosophy. She moved to Germany to complete a graduate program at the University of Frankfurt, “and this is where her embrace of communism and Marxism began,” said Dr. Generals. She began fully diving into the works of Hegel, Marx, John Locke and their peers, earning a doctorate in philosophy at the University of Humbolt in Berlin. 

Feeling like the privilege of her academic career was removing her from the suffering of those she wanted to help the most, Davis returned to the United Stated to teach at UCLA. 

She began protesting more and joined the Black Panther Party, where Dr. Generals explained, “they really resented the idea that a woman was a leader in their movement.”  Davis also became an activist within the Communist Party, where there was a distinct lack of emphasis placed upon the oppression caused by systemic racism.  

Ronald Reagan, governor of California in 1970, heard that a Communist was teaching at a California state school, and he attempted to get her fired.  

“During this time, she became a target for the right wing,” Dr. Generals explained, saying that she received constant death threats, forcing her to hire private security. 

One of these security guards, Johnathan Jackson, was the brother of George Jackson, one of the Soledad brothers, who were accused (Davis believes falsely) of causing a prison riot that resulted in the death of a police officer. Davis took great interest in the case and advocated for justice for the Soledad brothers, but without Davis’ knowledge, Johnathan Jackson took hostages at the court hearing for his brother. This resulted in a shootout that caused the death of the judge. It was later discovered that it was the San Quentin guards who opened fire, who were responsible for the death of the judge, and the other prisoners and Jonathan. 

Because her weapon was used, Davis was blamed by law enforcement. She attempted to escape imprisonment by going underground, but was placed on the FBI’s most wanted list and was eventually located by law enforcement. They imprisoned her in the Manhattan Detention Complex and placed her in solitary confinement.  

“But her advocacy for prison reform really began to take hold there,” said Dr. Generals.  She saw the inhumanity with which the women in prison were treated and “when she got [out of solitary confinement] the women embraced her, and they began protesting their treatment within the jail.”  

“They yelled out the windows and coordinated with activists to get supplies and funding for bail. They created a protest movement to reform the bail system, because nobody in that prison could afford bail,” explained Dr. Generals. Over the course of 18 months, Davis was able to free several of her fellow inmates.  

People around the nation and world rallied for her release, and by February 1971, including pop culture icons like Aretha Franklin, John Lennon and Yoko Ono, advocated for her release. After 16 months she was released on bail. 

On June 4, 1972, she famously represented herself in front of an all-white jury and was proven innocent. 

“Thank you, Dr. Generals, for keeping Angela Davis’ legacy alive,” commented one of the audience members who also wanted to share with the group Mahalia Jackson singing part of the song, Lord, Don’t Move the Mountain: “No, don't move the mountain. Give me strength to move my mountain. But lead me all around.” 

Her voice was all-encompassing, soulful and clear. It was the perfect way to end the Fireside Chat and celebrate the power in women’s history. 

Yolanda Brutley-Dugger says that in almost every space she’s in, she is most often the only person in a wheelchair. However, she notes that this doesn’t slow her down on her “journey of trying.”

Born in Texas and raised in Kansas City, Missouri, Yolanda moved to Philadelphia at 13. While she says her transition to Philadelphia was a culture shock, one thing remained the same: her love of learning – especially for math. 

“Growing up I always wanted to learn, and math was something that just came easy,” Yolanda says.

After graduating from Olney High School, Yolanda briefly pursued a bachelor’s degree in Mathematics at La Salle University but said that her program of interest was dissolved. At that point, she decided to enroll in classes at Community College of Philadelphia. 

“I was pretty distraught and discouraged by that change,” Yolanda says. “I already wasn’t sure if I wanted to pursue a bachelor’s degree and I didn’t have any support. As a first-generation college student, this was a journey I chose and pursued on my own.” 

Yolanda recalls working full-time with the City of Philadelphia and raising her family her entire time in college. She even had to turn down an opportunity to join the Honors program so she could stay

enrolled part-time to balance work, family, and school. 

After graduating from CCP in 1999, Yolanda went on to earn her bachelor’s degree in Psychology from Temple University (pictured right). Still working for the City, she would sometimes substitute teach at Freire Charter School, which in 2006 was located right behind the Municipal Services Building. 

“Teaching at the charter schools was fun, but I soon discovered that I wanted to teach on the college level,” Yolonda says. “At the time I was preparing for a master’s program, and then I suddenly became disabled. I went from walking to a wheelchair in a matter of days.”

Yolanda would be diagnosed with traverse myelitis – a rare neurological syndrome causing injury to the spinal cord. She credits physical rehabilitation, the support of her family, and her psychology degree for helping her get through it. 

After spending two years at Johns Hopkins’ Transverse Myelitis Center, Yolanda returned to Philadelphia in 2016. She was determined to rebuild her math skills and finally pursue a master’s degree in applied math. 

“I remember telling myself that I wanted to get back to being independent and having a life of my own without much outside help,” Yolanda says. “Each day I would just try. I was driven to do it and because of technology I could now access a lot of resources.”

Yolanda reenrolled at the College and started by taking one math course at a time. She remembers spending countless hours in the math lab. Then in 2018, she was asked to become a math tutor.

“I decided to become a tutor at the College because there are a lot of students who reach out and ask for help in mathematics,” Yolanda says. “Many of the students I tutor have the skills, they just don’t have the confidence. They see how passionate I am about math and that I’m giving my all to help them. I start by helping them utilize what skills they already have.

As a first-generation college graduate, Yolanda wants to serve as an example to other students that if you want it, you can accomplish it. As someone who knows first-hand the struggle of navigating college alone, she wants to be there to offer support. That’s why she decided to run for student government. 

“I’m here as a voice to say no matter what you’ve experienced or what has been said about you, you can overcome that,” Yolanda says. “All you have to do is set your heart on it and get the support you need.” 

Although optimistic, Yolanda says she still faces challenges because of her illness. Challenges that she can’t control. But she remains committed along her “journey of trying” and doing what she can. 

She is currently looking for a female math mentor to help her along her journey. Dr. Linda Powell, chair of the College’s Biology department, is currently supporting Yolanda as she explores her options for advanced degrees. 

When asked what she loves most about math, Yolanda says, “Math challenges the brain and it’s very cerebral. There’s also a definite to it. You either have a solution or you’re searching for one.”

Black music is one of the largest cultural exports of the United States. From jazz and rock and roll to hip hop, country music and more, billions of people all over the world enjoy the musical inventions of Black Americans daily. That said, the centuries-old origins of the African rhythms and rhymes that were molded into modern music remain obscure to most.  

On February 16, Dr. Ardencie Hall-Karambe, associate professor of English and Theater, honored and shed light on how Black music in America came to be. In her presentation “Power in the Word: African Traditional to African American Spiritual Music,” Dr. Hall-Karambe invoked the grand tone of a natural storyteller and started off the talk with an expedition into African mythos. 

“Once upon a time, long ago in a large village called Africa, there lived four brothers, the sons of Djemba the drum king. King Djemba, who was the best jeli or griot or storyteller in all the land, shared his knowledge of rhythm and rhyme with each of his sons... [teaching them] to play the songs and tell the stories of their people.” 

It is said that King Djemba’s sons created instruments to go along with their father’s drum: the mbira, Calabash Rattle, talking drum, balafon, shekere, udu, djembe and the kora. They set up homes in other parts of Africa to memorialize their village through song and language, teaching these rhythms and rhymes to their children who taught it to their children and so on.  

To illustrate how this myth has materialized in African culture, Dr. Hall-Karambe played a clip of daily life in an average village where rhythms have been passed down through everyday life. From cooking to cutting trees, working steel masonry and collective singing, all activities followed a steady, intrinsic beat. 

A man from the village narrated. “Everything, all work, all these sounds, all the brilliance is of the rhythm... Every step we take is rhythm, every word we speak is rhythm. So, we are all in this rhythm now. Everything is rhythm... We are not going to cut the throat of our culture. It will live on. We’re going to keep it alive.” 

When Europeans came and enslaved millions of Africans and stole them away to the West, they took their drums and forced them to give up their native languages. “The enslavers feared the gifts that King Djembe had given his son and that his sons had given their children,” said Dr. Hall-Karambe.  

But even without drums, enslaved Africans kept their rhythmic history alive, using their bodies and their voices as instruments to speak about the injustices and crimes that were happening to them.  

Reinterpreting the words of Christianity in a way that was meaningful to them, the enslaved Africans created field hollers and gospel music as a tool for revolution. With songs like “Wade in the Water” and “Follow the Drinking Gourd,” they coded and spread instructions on how to escape to the North and/or to Mexico where they would be free.  

Combining the power of a language reclaimed with the rhythms passed down by their ancestors, African Americans created the blueprint for modern music as a way to communicate under grave persecution, and to free their minds and souls while they struggled to survive. The rhythms and rhymes of gospels and field hollers later became genres like barbershop quartets, rag time, blues, jazz, country, rock and roll and beyond.  

"It was something that we had that as part of our DNA, it's something that we cannot get rid of,” said Dr. Hall-Karambe, “and that is one of the reasons why it is so hard to duplicate African American music to this day.”  
 
 
 
 
 

Hi everyone! My name is Iraida (they/them), and I am 20 years old. I was born in Puerto Rico but was raised here in Philly. My family and I moved from Puerto Rico back in the early 2000s and we’ve been here ever since. 

I graduated from Northeast High School – MAGNET in 2020, and I am currently a sophomore at Community College of Philadelphia majoring in Digital Video Production. I originally did not plan to attend CCP, but due to some personal situations, I did end up choosing to attend CCP. It was genuinely the best decision I have ever made for my future. 

A few months after first applying to CCP, I was quite literally bombarded with emails saying I was eligible for the Catto Scholarship. At first, I thought nothing of it if I am being honest, until I mentioned it to a friend asking if I should give it a shot. They gave me the motivation and boost I needed to go through with it. I regret nothing. If anything, I regret not answering their emails sooner. 

I, along with many other recipients, were part of the first cohort. At the time, I was not aware of all the extra benefits that would come with being a part of the scholarship. Everyone that I have met and talked to within the Catto community has been super friendly. My success coach has been extremely helpful when it comes to answering my random questions about school. He has helped me every semester, encouraged me to attend many of the workshops, and has motivated me to stay on top of everything. 

The monthly stipends have also been a significant help, whether it has been used for school supplies and books, or rides to campus. Being part of the Catto Scholarship has been one of the best things that has happened to me. It has really helped me and my future with school. 

If you are planning to attend CCP, and see your email being bombarded with emails about the Catto Scholarship, give them a chance. It is well worth it. 

Hello, my name is Dayanna but I prefer to go by my last name Shomo. I am from the West Oak Lane area of Philadelphia. I graduated last summer from George Washington Carver High School of Engineering and Science, also known as HSES.  
 
I choose to attend Community College of Philadelphia simply because it was more affordable and understanding that we receive the same quality of education as many of the other four-year schools here in Philadelphia. Also, past family members have either gotten a degree here or used the transfer program here at CCP, so CCP was always going to be the first choice for me. I am studying Communications as a way to continue my work with nonprofits. 
 
The Catto Scholarship actually reached out to me during the summer of 2021 for the Fall semester telling me I was eligible. I loved this about the scholarship. I already knew I was going to have to apply for scholarships, but it was nice to see that one proactively reached out to me and let me know that I was eligible. 
 
I think one of the benefits of this scholarship is having an advisor that I can go to with questions not just about the scholarship, but the school itself. This was great for my first semester here. To me, being a Catto Scholar is understanding the importance of not being too prideful to ask for help or to seek out help with learning. There is always someone you can talk to and connect with to help you along your journey here at CCP.  

The Men’s basketball team have advanced again and now they’re District champions. Our CCP Lions won the Region 19/North Atlantic District Championship on Saturday, Feb. 26 after defeating nationally ranked Brookdale Community College 78-58. The team will advance onto Nationals where the Lions will participate in the NJCAA DIII Men’s Basketball Championship at Rock Valley College in Rockford, IL from Wednesday-Saturday, March 9-12.   
  
Saturday's game brought out the best in the players and coaches who hustled hard to secure the win. Sophomore guard Amir Woods was named the game’s MVP, and CCP’s men’s coach Joe Rome was named the North Atlantic District Coach of the Year. Most recently, freshman Ryan Holmes was recognized as the Eastern Pennsylvania Athletic Conference (EPAC) Player of the Year and alongside teammate Isaac Marshall, earned All-Conference First Team honors. Nizja Faison earned All-Conference Second Team honors.  
  
As the Lions continue their road to Nationals, we’re cheering them on every step along the way. We’re inviting you to cheer with us and the Lions as we host a Tournament Selection Show Watch Party on Wed., March 2 at 2 p.m. in the Bonnell Lobby open to the College community. The Watch Party will reveal the CCP Lions seeding selection which will determine who and when they’ll play during the national showdown.   
 
Fans looking to attend the Watch Party will need to abide by the College’s COVID-19 safety guidelines as we safely celebrate our team’s success.    
 
The National Tournament bracket will be broadcast on the NJCAA Network's Selection Show for at-home viewing. The Tournament’s official live statistics and box scores will be available here.