Art & Culture
The Jumper, the Geographer and the Sealion
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People say it was a seal that saved Kevin that night under the wispy San Francisco clouds just below the bridge. Other insist it was a dolphin, its grey tail lapping in excitement at its rescue. There was even a brief rumor about Superman. But I can tell you it was a sealion because I was there, and this sealion, Kali, was my friend.
Kevin didn’t believe me when I first told him about Kali, but then who would? A girl and a sealion forming an unlikely, unconditional friendship…it was something out of a children’s book, a bedtime story, nothing more.
That’s why it never made the news, not properly anyway. Sure, the local news brought in experts from Stanford and Berkeley to review the cell phone footage bystanders had taken from the Golden Gate. I wondered in the moment, and in the days that followed, why people had just stood there, gripping their $500 iPhone, pointing, gasping, but not doing anything remotely useful. Perhaps my running back and forth between the emergency telephones that lined the bridge was enough for them. The frantic, fractured voice that trembled across the phone line; yeah, that’s what a real 911 call is. She’s got it under control.
But I didn’t have it under control. All I could think about was the ice cream. Twenty minutes before we were licking ice cream off a popsicle stick and debating how many popsicle sticks enter the ocean every year and clog up some sealion’s throat. Kevin would maintain it wasn’t as bad as plastic–he wouldn’t even touch toothpaste if the picture on the front had the little blue dots that resembled microplastic beads–but I pointed out that all waste was exactly that, waste.
No matter the argument, I was go-big-or-go-home kinda girl. I didn’t do anything half-assed. Kevin liked that, said it made me different from the girls he usually met–you know, those imported Silicon Valley tech types, used to following orders as long as it guaranteed a paycheck.
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There were probably some on the bridge that day along with the tourists. Mostly, there were tourists. At least I think there were mostly tourists; it’s a blur for me. Except for Kali. I can see her round black eyes peeking out above the water very clearly. Even though it’s a long way down, I know she saw me. It was her way of calming me down.
It was like that since we first met. The reasons most people come to San Francisco–tech, the arts, the universities–were not the reasons I came to San Francisco. I came for the bay, specifically the mudflats and their sediments. I was a post-doctoral fellow and the unique mix of fresh and saltwater in the bay created not only a rich biodiversity in the region, but a curious soil composition that easily could have spurred twenty white papers. That’s how eager a geographer I was then, but when Kevin jumped things changed and I found myself much more interested wildlife, those living breathings things, that soil and water that bred life. After all, earth was just a petri dish, just the beginning.
That’s how it was with us: the jumper who faced demons none of us dare, the unsung aquatic hero who summoned the purest friendship, and me, a geographer who, for the purposes of this narrative, has become an unlikely storyteller.
It was as a geographer that I first found Kali, lying out on wetlands with a plastic ring around her neck, squashing the flesh just like belts on the dresses my sister wore. She was struggling to make ends meet as an editorial assistant at a New York publisher while I was out here amongst the wetlands. At first, I mistook the sealion for a rock. Embarrassing, I know. But that dusty grey skin when battered by sunlight had a rough texture, almost jagged from the way she sat. It was only when I crept closer that her head turned towards me and our eyes connected. Those black eyes, glassy with fear.
“Shhh,” I whispered as I crept up close, “It’s okay.”
The sealion seemed to whimper, letting out a soft, high-pitched noise. I’d heard that sound before, when tightening the strings on my guitar really, really slowly. Kevin used to make fun of me for it, saying I was pushing the instrument too far in the pursuit of perfection, like the way I have to have exactly the right ratio of chocolate in mint chocolate chip ice cream.
I crept up to her close. The sealion seemed to know while she could move–her front feet were free–she wouldn’t get very far with the ring around her neck. Once I was in about ten paces, I reached into my pockets and around my belt, where I had magnifying glass hanging off one of the loops, but nothing useful to set her free. Turning my head around, I looked to see which of my colleagues were still mildly within my frame of sight. Not many it turned out. But just beyond the horizon I could see the blue of Kevin’s baseball cap.
Frantically, I waved him over, but he didn’t see me. My arms flailed in the air. “Kevin!” I called, being careful not to disturb or frighten the sealion. Three times it took before he took a step towards me. Men were so lazy. But once he could see I wasn’t moving like the rest of our cohort, he picked up pace and it wasn’t long before I could hear the wind whistle through the grass where his footsteps had been.
“Oh, god,” I heard him as he knelt down beside me. Immediately, I put out an open palm towards him, but it started to shake as it remained empty. “Quickly!” I shouted, “Haven’t you got anything sharp? A knife? Anything?” Unlike me, Kevin knew exactly where to look. In his back pocket, where most men keep a wallet, he pulled out a swiss army knife, a relic from his boy scout days in and around Sacramento.
Tapping me on the shoulder, he offered it to me, and I shuttered in response. I didn’t expect him to just offer me one, stepping aside like that. But Kali kept staring at me and it was like Kevin knew she trusted me. Taking the swiss army knife, I pulled out some of the different functions. Any would do really; they were all sharp.
Knife out and open, I moved it close to Kali’s neck and she squirmed in fear like she knew what the piercing metal could do to her marine flesh. Funny, how she too would know how the damage her ocean’s rocks could do to human flesh. Wiggling, I inserted my index finger between the ring and her fur while with the knife in my other hand, I began to cut. The plastic was hard and firm, the kind that Nalgene liked to use for their bottles. Several cuts in, the plastic was beginning to break apart at either side of the knife. A flipper moved up on the rock. Kali must have felt it loosening. I was nearly there, when the sealion jerked her neck and the plastic snapped. She was free.
Kevin and I smiled at each other. It might just have been the happiest I have ever seen him. Kali straightened her neck, allowing us to see her magnificence in profile as the sun eclipsed the sky. Naively, I half-expected her to stick around, but like any wild creature, she was gone in a heartbeat.
It’d be weeks and 20,000 words worth of paperwork before I saw Kali again. Kevin was keen to tell the rest of our cohort about the episode–always the glory seeker–but I was quiet. I’d had an intimate moment with a mammal, that was all. So I really didn’t talk about it once she started reappearing. At first, I attributed it to simply returning a habit like salmon returning to the stream where they’d been born or a human child coming home after months away at college. But she seemed to follow me. If Kevin was around, she would stay, but she’d never appear if anyone of the other fellows was nearby. She appeared for us, and us alone.
One foggy Tuesday I remember vividly as the day she truly let me into her world. I was in the marshes again, taking water samples. You hear scientists talking about ocean acidification all the time, but the levels I had pulled from the bay for the last week were really alarming–way too high for this time of year. I had all my kit out when I noticed larger ripples in the water. They were too large for an amphibian. My steps I took slowly in stride, holding my measuring instruments close. But no sooner than I had looked up and she was right in front me, face smiling as the sun stroked her back.
Timidly, I extended an arm out to touch her and her head back away a few inches. “It’s okay,” I affirmed. The sealion, after a second, swam towards me and met my reach. We stayed there, animal and human, for several minutes. I asked her questions about her experience in the water, if she thought it was too acidic, if there were enough fish for her to eat and feed her family, if she knew where Kevin was right now. She didn’t answer, but that was okay.
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When my hand lifted off her skin towards my clipboard, she retreated, diving back into the ocean. I wondered how I had offended her as I put pen to paper. But just then, I felt her fur nuzzle my wrist. Looking up, her face stood directly in front of me, her black eyes staring straight at my own. With a knowing glance, she turned, leaving her side to me. She stayed there, calm and peaceful, only looking back at me every few seconds like she was waiting, waiting for me. Carefully, I took a slow approach like before. But when I reached her head, she flapped her flippers. It wasn’t angry, more like annoyed that I wasn’t a very intelligent human. When I put a hand on her upper back, she relaxed as if to tell me I was doing the right thing. In my head, I ran through the possibilities of what she might want–food, shelter, others of her own kind. Except she wasn’t with her own kind. She’d deliberately sought own someone very, very different from herself. My inner six year-old clamored at the thought of swimming with a sea lion like I had once dreamt of swimming with mermaids. Intrepidly, I placed one foot on the other side of Kali’s wet, furry body. She didn’t move. Lowering myself onto her back, I had barely sat down when she took off into the open water. A dive down to start and my fingers, laced around the sea lion’s neck, were what kept my recklessness in check. If I had broken off, I could have flung aimlessly into the sea. Strangely, holding onto a sea lion was my path to salvation.
In a breath, we broke through the surface. My grip loosened and my hair eased on the back of my neck. Around me was the blue I was accustomed to studying from the land–save a scuba trip every few months. Dark silhouettes swam beneath us. A bright sun rifted across the waves, leaving a glimmering trail of light in its wake. The dew on Kali’s fur glittered in the sunlight. I search for algae blooms or signs of a red tide that could explain the Ph level readings I had been pulling recently. But before I knew it, we were off again, gliding along the waves. My shorts and t-shirt were drenched–as I am sure the clipboard and papers I had left on the edge of the shoreline–but I didn’t care. Arms out wide, I closed my eyes as the wind whipped by the sides and I let out a giddy scream.
When I opened my eyes, we were under the Golden Gate, it’s strong red arms extending into the water where we swam. The engineering was more imposing than I’d ever experienced. The bridge seemed to go on for miles as ships passed underneath. The suspension ropes reached towards the heavens, climbing on and on until they hid in-between layers of fog. Little did I know that one day soon I would be running back and forth along that platform in a frenetic trance. But there with Kali, the bridge was exactly that: a magnificent, wonderous bridge.
A dive again and we’d come up to the surface. A roller coaster on speed, it was the best natural high I had ever experienced and when we returned to the shoreline, I hesitated to roll off Kali’s back. I wished for a second round, a forever round. But then, I wasn’t a sea lion. I was a human, and humans walked on land with clipboard in hand. Stepping off, I scooped my clipboard, now illegible and waterlogged, from the sandy marsh. The team would be really impressed with these detailed notes. Really impressed. But I couldn’t focus on the future, only the present. Leaning down, I patted her on the head. She didn’t pull back this time, just turned and swam away just as easily as she came.
I sat there, on the edge of the march, for ages thinking she might come back, but she never did. By the time the face on my phone shown 8pm, I picked up and headed home. I had barely slammed the door when I called Kevin to relay the encounter. At first, he didn’t quite believe me–asked me what I had been eating–but eventually he came around, repeating “And you just swam with her under the bridge?” at least five times. What he didn’t understand was that I didn’t just swim with Kali. I communicated with her, this blessed moment of human-to-sea-creature interaction. Sometimes I wonder if Kevin had chosen the wrong vocation.
The weeks following would create a tense unease between us. Kevin was the only I’d told about Kali. While I respected the other would-be scientists I worked with in the bay, I didn’t trust them, not with this. You trust scientists with data, proposals, figures, graphs, and even speculation, but not dreams. It was in the job description: science isn’t about what could be, but what is.
Still, time in the labs was terse and water-focused rather than animal-focused. I’d catch Kevin shake his head at me every once in a while, as he passed me. Time outside the lab could be just as awkward. We’d already accomplished the touristy things–the bridge, the Disney museum, Chinatown. San Francisco native Kevin still liked to stop by the Purple Cow and buy me an ice cream on a fog-filled afternoon. Licking our ice cream, we’d talk about everything except Kali. How it took him in an hour to get to city center this morning. How I should really catch a San Francisco sunrise. How Carole King was supposed to be coming to town.
My nerve would creep up here and again. I’d try to sneak her into sentences whenever we’d talk about the lab. But being subtle didn’t go very well with recounting my time with a sealion–a sealion, a wonderful, wonderful sealion.
“Just shut up, won’t you?” he yelled at me as we strolled along the path, “Just shut up.”
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The tourists on the end of the Wave Organ looked up for a moment, observing our argument. One held up a phone to take a picture of the sea, but I could swear she tilted it just enough to get us into the frame. Oh, god, we were being filmed. I could see the YouTube headline: “WAVE ORGAN SONG INTERRUPTED BY COUPLE’S SPAT.” If we were even a couple–a couple of idiots, that is. I should have rented a single bedroom in Sausalito and resigned to my eventual fate as a crazy cat lady. “BAY SCIENTIST DEVOURED BY CATS.” Making headlines in my head was a dangerous game, one that could blur reality. But Kali was real and my experience with her, in her waters, that was very, very real.
“Let’s go,” I said quietly.
He stood still. “I thought you wanted to listen to the Wave Organ. Again.”
“Not anymore,” I dismissed and we walked the path back with the crackling of the waves to our right, against the shore.
By the time Kevin dropped me back at my apartment, something had changed. His hair was thinner, greyer. Well, it could have been if the stress bubbling inside his brain had started to show. But all I got were vacant signs, the little things, if they could be little at all. It was more like, well, like nothing at all. Maybe his mother–she must hate me, watching him jump–would know. Not me. I’m just a wannabe scientist who takes him on walks, eats his Saltines, and believes in sealions.
Kevin grew distant following the Wave Organ fight. He’d still talk to me. We’d get ice cream and coffee (in that order). I’d tell him about the coral polyps I wanted to study in Fiji and he’d tell me that had absolutely nothing to do with the soil and terrain I was studying here, in the bay (it didn’t). We’d meander the food truck festival and discuss how nearly everything on sale had been taken, in some form or another, from the ocean (it had). From the outside it was normal. But his answers were terse and ordinary. He didn’t question. He lacked ideas. I thought he just hated me. It wouldn’t be the first time a man would turn on me because I’d gone a little too haywire, a little too intense or weird.
And that was okay. I had a sealion (when she bothered to flip over to the shoreline where I stood with samples and clipboard). Why did I need anything more from my west coast man with his long, straggly hair and a knowing glimmer in his eye?
Ah.
Over the next weeks, I had made some good progress on my sediments. Those early morning walks and late evening collections had allowed me to build up something resembling an almost substantial data set. The other fellows might have had stronger, more ambitious propositions, but I had grit. The data would tell me where to go from here. All I had to do was listen. I spent weeks listening, examining the sediment under the microscope and checking it for Ph level, iron and just about anything else I could think of. On a good day, I noticed a new level, a spike in zinc. On a bad day, I wished I was working on one of those middle school experiments where you already knew the answers. On a fruitless day, I sat out by the bay and waited for Kali to come. But she never came.
It ended up being about once a week that I would walk the shores looking out for her, once at high tide and once at low tide. I ended up calling them “Chasing Kali Thursdays.” It was some kind of permutation of a “Soul-Seeking Tuesday.” All I needed was a violin.
I didn’t dare tell Kevin about these long Thursday walks. He still didn’t believe in my first encounter with the sealion and he remained in his stage of distanced contentment. I didn’t want to screw that up by ranting about the ocean creature he didn’t believe in. Instead, I kept my loneliness inside me. Who was there to talk to? Even if Kali had visited another one of fellows–or even just a regular San Franciscan on the street–it is not like they would talk about it. We don’t talk about the natural magic in the world.
So we kept not talking about it. That’s how we got to the bridge that Friday night. We’d agreed on an early dinner at Spruce, just beyond the Presidio. Eight weeks of a grueling scientific fellowship were to be celebrated. We didn’t have a lot of money on the fellowship stipend so early meant we could catch the tail end of the lunch service and count it as dinner in our heads. Kevin had chicken. We both had resigned to becoming vegetarians, but it was harder for Kevin and he slipped more than once. Letting it go, I looked out of the window. The dense fog that had clouded the streets was gone now and it was still just light enough that the buildings’ architecture sprung out against the sky.
It was just about sunset when we paid the bill. I would have fought Kevin more over the bill, but we’d been fighting too much recently. I didn’t want to add it to our inventory of arguments. The car, a blue Honda Civic, was parked under a tree undisturbed by passers-by. How many arguments that vehicle had placed hosted to recently, I didn’t want to count them. The car hummed as we drove through the Presidio, the green heart of San Francisco. We passed few other cars along way. I thought there would be more on a Friday, but I suppose that’s the Uber effect–only going places when you need to go somewhere. Driving for driving’s sake was an ancient philosophy, washed up on the shore along with white picket fences and an affordable mortgage.
Looking up at the imported palm trees as we passed, I recalled how curious a place San Francisco really is. In a city of transplants, could anything really be natural? Was I not studying soil that had been inherently changed and cultivated by cross-pollination of life and experience? The pet cemetery on our right seemed to prove my thesis. From the window I could see the signs: Fluffy, 10 years old, a beagle mix and Hugo, a 5 year old lop eared rabbit. My sister had taken our labradoodle when she’d moved to New York. She didn’t talk about him much so I expected he hadn’t adjusted very well to the big city. Neither had my sister.
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The key clicked in the ignition as we parked next to Chrissy Field. Normally overrun with baseball enthusiasts, the park was only inhabited by a handful of nightwalkers and fireflies. That little yellow buzzing light, intermittent and fleeting, was how I passed the time, watching them. Chasing fireflies was somehow akin to chasing dreams. Kevin let me follow after one, clasping my hands together in vein every few seconds. He wasn’t used to following after bugs like that; he only trusted the ocean and only the parts he could see and experience directly.
When I finally caught a lighting bug, I stood silently, watching it flutter in the palms of my hands. One eye open, I watched the left wing rise and fall and then the right. So invested I was in my new companion, I didn’t notice Kevin creep up behind me until he laid one hand on my shoulder. “The Bridge?” he suggested. I really didn’t think anything of it. We went to the Bridge often, especially at twilight. There was something calming about it, the wind picking up from the bay as the ships returned home for the evening. It was almost romantic, the way the city looked with the artificial light shining out of the windows from the skyscrapers on the San Francisco side and the homes on the Sausalito side. I wondered how many of those people, still reading or working by their lights, had walked across the Bridge at night.
From Chrissy Field we walked up along the green until we hit the Golden Gate Welcome Center, which was closed. But that was okay. We knew where we were going–at least I thought we did as Kevin extended a hand out to me and helped me up over the step. Before crossing Strauss Plaza, we stopped into the Bridge Cafe, a small enclave where people glazed over the bags of chips and mints before departing with a single cup of coffee. I kept eyeing the freezer, which in addition to the ice cream sandwiches and firecrackers had been outfitted with some local artisan flavors. Kevin propped the door open, imploring me to get what I wanted. I picked up a strawberry lemon icicle. We paid and departed the shop just as a smug young couple came through. I used to want that, that look, the swaying, pretending to fight over who was paying. But that’s never really real, is it?
I watched the red railings that lined the outsides of the cafe fade into the fog as we continued up through the plaza. Eventually we came upon the statue of Mr. Strauss himself, the blue jeans man. Etched in bronze, his face was thoughtful, pensive even. Capitalism seemed the farthest from his mind, just his dream. The fog began to condense onto his skin like tears of sweat, born anew. My hand reached up to clean the bronze, but all that did was stretch out the water droplets, connecting them into a makeshift river. How malleable water is.
Kevin waved from a nearby bench and pointed at a middle-aged Chinese woman who’d been keeping an eye on the statue, waiting for a good moment to snag a photo. A hand on Mr. Strauss’ arm, I step aside and followed Kevin up the hill until we meet the road. And then, right then, the Bridge stood, towering in front of us with its arms stretching up to the heavens like our one connection between earth and another world.
We walked at a leisurely pace. The popsicle melted in my mouth with each lick I took. The strawberry lemon swirls would have held my attention if it hadn’t been for the view. With every step, the skyline morphed, showing off a new glimmer at every angle. A sixteen year old Instagramer would have had a field day. Me, I just walked with Kevin at my side–at least, I thought with Kevin at my side. I pointed out buildings and stars, like punctures, in the sky. He’d respond, “Yes, I can see that,” or “How great!” as we walked along and I held my denim jacket close to my body against the wind. I saw the telephones in the railings, but I wasn’t looking at them. I was searching for a constellation peeking out from the fog.
“Don’t you think you can see Orion?”
“It’s too foggy.”
“But something that big, that bright, it’d show, don’t you think? Well, of course you do. I mean, maybe, just there, that break–Kevin–”
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I turned around. “Kevin!? Kevinnn!!?” And in a flash, he was gone. I pushed past the few others that were on the bridge. I ran left. I ran right. I ran over a stone and tripped to the floor. That’s when I grabbed the rails and looked down while passersby held onto their phones to take footage of the fall for YouTube. It was a long way down. Just there, against the midnight blue sky I could make out the red of Kevin’s rugby shirt, the one he’d bought in Australia. I had to do something. These people were just watching. Watching, filming, watching. I scurried to the closest bridge phone, but it didn’t have a dial tone so ran to the other one and placed the 911 call. My voice, cracked and squeaky, relayed what was going on beneath me, but I all could remember was the popsicle. Strawberry lemon. Who the hell picks strawberry lemon? Kevin would never go for that.
God, Kevin. I snapped the phone back on the line and pushed my way through the small crowd that was forming. You read about this stuff in the newspaper, but who got to watch someone jump live, right in front of their eyes? Now that’s a good vacation story.
Pushing and shoving, eventually I found myself back clutching the rails when the body hit water. It was the largest splash I’ve ever heard. Rather than looking away, crying, I just watched. I watched and watched. And that’s how I know. Even with the distance, I could never have mistaken that spotting and coloring. Swimming under the water, she carried him just as she had carried me. Her black eyes looked up at me as she did.
I ran off the bridge to meet them on the shore, but when I got there, Kali was gone, replaced only by a set of EMTs and other vague human face. I wouldn’t see her again–and neither would Kevin–but that was okay. She’d given us what’s she need to: the confirmation that we, human and aquatic creatures, are, in some strange way, all here to help one another.
Sophia Latorre-Zengierski is a writer, editor and marketer from Princeton, NJ. With a background in the arts, she is a self-professed “ocean person” and led the first March for the Ocean in London this June. Having spent five years in academic publishing, she is currently studying at the University of Pennsylvania. She hopes to form a nonprofit committed to proving that anyone, no matter their background, can use their voice to protect the ocean.
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Art & Culture
Sailing Toward a Sustainable Blue Future: An Interview with Emilie McGlone, Director of Peace Boat US
On the eve of World Oceans Day, Peace Boat US Director Emilie McGlone reflects on a 41-year voyage in peace, sustainability, and youth-led ocean action, from Tokyo to the United Nations to the upcoming Ocean Gala onboard the MV Pacific World in New York City.
Emilie McGlone is the Director of Peace Boat US, the New York-based office of the international non-governmental organization Peace Boat. Founded in Japan in 1983, Peace Boat promotes peace, human rights, and sustainability through Global Voyages on its chartered passenger ship, the Pacific World, often described as a “floating university.” Peace Boat holds Special Consultative Status with the United Nations Economic and Social Council, serves as a key campaigner for the UN Sustainable Development Goals, and is a prominent member of the International Campaign to Abolish Nuclear Weapons (ICAN), the 2017 Nobel Peace Prize laureate.
Peace Boat hosts three Global Voyages per year, each lasting roughly 100 days, weaving together educational lectures, cultural exchanges, and humanitarian projects as the ship circumnavigates the globe. As Director and United Nations liaison, McGlone leads programs that bring peacebuilding, sustainable development, and environmental advocacy onboard. She founded the “Youth for the SDGs” scholarship to empower young leaders in ocean and climate action, coordinates side events at the UN such as the ECOSOC Youth Forum, supports global emergency response through the Peace Boat Disaster Relief Volunteer Centre (PBV), and champions the Ecoship Project, an initiative to build the world’s most sustainable passenger ship.
McGlone has been with Peace Boat since 2004, initially joining as a volunteer Spanish teacher after living in Japan for a decade, and has now circled the world with Peace Boat six times.

Tell us about the educational and professional journey that led you to becoming Director of Peace Boat US.
I graduated from the University of North Carolina at Chapel Hill with a degree in Cultural Studies, and I began volunteering abroad at a very young age. After spending months studying Spanish and working alongside NGOs in Mexico, Guatemala, El Salvador, and Chile, I traveled to Japan to begin teaching with the Ministry of Education through the JET Program (Japan Exchange and Teaching). I later led an environmental awareness bicycle ride called BEE, Bicycle for Everyone’s Earth, cycling from Hokkaido in Japan’s northern island down to Okinawa, where we learned about ocean conservation and shared a message of environmental sustainability.
In 2004, I joined Peace Boat as a volunteer Spanish teacher and soon began working full time in the International Division in Tokyo, building onboard programs with guest speakers and partners around the world. That early work, focused on educational programming and international exchange, shaped how I think about people-to-people connection as the foundation of peacebuilding. In 2011, I was invited to become the United Nations liaison and Director of Peace Boat US, based in New York City. Peace Boat holds Special Consultative Status with the UN Economic and Social Council, and we have an office at the UN Plaza, so my role is to build strategic partnerships and work alongside our partners toward the UN Sustainable Development Goals.
Today, my focus is connecting education, advocacy, and global collaboration: building partnerships, coordinating programs, and creating spaces where youth, civil society, and global institutions can come together to advance peace and sustainability.
What are the core missions and projects of Peace Boat?
Peace Boat’s mission is to build a culture of peace and sustainability by connecting people across borders through education, advocacy, and partnership. Our work focuses on four key areas: ocean conservation, climate action, youth engagement, and disarmament. A core program onboard is the Youth for the SDGs scholarship, endorsed under the UN Ocean Decade, which brings young leaders aboard our voyages for experiential learning and action on ocean and climate issues.
Tell us about Peace Boat’s upcoming Global Voyages, and particularly the 123rd Global Voyage from April 7 to July 20, 2026.
Each year, we organize three Global Voyages, three-month journeys around the world that bring together about 2,000 participants from approximately 20 countries. The 123rd Global Voyage, sailing from April 7 to July 20, 2026, is especially meaningful: we are celebrating Peace Boat’s 100,000th participant. The voyage continues our focus on global environmental issues, with particular attention to ocean and climate action.
In New York City, we are hosting the Ocean Gala and Blue Innovation Reception onboard during our port call, in alignment with United Nations World Oceans Day and the UN Ocean Decade. The event brings together partners from the UN, civil society, the private sector, and youth leaders to strengthen collaboration around ocean protection and the blue economy. Participants will also engage with leading research institutions, including the Smithsonian Tropical Research Institute, learning directly from scientists about biodiversity and environmental change.
Which UN events does Peace Boat prepare side events for each year?
Each year, we engage with major UN processes including the ECOSOC Youth Forum, the High-Level Political Forum on Sustainable Development, and the UN Climate Change Conferences (COP). We also contribute to ocean-related initiatives such as World Oceans Day, Climate Week NYC, and activities under the UN Ocean Decade. These spaces let us bring youth voices and civil society perspectives into global policy discussions, connecting our onboard work with international advocacy.
You founded the “Youth for the SDGs” scholarship. Tell us about this initiative.
I started Youth for the SDGs to create a space for young leaders aged 18 to 30 to engage with global challenges through experiential learning and practice. Endorsed under the UN Ocean Decade by IOC UNESCO, the program brings participants onboard Peace Boat to explore ocean and climate action while connecting with scientists, policymakers, and communities around the world. Through this experience, youth build knowledge, networks, and a sense of agency, and they are supported in taking action on the Sustainable Development Goals in their own communities.
Tell us about the Peace Boat Disaster Relief Volunteer Centre (PBV).
Peace Boat Disaster Relief, or PBV, is a Japan-based NGO that supports communities affected by disasters and works to strengthen local response capacity, both in Japan and globally. PBV emphasizes that people are central to reducing disaster risk and building resilience. After Japan’s 2011 triple disaster, PBV recognized that well-trained and organized volunteers can play a crucial role in effective response and launched its Disaster Relief Volunteer Training Program. Sessions are held regularly across Japan and are open to anyone, regardless of background or experience. PBV also delivers tailored training for corporations, universities, Social Welfare Councils, and other organizations.
Tell us more about the Ecoship Project.
Ecoship is the next step in our 41-year evolution. It will be the future platform for Peace Boat’s global voyages, carrying 8,000 people per year, hosting exhibitions on green technology in up to 100 ports, and serving as a floating laboratory contributing to research on the ocean, the climate, and green technology. The ship will create awareness of and encourage active engagement with the challenges embodied in the SDGs, while modeling a transition path for decarbonizing the maritime sector.
Does Peace Boat participate in Climate Week events around the world?
Throughout Climate Week, we act as a key player in strengthening cross-sector collaboration and elevating inclusive leadership across global climate processes. During Climate Week NYC 2025, Peace Boat US and Blue Planet Alliance convened a series of engagements alongside the 80th UN General Assembly to advance ocean and climate action. A central highlight was the “From UNOC to Belém” high-level luncheon, which brought together senior leaders to elevate ocean priorities within global climate governance and finance. Youth leadership was also featured through the Youth for the SDGs event, where young leaders and global ambassadors shared initiatives on ocean literacy, science education, and climate action.
Beyond your work with Peace Boat, you are the founder of Parties4Peace. Tell us about this initiative.
Parties4Peace (P4P) is a non-profit event production and fundraising organization that hosts music and art events to support global initiatives focused on education, sustainability, equality, and disaster relief. P4P unites people to create a culture of peace through dance and music, emphasizing collaborations with those who seek a platform to make a difference.
You are also a collaborator in M.A.P.A. (Music & Art Peace Academy). Tell us about this initiative.
MAPA aims to provide young artists, musicians, and producers from around the world with experiences and resources to further explore and develop their creative talents. The MAPA project invites individuals, organizations, musicians, artists, activists, DJs, photographers, designers, writers, actors, videographers, and promoters interested in social and environmental issues to work together to promote a culture of peace through music and art, and to join Peace Boat’s global voyage for the Music & Art Peace Academy onboard.
You are a Global Ambassador and UN liaison for Blue Planet Alliance. Tell us about this initiative.
As a Global Ambassador for Blue Planet Alliance, we are working together toward a 100 percent renewable energy future by 2045. We also invite youth leaders from Small Island Developing States to join us as part of the “Youth for the SDGs” scholarship for the UN Ocean Decade onboard. My work with Peace Boat connects this directly to the United Nations through our ECOSOC consultative status.
How can people get involved with Peace Boat, Parties4Peace, M.A.P.A., and Blue Planet Alliance?
People can get involved through a range of programs designed for different levels of experience and commitment. The Youth for the SDGs program is an experiential learning and capacity-building opportunity for young activists and scholars working on SDG-related initiatives, open to participants of any age and background, and endorsed by IOC-UNESCO as part of the UN Ocean Decade.
Internships with Peace Boat US offer hands-on experience in advocacy, youth engagement, sustainability, and international partnerships, supporting work on issues that include climate action, ocean conservation, disarmament, and peacebuilding. For more flexible involvement, volunteering opportunities are available on a project or event basis. Volunteers are especially important during Peace Boat visits to New York City and at public events, and they can support campaigns such as nuclear abolition or apply specialized skills to specific initiatives.
Anything else you would like to add?
We are excited to support an inclusive and sustainable blue economy for all, creating networks for ocean conservation and climate action, using our ship as a venue. Ocean Gala information will be shared at peaceboat-us.org/pb-ocean-gala-nyc.
How can people reach you?
People can learn more and get in touch through the Peace Boat US website at www.peaceboat-us.org, or follow on Instagram @peaceboatus for updates on programs and events. We are always open to connecting with individuals and organizations interested in peace, sustainability, and youth engagement. You can also write to info@peaceboat-us.org.
Call for Sustainable Fashion Designers and Artists: Join Peace Boat for The Ocean Gala in New York City, June 10, 2026

As Peace Boat docks in New York City during its 123rd Global Voyage, a special Ocean Gala will be held onboard the ship on the evening of Wednesday, June 10. The event brings together diverse changemakers working to find innovative solutions to accelerate ocean and climate action, showcasing blue innovation and partnerships for a sustainable blue economy and resilient societies, in line with the UN Sustainable Development Goals.
Peace Boat is an international NGO with Special Consultative Status at the United Nations Economic and Social Council, working to promote a culture of peace and sustainability worldwide by connecting people across borders and creating opportunities for learning, activism, advocacy, and cooperation. Its programs run primarily through voyages aboard the passenger ship MV Pacific World, enabling participants to learn first-hand about issues such as ocean conservation, environmental degradation, and gender equality. Peace Boat sails with the SDGs logo on its hull, visiting roughly 100 countries each year.
- Date: Evening of June 10, 2026 (Wednesday)
- Program: Talks, artwork, music, and sustainable fashion for the ocean
- Venue: Onboard the MV Pacific World, docked at the Manhattan Cruise Terminal, New York
Designers and artists interested in participating in person are invited to register their ideas by May 20, 2026 at forms.gle/hsN9UvWJEBwRP75K9.
By Selva Ozelli
Selva Ozelli is a contributing writer for SEVENSEAS Media covering ocean conservation, climate, art, and sustainability.
Art & Culture
Sounds of the Ocean: A Journey from Inspiration to Impact
Every meaningful project begins with a moment of connection—an experience that shifts perception and plants the seed for something larger than oneself. Sounds of the Ocean was born from such a moment: while teaching a yoga class, it struck me how deeply sound can influence presence and awareness. As students moved through their breath and stretches, I realized that auditory experience could guide attention, calm the mind, and connect people to something larger than themselves. This insight sparked the idea: what if the hidden soundscapes of the ocean could be used in the same way—to foster presence, reflection, and a profound connection to our planet?
The ocean has always been both a place of mystery and calm—a space of reflection and immense unseen activity. While many experience it visually, few are aware that it is alive with sound. From the complex songs of whales and dolphins to the low-frequency hum of shipping lanes, the ocean is anything but silent. The idea behind Sounds of the Ocean was simple yet powerful: what if people could truly hear the ocean, not as background noise, but as a living, breathing entity?
This curiosity led to an exploration of underwater acoustics—the science behind how sound travels in marine environments—working closely with my colleague Dr. John Ryan, Senior Marine Acoustics Oceanographer at MBARI. Together, we investigated how whale songs reveal migration patterns, dolphin clicks uncover social interactions, and the pervasive noise of shipping offers insight into the human impact on marine life. These collaborations allowed us to understand the ocean not just as a visual landscape, but as a complex, communicative environment shaped by both nature and human activity.
The recordings used in Sounds of the Ocean are captured using specialized hydrophones, underwater microphones designed to detect even the faintest vibrations. These recordings are both scientific documents and artistic expressions. While the data helps researchers monitor ecosystems, the same sounds can be transformed into immersive compositions that evoke emotion and curiosity. Some performances incorporate whale calls recorded near shipping lanes, highlighting both the majesty of marine mammals and the impact of human activity on their acoustic environment.
This combination of science and art naturally led to opportunities to present the project on global stages, including United Nations Climate Conferences and COP events. Sharing Sounds of the Ocean in these contexts has been both an honor and a responsibility. These gatherings bring together policymakers, scientists, activists, and storytellers, all working toward solutions for the climate crisis. In such spaces, data and policy dominate—but there is also growing recognition of the role of emotion and narrative in driving change.
Presenting at these events has highlighted the unique role that sound can play in climate communication. While charts and reports inform, sound can transform understanding into empathy. Audiences often experience a moment of stillness when they first hear the underwater recordings, as if the ocean is speaking directly to them—bypassing intellectual analysis and connecting on a more instinctive level. That moment of connection is where awareness begins to shift into action.
Collaboration has been central to amplifying this impact. Sounds of the Ocean has partnered with a diverse range of leading scientific and environmental organizations:
- MBARI (Monterey Bay Aquarium Research Institute) provides access to cutting-edge marine research and high-quality underwater acoustic data.
- Oceanic Global connects the project to international networks of ocean conservation, translating awareness into tangible action.
- UN Ocean Decade offers a global framework for ocean research and sustainable development.
- 1% for the Planet supports environmental funding and advocacy.
- EU4Ocean platform links European stakeholders in science, policy, and society.
- everwave removes plastic from rivers, reducing debris entering the ocean—a mission highlighted in performances that connect river health to marine soundscapes.
- PMDP (Papahānaumokuākea Marine Debris Project) monitors and removes marine debris in one of the world’s most remote and ecologically important marine areas, allowing us to incorporate recordings from cleaner, protected waters and emphasize the importance of debris-free habitats for whales and dolphins.
These collaborations reinforce a key insight: meaningful change requires collective effort. No single discipline or organization can address the complexity of the climate crisis alone. By bringing together scientists, artists, institutions, and communities, Sounds of the Ocean becomes part of a larger ecosystem of solutions—one that values both knowledge and emotion as drivers of change.
As the project evolves, its direction is guided by a central question: how can we deepen the connection between people and the natural world? Live performances in immersive venues, such as planetariums and cultural spaces, allow audiences to be enveloped by sound, creating a sense of presence within the ocean itself. These events transform listening into a shared, collective experience that fosters dialogue and reflection.
Another exciting development is bringing these experiences directly into the field. In collaboration with the Pacific Whale Foundation in Maui, we are designing whale-watching tours where participants wear high-quality wireless headphones to hear whales live, directly under the boat. This approach allows passengers to experience the animals’ vocalizations in real time, bridging the gap between scientific observation and immersive human connection. Hearing whales in their natural environment while also observing them visually fosters a deeper appreciation for these magnificent creatures and the importance of protecting their habitats.
Integration of new technologies also continues to expand the project’s reach. Spatial audio, interactive installations, and virtual environments offer ways to bring ocean soundscapes to life. Imagine walking through an exhibit where each step reveals the calls of whales or the hum of shipping lanes, or experiencing a live performance where sound moves dynamically around the listener, mimicking the fluid nature of the ocean. These innovations make the experience engaging and impactful, particularly for younger audiences.
Education remains a vital focus. By collaborating with schools, universities, and educational platforms, Sounds of the Ocean serves as both an artistic and scientific resource. Introducing students to the acoustic dimension of the ocean enriches understanding of marine ecosystems and encourages curiosity and stewardship. When people feel connected to something, they are more likely to protect it.
Ultimately, the journey of Sounds of the Ocean is one of translation—turning scientific data into emotional experience, distant ecosystems into immediate presence, and awareness into action. It is a reminder that the ocean is not a distant, abstract concept, but a vital, living system that shapes our planet and our future.
Looking ahead, the vision is to continue building bridges between disciplines and audiences. Whether through performances, collaborations, or new forms of storytelling, the goal remains the same: to give the ocean a voice that people can hear, feel, and remember. Because when we truly listen, we begin to understand—and when we understand, we are more likely to care.
In a world increasingly defined by noise, perhaps the most powerful act is to listen. And in listening to the ocean, we may rediscover not only the beauty of the natural world, but also our place within it.
By Joshua Sam Miller
Art & Culture
No Blue, No Green: How Droga5 São Paulo Is Printing the Case for Brazil’s Ocean

Blue plus yellow creates green. Remove the blue, and the green disappears. That is the color-theory argument at the core of a Brazilian creative campaign that has spent the past six months making an unusually elegant case for marine protection, using screen printing, mineral pigments, and a very deliberate reimagining of the national flag.
The campaign is called No Blue, No Green. It was created by Droga5 São Paulo, the Brazilian office of the global creative agency, for SOS Oceano, a Brazilian coalition of NGOs working to expand the country’s marine protected areas. Phase one launched at Rio Ocean Week in October 2025, when the agency stripped the blue and green from the Brazilian flag and let the absence do the work. Phase two, which rolled out in early April 2026, moves from subtraction to craft: six original screen-printed artworks, produced in collaboration with Black Madre Studio and Joules & Joules Laboratory, each one pairing a marine species with its terrestrial counterpart inside the yellow diamond of the Brazilian flag.

A Campaign Built Through Craft
Screen printing was chosen for its chromatic precision and layered ink application, which together allow the prints to honor the tradition of Brazilian naturalist illustration while landing the campaign’s political message with clarity. More unusually, the pigments themselves are natural mineral-based, developed over months of research with Joules & Joules Laboratory to achieve accurate hues without any synthetic solvents. A campaign about reducing marine pollution, produced with no petrochemical inputs, is a different proposition from one that merely names the problem.
Each of the six prints draws a visual equivalence between marine and terrestrial ecosystems: a humpback whale alongside Amazonian flora, coral structures set against forest canopy, reef fish interlaced with rainforest birds. The yellow diamond of the flag remains the framing device in every piece, a visual constant that gives the series its unity and grounds the argument in national identity rather than abstract environmental appeal.


The Coalition Behind the Campaign
SOS Oceano is less a single organization than an alliance. Its seven member groups include Sea Shepherd Brazil, Rede Pró-UC, Instituto Baleia Jubarte, Divers for Sharks, the Seaspiracy Foundation, Núcleo de Educação e Monitoramento Ambiental (NEMA), and Projeto Golfinho Rotador, with support from the Blue Marine Foundation. Their shared advocacy focuses on expanding Brazil’s marine protected areas and aligning the country’s policy with UN Sustainable Development Goal 14, Life Below Water, alongside the Kunming-Montreal Global Biodiversity Framework.
For context on the stakes: Brazil’s coastline runs more than 7,400 kilometers, but the country’s coastal marine protections have faced sustained pressure from development, industrial fishing interests, and shifting political winds over recent years. Public awareness of ocean conservation in Brazil, despite the scale of its maritime territory, remains significantly lower than awareness of Amazon deforestation. Campaigns like No Blue, No Green are one of the ways the coalition is trying to shift that imbalance.
The Creative Reasoning
Diego Limberti, Chief Design Officer at Droga5 São Paulo, described the throughline across both phases:
“The beginning of this project showed that design can condense a complex environmental truth into a single, felt symbol. In this phase, the elements of the flag remain part of the campaign’s visual process, but they are now reinterpreted to emphasize the animals that live in marine parks and their relationship with the forest. One biome depends on the other, and this is highlighted by the colors of Brazil’s greatest symbol.”
André Maciel, Creative Director at Black Madre Studio, framed the underlying logic more plainly:
“The project is rooted in color theory. When we say without blue there is no green, we’re working with the fundamental logic of primary and secondary colors: blue and yellow create green.”

The Science Behind the Metaphor
The campaign’s central claim, that terrestrial life depends on a functional ocean, is not rhetorical flourish. The ocean absorbs approximately 30 percent of human-generated carbon dioxide emissions each year and produces somewhere between 50 and 80 percent of the oxygen in Earth’s atmosphere, figures tracked consistently by NOAA and the Intergovernmental Oceanographic Commission. Marine ecosystems regulate global temperature, drive the water cycle that sustains terrestrial rainfall, and hold the majority of the planet’s biological carbon stocks. Degrade the ocean as a functioning system, and the conditions that allow forests, agriculture, and human settlement to exist begin to degrade with it.
Put more directly: the color metaphor at the heart of the campaign is, in ecological terms, almost literal.
Where to See the Work
The six original prints are on view at Galeria Plano in Barra Funda, São Paulo, and the campaign is running nationally across billboards, newspapers, and magazines. A short film documenting the project, produced with Black Madre Studio and sound design by Bumblebeat, is available below.






A complete project gallery, with high-resolution views of each print and the full list of production credits, is hosted on Black Madre Studio’s Behance page.
Why the Work Matters Beyond Brazil
There is a broader argument embedded in the campaign that is worth naming. Environmental advocacy often struggles because the science feels abstract and the rhetoric feels tired. No Blue, No Green sidesteps both traps by letting the image carry the argument and following through with craft that matches. The prints can be looked at as design, read as advocacy, and held as a physical object, each of those modes reinforcing the others.
For the coalition behind SOS Oceano, which still has to do the slower and harder work of policy change, that kind of layered visibility is the real prize. A campaign that gets attention in design publications and award shows can travel into classrooms, government offices, and international press in ways that a conventional advocacy message rarely does. The coalition structure itself, with multiple organizations working under a shared visual identity, also points to something replicable: civil society groups pooling their advocacy through unified creative strategy rather than competing for the same attention.
The yellow diamond, reframed as a site of ecological argument, can carry new content indefinitely. That is a useful thing for a coalition still in it for the long haul.
Learn more:
- SOS Oceano coalition members: Sea Shepherd Brazil, Instituto Baleia Jubarte, Divers for Sharks, Projeto Golfinho Rotador, and others
- Campaign film: vimeo.com/1178605134
- Full project on Behance: behance.net/gallery/247332271/SOS-Oceano-No-blue-no-green
- Exhibition: Plano Estúdio, Barra Funda, São Paulo (on view now)
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