[drums, bass,& electric guitarplay rock music] [music only;no vocals] ♪♪ (alyssa baguss) i really lovehot air balloons so much that i just ended upneeding to own one, so through a seriesof like, wacky travels and meet-ups in remote areaswhere balloons fly, i purchased a balloonthat i could experiment with and see what else i could dowith one if i had it
all to myself all of the time. i've been interested in artmy entire life. i spent a good majorityof my childhood drawing and i always wantedto be an artist. i didn't really know any artists because i was growing upin a very rural community, so it was kind of seenas something that was not somethingthat you do as a career. but i foundthat it was something
that if i didn't do it,it kind of makes me miserable. i just think it would bea good space to sort of like activate a spacefor artists to work in or for me tojust have breakfast in! i love that challengeof having some sort of a theme or having some sort of an eventand thinking about how i can take artor art-making or some sort ofcreative experience and then using thatto engage the public.
[piano plays in bright rhythm] the minneapolisinstitute of arts did a callfor their 100th birthday to come up with ideasfor birthday surprises. and really the whole projectkinda took on this life of like, what is likethe essence of birthday? and to me it was balloons andlights and kind of this like enveloping yourselfin kinda that celebration. and then i also createdthese really gigantic cakes
made out of foam that peoplewere allowed to decorate. and it was like this birthdaybonanza, and it was fantastic! [bass, percussion, & keyboardplay in bright rhythm] silverwood park is a part ofthe three rivers park district and our special focus isthe arts, so we use art-making to teach aboutthe environmental science and i am the arts programcoordinator here. i kind of direct the artisticship in like, who we're serving, what type of arts we'reproviding, i want to make sure
we're doing quality programming,that we're always thinking about the sciencesas much as the arts, and trying to take whatnormally happens at a park and put a creativeor an artistic twist on that. so this is a room where we haveour young child program. they learn about some sort ofseasonal nature thing from a naturalistand then they go outside and kind of explore the parkand see if they can find that or observe it or experience it.
and then they come back in,make an art activity that relates to what theylearned outside; it's a really fun program. [bass, drums,& guitar play jazz] [crunching of boots on the snow] the coffee house pressin the parks residency came about after i met themin the summer of 2015. they told me that they doresidencies with writers in unusual places,and the weirder the better.
[knocking] hey steven! hey, how'sit going? â â â good. (alyssa)steven lang is a photographer and an emerging writer, and he is the writerin residence for the coffee house pressin the park's residency here at silverwood, and he is spending 20 to 25 hours a weekin the traveling museum.
you ready to go talk to johnabout coyotes? yeah,sounds good. (alyssa)my role is to createan experience for him that will feed his artwork, and so he had a personalinterest in coyotes, so it was like i'll hook you up withsomeone who knows about coyotes. it's good to see you. good to see you. thanks for coming.this is steven lang.
hi steve, nice to meet you. hi, nice to meet you. great, i'm gonna let you guyschat and i'll see you later. alright, sounds good.let's go down to the house and i've got some tracksi wanna show you. [bass, drums, & guitarplay in bright rhythm] i've always been reallyinterested in technology and the way we experience thelandscape for the natural world, and that all really started wheni started working at silverwood.
our audience there is so broad,and i'm always interested in how they insert themselvesinto a natural setting. so it got me really thinkingabout people's expectations, and how some people really liketo have everything really well-manicuredand beautiful. and that's where i startedthinking about like how do we experience thisin our home and it kind of took me towardsthe large wallpaper murals. whenever a video game landscapeis created
or some sort of mapping,digital mapping occurs, satellites are goingaround the planet, evaluating the topography of theland, that then can be created into this digital landscape,and it looks like a mesh. so i'm applying thisto these structures and actually like, drawing iton and then cutting it away and leaving behind justthis digital landscape. during the fall of 2015, i hadtwo simultaneous exhibitions, one at soo visual arts centerand the other at burnet gallery
in the chambers hotel. i feel like they're bothone large body of work but they're very different. it was really exploring,thinking about and questioning how we travel in the digital ageand how technology really influences the waywe see and access the world. [electronic music plays] i don't make work to sell it,and i never have. like, i think that kind ofchanges things for me too much,
so i just make workthat really excites me and that i'm reallypassionate about. and if it sells, it's a bonus. it's interesting to have a jobthat feeds my artwork and my artworkthat feeds my job. like, i get to meet amazingpeople as an artist that i want to work withat silverwood. i meet amazing peopleat silverwood that i get to talk aboutmy artwork with.
and so my artworkand my work-work, it's a blurry boundary-- thinkthey both inform each other; and i just love to playand have a lot of fun. [bass & percussionplay in syncopated rhythm] (aziz osman;with somali accent)i grew up in somalia, mogadishu. when i go to schoolin the states, listening to what teacheris saying, i startdrawing and drawing. [both speak in somali]
the first personthat i give my drawing was my wife. he put beautiful, the mostbeautiful flower, you know? all my school-- who made it?who's this aziz? that was the first;i was in the middle school. that was a long time. we had long story together,yes, yeah. (aziz)i like oil because it's shiny,it's easy to work. the only problem is--
never dries, takes long. 1968 i was lucky i get a scholarshipto go to italy, in the university ofarchitecture in florence. i like the construction,the buildings, but when i went to florenceafter 2 years, i said oh no, the paintingis your way, so i went tothe academy of fine art. i used to go same time,you know,
the architecture,and then to do also paintings. then i finishedthe architecture; i like both architectureand the fine art. when i finished the university,then i work, then i decided it's timeto go back home to somalia. i went 1989, and then soon,after one year, the civil war. before the civil war i hadarchitecture office here. imagine opening that windowand see the ocean and the breeze comes in,ah, so beautiful!
when civil war happened,the people, they have to gosome other place to survive. my father and my mother, theywent to canada, and my sister. two brothers to italy,three to london, so we are all scatteredall over. [drums & percussion instrumentsplay in bright rhythm] my paintings and sculptures arein african development center. this abstract paintingrepresents the civil war. civil war is same everywhereyou go in the world,
just killing and killingand killing, you know. i can see violence,no see peace, it is a total confusion,lot of people. this paintingi did on cardboard, 1991, when i comein united states. when i come in minnesota,i went to the shop where they sell the canvas, and i feelit is very expensive and i said no,i can't afford now.
that's when i started paintingon the cereal box-- it's cheap, it's your breakfast! and your work. so that was my solution. [acoustic guitar;finger-picking in bright rhythm] when i come here in minneapolis, i start goingthe minneapolis museum, i said wow, this is same thinglike florence. [both speak italian]
(aziz)i used to go the museumof florence every week and stay hours and hours. when i went, i sawthis great, great painting. mind-boggling i said, how human beingcan do these paintings? art is not an easy job; it's difficult,that's life, you know. i have to continue, there's noother way, i have to continue. [electric piano plays softly]
(jeff rathermel)the book, like painting,like sculpture, has evolved. we have a really broaddefinition of book. we think of the bookas a contained narrative. and that container can be anythingfrom traditional book covers to a box that containsa set of cards, a wall, where a sequenceof images has been placed. it could be a sculptural bookthat people would see from a numberof different angles.
we really want people tounderstand that books still are relevant, but books might look different. [piano, bass, & drumsplay cool jazz] minnesota center for book arts is a nonprofitvisual arts center that focuses onthe arts of the book. it opened its doors in 1985. we're proud to saythat we're the largest
and most comprehensive centerof its kind in the world. from the very beginning, it's always been about communityfor the center in terms of havingmultiple access points for the services and theprograms that we offer. so we have programs that span from preschoolersto master artists. in our main gallery,we have about 4 shows each year. the gallery really gives us
the opportunity to engagethe public, educate, and show them just how farthis idea of book can go. we have a retail shopcalled the shop at mcba. we're consigning well over300 different artists representing their work, and it's a wonderful shopin many different ways. first and foremost, it's toprovide income to artists. there's a numberof different ways that artists can engagewith mcba.
there's always been a constantstream of very talented artists in residencethat have worked in the space, both in printing, binding,and paper. that continues today in projectslike "the winter book." [orchestra playsin bright rhythm] "the winter book" isa publication that we think ofas our flagship publication. we try to incorporate thedifferent traditional methods that are being donein our studios.
"the winter book" ishand-printed, it's hand-bound, we have a great communitythat comes in and helps with it. we have master bindersand master printers, it really celebratesthe idea of craft. it's a wonderful wayfor us to demonstrate what we do here at the centerand what we stand for. so each year when we do awinter book, it's quite unique. we start with the text,and then we work off of that. this is "the winter book"that we did in 2013.
it's done with paper that wemade in our studios here. it's all aboutthis relationship to the earth. this is a book called"come and get it," poetry and three storiesby kevin kling. he has put down on paper aperformance piece that he did. this is a "winter book"that we did in 2007. it was an anthology of visualpoets called "vispoology" so within you have a scorefor a performance, you have additional printsand broadsides,
different gamesthat you can play. you have books in the form of aset of foreign language cards, dealing with a made-up alphabet. all of these are examplesof winter books, and each one kind of uses thestructure of "the winter book," the materials that go into it,to best tell the message. (monica edwards-larson)so the importance of "the winterbook" being made by hand is a celebrationof the tradition of all of the craftsthat go into making a book.
this year's "winter book,"it's the 25th book, and it's a collection of writingfrom the community members. so it's the first time ever thatthe writing has come from the actual makers that work atthe center for book arts. (regla russel) the peoplewho work here know so much about what it meansto shape something by hand. be thispapermaking or bookbindingor printing, they knowabout that.
so we're calling it"from the center on community and practiceof making," and so we wanted to reallyacknowledge not just the people who have worked on the book,but all the other people. (jeff rathermel)the mission of minnesota centerfor book arts is to lead the advancement of thebook as an evolving art form. we have a dedication topreserving the traditions, but we also want to encourageexperimentation. we want to be able to offerartists the opportunity
to express themselves in a way that makes senseto their contemporaries. i like to think of minnesotacenter for book arts as a full resource for artiststo come in and create. we have a very inspiring spaceto work in, we have great instructors, that it's a place where peoplecan come and explore, they can appreciate, they canmaster skills or they can just come here andbe inspired.
[steady beat of a ceremonialdrum; jingles jingle] [men sing inlakota language] (jenni kappenman)i love to dance becauseit gives me so much life. when i dance i feel uplifted,rejuvenated, and i feel a sense of pride. (russell harjo)when i dance, i really representwhere i come from and my family and my tribe. the symbols on my outfit, and all these designs aredesigns that i made,
and so it's justa really good feeling. [drums & bass playin syncopated rhythm] when i started dancing,i was probably about 17, i was just a seniorin high school. my mom helped me buy my firstoutfit, and then i kinda just started dancingfrom there. this one right here, this is actuallythe first outfit i made. it kinda means a lot more to methan the others
because i made this onewith my mom. this one is my latest; it haslike a lotta detail on it, took a long time to complete. these are pawnee stars,they're like the tribal symbol. and then this is justlike a tipi design that i kinda came up with. it feels really good to dance and to know that everythingthat i am wearing, every design is like made by me.
it just makes itthat much more meaningful. [steady beat of a ceremonialdrum; jingles jingle; men sing] the grass dance is oneof the older styles of dance. back when tribes would come to anew place to make an encampment, they would have these songs and they would dancein a certain way to lay the grass down. when they would leavethat encampment, that grass would come back up.
it would almost be likethey were never there. [rattling of the sewing machine] (jenni kappenman)i was a very young girl, i want to say3 or 4 were my earliestmemoriesof dancing. when i was maybe 10 years old,my cousins, they danced fancy shawland i danced jingle. and it's shown itself to mein the spiritual sense, that that's the style of dancei'm supposed to stick with.
this dress representshealing and life and is a tool that we were givenas anishinaabe people to bring healingto the community. my thing that the jinglesare said to do are to send outthat vibration and energy, to loosen up whatever sicknessthat is being targeted and thought of and prayed for,and to pull it through the cone. and then once they're crashing, that they're droppingthat sickness behind you.
there's 2 stylesof jingle dress; there's the original style and there is the second style,which is contemporary, which has a lot moreintricate footwork. but the style that i danceis original, really simple, elegant steps, you know,to the beat of the drum. people have approached me and told me that i looklike i'm floating. [marimba plays softly]
♪ (leya hale) i've been dancingsince the time i could walk. i've always danced woman'straditional style of dance. i wear a broadcloth dress. i really like to keep my dresseslooking traditional. our dance clothes and our dancesare really important and are really sacred to us. [steady beat of a ceremonialdrum; men sing] the style of dance honors
the returning homeof the warrior while he was off and away on huntingexpeditions or in battle. the reason why i dance this style of dance is because i really like to remember myancestors, especially the women, and to show their strengthand the courage that they had. (jenni kappenman) pow wows havebecome universal amongall tribes, so i'm just really thankfulfor the opportunity
to be a part of the circle. (leya hale) dancing helps mefocus, think, and brings me a lot of happinessand gives my family life. (russell harjo)it's very importantas you learn the history and to pass that on to my kids and to keep that tradition aliveso we don't lose it. cc--armourcaptioning& tpt (woman) this programis made possible by the state's artsand cultural heritage fund
and the citizens of minnesota. [synthesizer fanfare]
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