fashion nova ninja
- [voiceover] the following program is a production â of pioneer public television. - [voiceover] in this episode of postcards... - so if i can have one person identify with these kids, i'll feel i've done my job. - and taking photos is to me, it's almost therapy, you know,
for myself. - i think i have the best job in the world, because it's different all the time. i get to work with the students, i get to teach so many of them a skill that for some people is lost. (rock music) - [voiceover] this program on pioneer public television is funded by the minnesota arts and cultural heritage fund
with money from the vote of the people of minnesota on novemeber 4th, 2008. additional support provided by mark and margaret yackel-juleen in honor of shalom hill farm, a non-profit rural education retreat center, and a beautiful prairie setting near windham in southwestern minnesota. shalomhillfarm.org.
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- [amy] my name is amy and i'm 12 years old. i want to abroad to meet my grandparents and other relatives for the first time. i feel a little bit nervous and excited at the same time. like, i felt overjoyed. they already knew me from pictures and they hugged me and they started to cry, and i didn't know, how much important i was to them
until that day. i learned that it really really hurts when a family is separated from a member of the family that is very hard, very sad cuz the family breaks apart. - i just wish there was a door that you could just go through and back all the time. - my name is louis argetta, i've been in the filmmaking business for over 30 years, more than you've been alive. (laughs)
abuelos y nietos was the organization, abeuelos y nietos juntos, it was grandparents and grandchildren together, was the organization that put the idea forward of reuniting families from minnesota with their families in guatemala. i kept struggling with the help of my crew, my wife, friends and looking for titles because it was not easy, it was not easy.
but then i realized that in the film, one of the main forces that propelled lisa kramer who was the person who came up with the idea was a conversation she had with a mother here in worthington. the mother, when she learned that lisa was about to go to guatemala, on another of her mission trips, said "lisa, could you go to visit my parents "and give them embraces for me?"
she said "lisa can you go to guatemala and... "lisa when you go to guatemala, "could you go visit my parents and embrace them for me, "because i can't." it's a theme that several of the parents mentioned. how, after separations of over 10, 12, 13, and in one instance 16 years. what they really long to do is to embrace their parents, their grandparents.
the more and more i thought about it, the more i became convinced that it was really an appropriate title. i think that by embracing these kids, by embracing the issues of mixed status families, by embracing the immigration question, we're really, we'll not just lose our fear of the other of the immigrant, but we'll really regain some of our own humanity.
i think we definitely can use a little bit more of that. i went to guatemala last year, and i met my brother for the very first time. before i went to guatemala, i didn't believe i had a brother. now i believe them, that i have a brother who is nice and kindness. - my name is catalina martin, i'm from guatemala. i lived in new orleans for 14 years.
when i move in new orleans, it's because um, for work, to have a better life for my kids. i excited to, my kids have the opportunity to go to meet with my mother and my dad, all my family. - i think that by focusing on us citizen children, people will be more open to
see the human face of immigration. i sincerely believe that if we begin to see the immigrant, not as the other but as ourselves, we're really beginning a process of personal, emotional, and spiritual healing that is much needed in this country. so if i can have one person i'll feel i have done my job. (speaks in foreign language)
(horn music) - i'm mostly passionate about the beauty that we have right in our backyards. most people drive down the highway at 65 miles an hour, and don't realize what's out there, and i like to like tonight, just go out for a drive which i do probably 70, 75% of the time. just go for a drive, try to hit some county roads
i've never been on before. you'd be amazed at what's hidden right underneath us. i don't know, i just kinda of like to try to show that, that beauty that we have in our area. you know, we don't have the moutains and the badlands and all these really cool places to go shoot, but i think i find plenty to shoot right within 20 miles of my house. i usually look for just
even ordinary objects that you see every day. a corner fence post, i might drive by it 10 times and not see anything there. then, another day drive by it and either the sun is right or the grass is greener or something is just setting that fence post off, where all of a sudden now it's something i want to capture,
where i might have not even thought about it 10 times before that. another thing i kind of look for is i'm picky about the time of day when i go and shoot. i like the morning hours or the evening hours as with, i mean, that's almost a, pretty much a general rule of landscape photography anyway, but um, clear, featureless blue skies are tough.
i don't like going out and shooting at those times of days. if i do go out, i tend to get into deeper ravines or someplace where you're not seeing the sky, and more focusing on a stream that's covered with trees overhanging, you know, something where the sky is not really that visible. then, i'll shoot it, but the pale blue skies i generally don't go out during those times of days
or during the afternoon. one of my favorite prints that i have done is actually of a, of the yellowbank river which we're standing through, right next to right now, but further down by odessa. it was right after the sun had set. it was quite dark, and the dnr had just done a prescribed burn, so there was a lot of low lying smoke.
it was really still, so a lot of low lying smoke hanging around, and to tell you the truth, honestly i think my white balance was off, but, which made the picture everything it was just, it's just the water, is as dark as blue as you could imagine. with a long long exposure, the water coming over the rocks are just leaving white trails,
so that's my, that's one of my most favorite photos that i've taken. now, i've recently taken some photos of some horses while a thunderstorm had gone by. for some reason, they, to me, i didn't think that much of em, but i got a lot of response back on them. they seem to be pretty popular. the second or another favorite photo of mine
has nothing to do with landscape. it's a black and white photo of a lady holding a little dog that is her service dog, and she's looking down at the dog, and you can just tell how much she loves this dog just by the way she's looking at him. like, looking at the dog. this photo was taken in las vegas, on the strip. those types of photos don't sell at an art show or anything,
but personally, i think that anyone who sees it, i think it touches their heart in some way. i really proud of that photo, i like that photo a lot. i would consider myself an outdoorsman. i love to hunt, and before i even got into the digital camera age here of photography, i remember laying down in the cornfields
goose hunting, and of course you're out there early and you're laying in the cornfield, and you're watching the sunrise. you're seeing all these beautiful oranges and reds and blues, and thinking to myself "i've got to start "capturing this." i mean, to me it's beautiful. if you were to see a lot of my photos,
you'll see that incorporated into a lot of my photos. a lot of sunrises, a lot of sunsets. i know sunrises and sunsets are overrated, everybody does them, but i try to do it a little differently. i think i do. you google a sunrise photo, and you know, how many millions of photos you'll come up with there's just tons of them out there
for a sunset. even though there are a lot of them there, and everybody does them, i still like to do em, but i try to incorporate something else. well, you know, and i do feel i get into times when i'm feeling like i'm not doing anything different than what everybody else is doing.
i want to sometimes just sometimes i almost just want to set the camera down and just give it up for a while, at least for a while. i actually, i think i've tried that a couple times and it hasn't happened. i always resort back to my... to me, going out and taking photos is, to me it's almost therapy,
you know, for myself. where i get away and i can collect my thoughts. i love being just out in the nature, i could sit here along this stream all day long and just watch. you know, you might catch something that you're not expecting. i would say i'm a definitely a landscape artist.
i do like to try and throw a little twists into it sometimes, doing a focus roll as the exposure's being opened or something just to add, you know, somethinga little different to it. for the most part, just a down and dirty landscape artist, photographer. (guitar music) - my name is sheila tabaka, i am the costume designer at
southwest minnesota state university in marshall minnesota. i direct one of the shows a year, and i either oversee or design and construct all the costumes for all the productions here. the last production that we did on our smsu main stage was a production of the heiress. it is based on a henry james novel called washington square.
i was the director and the costume designer for that production, it's a... one of the reasons that i picked the heiress is because i'm the one who directs a lot of the kids shows, and i direct almost all of the musicals here. those are all lighthearted, and they're similar for me, most of them, and i really wanted to do something that was very different. it was a non-musical year for us, so nadine schmidt and i,
we talked about it and we try to do a balance of our season. she did the triangle factory fire project in the fall, and then we did dead man's cell phone. then we did a new kind of show for us, a reader's theater called love, loss and what i wore. then, i did the heiress, but they were all very empowering to women, and that became our banner for last season was this empowerment to women, and of course,
catherine in the heiress is a very strong woman. - working on the heiress was kind of one of the biggest things i've ever done, but working on this production was also very rewarding. i got to learn how to troubleshoot a lot of stuff i've never touched before. it's also really fun because you learn how to find little tricks that work for you that oh, the pattern says to do it this way,
but if i do it that way it looks the same and it's a lot easier! then you can take these skills and help other people learn, and translate them to all the other parts of your sewing career. you kind of learn how to take the pattern as a guideline, rather than the exact rules as how it works. it's just a lot of fun, because the more you sew, the more you learn.
the more you learn, the better you get. the better you get, the easier things become. - whenever we start a show, the first thing we have to do is look at the script. everything has to come from the script. even if you change something, you have to know where it started, and so that was my choice in picking the script, but then i had to do a little bit of back research.
so, last summer, i read washington square. so, i knew what the basis was. i watched the film an amazing amount of times, so i had that kind of reference. then we start doing research on the era, what are we looking at? what kind of people are they? so all those costumes have to be different. what time of year is it?
all that stuff has to be brought into perspective. once we get all of that research done, then i'll make up research boards or i'll do renderings, so then when we get into the shop, then we're buying fabric and with the heiress we had a whole bunch of understructure. these women are wearing corsets. they're wearing these huge hoop petticoats. so we had to buy all that stuff too.
so, they were wearing boots and these gigantic crinolines right when we first started when we're done with blocking and started working through the show. so, they're wearing jeans and these huge (laughs) huge petticoats, but it was really helpful for them to see how to sit and move and things like that. it's a long process, i mean it really takes
if you think a bout when we started it to when we completed it, it was about a year. the costumes for the heiress have had a really full life. when we did the show in april, we thought that's what it would be, because that's what all of our shows are. you do the show, the show is done, you send the clothes to the dry cleaners.
they come back, you put them in stock, and then we may or may not ever see them again. when the heiress was finishing its run, my colleague nadine schmidt got a message on twitter that there was a company in london that was interested in borrowing these dresses. we worked it out so that they could borrow two of the dresses. we figured out a way to get it to them.
jim and marianne zarzanna, two english professors here at smsu were going to london. so they took this tiny box and delivered the costumes to two of the costumes to the new stagers in south london. so, really really exciting stuff for the theater program, and the two dresses that get to have another little life. - i was flabbergasted that people had asked from london, i was like, cuz we had started
this twitter campaign and this facebook campaign to show the world what we do in the costume shop, because there's a lot of work that goes on. then to hear that somebody from london loved our dresses so much, they wanted to take them from us and bring them to london to put in their show, was fantastic, like i swear that i would've dropped to the ground if i hadn't been sitting. it was an amazing feeling to hear that somebody
from england wanted our small town costumes. - the way that i got into costume design was when i was going to school in wisconsin, i was at a two year center, and a new director had come in and she was directing a show. she didn't have a costume designer. we didn't have it, i mean we were all, you know, 19 years old and nobody knew that that's what they wanted to do.
she looked at me and she said "i really need you to do this, cuz "i don't have anybody else who can do it." so, i kind of fumbled around, i mean it was terrible. you know, i didn't know what i was doing, but i kind of got pieces together, and then it grew the next show she did was a little bit bigger, and a little bit bigger. then we did a print run theater program
where we all did different things. i was the one who had done shows as a costume designer, so i became the costume designer, and i just love it, i love historical costumes, i love old movies. you know, i love the 1940s, i love the fashions of the 50s and the 60s. it just kind of all came together. now, i can't get enough of it, i...
whenever you look at the history of costumes, you can see different elements of the society coming in through the fashions. we talk a lot about that in costume history, or fashion history. it's really hard to look at today's fashions and go "oh, it is this." it really takes several years, you know, 10, 20, 30 years to be able to look back
and go this is exactly what it is. i mean, we're just starting to look at the 80s and the 90s now and go "this is kind of what it is." it's very difficult, cuz sometimes people try to buck the system and they don't dress the same, and so they're kind of a little wrench that's been thrown in to fashion history. when you look at characters, you have to look at all that kind of thing.
not just seasons and class level, but some of it has to do with their psyche, or what they're not trying to say. so they dress differently so that you think they're one thing when really they're another thing. there's a lot of, a lot that goes into it, just can't be it has to brown suit, it has to be more than that. i think i have the best job in the world because
it's different all the time. i get to teach so many of them a skill that for some people is lost, or that their grandmothers or their mothers wanted to teach them and they never wanted to learn. now they come in here, and they see all the possibilities of what you can do with your sewing skills. they really love it. i love being here because in another life in theater,
i really enjoyed directing, but i was really drawn to the costume area. so here at smsu, i get to do both, which is really rare for a costume designer to get to direct, and i know that. so i know i have it good here. we really love it, we love the community. we love the students, the students become part of our life, they come over to our homes,
they know our children, and it really is it's a wonderful place. is funded by the minnesota arts and cultural heritage fund, on november 4th, 2008.
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