TEACHERS episode

>> I NEVER REALLY EXPECTED TO BE A TEACHER.

I NEVER REALLY EXPECTED THAT WAS GONNA BE SOMETHING THAT I WOULD LOVE TO DO.

>> WE'’’RE ALWAYS GONNA HAVE WEAVERS.

THERE'’’S ALWAYS GONNA BE SOMEBODY TEACHING.

I'’’M GONNA TEACH UNTIL I'’’M NOT HERE ANYMORE.

>> I JUST SORT OF EVOLVED TOWARDS TEACHING, AS PART OF A PROCESS TO GIVE WHAT I DO MORE MEANING.

>> IT'’’S ALL BEEN ABOUT EDUCATING--NOT JUST THE KIDS, BUT THE TEACHERS.

>> BEING IN THE STUDIO INSPIRES MY TEACHING.

THE TEACHING INSPIRES BEING IN THE STUDIO.

>> THEY'’’RE THE ONES.

I TELL MY STUDENTS THAT ALL THE TIME-- YOU ARE THE ONES.

>> ♪ '’’TIS A GIFT TO BE SIMPLE '’’TIS A GIFT TO BE FREE '’’TIS A GIFT TO COME DOWN WHERE YOU OUGHT TO BE AND WHEN YOU FIND YOURSELF IN THE PLACE JUST RIGHT IT WILL BE IN THE VALLEY OF LOVE AND DELIGHT ♪ [ARTIST SPEAKING IN NAVAJO] WHEN I COME HERE, I THINK OF MY GRANDMOTHERS AND HOW LONG THEY'’’VE BEEN WEAVERS HERE.

FOR WEAVERS IN GENERAL AND FOR MY SISTER AND I, THIS IS HOLY GROUND.

EVERY TIME WE STEP INTO THE CANYON, WE FEEL LIKE WE'’’RE AT HOME, AND WE FEEL LIKE WE'’’RE BEING BLESSED BY OUR GRANDMOTHERS THAT HAVE PASSED BEFORE, AND WE FEEL LIKE THEY'’’RE HERE AS WE'’’RE WORKING.

>> I FEEL OBLIGATED TO WEAVE.

IT HAS BEEN IN OUR FAMILY FOR GENERATIONS.

MOST OF MY NAVAJO PEOPLE HAVE SUFFERED A LOT TO BE ABLE TO DO THEIR ART AND MAINLY JUST TO SURVIVE.

OK. ALL RIGHT.

AND THEN NEXT...

IN OUR WEAVING CLASSES, WE TALK ABOUT OUR NAVAJO CULTURE, AND I THINK PEOPLE LEAVE WITH A SENSE OF NOT JUST TAKING A WEAVING CLASS, BUT THEY'’’VE TAKEN A CLASS ON CULTURE AND REALLY LEARNING IT FROM US THAT HAVE LIVED HERE.

WHEN ALL OF OUR WEFT YARNS ARE GOING TO THE LEFT, IT'’’S FEMALE.

WOMAN: OK. LYNDA: OUR WEFT YARNS GOING TO THE RIGHT ARE MALE.

>> WHEN YOU'’’RE WEAVING SOMEPLACE WHERE THERE IS SO MUCH HISTORY AND SACRED SPIRIT THAT YOU CAN'’’T HELP BUT INCORPORATE THAT INTO YOUR THREADS.

WHEN YOU'’’RE SITTING HERE AND YOU'’’RE LOOKING AT THE WALLS OF THIS CANYON AND, OH, THE COLORS, THE TEXTURES, IT JUST ALL GOES INTO YOUR PIECE.

BARBARA: WE GET ALL KINDS OF WEAVERS.

WE'’’VE GOT FLOOR LOOMERS, WE'’’VE GOT TAPESTRY WEAVERS THAT ARE REALLY WELL KNOWN IN THEIR FIELD, AND THEY COME HERE, AND THEY GET HUMBLED BY NAVAJO WEAVING BECAUSE EVERYTHING IS BY HAND.

THERE'’’S NO MECHANICAL ANYTHING INVOLVED IN THE WEAVING.

>> I HAVE SUCH RESPECT FOR NAVAJO WEAVING AND HAVE ADMIRED IT ALL MY LIFE, SINCE BEFORE I KNEW WHAT ART WAS, SO TO BE HERE IS LIKE BEING WHERE AN ART I REALLY APPRECIATE WAS BORN.

BARBARA: WE BELIEVE THAT WEAVING STARTED HERE.

IT WAS BORN HERE.

MY GRANDMOTHER USED TO TELL STORIES ABOUT SPIDER WOMAN.

SPIDER WOMAN WANTED TO GIVE THE NAVAJO WOMEN THE ART OF WEAVING.

SHE ASKED A SPIDER TO LEARN HOW TO WEAVE, AND THE SPIDER TOLD HER THAT SHE HAD TO GO TO THE 4 SACRED MOUNTAINS AND PICK THINGS FROM THE MOUNTAINS TO BUILD A LOOM.

WHEN SHE BROUGHT IT ALL BACK, THE SPIDER SHOWED HER HOW TO PUT THE LOOM TOGETHER AND THEN LEARN HOW TO WEAVE.

I'’’M WEAVING A TWO GREY HILLS TAPESTRY.

THIS STYLE OF WEAVING HAS BEEN IN OUR FAMILY FOR 7 GENERATIONS, AND THIS IS WHAT MY FAMILY IS REALLY WELL KNOWN FOR.

LYNDA: IN A WEAVER'’’S FAMILY, EVERYONE IS INVOLVED WITH WEAVING.

BARBARA: TWO GREY HILLS IS THE NAME OF A PLACE IN NEW MEXICO.

IT'’’S A TRADING POST WHERE OUR FATHER WAS A TRADER FOR ABOUT 35 YEARS, AND WE GREW UP AT THE STORE.

LYNDA: EACH TRADING POST HAD A NON-NATIVE, AND THEY'’’RE THE ONES WHO REALLY INFLUENCED THE STYLE OF NAVAJO WEAVING-- THE CHINLE STYLE, THE BURNHAM, KLAGETOH, TEEC NOS POS, AND OF COURSE TWO GREY HILLS.

TWO GREY HILLS EVOLVED AS BEING THE ONE THAT HAS THE NATURAL COLORS.

BARBARA: YOU CAN TELL A LOT OF HISTORY OF THE NAVAJO PEOPLE JUST BY THE WEAVINGS.

YOU CAN TELL, YOU KNOW, SOME OF THE WEAVINGS THAT WERE MADE RIGHT AFTER PEOPLE CAME BACK FROM BOSQUE.

THEY WERE LITERALLY TAKEN FROM THIS PLACE TO FORT SUMNER... AND FROM HERE, ALL THE WAY TO CLOSE TO THE TEXAS BORDER, AND A LOT OF THEM DIDN'’’T MAKE IT.

LYNDA: NAVAJOS, THEY WERE TAKEN TO A PRISON CAMP.

BARBARA: THEY TOOK THE WEAVING WITH THEM BECAUSE THEY WERE ABLE TO TAKE THE ARMY BLANKETS, UNRAVEL THEM, AND THEN REWEAVE THEM AS WEAVINGS.

THEY TRADED FOR SEEDS, THEY TRADED FOR MORE BLANKETS, MORE RATIONS, WHATEVER THEY NEEDED.

WHEN THEY CAME BACK HERE, IT WAS CLOSE TO WINTER.

THEY COULDN'’’T PLANT, THEY COULDN'’’T DO ANYTHING, BUT BECAUSE OF THE WEAVING, THEY WERE ABLE TO SURVIVE.

MY GRANDMOTHER ALWAYS USED TO SAY, "KEEP WEAVING, KEEP WEAVING," AS I WAS REAL SMALL, BECAUSE I WOULD CRY, YOU KNOW?

I DIDN'’’T WANT TO BE A WEAVER AND ALL THAT, AND SHE WOULD SAY, "KEEP WEAVING BECAUSE SOMEDAY, YOU KNOW, YOU WILL TRAVEL THE WORLD AND TELL PEOPLE ABOUT OUR WORK."

>> THE MISSION OF IDYLLWILD ARTS AND THE CULTURE OF IDYLLWILD ARTS REACHES ACROSS THE WORLD TO ATTRACT THOSE WHO BELIEVE THAT THEY ARE ARTISTS.

IT DOESN'’’T MEAN THAT THEY WANT TO BE AN ARTIST PROFESSIONALLY.

THEY MAY, BUT AT THEIR CORE, AT THEIR HEART, THEY BELIEVE THEY'’’RE AN ARTIST.

BARBARA: I'’’VE BEEN COMING UP HERE FOR 17 YEARS.

WE SPEND TWO WEEKS HERE, AND WE HAVE FRIENDS THAT COME EVERY YEAR.

LYNDA: NOW, BRING IT BACK, AND THEN... >> I LOVE BARBARA AND LYNDA.

WHEN I MET THEM, I THOUGHT, WOW, THESE ARE IDYLLWILD ARTS PEOPLE.

YOU KNOW, THEY'’’RE WARM; THEY'’’RE GENEROUS; THEY'’’RE TALENTED WEAVERS.

LYNDA: I THINK IDYLLWILD IS VERY UNIQUE IN THAT IT REALLY FOCUSES ON NATIVE PROGRAMS.

THEY UNDERSTAND THAT THERE'’’S A NEED FOR THAT.

[MAN HUMMING] >> NOT SO LONG AGO, EVERYTHING THAT I'’’M DOING, INCLUDING SPEAKING IN THE LANGUAGE, I COULD HAVE BEEN THROWN IN JAIL FOR IN CANADA, AND EVEN THE ART WAS CONFISCATED, WAS EITHER DESTROYED OR SOLD TO COLLECTORS, AND SO IT'’’S IMPORTANT TO BE ABLE TO SHOW THAT WE'’’RE NOT JUST SURVIVING; WE'’’RE THRIVING.

HEATHER: THE NATIVE AMERICAN ARTISTS THAT COME TO TEACH THE WORKSHOPS ARE JUST THE MOST GENEROUS, KNOWLEDGEABLE PEOPLE.

>> WHAT THE ANCIENT PEOPLE DID WAS THEY JUST ADDED...

THIS CRAFT THAT I HAVE, THAT I POSSESS, I BELIEVE THAT IT'’’S GIVEN TO ME TO SHARE WITH MANY WALKS OF LIFE, MANY PEOPLE THAT WANT TO KNOW ABOUT IT, LEARN ABOUT IT.

I LIKE TO SHARE IT AND HOLD BACK NO TRADE SECRETS.

EVERYTHING THEY'’’RE LEARNING AND DOING HERE IS REALLY JUST THE WAY I DO IT.

HEATHER: STUDENTS THAT COME TO THE NATIVE AMERICAN ARTS PROGRAM, THE POPULATION HAS CHANGED QUITE A BIT.

IN THE EARLIER YEARS, IT WAS MAINLY TEACHERS AND COLLECTORS AND PEOPLE WHO WERE INTERESTED IN NATIVE AMERICAN CULTURES.

OVER THE YEARS, IT SEEMS TO BE REACHING SO MANY MORE PEOPLE.

WE NOW HAVE REALLY MIXED CLASSES.

WE HAVE NATIVE AMERICANS COMING TO LEARN NATIVE ART FORMS HERE.

BARBARA: IT'’’S BEEN A REAL BLESSING, BECAUSE I KNOW A LOT OF NAVAJO STUDENTS DON'’’T HAVE PEOPLE TO TEACH THEM ANYMORE, AND IT'’’S A REAL JOY FOR ME AND A REAL ACCOMPLISHMENT FOR MY SISTER AND I TO TEACH THEM SO THAT THEY COULD CARRY THIS ON.

>> I AM NAVAJO, AND MY MATERNAL GRANDMOTHER AND MY PATERNAL GRANDMOTHER BOTH WERE WEAVERS, AND THEY BOTH PASSED AWAY BEFORE THEY WERE ABLE TO TEACH ME.

NONE OF MY AUNTS OR MY UNCLES PICKED UP WEAVING, SO I HAD REALLY NO ONE TO TEACH ME, BUT I'’’VE ALWAYS WANTED TO LEARN.

I BROUGHT MY SON, AND HE'’’S PICKED IT UP, AS WELL.

>> I WAS ALWAYS SEEING THEIR COOL DESIGNS, AND ESPECIALLY MY MOM, WHEN SHE LEARNED HOW TO DO DIAGONALS, I THOUGHT IT LOOKED SUPER COOL.

I JUST PUT A SMILEY FACE ON IT BECAUSE I DIDN'’’T REALLY HAVE, LIKE, MUCH IDEAS, AND I WANTED IT TO BE AS SIMPLE AS POSSIBLE FOR MY FIRST ONE.

HEATHER: WE BREAK DOWN STEREOTYPES.

THERE'’’S SORT OF A WHOLE DEMYSTIFICATION PROCESS WHERE THERE'’’S NO MIDDLE MAN, THERE'’’S NO MOVIE, THERE'’’S NO BOOK BETWEEN YOU AND THIS PERSON FROM ANOTHER CULTURE, AND SO YOU LEARN WHO THEY REALLY ARE.

LYNDA: AFTER I FINISHED HIGH SCHOOL, I MADE AN ANNOUNCEMENT TO MY FAMILY THAT, "I'’’M GOING TO COLLEGE.

AFTER COLLEGE, I'’’M NEVER GONNA WEAVE AGAIN," BECAUSE WEAVING WAS TOO HARD.

I DIDN'’’T LIKE TO MARKET.

I DIDN'’’T LIKE TO SELL MY RUGS.

IT WAS JUST EXCRUCIATING FOR ME, AND IT WASN'’’T UNTIL 1996, WHEN WE LOST OUR OLDER SISTER ROSANN.

OUR SISTER WAS THE MOST TALENTED ONE IN THE FAMILY.

SHE WAS ABOVE ALL OF US AS A WEAVER.

I COULDN'’’T PROCESS THE FACT THAT WE HAD LOST A FAMILY MEMBER, A VERY IMPORTANT FAMILY MEMBER, AND SO I WENT TO FIND AN OLD LOOM THAT I HAD IN MY CLOSET FOR MANY YEARS.

I TOOK IT OUT, AND I STARTED USING MY SISTER'’’S TOOLS.

WORKING THAT WHOLE SUMMER IS HOW I PROCESSED MY GRIEF.

AND AFTER THAT, I STARTED THINKING, "YOU KNOW, SHE LEFT TWO SONS BEHIND," AND I THOUGHT, "IF SHE HAS GRANDCHILDREN, THOSE GRANDCHILDREN WILL NEED TO LEARN HOW TO WEAVE."

NOW WE HAVE HER GRANDDAUGHTER ROXANNE IN OUR CLASS, AND IT'’’S BEEN REALLY FUN TEACHING HER.

ROXANNE IS OUR GRANDNIECE, BUT IN NAVAJO, WE REFER TO HER AS OUR GRANDDAUGHTER.

BARBARA: MY SISTER AND I TOOK SOME SPIDER WEBS AND RUBBED IT ON HER HANDS, BECAUSE IF YOU HOPE THAT YOUR GRANDDAUGHTER IS GONNA BE A GREAT WEAVER, THAT'’’S WHAT YOU DO, AND IT WASN'’’T UNTIL SHE WAS 4 WE DECIDED THAT SHE WAS READY TO BECOME A WEAVER, BECAUSE SHE WAS PLAYING WITH DOLLS, REAL TINY DOLLS, AND WE COULD SEE HOW LIMBER HER HANDS WERE.

ROXANNE: THIS IS WHAT IT LOOKS LIKE.

IT'’’S TWO DIAMONDS.

I'’’M ALMOST DONE WITH IT.

I'’’LL PROBABLY DO MORE TWO GREYS AS I GET OLDER.

LYNDA: I KNOW THAT IT'’’S GONNA GET INGRAINED IN HER MEMORY FOR YEARS TO COME AND TO TEACH HER CHILDREN AND HER GRANDCHILDREN, AND I FEEL COMFORTABLE KNOWING THAT THAT'’’S WHAT'’’S GOING TO HAPPEN AND THAT MY SISTER'’’S DREAM IS GONNA CARRY ON.

WHAT WE DO AT THE END OF THE WEAVING IS, WE SEND IT HOME WITH OUR BLESSINGS.

THIS WEAVING IS GONNA TAKE EVERYBODY'’’S ENERGY, AND WE'’’RE GONNA CUT THE TASSELS.

THE TASSELS IS LIKE CUTTING THE UMBILICAL CORD OF BABIES.

BARBARA: FOR YEARS, WE'’’VE HEARD, "WEAVING IS A DYING ART, WEAVING IS A DYING ART," BUT REALLY, IT'’’S NOT.

IT'’’S A LIVING ART, AND IT'’’S GONNA CONTINUE.

THERE'’’S ALWAYS GONNA BE SOMEBODY TEACHING THEM.

I'’’M GONNA TEACH KIDS UNTIL I'’’M, YOU KNOW, I'’’M NOT HERE ANYMORE.

>> THERE YOU GO.

YAY!

>> GREAT JOB.

[CHILDREN SHOUTING AND LAUGHING] >> JUST GONNA STAY IN ONE SPOT.

EMBEDDED IN ANY LONG TRADITION OF GLASS IS ALL OF THIS TREMENDOUS AMOUNT OF KNOWLEDGE, AND IF YOU'’’RE AN EDUCATOR, ONE OF THE THINGS THAT IS YOUR JOB IN AN ACADEMIC SITUATION IS TO GO AND UNRAVEL ALL OF THE INFORMATION OUT OF THOSE TRADITIONS AND GAIN INSIGHT.

LOOKS GOOD, RUSS.

THERE'’’S, LIKE, SO MANY ASPECTS ABOUT TEACHING THAT I LOVE.

WHEN YOU HAVE TO TEACH SOMETHING, YOU HAVE TO UNDERSTAND THE MATERIALS IN KIND OF A DIFFERENT WAY THAN JUST BEING ABLE TO DO IT.

I'’’M JUST GONNA GO AND PUT ON A LITTLE RANDOM TRAIL OF CLEAR, AND WHEREVER THIS CLEAR GOES, MY PIECE WON'’’T REDUCE, AND I'’’LL END UP WITH...

THERE ARE THINGS THAT YOU UNDERSTAND THAT YOU UNDERSTAND ON AN INTUITIVE, YOU KNOW, WORDLESS LEVEL.

WHEN I'’’M BLOWING IT, IT GOES AND OPENS UP THE CRACKS SO THEY DON'’’T GO AND SEAL BACK TOGETHER AGAIN.

AND THEN THE WHOLE TURNING IT INTO WORDS IS, LIKE, SOMETHING COMPLETELY DIFFERENT.

SO, THE GLASS IS GOOD.

SO I'’’M RAPIDLY COOLING THE OUTSIDE, AND IT COOLS SO FAST THAT IT GETS HARD.

IT'’’S THIS PUZZLE THAT I REALLY, REALLY KIND OF LIKE TO DO, AND, YOU KNOW, YOUR UNDERSTANDING OF THE MATERIAL THAT CHANGES WHEN YOU HAVE TO GO AND GIVE YOURSELF THE CHALLENGE OF DOING THAT.

THERE'’’S 5 CHARACTERISTICS OF GLASS THAT I NEED TO UNDERSTAND, RIGHT?

AND THEY ARE HEAT AND THE FORCE OF YOUR... >> PRESSURE.

MARK: CORRECT.

YEAH.

PRESSURE OR THE FORCE OF YOUR BREATH.

>> VISCOSITY.

MARK: VISCOSITY, AND IT HAS TO DO WITH WHAT--HOW DO YOU GUYS SEE VISCOSITY?

>> HOW IT DROPS.

MARK: YEAH, HOW IT DROPS.

OK?

SO, THAT'’’S WHAT I'’’M LOOKING FOR WHEN I'’’M LOOKING FOR HEAT.

>> MY TEACHER MARK MITSUDA-- MARK IS A PHENOMENAL GLASSBLOWER, AND HE'’’S TAUGHT ME EVERYTHING I KNOW, SO...

HE'’’S THE MAN.

I MEAN, ANYTHING THAT YOU SEE THAT'’’S OVER THE TOP OR, LIKE, SUPER NICE, YOU'’’RE LIKE, "MAN, MARK MUST HAVE MADE THAT."

MARK: THERE'’’S CHOREOGRAPHED DANCE THAT HAPPENS WITH GLASS ON TWO LEVELS-- THE DANCE THAT YOU AND THE GLASS HAVE, WHERE YOU ARE WORKING WITH THE MATERIAL, AND THEN THERE'’’S ALSO CHOREOGRAPHY THAT GOES ON WHEN YOU'’’RE TRYING TO MAKE A MORE COMPLICATED PIECE WITH ALL OF YOUR ASSISTANTS.

EVERYONE HAS TO KNOW WHAT'’’S GOING ON.

EVERYONE NEEDS TO KNOW WHAT THE NEXT STEP IS AND MAKE THINGS THAT PROBABLY WOULDN'’’T HAVE BEEN POSSIBLE.

THAT ONE DOWN LOWER.

>> I WOULD HAVE TO SAY MARK SURPRISED ME.

WHEN HE WAS STILL IN HIGH SCHOOL, MIGHT NOT HAVE BEEN OBVIOUS TO SAY, "WOW, THIS GUY'’’S GONNA BE A GREAT GLASSBLOWING TEACHER," BUT THERE YOU GO.

MARK: I FIRST MET HUGH WHEN I WAS 16 OR 17, AND I WAS A JUNIOR IN HIGH SCHOOL.

HE KIND OF CAME OFF AS SORT OF STRICT AND AUTHORITARIAN, BUT, YOU KNOW, I ALWAYS KIND OF UNDERSTOOD THAT THERE WAS THIS KIND OF SOFTER SIDE TO HIM.

HUGH: NOW I'’’M A STUDIO GLASS ARTIST ON THE BIG ISLAND, AFTER HAVING HAD A CAREER AS A TEACHER AT PUNAHOU SCHOOL.

ONE OF THE FEATURES OF THAT TEACHING CAREER WAS HAVING STARTED THE GLASSBLOWING STUDIO IN 1972 THAT WE BELIEVE WAS THE FIRST AND ONLY CURRICULUM HIGH-SCHOOL PROGRAM IN THE NATION.

MARK: IN THAT SAME MOVE, YOU WANT TO SET YOUR JACK LINE ONE MORE TIME.

KEEP IT TURNING OFF CENTER.

THE GLASS SHOP, IT DIDN'’’T START OFF BIG.

IT STARTED OFF SMALL, AND HUGH REALLY WAS ONE OF THE PEOPLE WHO WAS RESPONSIBLE FOR REALLY BUILDING UP THIS PROGRAM.

HUGH: ONE OF THE REQUIREMENTS THAT WE HAD WHEN WE STARTED GLASSBLOWING IS THAT YOU HAD TO BRING YOUR BOTTLES FROM HOME.

YOUR MAYONNAISE JARS AND YOUR PICKLE JARS AND YOUR KETCHUP BOTTLES AND STUFF, YOU HAD TO BRING THEM IN, AND WE SMASHED THEM UP, AND THAT'’’S WHAT WE MELTED.

SO WE WERE RECYCLING EARLY ON.

>> I ACTUALLY HAVE A QUESTION.

HAVE YOU HAD ANY PROFESSIONAL GLASSBLOWERS COME FROM PUNAHOU?

HUGH: YES.

YEAH.

MIKE MORTARA HAS HIS STUDIO ON THE BIG ISLAND.

HE WAS A CLASS OF '’’79, WHICH WAS OBAMA'’’S GRADUATION YEAR, AND SO HE WAS THE FIRST ONE WHO ACTUALLY STUCK WITH IT AND CREATED HIS OWN PROFESSIONAL STUDIO.

IN THE EIGHTIES, BOYD SUGIKI, LEE MILTIER, MARK HIMSELF.

SO, YEAH, THERE'’’S 10 OR A DOZEN PEOPLE FOR WHOM THIS CREATED THEIR WAY OF MAKING A LIVING.

MARK: EARLY ON, IT DIDN'’’T REALLY COMPUTE FOR ME THAT I WAS AN ARTIST.

YOU KNOW, I WAS FAIRLY GOOD AT DRAWING, BUT, YOU KNOW, IT WASN'’’T SOMETHING THAT CAME EASY TO ME.

BUT I WAS REALLY, REALLY GOOD WITH MY HANDS.

I TOOK APART THINGS LIKE CRAZY, BUT WHEN I GOT INTO THAT GLASS CLASS, THAT'’’S WHEN THINGS KIND OF CHANGED FOR ME.

THERE WERE ALL OF THESE THINGS THAT KIND OF JUST DREW ME IN...

THE LIGHT THAT IT GAVE OFF, YOU HAD THESE TOOLS THAT YOU WERE USING.

I'’’VE ALWAYS BEEN ABLE TO USE TOOLS.

>> MARK WANTED TO DO ART.

WHAT CAN I SAY?

I WENT INTO MUSIC, AND MY HUSBAND SAID TO HIM-- THIS WAS SOMETHING THAT WAS A COMMON THEME OVER OUR DINNER TABLE WAS, IF YOU CAN FIND SOMETHING YOU TRULY LIKE TO DO AND YOU CAN MAKE IT YOUR LIFE'’’S WORK, THERE'’’S NOTHING BETTER THAN THAT.

SO, WHEN MARK SAYS, "I'’’D LIKE TO GO TO ART SCHOOL," OF COURSE.

IT WAS A NO-BRAINER, AND SO WE ENCOURAGED HIM TO DO THAT.

MARK: A LOT OF MY EARLY WORK WAS A RESULT OF THE WAY THAT I WAS STUDYING ART IN ACADEMIA.

A LOT OF IT HAD SOME PRETTY STRONG CONCEPTUAL TIES.

I WAS SORT OF LIVING A DOUBLE LIFE.

I HAD MY LIFE IN THE HOT SHOP WHERE I WOULD BE MAKING, YOU KNOW, UTILITARIAN OBJECTS, AND THAT MADE ME REALLY HAPPY, AND THEN I WOULD HAVE THIS CONCEPTUAL WORK THAT I WAS ALWAYS WORKING REALLY HARD ON, BUT I HAVE ALWAYS BEEN DRAWN BACK TO OBJECTS OF UTILITY.

YOU KNOW, WHEN I WAS IN ART SCHOOL, IT WASN'’’T EXACTLY...

IT WASN'’’T EXACTLY FROWNED UPON, BUT IT WASN'’’T SUPER ENCOURAGED, EITHER, BUT, YOU KNOW, WHEN I'’’M TEACHING AND I'’’M TEACHING SOMEONE TO BLOW GLASS, THE SIMPLEST OBJECTS HAVE SO MUCH VALUE TO PEOPLE WHEN THEY MAKE THEM.

HUGH: MY BASIC REASON FOR LEAVING IS I HAD THAT ITCH TO REALLY JUST FOCUS ON MY OWN WORK WHILE I STILL HAD THE MIND AND BODY TO DO IT.

I'’’M GLAD I DID.

I WOULD NOT HAVE WANTED TO LOOK BACK AND SAY I DIDN'’’T DO THAT.

IT HASN'’’T BEEN EASY.

THERE WERE TIMES THAT IF I DIDN'’’T--KNOWN WHAT WAS GONNA HAPPEN, I MIGHT HAVE CHICKENED OUT.

OK. THAT'’’S AS DONE AS IT'’’S GONNA GET.

MARK: I HAD A PRIVATE GLASS STUDIO IN UPSTATE NEW YORK.

I GOT A CALL ONE DAY FROM PUNAHOU.

THEY LET ME KNOW THAT HUGH JENKINS WAS ABOUT TO RETIRE, AND HE ASKED ME IF I WANTED THE JOB.

THINKING ABOUT IT, YOU KNOW, IT'’’S NOT OFTEN THAT YOU END UP GOING FULL CIRCLE AROUND THINGS, SO I FIGURED I'’’D TRY IT OUT FOR A COUPLE OF YEARS AND SEE HOW IT WENT, AND NOW I'’’VE BEEN HERE, LIKE, 17 YEARS.

HUGH: WHEN I LEFT TEACHING HERE, I FELT I REALLY LEFT THE PROGRAM IN THE HANDS OF SOMEBODY THAT WAS ENERGETIC, INSPIRED.

HIS WAY OF TEACHING IS, I THINK, TECHNICAL.

THE PROGRAM HAS GROWN.

WELL, WE STARTED WITH ABOUT 40 A SEMESTER IN THE SEVENTIES.

NOW I THINK MARK IS HANDLING AS MANY AS 80 A SEMESTER.

WE MAYBE AVERAGE A HUNDRED KIDS A YEAR, AND WE'’’RE 44 YEARS IN, OK?

DO THE MATH.

YOU KNOW, WE GOT OVER 4,000 KIDS WHO'’’VE HAD SOME EXPERIENCE BLOWING GLASS, AND THAT MEANS THERE'’’S 4,000 HOMES OUT THERE THAT HAVE SOME REALLY FUNNY LITTLE COLLECTIONS OF BEGINNING PIECES.

>> SO, THIS WAS MY FIRST ONE, AND TODAY I MADE TWO OTHERS.

THEY'’’RE IN THE THING COOLING.

I'’’M GONNA GIVE IT TO MY MOM, SO...SHE'’’LL LIKE IT.

SHE REALLY WANTED ME TO TAKE GLASS.

MARK: BLOW IT UP A LITTLE BIT.

EVERYONE STARTS OFF EQUAL.

EVERYONE, LIKE I LIKE TO TELL MY GLASS CLASS, SUCKS THE SAME.

EVERYONE'’’S TERRIBLE AT IT AT THE SAME LEVEL, AND, YOU KNOW, SOMETIMES IT'’’S NOT SOMETHING THAT PEOPLE ARE USED TO.

IT CAN BE REALLY, REALLY, REALLY HUMBLING.

THAT'’’S GOOD.

NOT TOO MUCH.

IT WASN'’’T QUITE ON STRAIGHT WHEN YOU CAME OFF.

WHEN THEY REALLY, REALLY GET INTO IT, THE KIND OF WORK THAT THEY MAKE IS SOMETHING THAT I CAN'’’T PREDICT, AND THAT'’’S WHAT REALLY MAKES ME REALLY, REALLY EXCITED, IS WHEN THEY GO AND TAKE WHAT I'’’VE TAUGHT THEM AND GO OFF IN THEIR OWN DIRECTION.

JONATHAN: I'’’VE BEEN HERE SINCE 8:30, AND I'’’VE PROBABLY MADE, LIKE, 4 OR 5 PAPERWEIGHTS AND VASES, AND I'’’LL NEVER GET TIRED OF IT.

DURING SOPHOMORE YEAR, I DID CERAMICS, AND I REALLY LOVED CERAMICS, AND OUT OF THE CORNER OF MY EYE, I ALWAYS COULD SEE THE GLASS STUDIO, AND THAT REALLY--THE GLASS AND THE HEAT, IT REALLY JUST DREW ME OVER TO COMING OVER HERE DURING JUNIOR YEAR.

SCHOOL IS REALLY STRESSFUL.

CERAMICS IS MY WAY TO DECOMPRESS.

CERAMICS IS REALLY SOOTHING AND CALM AND PEACEFUL AND QUIET.

GLASSBLOWING IS WHERE I CAN GET MY ENERGY OUT, MY ADRENALINE, MY EXCITEMENT.

IT'’’S TWO SPECTRUMS THAT I NEED TO FILL.

A LITTLE TOO HOT?

MARK: YEAH.

HUGH: IF I HAD WANTED TO STAY IN TEACHING LONGER, I WOULD HAVE STAYED HERE.

IT WAS A FABULOUS PLACE TO TEACH.

THE STUDENTS WERE ABOUT AS GOOD AND ATTENTIVE AS ANY YOU'’’D EVER, EVER FIND.

I'’’M REALLY PROUD OF THE STUDENTS WHO'’’VE BECOME GOOD TEACHERS.

MARK: LIKE, I NEVER REALLY EXPECTED TO BE A TEACHER, NEVER REALLY EXPECTED THAT THAT WAS GONNA BE SOMETHING THAT I WOULD LOVE TO DO, BUT I REALLY FEEL FORTUNATE TO BE AT A PLACE TEACHING SOMETHING THAT I'’’M PASSIONATE ABOUT AND BEING ABLE TO INSPIRE OTHER PEOPLE IN THE PLACE THAT INSPIRED ME TO FIRST GO INTO GLASSBLOWING.

WOMAN: SO YOU SAY, "GOOD MORNING, THERMAN."

CHILDREN: GOOD MORNING, THERMAN.

>> MY NAME IS... MY NAME IS THERMAN STATOM.

[CHILDREN SHOUTING] WOMAN: THERMAN IS A GREAT ARTIST.

HE WORKS VERY WELL WITH OUR PRE-K KIDS.

HE HAS FUN WITH THEM, AND HE JUST TRIES TO TEACH, YOU KNOW, THEIR CULTURE, BECAUSE A LOT OF OUR KIDS DON'’’T KNOW THE NATIVE AMERICAN CULTURE.

>> OUR CLASS IS PART OF THE N.I.C.E.

PROGRAM IN THE OMAHA PUBLIC SCHOOLS.

"N.I.C.E."

STANDS FOR NATIVE INDIGENOUS CENTERED EDUCATION.

EVERY CHILD IN OUR PRE-K CLASSROOM HAS SOME MEASURE OF NATIVE BLOOD IN THEM.

>> THIS PROGRAM IS VERY IMPORTANT BECAUSE NATIVE AMERICANS ARE STILL SUFFERING THE EFFECTS OF SOME OF THE ISSUES THAT CAME AFTER THE BOARDING SCHOOL EXPERIENCE, AND IT HELPS STUDENTS RECONNECT TO WHO THEY ARE.

>> MY GRANDMA AND GRANDPA, WHEN THEY GOT SENT OFF TO SCHOOLS, THEY WEREN'’’T ALLOWED TO SPEAK THEIR LANGUAGE.

THEIR HAIR WAS ALL CUT OFF-- JUST CRUEL STUFF.

THERMAN: DOES ANYONE KNOW HOW TO DRAW A BUFFALO?

I'’’M HOPING WHAT THEY LEARN IS JUST THE IDEA THAT THE EDUCATION REINFORCES FAMILY, AS OPPOSED TO SEPARATING FAMILY, THAT EVERY NATIVE AMERICAN PARENT TODAY IS CONCERNED ABOUT.

I FEEL PART ADVOCATE, AND I FEEL PART ARTIST.

I THINK THAT TEACHING IS THE HIGHEST FORM OF ADVOCACY, IN TERMS OF INFLUENCING THE WORLD OR HAVING A CHANCE TO BE A PART OF SOMETHING THAT YOU CAN CHANGE.

OK. NOT TOO THICK.

IT JUST SORT OF EVOLVED TOWARDS TEACHING, AS PART OF A PROCESS TO GIVE WHAT I DO MORE MEANING.

I THINK I'’’D DESCRIBE MYSELF AS A PAINTER/SCULPTOR/ CRAFTS PERSON.

WHEN I WENT TO SCHOOL, THERE WERE LOTS OF DEBATES ABOUT ART AND CRAFT, PARTICULARLY IN THE GLASS FIELD.

I GUESS SOME OF THE OBJECTS ARE--THEY'’’RE ALMOST LIKE CANVASES, 3-DIMENSIONAL CANVASES.

GENERALLY, WITHIN THE STUDIO, THERE'’’S AS MANY AS 20 PIECES THAT ARE BEING WORKED ON.

I JUST LIKE EXPLORING, AND I MADE A COMMITMENT TO THE FINE ARTS BECAUSE I COULD EXPLORE.

I CAN WRITE.

I CAN BE A POET.

I CAN LISTEN TO THAT POETRY AND TRANSLATE THAT POETRY INTO A VISUAL OBJECT ON MY OWN TERMS.

ULTIMATELY, ALL OF IT HAS TO DO WITH SOME FORM OF COMMUNICATION, AND I GET TO EXPLORE THAT, AND THERE'’’S A CERTAIN RESPONSIBILITY THAT COMES WITH THAT.

I'’’M CREATING AN OUTDOOR CLASSROOM.

A HUGE PART OF NATIVE AMERICAN PHILOSOPHY IS TO BE OUTDOORS.

WHAT WE'’’RE GONNA DO IS TURN THIS MEDICINE WHEEL AND EXPAND IT SORT OF INTO A SEATING ELEMENT AND MAKE IT INTO A BENCH.

THE ACTUAL STONE WILL STAY THERE, BUT THE CENTER STONES WON'’’T, AND THERE WILL BE 4 SEGMENTS THAT-- SO THAT YOU'’’D ACTUALLY BE ABLE TO WALK IN FROM HERE AND THEN SIT DOWN HERE.

WOMAN: THE MEDICINE WHEEL FOR NATIVE AMERICANS IS A HEALING PLACE, IS A PLACE WHERE THEY BRING STRESSES AND PAINS IN OUR LIVES TO THE CIRCLE TO BE HEALED.

THERMAN: AND COMMUNITY MEMBERS COME AND SHARE STORIES ABOUT THEIR HISTORY FOR THE FIRST TIME IN THE SCHOOL SYSTEM.

YOU'’’RE GONNA GET THIS CLAY, AND YOU'’’RE GONNA PRESS YOUR HANDS INTO IT, AND THEN WE'’’RE GONNA HAVE A SHAPE.

AND THEN WHAT WE'’’RE GONNA DO IS--GUESS WHAT I'’’M GONNA DO WITH THIS SHAPE.

I'’’M GONNA POUR HOT GLASS IN HERE, AND IT'’’S GONNA TURN REALLY HARD.

AND THOSE GET PUT INTO THE TOP OF THE BENCH, AND IT GETS GROUND TO A POLISH, SO THEY WILL BE ABLE TO SEE ALL THEIR HANDS FLOATING IN A PATTERN THROUGHOUT THE BENCH.

WHAT I'’’M HOPING TO INSTILL IS A TRUE NATIVE AMERICAN RESOURCE THROUGH A MORE EXPERIENTIAL POINT OF VIEW, WHERE WORKING WITH MATERIALS IS A WHOLE DIFFERENT LANGUAGE.

THESE KIDS HAVE NEVER PUT THEIR HANDS IN CLAY, AND THEN, YOU KNOW, COME SPRINGTIME, THEY'’’RE GONNA SEE IT IN GLASS, AND THEY CAN FIND THEIR HANDS.

AMBER: FOR HER LITTLE HANDS TO BE ON THE WHEEL AND OTHER LITTLE KIDS'’’ HANDS ON THE WHEEL, I THINK IT'’’S REALLY GOOD BECAUSE IT'’’S ALWAYS A CONNECTION TIED THERE.

THERMAN: THE KIDS HAVE A BETTER SENSE OF PLACE, AND THEY HAVE FUN, AND THEY'’’RE IN A SCHOOL THAT'’’S BETTER THAN WHAT HAPPENED 30 YEARS AGO, WHERE THEIR HAIR WAS CUT OFF AND THEY WERE SEPARATED FROM THEIR FAMILIES, AND BY THE TIME WE'’’RE DONE WITH THE MEDICINE WHEEL, THE KIDS WILL HAVE A CONNECTION TO AN EDUCATIONAL INSTITUTION THAT WILL CHANGE THEIR POINT OF VIEW, WHAT HAPPENS WHEN THEY GO TO SCHOOL, AND ALL THOSE SENSIBILITIES COME FROM MY INVOLVEMENT WITH THE CRAFTS.

THERE'’’S A CORE CONNECTION OF CRAFT THAT CONNECTS TO OUR INNER BEING, AND WITH EVERY CRAFT MEDIUM, THERE'’’S SORT OF A HIDDEN LANGUAGE.

IT'’’S ODD WHAT PARTS DO WORK, AS OPPOSED TO THAT DON'’’T WORK, BECAUSE THERE'’’S SUCH AN ABSTRACTION OF THE OBJECTS THEMSELVES.

YOU KNOW, BESSIE WAS THE FIRST FEMALE BLACK AVIATOR.

I COULD HAVE PROBABLY DEFINED WHO SHE WAS IN THE PIECE WITH THE TITLE, AND PART OF WHAT I'’’M GONNA BE DOING IS EXPLORING ADVOCACY THROUGH TITLES.

LIKE, I COULD CALL THIS "THEY DON'’’T ALLOW BLACK WOMEN TO DO THAT."

YOU KNOW, I'’’M SORT OF A CULTURAL MUTT.

I'’’VE GOT, I THINK, A LITTLE BIT OF EVERYBODY IN ME.

I'’’M BORN AFRO-AMERICAN.

I WAS RAISED IN A WHITE JEWISH NEIGHBORHOOD.

WHEN I GET INVOLVED WITH OTHER CULTURES, I HAVE TOOLS THAT NOT MANY PEOPLE HAVE.

YOU GOT TO GO UP.

>> THERMAN IS PROBABLY ONE OF THE GREATEST MENTORS I EVER MET IN MY LIFE.

HE NEVER, YOU KNOW, HE NEVER GIVES UP.

THERMAN: STAIN IT.

>> I NEVER HAD MUCH EXPERIENCE WITH ART UNTIL I MET THERMAN.

I MEAN, I ALWAYS THINK I HAD IT IN ME, BUT, YOU KNOW, NOBODY REALLY PUSHED IT OUT OF ME EXCEPT THERMAN, I'’’LL TELL YOU THAT.

THERMAN: JUST DO THE WHOLE THING, ALL THE WAY AROUND, LIKE THAT.

TY IS TRAINING TO BE A SORT OF A LONG-TERM ASSISTANT.

IT'’’S GREAT BECAUSE HE'’’S TALL AND STRONG WITH INCREDIBLE RESOURCES THAT HE HAS WITHIN HIMSELF THAT HE DOESN'’’T KNOW ABOUT.

TY: LET'’’S SEE HERE.

I WAS BORN IN SOUTH SUDAN.

I LIVED THERE FOR 7 YEARS, MOVED TO ETHIOPIA.

FROM ETHIOPIA, WE MOVED ON TO MEMPHIS, TENNESSEE, USA.

FROM TENNESSEE, WE MOVED TO OMAHA, NEBRASKA, SO WE'’’VE BEEN HERE NOW FOR 15 YEARS.

THERMAN: OMAHA HAS THE LARGEST SUDANESE REFUGEE COMMUNITY OUTSIDE OF SUDAN, AND ONCE I BECAME AWARE OF IT, I HAD AN INTEREST IN WHAT HAPPENS TO DISPLACED POPULATIONS, PARTICULARLY OF SOMETHING SO RECENT.

I THOUGHT, HOW DO YOU HELP THESE GROUPS BECOME SUCCESSFUL?

HOW CAN THEIR CULTURAL HERITAGE ENRICH OURS?

>> I MEAN, WE'’’RE THE NEW FACE OF WHAT MAKES AMERICA SPECIAL.

WE'’’RE THE NEW FORM OF IMMIGRANTS, YOU KNOW, AND AMERICA HAS ALWAYS BEEN REFRESHED, YOU KNOW, BY JUST A FRESH WAVE OF NEW IDEAS, NEW WAY OF DOING THINGS, NEW WAY OF SEEING THE WORLD, AND I CAN CLEARLY SEE THAT WITHIN OUR COMMUNITY.

WITH THERMAN AND I, IT'’’S ALL BEEN ABOUT EDUCATING-- YOU KNOW, NOT JUST THE KIDS, BUT THE TEACHERS.

YOU KNOW, HOW DO WE GET THE TEACHERS TO UNDERSTAND THE AFRICAN CULTURE, YOU KNOW, AND SOME OF THE THINGS THAT ARE GOING ON WITH THEIR SUDANESE STUDENTS?

HOW DO WE CREATE THOSE OPPORTUNITIES FOR KIDS FROM DIFFERENT COMMUNITIES TO BE IN ONE PLACE WHERE THEY CAN ACTUALLY INTERACT WITH EACH OTHER?

THERMAN: YOU JUST WALKED INTO WHAT I CALL A FREE ZONE, AND BY THAT, I MEAN THAT AT THIS POINT, EVERYTHING THAT YOU THINK YOU CAN'’’T DO, YOU CAN DO.

>> THE STUDENTS HERE ARE FROM NORTH HIGH SCHOOL, AND SOME OF THEM ARE CONNECTED THROUGH AN ORGANIZATION CALLED COMMUNITIES IN SCHOOLS, WHICH IS A DROPOUT-PREVENTION PROGRAM, AND COMMUNITIES IN SCHOOLS IS A PROGRAM REALLY FOCUSED ON FINDING THE RESOURCES TO HELP STUDENTS STAY IN SCHOOL AND GRADUATE.

THERMAN: EACH OF US IS GONNA BE GIVEN A BOX AS AN ITEM TO WORK ON.

YOU CAN FINISH IT HERE, OR YOU CAN FINISH IT AT HOME.

THEIR SAND-BLASTED SURFACE IS-- OBVIOUSLY HAS TEXTURE.

YOU CAN DRAW ON IT JUST LIKE THAT.

>> COULD I ASK A QUESTION?

THERMAN: YES, YOU CAN.

>> I THINK THEY ALWAYS THINK THAT THINGS HAVE TO LOOK ABSOLUTELY PERFECT.

HOW MANY FEEL LIKE THAT, FOR REAL?

THERMAN: NO WAY.

YOU GOT TO BE KIDDING ME.

>> SO SERIOUS.

RITA: SO SERIOUS.

THERMAN: Y'’’ALL ARE THAT SERIOUS?

RITA: THEN WHY DO YOU THINK EVERYTHING HAS TO BE PERFECT?

>> BECAUSE PERFECTION IS KEY.

THERMAN: PERFECTION IS KEY.

>> LIKE, IF YOU DON'’’T HAVE PERFECTION, THEN YOU DON'’’T HAVE NOTHING.

RITA: SO, THIS IS SO-- THERMAN: IT'’’S SO PREVALENT.

RITA: RIGHT!

THERMAN: YOU ACTUALLY CAN'’’T MESS UP BECAUSE THE WORST THING THAT COULD HAPPEN IS, IN THE PROCESS OF MESSING UP, YOU ACTUALLY LEARN, AND YOU REFINE YOUR AESTHETICS OF WHAT THAT IS.

AT THIS POINT, YOU SHOULD CUT LOOSE AND JUST DISCOVER HOW BIG YOU ARE AND JUST GO FOR IT.

RITA: THEY ARE TOTALLY AMAZED ABOUT HAVING THIS OPPORTUNITY TO KIND OF WORK WITH HIM AND TO GET HIS HELP.

IT INSPIRES THEM, BECAUSE I SEE WHAT IT CAN DO FOR THEM WHILE IN SCHOOL.

THERMAN: SO, RIGHT NOW IT LOOKS OPAQUE, RIGHT?

RITA: I'’’VE SEEN STUDENTS FIND A TALENT THAT THEY DIDN'’’T REALIZE THEY HAD, AND ALL OF A SUDDEN, THEY REALIZE THAT THEY CAN DO SOMETHING WITH THEIR LIVES.

KOANG: EVEN IF THEY'’’RE NOT GONNA BE ARTISTS DOWN THE LINE, THESE KIDS, THEY'’’RE GONNA BENEFIT FROM IT.

THERMAN: YOU KNOW, WITH THE SUDANESE COMMUNITY, A SUCCESS WOULD BE THE AFRO-AMERICAN KIDS WORKING WITH THE SUDANESE KIDS AND COMMUNICATING WITH EACH OTHER AND DEALING WITH THE BEAUTY OF THEIR DIFFERENCES.

ANOTHER WILL BE JUST EXPOSURE TO THE FACT THAT YOU CAN BE EXPRESSIVE AND THAT YOU HAVE A RIGHT TO BE EXPRESSIVE.

MAN: WE HAVE A COLORED PERSON IN THE BACKGROUND BECAUSE IT'’’S ALWAYS COLORED PERSON IN THE BACKGROUND AND WHITE PEOPLE IN THE FRONT, AND THEY ALWAYS COME FIRST AND SEE US DIFFERENT.

THERMAN: THE SUBJECT IS PRETTY PROVOCATIVE--ABOUT WHITE IN FRONT OF BLACK OR MEXICAN.

YOU KNOW, ANOTHER SUCCESS IS THE KIDS JUST HAVING FUN AND MAKING THINGS AND FEELING WHOLE.

GET TO THE END.

GET TO THE END.

GO TO THE END.

NOT YET.

IT'’’S ON YOU.

BLOW!

BLOW ON IT.

BLOW, BLOW, BLOW, BLOW, BLOW.

BLOW, BLOW, BLOW.

BLOW, BLOW, BLOW!

KEEP GOING.

SHE'’’S GOT GOOD HANDS.

KOANG: IT'’’S ONE THING TO BE IN A PLACE LIKE AMERICA, YOU KNOW, AND PURSUE THE AMERICAN DREAM, YOU KNOW, AND LIVE A BEAUTIFUL LIFE, BUT IT'’’S ANOTHER THING TO HAVE A PURPOSE, YOU KNOW, TO CHANGE LIVES, YOU KNOW, AND TO BE ABLE TO ACTUALLY MAKE A DIFFERENCE AND ADD MEANING TO PEOPLE'’’S LIVES, AND THAT'’’S WHAT THERMAN DOES EVERY DAY.

THERMAN: SEE IN THE SHAPE?

LOOK AT THE SHAPE, HUH?

THIS IS HER FIRST TIME DOING IT.

IT'’’S A PRETTY NICE SHAPE.

IT'’’S A PRETTY SCULPTURAL SHAPE.

WE'’’RE NOT WORRIED ABOUT MESSING IT UP, RIGHT?

AND LOOK WHAT WE DISCOVERED, HUH?

EXCELLENT.

EXCELLENT JOB.

>> ONE THING THAT'’’S ESSENTIAL ABOUT ALFRED IS THAT IT'’’S A ONE-STOPLIGHT TOWN.

THAT MEANS THAT THERE IS NOT A LOT TO DO OTHERWISE.

I STARTED TO HANDLE CLAY IN HIGH SCHOOL AND THEN WENT OFF TO COLLEGE TO DO SOMETHING MORE SENSIBLE, BUT QUICKLY FOUND MYSELF PICKING UP CLASSES IN ART, AND SO I DROPPED THE LIBERAL ARTS DEGREE AND ENROLLED IN AN ART SCHOOL, AND WHEN I FINALLY ENDED UP IN AN ART PROGRAM, I HAD SOME GREAT TEACHERS, AND I CAN RECALL BEING IN LECTURES, TAKING IN THE CONTENT, AND SIMULTANEOUSLY REALLY PAYING ATTENTION TO WHO THEY WERE AS A TEACHER.

AT THAT TIME, I DIDN'’’T REALIZE I HAD AN EYE ON A PROFESSION THAT INVOLVED THESE TWO REALMS.

AND I'’’M WONDERING IF THAT WILL SOUND LIKE WHAT WE SEE, BUT JUST GET A WORD IN YOUR MIND.

>> ALFRED IS KIND OF AN ART SCHOOL, WHERE CERAMICS IS THE HUB OF IT.

LINDA: THE SCHOOL BEGAN IN 1900.

IT WAS THE NEW YORK STATE SCHOOL OF CLAY-WORKING, AND AT THAT TIME, IT WAS REALLY GEARED TO PROMOTING INDUSTRY AND THE ECONOMIES OF THE AREA.

>> INTERESTINGLY, EVERYONE WHO CAME TO STUDY HAD TO ALSO DRAW.

THEY HAD TO MAKE POTS.

THEY HAD TO STUDY TECHNIQUE AND TECHNOLOGY.

SO, GRADUALLY, WHAT GREW UP HERE WERE TWO SCHOOLS THAT WERE LIKE SIAMESE TWINS.

ONE BECAME THIS VERY IMPORTANT AND RECOGNIZED ART SCHOOL, AND THEN ANOTHER SIDE IS A VERY FAMOUS SCHOOL OF CERAMIC SCIENCE AND ENGINEERING, BUT WE MAY BE ONLY MAJOR ART SCHOOL THAT HAS GROWN FROM A CERAMIC ROOT.

>> THIS IDEA THAT CERAMICS IS SUCH A MALLEABLE MATERIAL THAT IT CAN DO ANYTHING IS A METAPHOR FOR US FOR EDUCATION.

HOW WE TEACH THEM HOW TO MAKE HAS GOT TO DO WITH THIS TREMENDOUS BREADTH OF WHAT CLAY DOES.

JOHN: SOME OF OUR BEST STUDENTS HAVE HAD REALLY GREAT PLASTIC MINDS.

THERE'’’S NOTHING MORE PLASTIC THAN CLAY, SO THIS IS THE RIGHT SCHOOL FOR THEM TO COME TO HERE.

THE STUDENTS CAME OVER AND THEY ARE JURYING THE SHOW FOR THE CULLEN GALLERY, AND WE WENT DOWN TO THE BASEMENT.

WE PICKED OUT ALL THIS WORK.

LINDA: JOHN GILL IS A LITTLE BIT MAGIC.

JOHN GILL IS BRILLIANT.

JOHN: THIS WONDERFUL ANDREA MAJOLICA THEME FROM ITALY.

IF I WAS GONNA, LIKE, SIT DOWN AND THROW A REALLY BEAUTIFUL COVERED JAR FOR SOMEBODY, I THINK PROBABLY THE MOST IMPORTANT PART OF THE THING IS WHAT THE INSIDE STRUCTURE MIGHT BE, AND THIS WOULD BE THIS REALLY GREAT THING.

SO, HERE I HAVE THIS REALLY BEAUTIFUL LID THAT WOULD JUST FIT ON RIGHT THERE.

SEE HOW THAT WORKS REALLY NICE HERE?

AND SAY, "OH, THE MOST IMPORTANT PART OF THE POT IS THE INTERIOR OF THE POT," AND SO YOU HAVE THIS REALLY GREAT INSIDE WHERE YOU'’’RE COMING HERE, AND YOU'’’RE JUST, LIKE...

WONDERFUL VOLUME THAT YOU'’’VE NOW FIGURED OUT, "THAT'’’S THE INSIDE SHAPE OF A POT."

SO, NOW LET'’’S SAY SOMEBODY WAS ON THE WHEEL, AND THEY THREW THIS AS THEIR POT.

LINDA: HE LOVES TO PLAY WITH WORDS AND USE WORDPLAY.

JOHN: OOH, GET THIS FORM.

AND YOU KNOW, THINKING OF LETTER FORM, YOU'’’RE THINKING OF TYPE.

YOU'’’RE THINKING ABOUT THE CORSET.

YOU'’’RE THINKING ABOUT HOW THIS THEME MIGHT SNUG INTO THE FORM, AND THEN IT'’’S LIKE, "OH, I GOT THIS.

OH, MAYBE THAT'’’S WHAT I THROW!"

AND SO NOW WHAT I DO IS I'’’M COMING IN HERE, AND I... LINDA: WHEN HE SPEAKS TO THE STUDENTS, THEY LISTEN CLOSELY AND PAY ATTENTION AND THINK LONG ABOUT WHAT HE HAS TO SAY.

JOHN: AND THAT'’’S THE CROSS SECTION FOR A COVERED JAR.

NOW, IT'’’S LIKE, YOU JUST HAVE INSIDE'’’S A VOLUME, THE OUTSIDE'’’S A VOLUME, AND THAT'’’S WHY... AND YOU GIVE THIS TO A STUDENT TO THROW, IT'’’S REALLY WONDERFUL, BECAUSE IT TELLS THEM WHAT THE INSIDE AND THE OUTSIDE IS, AND IT'’’S REALLY LOVELY.

ANDREA: WE RUN TWO VERY DIFFERENT PROGRAMS HERE.

WE RUN A GRADUATE PROGRAM WHICH IS MEDIA-SPECIFIC, AND THEN WE RUN AN UNDERGRADUATE PROGRAM, WHICH IS ALSO VERY UNUSUAL IN THAT IT'’’S NOT MEDIA-SPECIFIC, SO THE STUDENTS NEVER HAVE TO SIGN UP FOR A MAJOR.

THEY JUST COME EXPERIENCE A WIDE VARIETY OF TECHNIQUES, AND THEN AS SENIORS, THEY ARE GIVEN A SPACE, THEY CHOOSE A FEW TEACHERS TO BE THEIR ADVISORS, AND THEY SAY, "OK. NOW WHAT ARE YOU GONNA MAKE?

YOU'’’RE GONNA BE AN ARTIST.

WHAT ARE YOU GONNA MAKE?"

THERE'’’S A CERTAIN AMOUNT OF FEAR THAT GOES ON THERE.

A LOT OF FEAR HAPPENS IN THE STUDIO AT THAT POINT.

"WHAT DO YOU MEAN?

YOU'’’RE NOT GONNA GIVE ME AN ASSIGNMENT?"

NO, NO.

WHAT DO YOU WANT TO MAKE?

AND STUDENTS HAVE TO LEARN HOW TO ASK QUESTIONS, BECAUSE THAT'’’S REALLY WHAT YOU REALLY HAVE TO LEARN HOW TO DO TO BE AN ARTIST, IS TO LEARN HOW TO ASK A GOOD QUESTION.

LINDA: SO I WON'’’T REPEAT THE WORD, BUT IF YOU COULD JUST BE READY...

I THINK IN GENERAL, WHEN WE ADVISE THE SENIORS--WE MEET WITH THEM WEEKLY, OFTEN INDIVIDUALLY, SOMETIMES IN A GROUP--YOU KNOW, THEY HAVE EXPECTATIONS OF US, AND WE HAVE EXPECTATIONS OF THEM.

SO, YOU SAID SOMETHING ABOUT WORKING FROM YOUR STRONG SUIT, RIGHT?

DOES EVERYONE AGREE THAT THAT WAS SOMETHING YOU DID, YOU WORKED FROM THAT PLACE?

I THINK IN THE END, THEY EXPECT TO BE SEEN, AND WHEN YOU SEE A STUDENT, WHEN YOU REALLY DO SEE THEM, YOU CAN MAKE A CONNECTION AND REALLY MAKE A DIFFERENCE.

ANDREA: WAYNE HIGBY, HE'’’S BEEN AT ALFRED THE LONGEST.

HE'’’S A GREAT RESOURCE.

HE'’’S A WONDERFUL TEACHER FOR THE GRADUATE STUDENTS.

WAYNE: CLAY IS JUST A LUMP.

YOU KNOW?

WELL, WHAT ARE YOU GONNA DO WITH THAT LUMP?

BUT AGAIN, AS SOON AS YOU PRESS YOUR HAND OR BEGIN TO MOVE, IT TALKS, AND THEN YOU JUST FOLLOW IT, AND THOSE THINGS THAT YOU MAKE, THEN THEY BECOME PERSONALITIES, AND THEY ARE CRITICAL OF YOU, AND THEY CELEBRATE YOU, BUT THERE'’’S AN HONESTY THAT THEY DELIVER TO YOU IF YOU STAY VULNERABLE IN THE MAKING.

"EARTHCLOUD" HAS BECOME MY MASTERWORK OF MY CAREER.

IT REALLY STARTED BECAUSE THERE WAS A GENTLEMAN NAMED MARLIN MILLER.

HE BUILT THE PERFORMING ARTS COMPLEX FOR ALFRED.

DURING THE PROCESS, HE KEPT TALKING TO ME ABOUT DOING SOMETHING IN THE BUILDING.

THE PIECE IS 12,000 HAND-CUT PORCELAIN TILE.

I REALLY WANTED THAT FEELING.

IT SORT OF MADE ITSELF.

PORCELAIN SHRINKS AND CRACKS AND MOVES, AND IT BECAME THIS POWERFUL EXPERIENCE IN MAKING, AND THEN I HAD A REALLY BRILLIANT TEAM.

I WOULD CUT TILE AND SAY, "LIKE THAT," AND THEN THEY WOULD TRY THAT, AND I'’’D COME BACK SAY, "WELL, NOT QUITE LIKE THAT, BUT ACTUALLY, YOURS LOOK BETTER THAN MINE."

HA HA HA!

AND THAT'’’S THE LUXURY OF BEING AT ALFRED, BECAUSE THE PEOPLE WHO WORKED WITH ME--BECAUSE I WAS THEIR TEACHER AND WORKED WITH THEM--SO GIFTED AS ARTISTS AND SO SENSITIVE AND SO SMART ABOUT HOW TO PUT THIS TOGETHER.

IT COULD NOT HAPPEN ANYWHERE ELSE.

LINDA: PERSONALLY, I DON'’’T HAVE THE ENERGY TO TEACH IF I'’’M NOT IN MY STUDIO.

IN FACT, BEING IN THE STUDIO INSPIRES MY TEACHING.

THE TEACHING INSPIRES BEING IN THE STUDIO.

YOU KNOW, THE RANGE OF YOUR PRACTICE TRAVELS FROM WORKING WITH OBJECTS THAT WE WOULD RELATE TO IMMEDIATELY AS MORE CONVENTIONALLY FUNCTIONAL, AND WE'’’D APPROACH IT REALLY QUICKLY.

YOU KNOW?

A HANDLE JUST INVITES YOU TO GRAB IT, RIGHT?

AND THEN YOU'’’RE HERE.

AND SOMETIMES TALKING TO MY STUDENTS, I'’’LL CONFESS, AND I'’’LL SAY, "YOU KNOW, YOU REALIZE I'’’M TALKING TO MYSELF AS WELL AS TALKING TO YOU," SO I THINK THAT YOU'’’RE TEACHING YOURSELF AS YOU TEACH OTHERS.

MAYBE THERE'’’S A LEVEL OF EMPATHY BECAUSE YOU'’’RE IN THE PROCESS.

YOU KNOW WHAT THE STRUGGLE IS, YOU KNOW WHAT THE ELATION IS, AND YOU KNOW IT ALL GOES TOGETHER, AND YOU'’’VE GONE THROUGH IT JUST A FEW MORE TIMES THAN THE STUDENTS HAVE, SO YOU GET TO TELL THEM, "STICK WITH IT.

YOU KNOW, WHEN IT'’’S HARDEST, YOU'’’RE GROWING.

WHEN IT'’’S HARDEST, THINGS ARE CHANGING.

CHANGE IS DIFFICULT.

RIDE IT OUT.

YOU'’’LL GET THERE."

MATTHEW: WHAT DO YOU THINK?

LINDA: I MET MATTHEW METZ AT THE ARCHIE BRAY FOUNDATION.

I WENT THERE AS A SUMMER RESIDENT.

HE WAS A TWO-YEAR RESIDENT.

I REMEMBER WHEN WE FIRST MET HERE.

UM...

I DON'’’T KNOW IF I ACTUALLY SAID THIS OUT LOUD, BUT I THOUGHT IT WHEN I SAW HIS WORK.

I THOUGHT, YOU KNOW, HE COULD TEACH ME SOMETHING ABOUT SURFACE, AND I COULD TEACH HIM SOMETHING ABOUT FORM.

HA HA HA!

DID I SAY THAT TO YOU?

HA HA!

I DON'’’T REMEMBER.

I HAVE TO SAY, UNTIL LATELY I'’’VE REALIZED WHAT A POWERFUL INFLUENCE HE HAS BEEN ON ME.

LIVING WITH, WORKING WITH A FULL-TIME STUDIO POTTER, IT GROUNDS MY TEACHING.

IT'’’S A FANTASTIC RESOURCE FOR THE STUDENTS, AND IT REMINDS ME OF WHAT IT LOOKS LIKE WHEN A PRACTICE HAPPENS THROUGH ANOTHER PACE.

MATTHEW: I TAUGHT SEVERAL TIMES AT SMALL COLLEGES PART-TIME, NEVER FULL-TIME, AND I SAW THE DIFFERENCE BETWEEN SOMEONE WHO'’’S GIFTED AT TEACHING, LIKE MY WIFE LINDA, AS OPPOSED TO, I WAS ALWAYS SORT OF TAPPING MY FOOT AND WAITING TO GET BACK IN THE STUDIO, AND STUDENTS DON'’’T DESERVE THAT.

I'’’M RELATIVELY HAPPY TO BE ALONE ALL DAY IN THE STUDIO.

THE ISOLATION DOESN'’’T BOTHER ME.

I THINK A LOT OF PEOPLE THAT TEACH ARE DRAWN TOWARD THE INTERACTION.

I THINK I MADE THE RIGHT CHOICE FOR MYSELF, AND IT'’’S AMAZING TO WATCH LINDA, WHO GIVES EVERYTHING TO HER STUDENTS.

BECAUSE OF HER JOB, IT'’’S VERY HARD TO GET IN THE STUDIO, SO THERE'’’S TIMES WHEN SHE DOESN'’’T GET IN, BUT WHEN SHE WALKS IN THE STUDIO, THINGS HAPPEN.

I MEAN, SHE'’’LL JUST START A WHOLE BODY OF NEW WORK OUT OF THE BLUE, AND I'’’LL BE, "WHAT IS THAT?

IT'’’S AMAZING, BUT IT WASN'’’T THERE LAST TIME YOU WORKED."

I TEND TO BE A PLODDER.

I MOVE A LITTLE BIT AT A TIME, AND OVER A COUPLE OF YEARS, I THINK I MAKE A LOT OF GROWTH, AND BECAUSE SHE'’’S TALKING TO STUDENTS AND HAVING IDEAS SORT OF PERCOLATE ALL THE TIME, WALKS INTO THE STUDIO AND JUST MAKES.

LINDA: AND OUR WORK IS VERY DISTINCT, MYSELF WITH COLOR AND WITH GLAZING, MATTHEW WITH DRAWING.

MATTHEW: I JUST PUT DOWN THE MARK AND START DRAWING.

IT'’’S A VERY INTUITIVE PROCESS TO ME, BUT THAT INTUITION IS BUILT ON REPETITION.

I WAS LUCKY ENOUGH TO HAVE A GREAT TEACHER WHO DIRECTED ME TO A LOCAL POTTERY CALLED THE BETHEL PIKE POTTERY, WHERE I APPRENTICED FOR TWO YEARS WHILE GOING TO UNDERGRADUATE, WHICH WAS A GREAT COMBINATION.

I THINK THE ACADEMICS GIVE YOU A BROAD FEEL AND A LOT OF INFORMATION, BUT AN APPRENTICESHIP CAN GIVE YOU REAL SKILLS.

WITHIN A COLLEGE ATMOSPHERE, THERE'’’S SO MUCH GOING ON THAT YOU CANNOT SIT AND THROW REPETITIVELY, AND DOING THAT IS REALLY, REALLY POWERFUL.

LEARNING WITH YOUR HANDS, ATTAINING THOSE SKILLS, FREES YOU UP TO MAKE CHOICES.

IT'’’S NOT LIMITING.

IT OPENS UP YOUR ABILITY TO EXPRESS YOURSELF BECAUSE YOU CAN DO ANYTHING WITH YOUR HANDS YOU WANT TO.

LINDA: THE MFA STUDENTS, I THINK, ARE USING THIS PERIOD AS A REAL INCUBATOR.

THERE'’’S AN INTENSITY OF FOCUS.

THERE'’’S ACCESS TO FACILITIES.

THEY'’’VE GOT THIS VESTED INTEREST IN WHAT THEY'’’RE DOING.

LYDIA: MY MOST RECENT FORMS ARE REALLY COMING FROM TWO-DIMENSIONAL WORK, SO I'’’M KIND OF IMAGINING THE CYLINDERS AS THESE FLAT, YOU KNOW, FLAT PLANES THAT ROTATE UP AND WRAP AROUND IN SPACE, SO IT'’’S KIND OF LIKE THIS CANVAS THAT COMES OFF AND THEN CAN BE USED IN THE HOME.

THESE PIECES HERE CAME FROM, ACTUALLY, THE DRAWINGS ON THE WALL.

SO, I MADE THESE LAST YEAR.

THESE THINGS ALMOST FUNCTION-- POTENTIALLY FUNCTION AS A TABLE, BUT STILL STAND ALONE AS AN OBJECT.

LINDA: SO SHE REALLY SEES THE POWER OF HOW OBJECTS CAN INSTIGATE AN ACTIVITY.

A TEAPOT, FOR EXAMPLE, BECOMES PERFORMATIVE, YOU KNOW?

OR THE WAY THAT A JAR JUST SITS, AND THE WHOLE TIME IT'’’S SITTING STILL IS ACTUALLY ACTIVELY HOLDING--THESE ARE ALL EFFECTS THAT THESE TYPES OF OBJECTS HAVE IN SPACES, ON PEOPLE, AND LYDIA'’’S VERY ATTUNED TO THAT, AND SHE SEES THAT AS A POWERFUL PLACE.

WAYNE: SO, THE ROLE OF THE FACULTY--MY ROLE, I'’’VE ALWAYS FELT, WAS TO BE THE BEST, TOUGHEST, MOST EXCITED MEMBER OF THE AUDIENCE THAT THEY COULD MEET.

SO THEY'’’RE THE STAR OF THE SHOW.

WOMAN: I STARTED WITH THIS.

ANDREA: THEY'’’RE THE ONES.

I MEAN, I TELL MY STUDENTS THAT ALL THE TIME-- "YOU ARE THE ONES."

THESE YOUNG PEOPLE WILL EVENTUALLY BE TAKING OUR PLACE.

OUR JOB IS REALLY TO MAKE SURE... JOHN: YEAH.

CELEBRATE THEM.

ANDREA: THAT THE FUTURE IN FACT WILL EXIST BECAUSE WE HAVE DONE OUR JOB.

LINDA: YOUR GENERATION, YOU KNOW, WE UNDERSTAND...

TEACHING JUST HAPPENS ALL THE TIME.

IT'’’S A WAY OF CONNECTING TO THE WORLD, A WAY OF BEING IN THE WORLD, AND A WAY OF AFFECTING THE WORLD THAT I THINK GIVES ME AS MUCH AS I GIVE IT.

[CAPTIONING MADE POSSIBLE BY CRAFT IN AMERICA, INC.] [CAPTIONED BY THE NATIONAL CAPTIONING INSTITUTE --WWW.NCICAP.ORG--] ANNOUNCER: WATCH ADDITIONAL VIDEO ONLINE, INCLUDING MORE INTERVIEWS AND ARTISTS AT WORK, PLUS VISIT A VIRTUAL EXHIBITION OF OBJECTS FROM AMERICA'’’S LEADING ARTISTS.

VISIT "CRAFT IN AMERICA" AT PBS.ORG.

THIS EPISODE OF "CRAFT IN AMERICA" IS AVAILABLE ON DVD.

THE "CRAFT IN AMERICA" DVD COLLECTION, WHICH INCLUDES PAST SEASONS, IS ALSO AVAILABLE.

TO ORDER, VISIT SHOPPBS.ORG OR CALL US AT 1-800-PLAY-PBS.