Big Apple Tree-Huggers

  • One NYC artist recruited arborists and neighbors to record messages about the city's trees. She placed markers in the cement listing numbers to call to hear the recordings. (Photo by Samara Freemark)

Trees along big city streets have a rough
life. Between pollution, development,
and vandalism, street trees die off at
a pretty alarming rate. One New York
artist thinks if people knew more about
street trees, they’d appreciate them more –
and treat them better. Samara Freemark reports from New York’s “Tree
Museum”:

Transcript

Trees along big city streets have a rough
life. Between pollution, development,
and vandalism, street trees die off at
a pretty alarming rate. One New York
artist thinks if people knew more about
street trees, they’d appreciate them more –
and treat them better. Samara Freemark reports from New York’s “Tree
Museum”:

When artist Katie Holten was commissioned to do a piece commemorating Grand Concourse boulevard in the Bronx, the first thing she thought of was trees. The Concourse, after all, is lined with them. The problem was, no one else seemed to notice they were even there.

“I had conversations with people who were sitting under the trees for the shade. And I’d ask them about what they thought of the trees. And they would say, ‘oh, there aren’t any trees on the concourse.’ But they were sitting underneath one.”

And if people did notice the trees, they weren’t always thrilled they were there.

“Kids told me that trees should all be chopped down because they couldn’t see the view. A teacher told me that all trees were the same, that there was only one kind of tree.”

People didn’t pay much attention to the trees. When they did, they often abused them – which is pretty common treatment for the trees that line city streets. People pin street trees with flyers. They spray trees with grafitti. They chain their bikes around trees, stripping their bark. City buses jump curbs and plow into trees. And developers chop them down to put up new buildings.

“You can’t just stick a tree in the ground and hope for the best. It’s a really tough environment.”

In fact, half of all trees planted in New York City die.

Holten figured one way to protect street trees was to get people to understand all the good that trees do.

So she recruited arborists and neighbors to record messages about the Grand Concourse’s trees. She placed markers in the cement listing numbers to call to hear the recordings. And she called the whole thing the Tree Museum.


“There are 100 trees along the 4 miles. And each of the trees gets a small marker. So we can walk up here to 165th street and I’ll show you one. Here’s one of the markers- nice and dirty.”

(sound of dialing in)

We dial and hear…

“I’d like to a moment to say thank you to this tree. This tree is busy cooling the air and helping to keep the river clean. The leaves in the canopy above are pulling water out of the air, reducing humidity, like an AC.”

It’s not really clear how many people are actually calling in to the museum, or whether the recordings are changing anyone’s mind. But it’s a start.

Joyce Hoagy lives further up the Concourse. She recorded a message for tree number 31. And now she feels kind of possessive of it.

“This is my tree. It’s a honey locust and I’m identified by it.”

Hoagy says Bronx trees have been under particular threat lately. This year the city cut down hundreds of mature oaks to make room for the new Yankees stadium.

“One street had these giant oaks, and they formed this canopy. And on the hottest day of the year you could walk down…people didn’t know what they had till it was gone.”

So now Joyce Hoagy’s spreading the word about the Tree Museum too. She hopes it will give her neighbors a hundred reasons to care about trees around them – and watch out for them.

For The Environment Report, I’m Samara Freemark.

Related Links

Protecting Art From Climate Change

  • Climate change can affect temperature and humidity. And those changes can damage art. (Photo source: Aude at Wikimedia Commons)

Preservationists are worried climate
change could destroy valuable art
and cultural artifacts. Kyle Norris
reports thay are looking at ways to
protect these valuables:

Transcript

Preservationists are worried climate
change could destroy valuable art
and cultural artifacts. Kyle Norris
reports thay are looking at ways to
protect these valuables:

Climate change can affect temperature and humidity. And those changes can
damage art. Debbie Norris is the chair of the art conservation department
at the University of Delaware.

“Fluctuations in temperature and relative humidity can cause art
materials to crack and craze and deteriorate over time.”

Changes in the weather can also cause biological growth on artifacts. So,
for example, mold can grow on old photos or damage historic documents.

Some buildings that house art are very old and made of stone or wood.
Those building materials are deteriorating faster than they have in the
past. And many of those buildings are not equipped with heating and
cooling equipment advanced enough to control the climate inside the
buildings. That puts the collections they house at risk.

For The Environment Report, I’m Kyle Norris.

Related Links

On Board ‘The Waterpod’

  • The pod docked at the Worlds Fair Marina in Queens. (Photo by Samara Freemark)

So, maybe you think you do good
by the environment. Maybe you buy
local, maybe you go to the farmers’
market, maybe you even walk to work.
But you’ve probably got nothing on
the crew aboard the Waterpod – a
converted barge anchored in New York
City. Samara Freemark
went to the Pod to see just how
sustainably people can live:

Transcript

So, maybe you think you do good
by the environment. Maybe you buy
local, maybe you go to the farmers’
market, maybe you even walk to work.
But you’ve probably got nothing on
the crew aboard the Waterpod – a
converted barge anchored in New York
City. Samara Freemark
went to the Pod to see just how
sustainably people can live:

When I caught up with the Waterpod barge, it was docked at a marina right next to
Laguardia Airport.

(sound of a plane)

That’s the sound of people and products moving all around the world.

But on board the Waterpod, four artists have spent the summer living locally – about as
locally as a group of people can possibly live. They’ve been surviving almost entirely on
what they can make, grow, or gather on a 3000 square foot barge.

Which is where I found artist and Waterpod creator Mary Mattingly.

“Hi.”

Last spring, Mattingly and some friends rented the barge and spent a month converting it.
They built a kitchen, 4 bedrooms, gardens, and a whole lot of alternative energy and
water systems. They wanted to see whether they could create a floating self-contained
ecosystem – one that could adapt to a future where resources were scarce and rising sea
levels had swamped coastal regions.

“We’re probably going to need to find new ways to make land that’s usable. So can you
just recreate it on a platform like this? So what’s the answer? I think so.”

Waterpod launched in June. It’s been traveling to docks in the New York City area since
then. The barge is towed around by tugboats – not exactly a sustainable energy source,
true, but the crew does pretty well producing just about everything else.”

We have 33 vegetables and 2 fruits. In this garden we’re growing kale, potatoes,
tomatoes.”

There’s also a coop for 4 chickens, which each produce an egg a day.

“Their names are Gilly, Rizzo, Marble and Bonzai.”

Between the chickens and the gardens, Mattingly says Waterpod is almost self-sufficient
for food. The barge gets its water from collected and purified rain.

“We get enough water barely. We are very close to not having enough water. We only
use a 55 gallon jug of water a day. So split between four people that’s about maybe 10
gallons a day at the most. So we’re taking really short showers.”

Solar panels and a power-generating stationary bike provide energy – enough to power
the lights and the fridge and an impressive collection of laptop computers. The crew uses
those to collect and analyze data on how their various survival systems are functioning.

Crew member Ian Daniels says the data could eventually be used not just by people
embarking on radical living experiments – but also by regular folks who just want to
make their homes a little more sustainable.

“We have 3000 square feet here. So what would happen if you cut that in half? Or a
third? What can I use that space for? Maybe you’re growing food on your roof or in your
window. Maybe you just take this example and take it down a notch, just do what’s
plausible in your own world.”

The Waterpod experiment is ending. So, I asked the crew for the biggest lesson they
learned this summer about living sustainably. Was it about energy conservation? Or, a
new method for collecting rainwater? Actually, Mattingly told me, it was mostly about
getting along with other people.

“I guess I didn’t really consider what it would be like to live in such a small space for
such a long time with other people and the psychology of that became a really interesting
part of the day to day life, and how we managed to make that work and how we would
have to have that dinner every night to reconnect and get back together.”

Which, she says, is a lesson that translates pretty well back on land.

For The Environment Report, I’m Samara Freemark.

Related Links

Company Trash, Classroom Treasures

  • Anita Gardner (right) and Shirley Ellington of the Discovery Center of Cleveland rummage through boxes at ZeroLandfill. (Photo by Julie Grant)

Furniture stores and architectural
firms get a lot of samples – of fabric,
tiles, and carpet. Those samples can
pile up. Usually, they get thrown in
the trash. But, in some cities, they
are starting to make unused design
samples available to artists and art
teachers. Julie Grant has more:

Transcript

Furniture stores and architectural
firms get a lot of samples – of fabric,
tiles, and carpet. Those samples can
pile up. Usually, they get thrown in
the trash. But, in some cities, they
are starting to make unused design
samples available to artists and art
teachers. Julie Grant has more:

(sound of Anita looking thru boxes)

Anita Gardner is rummaging through boxes of old tile samples. They’re still attached to those three-fold sample books you’d see at a design store. But she’s imagining what else the kids at her community center might make with them.

“You have to see it first, sometimes. Sometimes it doesn’t come. It comes later and then you go, ‘we can do this and we can do that.’”

Gardner is at a special event called ZeroLandfill. Furniture stores, architects and design centers can drop off unwanted materials, and people like Gardner can take whatever they want – for free.

“This has been a godsend to us, because we really don’t have a lot of money to spend on arts and crafts.”

Last year, she found a lot of unused fabric – so she taught the kids at her center to sew quilts.

“And a lot of children in our community have never even threaded a needle. Now they’re learning to use sewing machines. They’re learning to piece all types of fabric together. They’re learning patterns and designs. They have no idea, they’re actually learning math.”

And in inner city neighborhoods, where kids can go to bed cold in the winter, Gardner is especially pleased that she’s started a quilt-making trend. It also warms the hearts of the folks who organize ZeroLandfill.

David Fox helps to run these events in Cleveland.

“A lot of samples end up just being discontinued and then, where does this all go? And it ends up being thrown out a lot of time. Or – they just have so much stuff they just keep hoarding and hoarding and hoarding.”

About five years ago, some folks at architecture and design firms around Cleveland, as well as a carpet company, all started talking about what to do with their unwanted material. They were spending a lot of money to send it to the landfill. So they held a one-day drop-off for companies to recycle it.

Fox says they soon realized their trash might be treasure to artists and art teachers.

“It was a program that started as a one-day thing. Firms were able to come and drop stuff off. But it has turned into a yearly process and now it’s even gone to other cities.”

Fox says they’ve already saved more than 100 tons of material from going to the landfill.

Arts and crafts teacher Anita Gardner says it’s also provided innumerable lessons for kids and teenagers at her community center.

“They see now that anything can be art. Anything can be a craft. And it doesn’t have to cost a lot to be beautiful.”

ZeroLandfill has been training architecture and design firms how to organize these events regularly. They’re now held annually in cities around Ohio – and new ZeroLandfills are being held in Minneapolis, Louisville and Boston this year.

For The Environment Report, I’m Julie Grant.

Related Links

Hip Hop Artists Tackle Environmental Issues

  • Some Hip Hop artists are using their music to reach people about environmental issues affecting their communities (Photo source: Lestat at Wikimedia Commons)

When many people think of songs about the environment, they conjure up visions of folk singers and acoustic guitars. But the environment is becoming a more prevalent issue among Hip-Hop artists. Lester Graham reports they’re looking at the issue and how it affects their lives directly:

Transcript

When many people think of songs about the environment, they conjure up visions of folk singers and acoustic guitars. But the environment is becoming a more prevalent issue among Hip-Hop artists. Lester Graham reports they’re looking at the issue and how it affects their lives directly:

Environmentalists are often portrayed as treehugging elitists by conservative talk show hosts – and others.

That image really was never accurate, but the environmental movement is becoming more diverse. The environmental issues are becoming increasingly important to a wider swath of society.

Mike Cermack is a consultant for Boston’s public schools. He helps teachers figure out the best ways to teach classes such as environmental science.

He’s come to the conclusion that music can go a long way in getting the attention of kids in the classroom – especially since Hip-Hop artists started tackling the environment and not just as some distant ‘polar bears and butterflies’ issue.

“We really want to start at the corner store and ask deep questions like, ‘why isn’t there any fresh produce? Is that linked to the fact that diabetes and obesity is kind of rampant in our neighborhoods and in our families?’”

As people living in inner cities Cermack says – artists such as Mos Def did it in his song ‘New World Water.’

(clip of Mos Def song)
And it’s not just those big nationally known artists.

Mike Cermack says he stumbled into Boston’s local ‘green Hip-Hop’ movement by working with activists who were trying to stop a power plant from being built next to an elementary school.

“In talking with them further and getting to know them, also many of them turned out to be these really talented MCs, these talented lyricists who are using the new knowledge that they found working with the non-profits and kind of weaving those into their more traditional narratives of ‘this is what’s wrong with street/urban issues; this is what’s wrong with all the gangsters around/in my city.’ They’re saying how can we also bring in these environmental issues.”

And those artists are pulling in friends and bringing a whole lot of street cred to environmental issues.

Tem Blessed and Ben Gilbarg called in some of their Boston friends to perform ‘Green Anthem.’

(clip of ‘Green Anthem’)

“They’re staying true to their roots as kind of the voice social injustice and speaking out against urban problems and they’re really mixing it up with a lot of environmental issues.”

Mike Cermack says he’s been working to get students interested in environmental issues in the classroom, but Hip-Hop artists such as J-Live and Thes One get it done in a way the students know.

“They’re already used to loving the hip-hop tracks. And they know the MC. You know, it’s more important that the MC is from the community. That’s another big piece. I think it’s a really interesting start to this green hip-hop potential.”

For The Environment Report, I’m Lester Graham.

Related Links

Wanted: Affordable Art Space

  • Back in 2000, Laura Weathered and fellow artists were drafting what their artist community would look like. (Photo by Lester Graham)

When artists make a check-list for the ideal place to live – they add things the average family
might not, like plenty of work space and being close to other artists and galleries. Big cities
usually offer all the things on that list – but there’s a problem. Big-city real estate prices have a
habit of rising quickly – and pricing artists out. Shawn Allee found artists who’ve tried to stay
put:

Transcript

When artists make a check-list for the ideal place to live – they add things the average family
might not, like plenty of work space and being close to other artists and galleries. Big cities
usually offer all the things on that list – but there’s a problem. Big-city real estate prices have a
habit of rising quickly – and pricing artists out. Shawn Allee found artists who’ve tried to stay
put:

Laura Weathered began her career in painting in Los Angeles.

It was tough enough finding her muse – but it was also tough finding places to live that stayed
affordable.

“This kind of history of settling into a space and then the neighborhood going through
gentrification was chasing me all over L.A.”

Fed up, Weathered left for Chicago.

Before long, she found some Chicago artists had the same problem – rents and home prices just
weren’t stable.

Weathered and fellow artists got tired of toughing it – so about thirty of them put their heads
together and looked into buying property – to live in, to work – and maybe share with artist
groups, too.

“And someone’s comment was, You know, this is going to cost more than a million
dollars – who’s going to rent a bunch of flaky artists a million dollars?”

But then they did some back-of the napkin kinda math.

“We had a everyone go around the room and, What are you paying for rent? And that
was the Aha moment – collectively we could afford much more than a million dollars,
because that’s what we’d been paying all along.”

It took almost ten years to dig up funding and expertise, but eventually – they transformed a
former metal-stamping factory into artist housing, studio and office space.

People have been living in the artists’ community for five years now.

When you walk around, you see paintings in some loft windows and sculptures near the front
step.

Weathered shows off some shared gallery space.

“So, this is really important. You can bring test audiences in and see how it plays and get
feedback and the like without taking huge risks.”

All this is great – but the big idea was to make the space stay affordable for artists and artist
groups. So far, it’s worked.

“We can stay here a long time.”

This is Denise Zaccardi.

Zaccardi runs the Community TV Network. It has offices at the Bloomingdale Arts Building.

The network teaches low-income teens how to produce news, TV and documentaries. Zaccardi
says arts organizations like hers can benefit from this stability.

“Kids can tell their brothers and sisters down the line we’re here – we’re not moving
every three years, which is a common thing for people who rent, especially for artists.”

So, sounds like everything is an artist’ dream, right?

Well, like in other condo-associations, members have fought over repair costs. And artists who
own their units can only sell them to other artists. Plus, if they do sell … their profits are
capped. That’s made the units much lower in value compared to their neighbors’.

Laura Weathered says there’ve been second thoughts.

“I think some people are saying, ‘Did I agree to this too quickly?’ because it’s restrictive,
but the agreement originally was that we wanted an artist community and not just for one
generation for the future.”

Weathered says the idea was to keep units affordable for artists – and that’s been the case for
five years.

She says it’s not perfect, but if it works for a decade or two more, it might be a model for other
artists to follow.

For The Environment Report, I’m Shawn Allee.

Related Links

Downtowns Make Room for Artists

  • James Abajian is an artist who lives in Elgin, Illinois. His entire apartment is stuffed with tools, paint, and works like this one. (Photo by Shawn Allee)

The stereotype of the
starving artist isn’t always true,
but, let’s face it, some artists
have a tough time finding affordable
places to both live and work. Shawn
Allee reports how one city’s
trying to solve this problem while
revitalizing its downtown:

Transcript

The stereotype of the
starving artist isn’t always true,
but, let’s face it, some artists
have a tough time finding affordable
places to both live and work. Shawn
Allee reports how one city’s
trying to solve this problem while
revitalizing its downtown:

The City of Elgin Illinois has a housing crisis – not so much for average residents, but for
some artists.

It’s not that they’re homeless, it’s just, well, to understand. It helps to meet an Elgin
artist.

“Come on in.”

“Are you James?”

“Yeah.”

This is James Abajian.

“Don’t really mind the house, I’ve been working on a couple of projects.”

When I get in, I’m dumbstruck.

Wood sculptures cover Abajian’s floor, and his dining room has stacks of paper and
canvas, and right where most apartments would have a TV, Abajian’s got an unfinished
drawing.

“It’s like a wine glass or a martini glass, and it’s on different angles.”

“Is it a charcoal drawing?”

“Yeah, it’s charcoal.”

Abajian started art eight years ago.

He says he’d like to make a living with it and rent a fancy studio, but he’s just not there
yet.

So, he lives where he works.

“My apartment is nothing but paintings and frames.”

“I think the major space that doesn’t have charcoal or something on it is your
couch.”

“Couch. That’s about it. Yeah.”

It can take a while for artists like Abajian to hone their craft, so, they make do with space
not meant for working.

It’s enough for the city of Elgin to step in and try to help at least some artists find better
quarters. Oh, and, by the way, the city thinks the solution might solve a problem it has,
too.

Ed Schock is Elgin’s mayor.

I find him downtown, outside a two-story brick building.

“So, where are we, Mayor?”

“We are looking at the Elgin Community College downtown campus building.”

Schock is considering whether this building might work as an artist colony – a place
where Elgin artists could afford to live and work.

“There are an unusual number of artists here who would like to continue to do their
art, but economic reality’s set in, one of the biggest one’s is housing. Plus, just
having 45-50 residents downtown is a big plus. One of our strategic goals is to
increase the number who reside in the downtown.”

Inside, Schock and I meet staffers from a non-profit group that’s helping Elgin develop
artist housing.

(sound of walking up stairs)

They’re with ArtSpace of Minnesota.

ArtSpace wants to see the building first-hand – they need to make sure it’s the best fit for
Elgin and the artists.

Wendy Holmes says lots of cities want artists to make older parts of town more attractive.

Holmes says it works for cities – but it doesn’t always work for artists in the long run.

“Artists have traditionally been displaced from their spaces because artists make
areas interesting and hip and desirable to move into and other people tend to move
in behind them. And those people can afford to pay higher rent therefore the artists
are usually forced out because their rents will be too high for the artists themselves
to afford.”

ArtSpace does something about that – it uses federal low-income housing credits, so rents
stay affordable, and struggling artists stick around.

Another staffer, Heidi Kurtze asks about public transit, grocery stores, and how much
light these windows get.

“You need natural light into your living space, but for artists in particular, natural
light is a critical piece for them to do the work they do.”

Kurtz takes this as seriously as a family buying a house – after all, this could be some
artists’ home for decades.

It could take two years for ArtSpace to finish its Elgin project.

Artists like James Abajain will have to make due until then.

For The Environment Report, I’m Shawn Allee.

Related Links

Rocking Out for the Great Lakes

  • In the tradition of Live Aid and Farm Aid comes Great Lakes Aid, which will be a concert series to raise money for environmental issues concerning the Great Lakes. (Photo by Jenny W.)

A group of Great Lakes conservationists say
they’ll use a concert series to raise money for the
Great Lakes. The Great Lakes Radio Consortium’s
Jenny Lawton has more:

Transcript

A group of Great Lakes conservationists say they’ll use a concert series to raise money for the Great Lakes. The Great Lakes Radio Consortium’s Jenny Lawton has more:


Like “Live Aid,” and “Farm Aid” after that, organizers hope a concert series on behalf of the Great Lakes will be a hit. “Great Lakes Aid,” as it will be called, hopes to feature big-name headliners and local groups, all raising millions of dollars for environmental issues. Tom Fuhrman is President of the Lake Erie Regional Conservancy and organizer of the event. He says supporting a good cause isn’t the only thing that will attract artists to participate.


“They look at things like this as exposure furthering their careers – I mean, there’s 40 million people who live in the Great Lakes basin so these events are going to touch a lot of people.”


Fuhrman says the group is still looking for a headliner to encourage other artists to get on board.
The Rock and Roll Hall of Fame is already a committed partner in the project. As is the George Gund Foundation.


Fuhrman says he expects the event to generate at least two-million dollars in its first performance slated for the summer of 2006.


For the Great Lakes Radio Consortium, I’m Jenny Lawton.

Creating New Life in Urban Core

  • This old industrial building once housed a company that manufactured refrigerator coils. Now, planners are hoping to revitalize it by making a place where artists can live and work. (Photo courtesy of the Enterprise Group of Jackson)

For many cities in the Rust Belt region, the glory days of manufacturing have long passed. These communities are now left trying to figure out how to revitalize their downtowns. One city is hoping a development for artists will create new life and draw people back downtown. The Great Lakes Radio Consortium’s Tamar Charney reports:

Transcript

For many cities in the Rust Belt region, the glory days of manufacturing have long passed. These
communities are now left trying to figure out how to revitalize their downtowns. One city is hoping
a development for artists will create new life and draw people back
downtown. The Great Lakes Radio Consortium’s Tamar Charney reports.


The city of Jackson is in South Central Michigan, about an hour west of
Detroit. Four blocks from its downtown, next to the old armory and the
remains of an old prison wall, there’s a smokestack and a rundown complex of
industrial buildings.


(key & sound of door opening)


“The last company that was doing full blown manufacturing in this complex of buildings was Acme
Industries that focused on refrigeration coils. We’re gonna walk straight down here.”


(footsteps on stairs fade under)


Kay Howard is a ceramic artist. She and her husband Phil Shiban are getting a tour of the
buildings. Since the early 1900’s when this complex was built, it’s been home to many businesses,
but since the 1970’s, its been basically abandoned.


“At the top of the stairs step to the right. Don’t step on the white board. It covers a hole in the
floor.”


(steps & sounds of glass & floor tiles crunching


Green and yellow paint peels and curls off the walls. The floor is littered with broken glass from
the building’s windows. And there are piles of bird droppings, broken lightbulbs, and rotting boards.
But Kay Howard and her husband are thinking about living here.


“It has so much that can be held onto. I hate seeing buildings knocked down or left in disrepair
when they could be reused and revitalized, and this just screams to have something done with it.”


These buildings are slated to become the Armory Arts Project. The plan is
to turn this 147-thousand square foot complex into an arts facility. It
would become the home to cultural organizations, arts-friendly commercial
businesses, studio space, and residential units that designed to meet the
specific living and working needs of artists, musicians, dancers, jewelers
and the like. Neeta Delaney is the project’s director.


“The driving force behind this is community revitalization. The impetus for this whole development
was really the existence of several tax-free renaissance zones.”


A renaissance zone is what Michigan calls its tax-free areas that were
created to spur development. Delaney says the project costs would
have been around 14-million dollars. They’re whittling down the out of
pocket costs by packaging together tax credits they get for cleaning
up a old industrial site, for renovating historic buildings, and for
creating low income housing. However when they approached developers with
the idea, they were told there was no way to make a go of it. But a
non-profit group from Minneapolis called ArtsSpace Projects Incorporated had a
different opinion. Chris Velasco is the director of Artspace.


“It’s not going to nor is Artspace designing it to generate
Money, but it will cover its costs.”


Artspace has successfully turned dozens of dilapidated buildings in a
number of different cities into affordable places where artists can live
and work. He says while Jackson doesn’t have a reputation as a bastion for
the arts, their market research showed there was more than enough demand
for such a facility in the city.


“If we were to create a multi-purpose arts facility use space in there we would have arts and
organizations 3-deep for every space that we create.”


He says that’s because artists have a hard time finding affordable spaces
where they can raise their kids that can also accommodate the tools of
their trade such as kilns, 10 foot tall canvases, and metal working
equipment. And he says the Armory Arts Project could fill that need.


“Isn’t this gorgeous? Oh my. Oh, this is just awesome.”


Project director Neeta Delaney leads the group to the top floor of one of
the old buildings where sunlight is streaming in through the broken
windows.


“Isn’t it great? Oh my. It is so beautiful, absolutely beautiful. And you think about residential units
up here. Live-work space, you know. This has got to be ideal.”


“This is the space that sold us on the building.”


That’s Steve Czarnecki, the CEO for the Enterprise Group of Jackson. It’s the umbrella
organization for economic development in the area that oversees the counties renaissance zones.


“Because when we first came up here, what else could you imagine this to be except a
place for artists.”


And he says once they figure out how to lure artists to Jackson it will be
easier to lure desirable high-tech business and their employees to the community.


“I think we have to increase our Bohemian Index a little bit here to attract those kind of people.”


See, artists have a track record for moving into old warehouse and industrial areas where
rents are low, fixing it up, and making a community hip and attractive.
The rub is they often then get priced out of the market. But rent at the
Armory Arts Project, like other ArtsSpace projects, will remain low.


And for artists like Kay Howard and Phil Chiban, affordable housing is one
attraction of the project. They support themselves on his pension
payments and her pottery sales. But there’s another reason they’re
interested. The couple is drawn to the idea of living with other working
artists.


“You get kind of solitary as an artist and you really need that contact and comradery and so forth,
so the idea of living in a community-type setting with other artists is very exciting.”


And she’s also excited about the prospect of being part of a project that recycles an abandoned
building and one that could bring excitement to a
downtown in need of new life.


“This has character you can’t design or duplicate. And look at the metal doors. Isn’t this amazing?”


For the Great Lakes Radio Consortium, I’m Tamar Charney.

Dancers Mimic Nature’s Form

  • Dancer Anna Beard performing in Dragontree Waterfall Tea at the Matthaei Botanical Gardens in Ann Arbor, Michigan. Photo by Beth Wielinski.

The arts have long been used to draw people’s attention to things… a woman’s mysterious smile, social injustice, or details in the world around us. As the Great Lakes Radio Consortium’s Tamar Charney reports…one choreographer is using dance to encourage people to become more aware of nature:

Transcript

The arts have long been used to draw people’s attention to things – a woman’s mysterious smile,
social injustice, or details in the world around us. As the Great Lakes Radio
Consortium’s Tamar Charney reports…one choreographer is using dance to
encourage people to become more aware of nature:


(water trickle)


It’s really cold and gray outside. But the tropical conservatory at the Matthaei Botanical Gardens in
Ann Arbor is green and lush. The air is thick with humidity, warmth, and sweet-scented pollen.
The horticulturalists are sweeping up dead leaves, replacing plants, and removing wilted
blossoms. But occasionally the workers lift their heads from what they’re doing to take in an unusual
sight.


There’s a group of dancers, ranging in age from 7 to 70, rehearsing a performance among the
garden’s plants, waterfalls and walkways.


(sound of rehearsal)


They lean against vine-covered walls, prance down paths, and splash water from a fish pond.
Occasionally a dancer’s arm brushes against a branch setting the leaves of a bamboo, papyrus, or
orchid plant in motion. Shirley Axon is an environmental activist and one of the dancers. She
says it’s quite an experience dancing in a lush conservatory instead of a barren stage.


“It’s thrilling…the humidity, the green, the shapes of the plants…
the light, and then to think that we can climb the trees and the walls.”


The dance piece is called Dragontree Waterfall Tea and its creator is Jessica Fogel, a professor
of Dance at the University of Michigan. After choreographing a dance piece for a celebration at
an arboretum over the summer, she realized she just couldn’t imagine going back inside.


“At first I was going to do a snow dance, and then that seemed very unrealistic.”


Eventually she decided an indoor conservatory would be more practical and more comfortable for
both the dancers and the audience. She created this piece by absorbing the shapes, colors, smells,
and stories behind the plants in the garden. Movements the dancers make often mirror the
curves of a plant’s leaves. The dancers also use gesture, props, and pantomime to call attention to
how we use a plant.


“That the papyrus plants can become scrolls upon which messages are written, and that tea comes from these
camellia bushes and can be drunk, and that coffee does come from these beans and chocolate from the trees. So we do play with
those ideas as well, the function of the plants.”


Fogel says we often forget that we depend on plants and
nature for food, medicine, and even paper.
And she hopes this performance will remind people of
our reliance on the natural world. But some parts of the
dance just play with nature.


At one point in the performance, dancer Anna Beard climbs over a wall and down into a waterfall
in the conservatory.


“I step into it and bit by bit I work myself into the water until finally I’m completely immersed in the waterfall.”


She says it’s supposed to be a bit surreal and a bit surprising. She dances soaking wet with the
waterfall splattering down on her body.


“It’s more about existing with the setting and interacting with it instead of just placing some
movement in front of it as a backdrop.”


And unlike a performance in a theater, changes in the garden can affect what the dancers do or
don’t do. During rehearsals, a branch a dancer was supposed to lean against died and was cut off,
another plant grew to be in the way of a dancer’s arm, and some ground cover the dancers were
told they could walk on turned into a path of slippery mud.


Dancer Raphael Griffin says as she performs in the conservatory, she has to be very cautious of
the impact her movements make. The rock ledges are uneven and the plants fragile. And she
says that sense of the dancers treading lightly on the environment is something she hopes the
audience picks up on.


“Just a better awareness of nature and how the human body can interact with nature and yet not
ruin it either.”


Most of us will never get a chance to frolic in a conservatory like Raphael Griffin and the other
dancers in Dragontree Waterfall Tea , but as one dancer pointed out there’s nothing stopping us
from going out into our own backyards to enjoy and appreciate the line, movement, and form in
the natural world around us.


For the Great Lakes Radio Consortium, I’m Tamar Charney.