WLIW Arts Beat

S2021 E706 | FULL EPISODE

WLIW Arts Beat - February 1, 2021

In this edition of WLIW Arts Beat, a market that provides a platform for African American artists and business owners; an architect who instills her heritage and values into her innovative designs; learning more about the athleticism of ballet; a shop that explores the artistry of nature.

AIRED: February 01, 2021 | 0:26:46
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TRANSCRIPT

♪♪

♪♪

>> In this edition of

"WLIW Arts Beat"...

A market for independent

creatives.

>> When you walk in, you're

gonna walk into, like, 30-plus

black-owned vendors, you're

gonna walk into artists.

We have live performances.

It's not just a shopping

experience.

>> An architect's mission.

>> A building should represent

the community.

It should also represent, you

know, the identity of the

individuals in the community,

their culture.

>> The athleticism of ballet.

>> Our bodies are our

instrument.

Those are our tools.

That's the same as football

players.

They are using their bodies as

an an instrument, as a tool, to

get where they need to be in the

game.

>> Terrariums with an artistic

twist.

>> Being able to bring a part of

nature into your home and, like,

interact with it is really

magical.

>> It's all ahead on this

edition of "WLIW Arts Beat."

Funding for "WLIW Arts Beat" was

made possible by viewers like

you.

Thank you.

Welcome to "WLIW Arts Beat."

I'm Diane Masciale.

Indie Noir Market in Florida

reaches out to the local

community and provides a

platform for African-American

artists and business owners to

present their work.

We head to Tampa, Florida, for

the story.

♪♪

>> You know, it's just a really,

it's a whole, like -- it's a

whole vibe.

It's a whole mood.

Like, it's the mood --

Okay, sorry.

I get excited.

Hoo chili.

[ Breathes deeply ]

I need to breathe

[ Laughing ]

♪♪

All right, so I am

Camille Adrienne.

I am the founder and C.E.O. of

the company called Smudged Life,

which is the parent company to

Indie Noir Market.

Indie Noir, noir meaning black

and indie being independent

artists -- that's how the name

got there.

The idea for the market started

in January of 2019, and we had

it up and running by March.

♪♪

Smudged Life is a company that

is directly related toward

spiritual education about energy

work.

♪♪

So, a lot of people don't

understand the connection

between energy healing and what

the market was supposed to do,

but for me, when we talk about

culturally the African-American

community, a lot of our healing

comes from being able to

collaborate and support each

other.

That's like the first and

foundational.

So the market was geared towards

healing the community in the

space of being able to support

and really just let ourselves be

unapologetically black and have

a safe space to just be

ourselves and not be stressed

out and keep the money in the

community.

But the market itself is a safe

place for everyone.

It's where you can come and

support black-owned businesses

that might not have necessarily

been able to get into some of

your Seminole Heights markets or

some of the larger markets.

Maybe they weren't ready, they

didn't have the proper

marketing, whatever, they

weren't fitting the demographic

or the look.

And so I was like, "Well, let's

just give you your own look.

You're gonna fit here just

fine."

As a small business, you'll

think, "Oh, man, this market is

so popular.

Let me go apply."

And a lot of times, they want

prior market experience.

And, of course, it's kind of

hard to get prior market

experience if that's on every

single application.

So, Indie Noir Market is

literally the perfect spot.

>> We like being your first

experience as a vendor, because

we do make you feel like family,

and sometimes what we've heard

is that a lot of the markets,

you feel kind of like, "Oh, I'm

just at my booth."

We don't do that.

We want you to feel like it's

family, we got your back, we're

gonna help you, we're gonna

support you, and help you get

into some of these bigger

markets, to give you that

experience.

♪♪

When you walk in, you're gonna

walk into like 30-plus

black-owned vendors.

You're gonna walk into artists,

we have live performances.

It's not just a shopping

experience.

It is literally you're coming on

your Saturday afternoon, and you

want to have fun, you come to

Indie Noir.

>> So, this is my first time

coming, but I'm familiar with

what's happening in the area,

St. Pete, Tampa, just kind of

like the movement of black

business or entrepreneurship, I

think, so that's why I was

excited to come to begin with.

And I feel like that expectation

has been met.

It's different obviously because

we do things differently.

♪♪

>> Some of the biggest

challenges has been just getting

the word out there that there is

a market specifically for

African-American vendors.

Also, letting the community know

that even though it's

specifically for

African-American vendors,

everyone's welcome.

We love the multiculturalism of

the market.

I love seeing people have that

experience.

So just letting everyone know

that it is inclusive.

It's not an exclusive event.

Please come, support, you're

gonna feel comfortable, you're

gonna have a good time.

It might be unapologetically

black, but that's a great

experience to be around.

[ Laughing ]

>> I found out about the market

in the weekend section of the

Tampa Bay Times on Thursday,

and we have a granddaughter

who's 24 years old, she's

biracial, she lives in Chicago,

but we know she would love to be

here today.

We've gone to many of these

together.

So I thought I would come and

see what it's all about,

look for some gifts for her, and

that's how we got here today.

I think it's excellent for the

Tampa Bay community, both to

just bring all the people

together and learn about the

different cultures and see the

many gifts that everybody has.

I mean, they're gifts to make

these things and sell them.

It's great.

We want to support their market.

♪♪

>> I am the owner and creative

director for The Asè Collection.

And with the Asè, As the word,

it actually comes from the

Yoruba people of Nigeria.

It means "may it be so."

So I think that with Indie Noir,

it's an opportunity for people

of color to share with one

another what we do but also to

be open to others that are not

men and women of color to

embrace what we do, as well.

To see it, to honor it.

>> The Tampa Bay market scene,

I mean, it's fun, but every

market I go to, it's generally

the same feeling.

I'm like, "Okay, I found a new

person I might get something

from," but you don't really go

home feeling fulfilled.

At Indie Noir, you go home

feeling some kind of way.

[ Laughing ]

I believe that art is our way of

keeping our history and telling

our story so it doesn't get

messed up along the lines, and

so I encourage a lot more black

artists, because we lose them.

It's not something that we're

advocated to do.

We have to be professionals, and

we have to make money, and all

these other things, and I'm

like, "Art is important."

And it's being taken out of

schools and all sorts of things.

So if I can do anything to

cultivate and keep art in our

community, then that's what I'm

gonna do.

♪♪

>> Visit indienoirmarket.com to

learn more.

And now the artist's quote of

the week.

♪♪

>> Tamara Begay is the founder

of Indigenous Design Studio and

Architecture.

A member of the Navajo nation,

she instills her heritage,

knowledge, and values into her

innovative designs.

Take a look.

>> A building should represent

the community.

It should also represent, you

know, the identity of the

individuals in the community,

their culture, you know, the

history and the traditions.

♪♪

♪♪

♪♪

>> Can you tell us about the

spark that drives you to create?

>> Well, part of that process

is --

Really, like, the indigenous way

is about including the

community.

It's all about the process.

It's not about, you know,

the built form yet.

And, you know, it's really

exciting 'cause you go into a

community, and, you know,

you'll sit down with elders,

you'll sit down with youth, and

they'll talk about, specifically

the elders, about a memory, and

really this culture memory, and

that really inspires us, because

when we come up with a design,

you know, an idea, say, you

know, we don't just come with,

you know, a plan and say, "This

is what you guys should use in

your community as a master plan

or a building."

We don't do that, you know.

It's all about sitting down and

really listening to them, and

that's how we sculpt, you know,

their -- you know, their design,

their vision and mission.

>> What types of challenges do

you experience in this process?

>> Everyone talks about having

a consensus.

How do you draw a consensus, you

know, when you're meeting with

community members?

That's the biggest challenge

for us.

But what we do is, we really

have to take on this, you know,

indigenous aspect, and the

indigenous aspect is just really

being calm, you know, with the

community sitting there,

you know -- you know, being at

one with the nature, and I think

that's part of it is, you know,

having that consensus as part of

the design process is that then

we can draw consensus with it.

And pretty much everybody at the

end, they'll say, "Yeah, you

nailed it.

That was the concept.

That was the vision.

And this is what we want, you

know, for our community."

>> Where do you find your

inspiration for this vision and

your designs?

>> All of our inspiration and

vision really comes from, of

course, that community aspect.

But we also draw, for example,

draw from the environment.

We do a little bit of

investigation and research about

really maybe the importance of

the culture in the history at

that time, or in the past, that

really brought their community,

you know, to be.

♪♪

For example, one of our projects

that we have is the Navajo

Technical University Project.

We looked at the history of the

Canyon de Chelly and, you know,

the water.

And we drew that, and we looked

at parts of, you know, how the

Navajos, the 4-world concept of,

you know, how they came to be.

♪♪

You know, another example would

be Kayenta Multi-Purpose

Center.

In that community, they're

really well known for different

rug designs.

And what we did was on the

exterior facade is, we put these

different patterns that

resembled a rug pattern on the

entry facade.

You may not know that, but once

you start looking at it and

maybe really investigating the

building and walking around it,

a light bulb will go off and

say, "Hey!

I see this rug pattern," and

maybe do more research about the

community and say, "Oh, yeah!

They do certain types of rugs,

Navajo rugs."

And again, that brings back that

sense of community, bringing

back in that culture and

history.

So, if a non-native was going

to go in there, they can learn a

little bit more about, you know,

who they are, who that community

is.

>> How does the light and land

inspire your creations?

>> I had a grandmother that

was a medicine woman.

And she practiced the Beauty

way, and every morning she would

say, "You wake up early in the

morning."

She says, "You wake up before

the Sun," that, you know, you go

run, you know, towards the east.

So, the inspiration is that, you

know, you've got the light that

comes up, you know, that brings

the day.

And then, you know, you have

the middle of the afternoon

where you do appreciate, you

know, all the things that you've

done and your accomplishments.

And then, you end your day

with, you know, the night.

Everything that, you know, that

inspires our design, you know,

comes from that, you know,

having that connection to, you

know, Mother Earth and

Father Sky, which is really in

our prayers, as well.

You greet the Sun in the

morning, and then, you know,

follow it throughout the day and

in the evening.

>> And is this how the

Head Start building is situated?

>> Yes, yep yep.

We have a project for a

Head Start, Tse'ii'ahi.

The English version is standing

rock, and what we did was, we

orientated the building in a way

that faced East.

You can enter it, but, you know,

the kids that are in there can

learn, you know, about how you

enter the building, you know,

the way that you walk into a

Hogan, but again we're not doing

a literal interpretation of the

Hogan, but we want to have that

connection, so that the students

are in there, that they can

start to learn a little bit

about, you know, the directions,

you know, and how you enter.

And I think it's important,

because at that age, you know,

that's what they're going to be

learning, their culture and

their history.

And, I think that's the --

probably the ideal age, you

know, to start people thinking

about, you know, their culture,

their traditions, and their

language.

>> So, what drives you

personally?

What drives you every day?

What do you love about the art

form?

>> What drives me today is

working with my people.

You know, being a Navajo woman

and going back to my community,

you know, brings joy in me,

because that's who I -- that's

who I am.

And this is -- these are my

people.

And working with them is

something I like to do because I

learn something every day from,

you know, these individuals from

different communities and also

learning different cultures,

because we don't just

specifically work for Navajo.

We also work for other, you

know, other tribes and, you

know, learning their culture.

And what I've learned is that a

lot of these different tribes

and, you know, indigenous people

really actually say they

actually share the same values

of this indigenous worldview,

and that's what inspires me.

It's like, "Well, we can make

our communities better," you

know?

"We can really design a

building, you know, that really

is going to be influenced by our

people and how we can save our

culture and our language and our

traditions.

I love working with my staff, I

love working with the

communities and, you know,

really listening to the stories,

and those stories is what drives

our concepts.

And it's so important for the

communities and the individuals

to tell their story.

And sometimes they don't get to

tell their story.

I want to make sure that we do

something in the design that

preserves that within the

community.

Yeah, and just working with the

people.

I mean, it's great.

I think, being an architect,

you definitely have to be a

people person, you got to listen

to them.

>> To see more, head to

ids-a.com.

Now here's a look at this

month's fun fact.

♪♪

♪♪

Ballet dancers have graced

stages for centuries.

What people may not realize,

though, is that ballet artists

are also incredible athletes.

Up next, we visit the

Cleveland Ballet to find out

more.

♪♪

>> The amount of stress you put

on your body day in and day out,

the amount of agility and

stamina...

If that's not an athlete, I

don't know what you call it.

>> Most people's basic

understanding of ballet is point

shoes and tutus.

But ballet dancers want

audiences to know there's so

much more.

>> Our job is to make it look

easy on stage, and we're not

supposed to show that it's

difficult.

>> This season is the first year

the Cleveland Ballet is

partnering with the sports

medicine department at

University Hospitals, which will

allow the dancers to receive

more preventive care.

The physical therapists who work

with the dancers know how to

treat the artists as athletes.

>> Our bodies are our

instrument.

Those are our tools.

That's the same as football

players.

They're using their bodies as

an instrument, as a tool, to get

where they need to be in the

game.

I'll wake up one morning, and

I'm in so much pain.

It's like, "Oh, my gosh, I can't

do jumps," or, "I can't do this

today."

And then, I go to physical

therapy, and I'll be, like,

almost 100% better right after.

And I'm like, "Oh, wait, I can

do this."

I think that if I keep on going

to physical therapy, the life of

my dance career will be a lot

longer.

[ Laughs ]

>> It's Marla Minadeo's first

season as a professional dancer.

Her mom, Gladisa Guadalupe, is

the artistic director for the

Cleveland Ballet.

Guadalupe had to retire after

an injury, and she thinks it

could have been prevented.

>> The career for dancers is

very short.

But if you take care of your

body now in a professional

environment and with

professionals in the medical

field that understand the wear

and tear and how to prevent,

they could have careers up to 45

or 50. Why not?

And that's what we want.

>> Dr. James Voos of U.H.

oversees the partnership, and

he's also the sports medicine

physician for the Cleveland

Browns.

He says taking care of an

athlete's body is important for

football players and dancers,

both professional and in

training.

>> Now, this is particularly

close to me, having young

dancers at home.

Contact athletes, such as

football players, and our

performing artists, such as

ballet dancers, put an

incredible force on their body

day in and day out.

That force to jump and maintain

poise and posture day in and day

out puts an incredible stress on

the body.

While you may be moving more

gracefully in ballet, those

stresses on the body are very

significant, and so the ability

to maintain flexibility, to put

together a preventative program,

is just as important in both

sports.

>> Guadalupe says it takes

months to put something on stage

as a production, but it takes

decades for a dancer to be

trained.

>> I don't think people

understand.

They just see the beauty.

The curtain goes up, and they

just see the end product.

They don't see the sweat and

the hard work, and that's my

hope, that as much as I will

like the audience to enjoy,

which they do enjoy the

performance, that they

understand what these artists go

through and respect the

profession.

♪♪

>> Discover more at

clevelandballet.org.

And here's a look at this week's

art history.

♪♪

>> The Terrorium Shop is a

unique place that explores the

artistry of nature and all its

curiosities.

In this segment, we head to

Denver, Colorado, to take a

look.

♪♪

>> The decay and the regrowth

for this is a process of these

living creatures taken by the

Earth and then new life

sprouting from it.

I just love that cycle.

And the cool thing about the

terrariums that made me get into

them, it was the fact that you

become part of that process.

The decay and regrowth is

facilitated by you taking care

of your piece.

And I just thought it was really

magical to think of yourself in

such a bigger concept.

>> Entropy and regrowth happens

to everyone and everything.

It feels right to make pieces

that try to reflect that.

The Terrorium Shop is a story of

a taxidermist and a gardener

who met and fell in love.

Well, the word, "Terrorium" is

an amalgamation of the words

"terror" and "terrarium."

We bring kind of a spooky twist

to terrariums.

>> He likes to say it's spooky,

but I don't really think it's

spooky.

I think it's beautiful because

it really encompasses, like, the

process of decay regrowth in our

products.

>> I think a plant inside the

mouth would look pretty cool,

especially 'cause this guy

happens to be missing his teeth.

I grew up in Colorado hunting

and fishing in the mountains.

When I found out that I could

start giving Amber bones and

skulls instead of like bouquets

of flowers --

>> He would bring me so many

bones and say, "I just found

this for you," and I'm like,

"Yes!"

[ Both laugh ]

>> I think that's really how I

won her heart.

>> Dead things.

>> Through the dead things.

>> When I first started doing

this, I started doing it when I

was little.

I used to go to greenhouse with

my mom all the time, and she

would let me pick up all the

flowers I found on the floor.

I remember I was walking, and I

saw this half deer face when I

was walking, and it had plants

coming out of it.

And that's, like, when I started

incorporating live plants.

I said, "This is amazing."

It's just so cool to see this

creature being, like, taken by

the Earth again and new life

sprouting out of it.

And that's where the whole idea

of plants, bones came in.

I've been making these mini

scenes or mini worlds,

terrariums for a really long

time.

And I had met Ian.

>> Yeah, it was about three

years ago.

>> It was our first holiday

together, and I had gifted him

one of my creations.

And that's where it all took

off.

He's like, "These are really,

you know, cool."

>> And back then it was simple.

A muskrat skull that she had

found situated amongst some

cacti and some rocks.

It was very simple, but I found

it to be clean and beautiful and

really represented rebirth from

death.

You know, maybe I was thinking

the possum might be the right

size for that one.

>> When we got into the studio

together, him and I, our brains

just kind of took off.

[ Both laugh ]

>> It was like these weird

synapses would fire.

Some of our, I think, our best

ideas have come out definitely

just working together in the

studio.

>> Yeah definitely.

>> And it used to be all at our

house, but now we have this

great shop, and it's like now we

get to expand on that even more.

>> Ian does the processing.

He does the dead things.

I do the live things.

We always joke about that.

>> We have a little road-kill

kit, you know, that contains

gloves and plastic and things.

So if I do come across something

that has met an ignominious end,

I can take care of it in a

sanitary fashion.

So, the goal is to get something

like this free of all this --

all these little stringy bits.

It's not glamorous.

It's not glamorous.

Like, I don't --

Yeah, I can't stress that

enough.

>> Ian props the skulls open,

and I bring 'em to the space,

and that's where I kinda make

the creations here.

So, all my pieces kind of

symbolize an experience I've

had.

I try to think of, like, moments

in time and re-create those.

Like, it's kind of a 3-D memory

for me.

When I'm thinking about that,

I'm thinking about experiences

in nature but also textures,

colors.

The way that they'll grow over

time to fill the piece is really

important.

>> And I think about all the

functional aspects of things,

too, like adequate drainage.

And so, I take the time to go

ahead and bore holes through the

bottoms of all the glass.

Just being in this space makes

me so happy.

>> It feels so good to be here.

>> It does, and I I love seeing

all the life that also is happy

in here, too.

>> I will always be a little bit

grumpy in the morning, but...

[ Both laugh ]

I need a pot of coffee in the

mornings.

I love coming in here.

It's just so much fun to have a

space to decorate that and to

share it with people.

>> We're also kinda hoarders,

too, with cool like old stuff.

We've been able to take a lot of

the stuff out of our house and

be like, "Look."

>> I mean, I think it's just

good to create every day,

which is like being able to

bring a part of nature into your

home and, like, interact with it

is like really magical.

You know, and not everyone has

accessibility to it nowadays.

Not everyone has the time to get

out in nature, so being able to

have a piece of that in your

house, I think it's really

amazing.

>> Beautifully put.

>> To check out more, go to

theterroriumshop.co.

That wraps it up for this

edition of "WLIW Arts Beat."

We'd like to hear what you

think, so like us on Facebook,

join the conversation on

Twitter, and visit our web page

for features and to watch

episodes of the show.

We hope to see you next time.

I'm Diane Masciale.

Thank you for watching

"WLIW Arts Beat."

Funding for "WLIW Arts Beat" was

made possible by viewers like

you.

Thank you.

♪♪

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