Common Ground Episode 103 - First Air Date January 21, 2010


Uploaded by LakelandPTV on 09.05.2012

Transcript:
>>> PRODUCTION FUNDING FOR
COMMON GROUND MADE POSSIBLE BY
THE MINNESOTA ARTS AND
CULTURAL HERITAGE FUND.
>> HI, WELCOME TO THIS WEEK'S
EDITION OF COMMON GROUND.
I'M YOUR HOST, ASHLEY HALL.
COMMON GROUND IS IS A NEW
WEEKLY SERIES THAT HIGHLIGHTS
NORTHERN AND CENTRAL MINNESOTA
CULTURE.
WE'LL EXPLORE THE UNIQUE
PEOPLE, PLACES, AND EVENTS
THAT ARE AN IMPORTANT PART OF
OUR REGION.
EACH WEEK COMMON GROUND
VIDEOGRAPHERS, EDITORS AND
MYSELF WILL TAKE YOU ON A
JOURNEY OF EXPLORATION INTO
THE WORLDS OF ART, HISTORY AND
CULTURE.
THIS WEEK WE'LL INTRODUCE YOU
TO A LOCAL BEMIDJI ARTIST WHO
USES THE CONTRAST OF LIGHTS
AND DARKS TO MAKE REMARKABLE
WATERCOLOR PAINTINGS.
A GLASSMAKER WHO IS ALSO FROM
BEMIDJI WILL TAKE US THROUGH
STEP BY STEP ON A STAINED
GLASS PROJECT.
AND YOU'LL GET A TASTE OF
NORWEGIAN CULTURE AS WE JOIN
THE SONS OF NORWAY IN AN
Captioning provided by Caption Associates, LLC www.captionassociates.com
>> I BEGAN AS AN ABSTRACT
PAINTER YEARS AGO.
I WAS VERY GOOD AT IT.
BUT WHAT I DISCOVERED WAS IT
DIDN'T MAKE ME HAPPY.
WHAT MADE ME HAPPY WAS
REALISM.
>> SOMEONE SAYS, OH, SHE
REALLY KNOWS WHAT SHE'S DOING.
I DON'T, NECESSARILY KNOW WHAT
I'M DOING.
BUT I'M CREATING SOMETHING,
AND I'M MAKING IT MINE.
>> I HAVE BEEN TEACHING
NATIONAL WORKSHOPS NOW FOR THE
LAST FEW YEARS.
WHAT I'VE DISCOVERED IS PEOPLE
ARE SCARED TO GO REALLY DARK
IN A PAINTING, AND THAT'S WHAT
GIVES IT THE VOLUME, THE DEPTH,
AND THE DRAMA.
AND IN THIS PAINTING WHAT I'M
GOING TO SHOW YOU IS HOW WHEN
YOU PUT A LIGHT AGAINST A DARK,
AND A DARK AGAINST A LIGHT, IT
CREATES THIS NICE NUANCE OF
BACK AND FORTH, IT CREATES
DEPTH.
WHEN I PAINT, I SET UP MY
STILL-LIFES, AND I USUALLY
TAKE MANY, MANY, MANY
PICTURES.
I LIKE TO ZOOM IN AND GET
CLOSEUPS, I MOVE THINGS, THEY
ARE NOT ALWAYS THE SAME
ARRANGEMENT AS YOU CAN SEE
HERE, IT IS THE SAME
ARRANGEMENT FROM A DIFFERENT
ANGLE, BUT WHAT I'M LOOKING
FOR IS WHAT IS GOING TO MAKE
AN INTERESTING A PAINTING.
I DON'T ALWAYS SEE THAT.
I TAKE, LIKE I SAY, MANY, MANY,
MANY PHOTOGRAPHS, AND THEN
WHAT IT GIVES ME ALSO IS THE
RESOURCE FOR WHEN I'M PAINTING,
NOW I HAVE CLOSEUPS TO
UNDERSTAND THE INFORMATION
THAT I'M SEEING.
THIS IS THE PICTURE THAT I HAD
SELECTED TO PAINT.
I HAVE BEEN PAINTING ON IT NOW
FOR A COUPLE OF WEEKS.
WHAT I DID, I BLEW IT UP SO
THAT I COULD LOOK AT IT.
WHEN I DO THAT SOMETIMES I
ALSO THINK WHAT IS MY
BACKGROUND GOING TO BE, AND IN
THIS CASE I EVEN TRIED TO DRAW
IN SOME FAKE BLINDS AND A
LANDSCAPE TO SEE WHAT AM I
GOING TO DO IN THE BACKGROUND.
THIS WAS SUCH A BUSY PAINTING,
I DECIDED WHAT I NEEDED WAS
SIMPLICITY, AND I LOVE DARKS
AND LIGHTS, SO THIS IS WHERE
I'M AT RIGHT NOW WITH THE
BACKGROUND.
AND I THINK THIS IS GOING TO
WORK MUCH BETTER.
IT IS IMPORTANT TO HAVE DARX
AGAINST LIGHT, -- DARKS
AGAINST LIGHT SO THINGS COME
FORWARD.
I'M SAVING WHITES HERE.
THESE ARE NOT COMPLETED YET,
BUT IT IS GOING TO SET THIS
FORWARD.
THE MORE DARKS I GET HERE, THE
MORE GROUNDED THIS WILL BE.
AT THE STAGE TAKING IN THE
FREEDOMS AND PUTTING IN MORE
REFLECTION, ADDING COLOR,
PUTTING IN A LOT OF ROSY
COLORS OVER HERE, BECAUSE I
LIKE WARM LIGHT FOR ME
PERSONALLY RATHER THAN COOL
LIGHT.
BECAUSE I WORK IN TRANSPARENT
COLORS, THEY TEND TO WASH OUT
AS THEY DRY.
THEY GET LIGHTER.
AND I GO BACK IN TIME AND TIME
AGAIN AND TRY TO LAYER IT UP
TO DEPTH.
AND THAT IS WHY SOME PEOPLE
REALLY ARE CONFUSED AS TO IF
THAT -- IS THAT WATERCOLOR.
THAT'S BECAUSE I PAINT WITH

SOMETIMES UP TO 50 LAYERS.
JUST PULL THAT DARK LINE DOWN.
I'M DOING THIS BECAUSE ALSO IN
THIS AREA, THIS SPOON REST IS
CASTING A GREATER SHADOW, SO
WE KNOW IN THIS AREA IT'S GOT
TO BE DARKER.
AND I CAN SEE BY DOING THAT

ALL THESE WOULD BE IF THEY
WERE DARKER.
GOING DARK CAN MAKE SUCH A
DIFFERENCE.
IT STARTS TO MAKE THE BAMBOO
PIECES POP FORWARD.
I WILL NEED TO, IF YOU WILL
LOOK AT THE PHOTO, THE NICE
DARKS HERE.
THIS ROUNDED SHAPE THAT'S
BEING CREATED IS THE LIP OF
THIS SPOON, SPOON REST, AND
EVENTUALLY I AM GOING TO HAVE
TO BRING THOSE DARKS WAY DOWN
INTO HERE.
SO VERY GRADUALLY I WILL KEEP
DOING THIS UNTIL I FEEL I HAVE
KIND OF CAPTURED THAT, THE
DEPTH THAT I WOULD LIKE TO
SEE.
I HAVE TO BE CAREFUL THAT I
DON'T HAVE HARD EDGES ON SOME
OF THIS BECAUSE LIGHT LIKE
THAT IS KIND OF DIFFUSED.
I TEND TO SOFTEN THAT EDGE A
LITTLE BIT SO IT DOESN'T FEEL
QUITE SO TOUGH.
I KEEP MY FINGER IN MY
PAINTING, I'M WORKING ALL OVER
THE PAINTING, NOT JUST IN ONE
AREA, BECAUSE I WANT TO CARRY
THAT SPOT.
THAT GLOW IS SO PRETTY I WANT
IT TO HAPPEN IN THIS AREA AS
WELL.
SO NOW I AM INTERPRETING MY
PHOTOGRAPH.
I AM NOT PAINTING JUST WHAT I
SEE HERE, BUT WHAT I WOULD
LIKE TO SEE.
WHEN I PUT ON JEWELER'S
GLASSES, I CAN REALLY SEE THE
FINE EDGES TO MAKE SURE THAT
THEY ARE CRISP AND THEY MAKE
SENSE, SO I USE JEWELER'S
GLASSES FOR FINAL DETAIL.
I NEED TO GET AS MANY VALUES
OR SHADES OF BROWN AS I CAN.
AND I AM JUST GOING TO TRY TO
SOFTEN THAT EDGE SO IT LOOKS
LIKE DIFFUSED LIGHT.
I DON'T WANT IT TO BE HARD
HERE.
BUT ALREADY THAT SECTION YOU
CAN SEE IS POPPING A LITTLE
MORE.
IT IS BECAUSE I'M RUNNING A
DARK UP TO A LIGHT.
IF I DON'T IT WOULD BE VERY,
VERY FLAT.
ON THIS PAINTING, I WILL BE
ABLE TO DO THIS FOR ANOTHER
WEEK.
I WILL BE MAKING VALET
JUSTMENTS AS LONG AS IT TAKES
TO MAKE THIS A PAINTING THAT I
FEEL IS WORTH COMPETING WITH
ON A NATIONAL LEF.
I AM GOING TO DEFINITELY HAVE
TO DARKEN THIS AND THIS IN
ORDER TO MAKE THIS REALLY
SHINE.
THIS WILL GET QUITE A BIT
DARKER.
I COULD LAY A WASH ON THAT NOW
FOR YOU TO SEE JUST WHAT A
DIFFERENCE GOING DARK AGAIN
WILL DO.
AND IT IS SO BEAUTIFUL THE WAY
IT IS RIGHT NOW, YOU THINK TO
YOURSELF, OH, WHY DON'T I JUST
LET IT BE BECAUSE I REALLY
LIKE IT.
BUT WHAT I'VE LEARNED IS I AM
GOING TO LIKE IT MORE IF I DO
THIS.
THE PHOTOGRAPH IS MINE, THE
STILL-LIFE SETTING IS MINE,
EVERYTHING IS MINE, BUT I
STILL LIKE TO MAKE IT EVEN
MORE MINE BY ADDING MY, YOU
KNOW, MY LITTLE QUIRKINESS TO
IT THAT I LOVE DETAIL.

>> I GOT INVOLVED THROUGH
WORKING HERE WHEN PAT AND DEAN
HIRED ME TO WORK HERE.
OF COURSE I HAD TO LEARN -- I
KNEW ABOUT THE BEADING END OF
IT, BUT I HAD NO CLUE
WHATSOEVER ON GLASS.
>> WE ARE GOING TO MOUNT THE
PATTERN ONTO OUR BOAR AND GET
STARTED ON THE PROCESS.
THIS IS OUR GORGEOUS GLASS
WE'RE GOING TO BE WORKING WITH.
JUST WANT TO SECURE THE
PATTERN DOWN SO IT IS NOT
GOING TO MOVE.
THEN WE PUT A PROTECTIVE
SHIELD OVER IT SO WHEN WE GET
INTO THE SOLDERING, WE WON'T
BURN THE PAPER UP.
THE SHIELD THAT GOES ON IT IS
JUST PLAIN PLASTIC, SO WE CAN
STILL SEE THROUGH IT AND SEE
WHAT OUR DESIGN LOOKS LIKE.
AND HERE'S ALL OUR PIECES.
NOW I'M GOING TO MOVE THE
FORWARD OVER TO THE SIDE,
BECAUSE WE'RE GOING TO NOW
CONCENTRATE ON THIS BOARD.
A SPECIAL BOARD USED FOR
CUTTING OUR GLASS.
GOT LITTLE HOLES IN IT SO IF
WE HAVE CHIPS AND THINGS
COMING OFF, IT WILL GO RIGHT
DOWN INTO THE CRACKS.
TRY TO KEEP THOSE AS CLOSE TO
THE INSIDE OF THE LINE AS WE
CAN.
WE HAVE LESS TO GRIND WHICH IS
WHAT WE'LL DO NEXT.
OKAY.
NOW, WITH THIS, I WANT TO CUT
MY GLASS IN HALF, I HAVE THE
TWO DIFFERENT PIECES.
I'M GOING TO START WITH THIS
ONE: I WON'T HAVE ANY PROBLEMS
WITH BREAKING OR ONE OF THE
OTHER THINGS.
USE MY FINGERS SOMETIMES AS A
GUIDE.
OKAY.
THE OTHER PIECE WILL GO IN
HERE THIS WAY.
NOW WE HAVE TO JUST GET THEM
ALL TO FIT NICE.
NOW IT'S TIME TO GO TO --.
>> THIS HAS A DIAMOND STONE ON
THE TOP GRINDING PART, AND
THIS RUNS WITH WATER.
YOU HAVE TO GET THE WATER
GOING.
GET THE WHEEL GOING: PICKING
OUT THE GLASS AND THEN
CREATING SOMETHING THAT I
GUESS YOU CAN VISUALIZE IT
SORT OF, BUT IT DOESN'T REALLY
COME TOGETHER UNTIL YOU'RE
DONE WITH IT.
JUST THE FINISHED PRODUCT, I
LIKE DOING THIS KIND OF STUFF
I'M THE KIND OF PERSON THAT
DOES A LOT OF HAND CRAFT.
THIS DARK TURQUOISE WILL MATCH
UP WITH THE REST OF IT, AND WE
ARE DOING GOOD WITH OUR
PIECES.
NECESSARY WE'LL CLEAN THEM AND
OUR FOIL.
THE FOIL IS IMPORTANT TO HAVE
ON THERE SO WHEN YOU PUT THE
SODDER ON IT, -- SOLDER OFTEN,
IT HAS SOMETHING TO STICK TO.
WE LINE THE GLASS UP SO IT IS
IN THE MIDDLE OF THE FOIL.
YOU HAVE A LITTLE BIT ON BOTH
SIDES WHERE YOU CAN PINCH IT
AROUND.
SOMETIMES THAT'S DIFFICULT IF
YOU GET A LITTLE OFF KILTER,
YOU CAN TAKE A RAZOR BLADE AND
TRIM IT UP.
YOU CAN STICK IT ON THERE.
I LIKE TO CREASE IT WITH MY
FINGERS.
I WANT TO USE THE OPINIONS TO
PIN IT TOGETHER -- THE PINS TO
PIN IT TOGETHER.
THEN I GET MY OTHER STUFF SET
UP.
THIS IS USED TO PUT ON OUR
SEAMS, SO WHEN HE WHEAT THE
SOLDER DOWN, IT WILL STICK.
YOU HEAR A SIZZLE NOISE,
ALMOST LIKE MEAT HITTING A
FRYING PAN, IT GIVES A SLIGHT
SIZZLE.
AND WHAT THIS DOES IS HELP
BIND THE SOLDER TO THE COPPER.
I HAVE A LITTLE GLAP GAP THAT
I'VE GOT TO FILL UP.
JUST GOING TO START TO TACK.
I AM JUST GOING TO DO EDGES.
YOU CAN HEAR THAT SOUND.
[ SIZZLING ]
>> WE CAN TAKE THESE ALL OUT.
KIND OF LIKE THAT.
YOU CAN SMOOTH IT OVER, MAKE A
REAL NICE BEAD.
THEN WE CAN DO TOUCHUP AFTER
WE GET DOWN.
SOMETIMES YOU CAN GET AN
EXCESS AND YOU CAN JUST KIND
OF PULL IT ALONG AND IT WILL
STRAIGHTEN THAT ALL OUT NICE.
YOU CAN DO IT THE WAY I DID IT
OR YOU CAN DO IT THIS WAY, A
LITTLE BIT HERE, LITTLE BIT
THERE.
THEN YOU CAN RUN IT ALL
TOGETHER, TOO.
NOW I'M GOING TO WIPE THE
LITTLE BUMPS OF SOLDER OFF MY
GLASS.
WHEN I LOOK AT THIS ONE, OR
THE NEW ONES THAT I'VE BEEN
DOING, IT'S JUST UNBELIEVABLE,
BUT THAT'S WHERE PRACTICE
MAKES PERFECT, YOU KNOW,
COMING UP WITH YOUR IDEA, OR
COMING UP WITH YOUR COLORS AND
PUTTING IT ALL TOGETHER.
I GUESS I ALSO THINK ABOUT IT
AS A VERY ANCIENT ART, YOU
KNOW, A CRAFT, ACTUALLY.
OUR BEGINNERS HAVE DONE STUFF
SIMILAR TO THIS.
THEY'VE DONE FLUR FLEUR DE
LIS, VERY POPULAR DESIGN.
MOST OF THE PIECES THEY DO ARE
ABOUT 15 TO MAYBE 20 PIECES
STARTING OUT WITH, SIMILAR TO
THIS IN SIZE, MAYBE A LITTLE
SMALLER IN SOME THINGS, ALL
WE'RE DOING HERE IS RAISING
THE CHANNEL A LITTLE BIT BY
PUSHING IT THROUGH ON AN ANGLE,
KIND OF WIGGLING IT SO IT
WIDENS IT A TOUCH, WHICH WILL
HELP FIT IT BETTER.
THIS BASICALLY SNAPS DOWN OVER
THE TOP OF IT ALL.
I HAVE TO USE TWO KINDS OF
PATINA IN THIS ONE; ONE FOR
THE SOLDER AND ONE FOR THE
ZINC.
IT WILL START TO TURN COLOR
RIGHT AWAY.
THE MORE YOU PUT ON IT, THE
DARKER IT IS GOING TO BE.
THIS IS WHERE YOU GET TO SEE
YOUR PROJECT COMING OUT WHEN
YOU HAVE IT, YOU START
CHANGING THE COLORS ON THE
SOLDER TO THE PATINA.
THIS IS WHAT WE CALL THE
FINISHING COMPOUND.
AND WE JUST SQUIRT A LITTLE OF
THAT ON THERE.
WE ARE GOING TO KIND OF BLOT
THIS IN.
YOU DON'T REALLY WANT TO RUB
IT.
I GUESS IN A WAY YOU COULD
ALMOST DESCRIBE IT AS, YOU
KNOW, GLASS PICTURE IT WOULD
BE ALMOST LIKE DOING A DRAWING
OR A PAINTING, YOU KNOW,
COMING UP WITH YOUR IDEA OR
COMING UP WITH YOUR COLORS,
PUTTING IT ALL TOGETHER.
I GUESS I ALSO THINK OF IT AS
A VERY ANCIENT ART, YOU KNOW,
A CRAFT, ACTUALLY, VERY AN
SHOULDN'T.
I GUESS SOMETIMES I THINK
ABOUT, YOU KNOW, WHAT IT WOULD
HAVE BEEN LIKE TO DO SOMETHING
LIKE THIS BACK THEN.



>> THE SONS OF NORWAY IS AN
INTERNATIONAL ORGANIZATION,
ITS MAIN PURPOSE IS ACTUALLY
STARTED AS AN INSURANCE
COMPANY FOR IMMIGRANT
NORWEGIANS, IT WAS FOUNDED IN
JANUARY OF 1895 IN MINNEAPOLIS.
[ SINGING ]
>> IT IS AN INTERNATIONAL
ORGANIZATION, WE HAVE MEMBERS
EVEN IN NORWAY ITSELF.
WE HAVE A FEW LODGES THERE.
MEMBERS HAVE BENEFITS LIKE
LIFE INSURANCE, THEY CAN SET
UP ANNUITIS, CAR INSURANCE,
LIKE I SAID, ITS MAIN PURPOSE
ORIGINALLY WAS AS AN INSURANCE
COMPANY AND NOW WE TRY TO --
WE HAVE CULTURAL PROGRAMS
WHERE MEMBERS CAN TAKE THESE
PROGRAMS AND EARN DIFFERENT
BADGES FOR DIFFERENT LEVELS OF
THINGS, LIKE WOOD CARVING,
GENEALOGY, ROSEMALING,
NORWEGIAN LANGUAGE, OF COURSE,
READING AND MUSIC, PROBABLY 13
OR 14 DIFFERENT CULTURAL
PROGRAMS.
WE HAVE PROGRAMS AT ALL OF OUR
MEETINGS THAT PRIMARILY DEAL
WITH SOMETHING NORWEGIAN AS
FAR AS A TRADITION OR
IMMIGRANT STORIES OR DEALING
WITH HISTORY OF DIFFERENT
AREAS OF HISTORY LIKE WORLD
WAR II.
ORIGINALLY IT WAS ONLY OPEN TO
NORWEGIANS, OR OF NORWEGIAN
DESCENT, BUT NOW YOU DON'T
HAVE TO BE NORWEGIAN TO BELONG,
USED TO BE YOU COULD ONLY BE A
MALE TO BELONG.
OF COURSE THAT CHANGED MANY,
MANY YEARS AGO.
AND WE USUALLY AVERAGE 40 TO
50 MEMBERS EVERY MEETING,
WHICH I THINK IS A GOOD
AVERAGE FOR AN ORGANIZATION TO
HAVE FOR ATTENDANCE.
AT THIS POINT I BELIEVE WE
HAVE AROUND 100, RIGHT AROUND
140.
WHAT NORWEGIAN I SPEAK HAS
PRETTY MUCH BEEN SELF TAUGHT.
MY DRA GREAT-GRANDFATHER
DIDN'T WANT ANYBODY TO LEARN
NORWEGIAN, I GUESS, AND WHAT
THAT HAPPENED A 6 A LOT.
HERE IN AMERICA, THEY WANTED
YOU TO BE AMERICAN.
A LOT OF PEOPLE, SECOND AND
THIRD GENERATION LIKE ME
DIDN'T GET A CHANCE TO LEARN
NORWEGIAN UNLESS WE DID IT ON
OUR OWN.
WE HAVE QUITE A FEW IN OUR
ORGANIZATION HERE IN BEJ
BEMIDJI THAT STILL SPEAK
FLUENT NORWEGIAN.
IT'S FUN TO LISTEN TO THEM
TALK.
THE SONS OF NORWAY WEBSITE HAS
THE LANGUAGE COURSE ONLINE
THAT YOU CAN WORK WITH.
WE WORKED WITH THAT.
THEN WE'VE GOTTEN TO THE POINT
WHERE MOST OF US TRY TO HAVE
CONVERSATIONS, THEY ARE NOT
REAL IN-DEPTH CONVERSATIONS
YET, AND AT THE BEGINNING WE
HAD A COUPLE FLUENT SPEAKERS,
BUT THEY KIND OF TAILED OFF IN
COMING AFTER THEY MIGHT HAVE
FIGURED WE WERE A LONG FAR
ENOUGH TO TAKE IT ON OUR OWN.
JUST VERY INFORMAL.
VERY.
AND IT DOESN'T MATTER WHETHER
YOU SPEAK ONE WORD OR MANY
WORDS.
WE WELCOME ANYBODY.
IT'S ALWAYS EVERY SATURDAY AT
11:00 AT THE WILD HAIR IN
BEMIDJI MUCH AND THAT'S PRETTY
MUCH HOW A LOT OF OUR PEOPLE
HAVE ADVANCED IN LEARNING THE
LANGUAGE IS MEETING ON EACH
SIDE.
[ SINGING ]
>> THAT WAS GOOD.
>> WE ENJOY GOOD FELLOWSHIP.
IT'S BASICALLY NOT A BUSINESS
MEETING, TONIGHT WE'RE HERE
JUST TO HAVE A GOOD TIME.
WE ALWAYS SING CHRISTMAS
CAROLS.
SOME IN NORWEGIAN, AND SOME IN
ENGLISH WE HAVE THE AUDIENCE
PARTICIPATE A LOT IN THE
SING-ALONGS.
TONIGHT WE'LL HAVE A COUPLE
READINGS.
ONE A HUMOROUS ONE AND A POEM
AND THEN OUR GROUP THE NORSE
TONES WILL BE SINGING THREE
SONGS, AND WE'LL ALSO BE
READING THE CHRISTMAS STORY IN
ENGLISH AND IN NORWEGIAN FROM
THE BIBLE, SO TONIGHT IS JUST
A NIGHT TO ENJOY EACH OTHER,
OURSELVES, AND PART OF OUR
CULTURE.
IN NORWAY, THEY HAVE, THIS
TIME OF YEAR THEY HAVE A
CHRISTMAS LIKE OUR SANTA CLAUS,
A CHRISTMAS ELF, OR KNISSA,
AND THERE'S ALSO THE SONG THAT
WE'RE GOING TO SING ABOUT A
BARN KNISSA, OR PIELKNISSA.
EACH FARM WAS BELIEVED TO HAVE
A KNISSA THAT LEAVE ON THEIR
FARM, AND ON CHRISTMAS EVE, IF
HE GOT A BIG BOWL OF CHRISTMAS
PORRIDGE TO EAT IN THE BARN,
YOU WOULD TAKE IT OUT AND
LEAVE IT IN THE BARN FOR HIM
TO EAT, HE WOULD PROTECT YOUR
FARM, BRING YOU GOOD CROPS,
AND IF YOU DIDN'T SERVE HIM
THE PORRIDGE, YOU WERE IN
TROUBLE FOR PRETTY MUCH THE
WHOLE YEAR.
COWS COULD BE MOVED SOMEWHERE,
WHATEVER, DIRTY LITTLE TRICKS
THAT HE WOULD PLAY THROUGHOUT
THE YEAR, YOUR CROPS WOULD BE
BAD.
IF YOU KEPT HIM WITH THAT
PORRIDGE ON CHRISTMAS EVE,
THAT'S WHAT THE SONG IS ABOUT.
EVERYBODY SEEMS TO LIKE THAT.
WE ALWAYS END WITH "SILENT
NIGHT" WE SING THREE VERSES IN
NORWEGIAN, THEN WE HAVE
EVERYBODY JOIN IN ON THE
ENGLISH FIRST TWO VERSES.
YOU KEEP THAT TRADITION AND
YOU DON'T LOSE IT.
YOU DON'T LOSE THE CULTURE
COMPLETELY.
[ SPEAKING NORWEGIAN ]
>> AMEN.

>> WE HOPE YOU ENJOYED THIS
WEEK'S LOOK AT ARTISTS AND
CULTURE.
THANK YOU SO MUCH FOR JOINING
US.
WE HOPE TO SEE YOU NEXT WEEK
Captioning provided by Caption Associates, LLC www.captionassociates.com
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PRODUCTION FUNDING FOR COMMON
GROUND IS MADE POSSIBLE BY THE
MINNESOTA ARTS AND CULTURAL