[bass, drums, & keyboard play moderate-paced rhythm & blues]
[music only; no vocals]
♪
♪
(woman) ♪ Come shining now ♪
[acoustic guitar softly finger-picking]
♪ ♪
(Racheal Robinson) Charlie one, six, lima, lima, zero, two.
So first of all,
not everybody in the Air Force flies airplanes.
Only like 2% of the Air Force actually fly planes,
everybody else supports the pilots, maintains the aircraft,
supports the personnel, so my biggest thing when they said
no, I'm the chaplain assistant
or I do IT, I don't fly a plane,
You're good, thank you so much.
Yeah, sorry about that.
Hey, no problem.
Thanks, worked out great. See ya'.
I joined the military for stability.
Growing up, we were on welfare, my dad was in prison,
we had a pretty-- I guess, pretty unstable.
So I joined the military for stability, and I really hope
that me being part of the Telling Project
will bridge the gap between civilian and military
and this proverbial curtain that people don't understand.
And by telling my story, hopefully bridge that gap.
[bass, drums, keyboard & marimba play in bright rhythm]
(Jonathan Wei) Since 2008 we have done 35 performances across the country.
And what the Telling Project does is, we create performances
in which military veterans and military family members
have the opportunity to speak to their communities
about their experiences in and around the military.
What I have done since 2007, 2008, is essentially
to interview military veterans and military family members
and then to script from those interviews
and facilitate these performances.
So essentially, the creative process is 3 stages.
The first stage is the interview stage.
Ready to go?
I'm ready to go.
Okay, I'll start us recording then.
I've probably interviewed 500 vets at this point, and it is
an impossibly stupid mistake to say that I've seen it all.
(Racheal) So my mom was convinced, and 5 other families were convinced
that we had to go to Belize to escape Y2K.
(Jonathan) Wow, that's not a bad gig.
Right, like we had to go to Belize. Right?
Anyways, we get to Belize, find out the job she had lined up
didn't, didn't work out.
(Racheal) He asked the questions 'cause he wanted,
he really wanted to understand, he wanted to hear my story,
and I also think he was asking the questions
'cause he knew that it was worthy enough to be told
and he wanted us, he wanted to listen to that.
I said well, I'd like to get on that deployment.
They had a slot for 25 uniform, yes, we'll put you in that slot.
And we actually drove through some of the wreckage
from the Gulf War and that was actually really, that's when
it kind of set in, like oh, I'm here, I'm in the desert,
I'm deployed now, like this is real, this is really happening.
It's not every day you get to be
listened to your story so intently then, on top of that,
create a script and then get to perform.
It's something that, I'm getting goose bumps
it's so cool. I'm so excited!
Like I said, this is our starting point.
I've got plenty to work with here
Once we've interviewed all of them,
and the second stage of the creative process is scripting.
And what happens in the third phase is that we'll then
transition to an actual performance building.
(Racheal) We just got the script 3 days ago.
I read through it like 4 times; reading all the other stories
that the other service members have put in is really fascinating.
So many different experiences, yet so many like experiences.
I'm really excited for the rehearsals.
It's going to be grueling, it's going to be challenging,
it's going to be inspiring, and I'm excited to be a part of it.
So we're going to call this downstage. Right? Downstage,
That over there is upstage.
It's stage right, which is your right,
and stage left, which is your left.
Easily one of the most gratifying parts of my job
that I walk into a room like a rehearsal room, a stranger,
and within 5 days we go,
or 6 days we go through this rehearsal process
and we become really close.
There were some days I didn't know
if we were going to have our next meal.
I knew I had to take care of myself. I joined for stability.
(Max) I think it gives people an experience of a moment
and I think that they carry that moment with them
and that moment does something, it fuels something.
I think that a lot of people that we work with
become bigger in the process.
That's what I want, I just want people to feel grounded
in their communities, which is what coming home is.
It was all kind of exciting at first.
I mean, you go to the St. Paul-Minneapolis airport
and you get a ticket, you fly into Jefferson City,
and then they herd you toward a bus, but you're
all in civilian clothes, and you're feeling kind of free.
And then you pull into Fort Leonard Wood.
(woman) Maggots get off that bus! (man) Move it! Move it!
Who the hell do you think you are?
Get going! Get going! Let's go!
(Racheal) Every person in the military can remember basic training.
Basic training is the pinnacle, I guess you could say
of your military career-- everybody has to go through it.
Did I tell you to pick up your bag? Put it down!
Are you not listening to me?
Are you hard of hearing?
Pick it up! Put it down!
Pick it up!
Put it down!
Pick it up!
Put it down! Down!
Up!
Up!
Down!
Up!
Down!
I was in shock...
[laughter] literally, shock.
If I had come across a soldier today on the battlefield
that looked like I did then, I would lay them on their back,
I would elevate their feet, and I would treat them for shock.
(Max) One of the things that people talk about a lot
when they step out of the military is the ways in which
it's go, go, go, go, go.
Then they get to civilian life, and everything kind of slows down.
What I think we're thinking about when we tell these stories
and we kind of push on, we push through them,
you want people to kind of understand that this is
an incredibly intense overload of experiences
that a lot of veterans undergo.
It's looking great and everything, but it needs to be a lot snappier.
And so the moment that the person in front of you
has stopped speaking, you start speaking.
This has been a stellar pace guys, really, really great work. Thank you.
[bass & guitar play in bright rhythm]
♪ ♪
What is this book called Mom?
"My Cousin Momo."
(Racheal) My daughter is almost 3, and she is so full of life.
She is just my joy, you know, my husband and I joy, we just love her so much.
Now what shape is it?
I like the color, what shape is it?
A square!
Good job!
My husband is my rock; he is my best friend.
He's always been the positive light in my life,
he's always been so supportive, and he always takes
every challenge that I've ever had to have with the military,
you know, with a grain of salt,
If I have to go to training for 6 weeks, he's understanding,
he's like that's fine, we'll get through the 6 weeks,
you'll come home, we'll move on, you know.
He's so supportive, and he's just wonderful.
I ate a lotta food.
Do you want some more cheese?
You want more cheese?
Uh-huh.
(man) ♪ Left, left, left, right, left. ♪
♪ Mama, mama can't you see? ♪
(all) ♪ Mama, mama can't you see? ♪
(man) ♪ What the army's done to me. ♪
(all) ♪ What the army's done to me. ♪
(man) ♪ Took away my faded jeans. ♪
(all) ♪ Took away my faded jeans. ♪
(man) ♪ Now I'm wearing Army green. ♪
(all) ♪ Now I'm wearing Army green. ♪
(Racheal) Being a part of this experience, I think, will give me confidence
to maybe pursue some more artistic endeavors.
I never really thought of myself as very artistic,
so it's pretty cool, it's pretty inspiring.
I was in Anaconda too, Balad, they called it "Mortaritaville."
So we get there, and we literally just had the brief
of what to do when there's a mortar attack.
So we get out, hangin' out, me and my best friend Donkey
are just smokin', jokin', whatever.
All the sudden, "Incoming! Incoming! Incoming!"
We all scramble, we all forget
what the heck we were just told 2 seconds ago.
We find the bunker.
(Max) One of the things that's really fascinating for me is,
how is it that military experiences is spoken about
when it's not intimate, and it's kind of bookended?
It's either veterans are broken, or they're heroes,
and those are the 2 bookends.
And I've never spoken to a veteran
who is either of those poles.
There's so much complexity in between.
What we did in Iraq was just bare bones.
We did prevention, we did education.
I had to dodge rockets too;
I could have died, but it was war,
and it was the most meaningful work I've ever done.
(Racheal) There's a stereotype of what a veteran should look like
and I think having a very diverse cast
helps break that stereotype; that veterans come
in all shapes and sizes and age groups and everything like that.
What I do remember...
[with emotion] was the blood on my boots.
I kept cleaning it off,
cleaning it off, cleaning it off.
And an NCO said, "What are you doing?"
He said, "It's a christening,
it's to remind you of the war."
(Max) All of us become really close, and part of it
is the intensity of the process, and part of it is also that
we're sharing with each other vulnerabilities and fears
and resilience and triumph, like we're going through
such an incredible range of human emotions in that space.
There's no other word for it, I think, than love,
you end up loving each other in that space, it becomes really,
really kind of intimate and personal and beautiful.
I think one of the things that happens in this rehearsal
is that you stop hearing each other for the first time-- you
stop listening as though it's the first time you've heard it.
But people in that audience are not going to have heard this before,
and it's going to be this assault on their senses.
It's going to be this kind of like, [visceral exclamation]
And I just want to thank you very, very much for it
and know I'm very grateful to work with you,
and that I'm really, really, really happy with where we are.
Hopefully giving people just a small insight into the lives
of service members and veterans,
we've had good and bad experiences,
maybe it'll just give a little
piece of what we do and why we do it.
[piano plays a blues riff]
[keyboard plays in bright soft rock rhythm]
♪
♪
[synthesizer plays softly; bright in tone]
♪ ♪
(Mark Rivard) My introduction into kind of the action sports world,
skateboarding and skiing was very young.
Just as a kid being able to ride my skateboard down the driveway
and hit a ramp with a couple of bricks
and a piece of wood was like, thrilling.
In 2003, I was skiing in Colorado, and I blew out my knee
and had to move back to Minnesota from Colorado.
I lived out there as a ski bum,
and my first major knee surgery was completely debilitating.
I ended up having to move in with my mom,
I was living in her basement, and I picked up my first board,
and I painted that white, and I grabbed a Sharpie
and drew the Minneapolis skyline with that.
And from there I started drawing more and more boards
and working with a local skate shop,
and it turned into drawing hundreds.
[drums & keyboard play in moderate rock tempo]
♪ ♪
♪ ♪
♪ ♪
♪ ♪
So this board is my very first skateboard from my injury,
when I was first initially laid up and after surgery,
this was the first board I drew-- it started it all.
That led to this one, which is
a little more refined version, very similar.
Again it's just all black, Ultra Fine.
This is one that's gone very commercial.
It's probably the most well-known of my artwork.
I have actually probably 5 or 6 different versions
of the Minneapolis skyline on a skateboard 'cause
I realized like, the first one wasn't exceptionally good,
so I kept redrawing that until I kind of had it figured out.
And then the ideas just kind of came from looking at
skateboard companies and not necessarily
looking at the team riders but like, who were the artists
and what were the graphics-- it was just a flood of ideas.
♪ ♪
♪ ♪
♪ ♪
I was drawing with all kinds of different mediums, but
after trial and error, you start to realize that the marker,
the Sharpie, that's the one that worked the best.
And the ink was manipulated
in ways that you could kind of work it
almost like a paintbrush, but it stayed on the board
was the most important part, so it was kind of a necessity
that that was the marker I stuck with and continued to work with.
♪ ♪
♪ ♪
In 2007, Sharpie emailed me
and said, we'd love to have a feature of you on our blog
and I started peppering Sharpie with ideas
about how they could use artists as endorsed athletes in a sense.
And then they started sending me a couple pens here and there,
will you test this product out for us, will you see what this one does?
And I would give them feedback on the markers, and I learned
a lot over the years about how to manipulate the pens
and really work with them artistically.
Then in 2009 they started the Sharpie Squad
and it was a handful of artists kind of worldwide
that were sort of endorsed in a way.
And then in 2011, I was asked to be part
of the Stars with Sharpie ad campaign.
The campaign was launched in the "New York Times,"
so it was a big deal, it kind of went from like zero to 60
in terms of an art career.
Sharpies, "Mount Sharpie" as it's been dubbed.
When I was endorsed by Sharpie, and I started
doing the educational work, they were pretty thrilled
with what that was doing and just how it was,
just like how positive that type of thing was
and I think they really appreciated
the direction I went after the ad campaign.
Because of that campaign I was, suddenly had a ton of exposure.
From that, I was able to get myself
into all kinds of different scenarios.
For educational purposes, we've got Twin Tips.
During my year with them like the big limited edition thing
was the 80's Glam colorway.
It's got Metallics, of course the most important pen,
the Sharpie Ultra Fine, these are the detail makers.
These ones the kids absolutely love
'cause they're like big paintbrushes.
I was getting asked to go into schools and come talk to kids,
and I started working with a teacher in Woodbury
and we kind of created this curriculum,
and I was teaching skateboard art at that point.
[organ & bass play in bright rhythm]
Alright you guys, so, my name is Mark Rivard,
I'm a professional artist.
I started off designing skateboards.
My first piece of artwork was an illustration on a skateboard.
♪ ♪
I work with students all over of many different organizations,
and what I do is bring blank skateboards and Sharpies to kids
and have them create artwork.
I guess like it need to be inspired.
Like what is inspiration, what does that even mean?
We talk a lot about opportunity, we talk about
what the idea of being inspired is,
how certain inspirations can turn into a career.
It's that emotion that gets you to want to do something.
It's the thing that makes you want to go skateboarding. You know?
I really am inspired by this art, this art thing is
interesting to me, this is something I could do and pursue
and have maybe a, have a chance at. You know?
Over time, it developed
into a lot more structured curriculum-style programming.
Because of the curriculum we had developed, it was working,
and it's been incredibly successful.
Now I've been all over the country, all over the world,
and the kids are really excited
about what they're going to create.
When they walk out of the room with a skateboard under their arm,
they feel very empowered, and that's kind of been the basis
for why the programs and Rivard Art Education in general
has experienced the success it's had.
In this board I think for cohesiveness
you probably want that figure...
Right there and then...
Yeah, yup, right towards the middle there.
(Mark) There's nothing I could have done that would be
more important for me personally than Rivard Art Education.
I mean, that was what transformed
my whole purpose for creating art.
♪ ♪
♪ ♪
♪ ♪
My own personal practice as an artist is always evolving.
My fine art started in illustrations on skateboard
and then it kind of went into a little bit of painting.
I started to kind of play around a little bit with canvasses,
and then I got my first nice camera,
and I started loving to shoot photos,
and I wanted to kind of incorporate different mediums,
so I do a lot of mixed media stuff.
Then I started getting into oils, I started painting oils
about a year-and-a-half ago, and that's
really kind of dominated a lot of my practice recently.
The next show will be a really painting heavy,
very abstract, lot of layers and texture.
♪ ♪
From a fine art perspective for me, it's changed so much.
I get ideas in my head, and then I kind of roll with that
for a while, and I'll create a series based on that.
It's fun for me to continue to see
where it goes and how it develops.
♪ ♪
[drums, electric piano, & drums play jazz-rock]
♪
♪
♪
♪
[synthesizer plays softly]
♪ ♪
♪ ♪
♪ ♪
My name is Desdamona,
I am a hip hop artist, teacher, writer.
It's strange to me when people say, oh, you always
talk about being a woman and I'm like,
male rappers always talk about being men,
but no one ever even questions it because it's the norm.
It seems like it's still strange enough that people kind of go,
um, why are you talking about being a woman?
And I'm like, what else would I talk about, [laughs] you know?
In this world that's
very patriarchal, male dominated,
we need to keep pushing through and be like, we're here too!
(woman) Put your hands together for Desdamona!
[applause; bass & drums play a hip hop beat]]
(Desdamona) ♪ I been all these things ♪
♪ I been the muse I been the night lady ♪
♪ Singin' the blues I been talked about, yeah ♪
♪ Misconstrued I been loved and hated by a lot of you ♪
♪ But I don't ever stop ♪
I was born and raised in Mount Pleasant, Iowa
and I moved to the Twin Cities in 1995.
School was a little difficult for me,
like 1st through 4th and 5th grade.
I was really behind in reading and math,
and I think it really affected my confidence.
And so art helped me realize
that not everybody could do what I could do either.
I'm really grateful to have art in my life in that way
because I just think without it, I don't know,
I don't know who I would be.
[bass, drums, & keyboard play a hip hop beat]
♪ ♪
When I was like, a young teenager,
we finally got MTV, and then "Yo! MTV Raps" was
where I got like, all of my inspirations.
Like, I wrote poetry when I was a kid, but I never thought about
like, performing it or presenting it onstage.
♪ Teachers in the place and the tykes are all hyper ♪
♪ Talkin' swappin' about who's the master of the mic ♪
♪ She picks a victor says it's her and she rips it while they fight ♪
♪ She'll mumble as she bumbles somethin' into the mic ♪
I was a freshman, 14 or 15,
and I heard this mixtape and it had the Beastie Boys,
Run-DMC, and J.J. Fad on it,
and I was like, what?
Like, it was, like I just got-- it inspired me a lot
and so I wrote my first song, which really I probably
jacked a lotta lyrics from all those groups at the time.
But it wasn't until I was like, in my 20s in college
when I decided, oh, this is what I want to do.
♪ Teachers in disgrace my image defaced ♪
♪ Stolen fingerprints I tried to retrace ♪
♪ Incisions in my skin trace them back to my grace ♪
♪ Bloodlines covered but never erased ♪
I think that female emcees bring a balance to the world
that doesn't exist if women don't have a voice.
[bass, drums, & keyboard play a syncopated hip hop beat]
In 2005, B-Girl Be was born and was a festival
celebrating women's contribution to hip hop culture.
And it was the first of its kind in the world from what I know.
We did it for 5 years; we created this really great space
where we could kind of nurture ourselves and each other.
When I realized we were done, I was like, okay we're done
and I'm like, what do we do next, you know?
Whether we do it together or we do it separately, what do we do?
And so there was an excitement about that to me.
It continues on in so many different ways in my life
in the work that I do as an individual.
♪ ♪
Whoever has the bag starts off, and you say a word that you know
has a lot of rhymes to it, and you pass the bag to someone.
So if I say bite, and I throw it...
We're at Intermedia Arts for the Hip Hop Institute.
I'm one of the coleaders of that
and I lead the lyricism side of things.
A rhyme is when the end of the word sounds the same.
Assonance is when the vowel sound in the word sounds the same.
The kids get exposed to all of the base elements of hip hop--
DJing, break dancing, beatboxing, production,
visual art, and obviously then the emceeing side.
I get so much out of teaching; it feeds me creatively.
I used to be really drained by it
and really critical of myself.
When I would make a mistake or things didn't go the way
that they should, and now I just see it as a challenge,
and it's like, if it didn't go the way that I wanted it to go,
I'm like, oh, well, tomorrow [laughs]
we're gonna make it happen.
"One step forward, 2 steps back,
one foot in the present, 2 feet in the past..."
(Desdamona) So what does that mean?
Really, it talks about, you know,
I'm taking baby steps to getting to where I want to be.
Where do you want to be?
(Desdamona) I never see myself as just, I'm the leader and you follow me.
I always see myself as a student when I walk in the door
because I know that they know things I don't know,
and I know they can teach me things.
Our first category that we're gonna actually work with
is nursery rhymes, and so I want to hear from everybody
like some ideas or some of the nursery rhymes
that you know of from your childhood. Yeah.
(male student) "Humpty Dumpty." (Desdamona) "Humpty Dumpty," good one.
I walk the kids through a process of brainstorming ideas
around what nursery rhymes they know,
what playground games and songs they're familiar with
and then we think of things that are
problems and issues in the community.
(female student) Women not having the same equal rights as men.
And it's usually a way to get young writers
and beginning writers to not be afraid
to get something on the page.
I would love for you to read, if you want to,
you can read your whole piece or part of it.
Mine, I made about bullying.
So, "Twinkle, twinkle little star
"Shine no more for who you are
"Long ago you shone so brightly
"You never thought to fight so slightly."
(Desdamona) The exercise I'm doing is related to my new album,
"No Man's Land," where I have a series of nursery rhymes
that I wrote for modern times
that are not recorded on the album
but are on an insert.
I worked with an illustrator, Angel Hawari,
who does amazing work.
I'd give her the nursery rhymes
and she would do illustrations for them.
So there's a series of 6 nursery rhymes, and they fold out
to a big poster, and I think when you collaborate, it always
pushes you a little bit outside of your comfort zone.
So collaborating on "No Man's Land,"
I wanted to showcase female voices.
♪ We all know how the story goes ♪
♪ When you do wrong it comes back tenfold ♪
(Desdamona) The role of the emcee
is to inform people
or to get people thinking or asking questions,
so there's like a leadership quality about being an emcee.
But I also think to be a good leader you have to be
able to back away and create that space for other people too.
♪ No sense of self those who feel for someone else ♪
♪ No sense of self those who feel for someone else ♪
[cheers & applause]
[laughing]
(woman) This program is made possible by
The State's Arts and Cultural Heritage Fund
and the citizens of Minnesota.
[synthesizer fanfare]
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