[CAPTIONING MADE POSSIBLE BY
CRAFT IN AMERICA, INC.] >> CRAFT MATTERS BECAUSE WE'RE
IDENTIFYING EACH OTHER AS THE KIND OF PEOPLE WHO MAKE THINGS
AND DO THINGS. >> THEY SPEND A LOT OF TIME
PUTTING THESE GINGERBREAD HOUSES TOGETHER. WHERE THEY GET SOME OF
THEIR IDEAS--IT'S AMAZING. >> WHAT I'M DOING IS IN THE SAME
TRADITION THAT HAS BEEN GOING ON IN SCANDINAVIA A LONG, LONG
TIME. PEOPLE CARVED WHAT THEY KNEW. >> ORIGINALLY WE'RE FROM MEXICO. WE CARRY THAT LATIN CONNECTION
IN OUR BRIGHT CHRISTMAS ORNAMENTS. >> I STARTED MAKING HANUKKAH MENORAHS, AND IT WAS LIKE, "WOW. I LOVE THIS." >> ♪ 'TIS THE GIFT TO BE SIMPLE
'TIS THE GIFT TO BE FREE 'TIS THE GIFT TO COME DOWN
WHERE WE OUGHT TO BE AND WHEN WE FIND OURSELVES
IN THE PLACE JUST RIGHT 'TWILL BE IN THE VALLEY OF LOVE
AND DELIGHT ♪ >> MAJOR FUNDING FOR "CRAFT IN
AMERICA" WAS PROVIDED BY... CYNTHIA LOVELACE SEARS & FRANK
BUXTON... LILLIAN PIERSON LOVELACE... L.L. BROWNRIGG... STOLAROFF FOUNDATION... THE SHERI AND LES BILLER FAMILY
FOUNDATION... THE SETH SPRAGUE EDUCATIONAL AND
CHARITABLE FOUNDATION. ADDITIONAL SUPPORT WAS PROVIDED
BY THE FOLLOWING... ["JOY TO THE WORLD" PLAYING] >> THE JOHN C. CAMPBELL FOLK
SCHOOL IS IN THE WESTERN END OF NORTH CAROLINA, AND WE'VE BEEN
HERE SINCE 1925, MAKING THINGS. WE TEACH POTTERY, FIBER ARTS,
ALL KINDS OF IRONWORK. WE ALSO TEACH COOKING, ONE OF MY
FAVORITE CRAFTS. >> THAT'S VERY NICE, PAULA. >> IT'S NOT COLLEGE. IT'S NOT ART SCHOOL. IT'S MOUNTAIN LIFE,
AND IN THE OLD TIME MOUNTAIN LIFE, THE MUSIC, THE DANCING,
AND THE MAKING OF THINGS, IT WAS ALL TOGETHER. [PLAYING "JOY TO THE WORLD"] >> OLIVE DAME CAMPBELL WAS FROM
NEW ENGLAND, AND SHE CAME TO THE SOUTH TRYING TO FIND AN
ALTERNATIVE EDUCATION THAT WOULD HELP PEOPLE LEARN THINGS THAT
THEY COULD USE STAYING HERE ON THE FARM. SHE CAME BY ONE DAY TO
THE COUNTRY STORE, AND THERE WAS A BUNCH OF LOAFERS SITTING
THERE, AND SHE SAID, "WHAT ARE YOU CARVING?" THEY SAID,
"SHAVINGS." AND SHE SAID, "WELL, CAN
YOU MAKE SOME OTHER THINGS?" THEY SAID, "YEAH, WE PROBABLY
COULD." AND SO SHE WOULD WORK WITH THEM, AND THEY WOULD
DEVELOP CARVINGS OF ANIMALS THAT THEY KNEW WELL, AND THE FOLK
SCHOOL WOULD HELP TO SELL THEM. IN THE DEPRESSION, THIS WAS A
MAJOR OPPORTUNITY. PEOPLE COULD MAKE A LITTLE CASH BY CARVING
DUCKS AND GEESE AND HORSES AND THINGS LIKE THAT. WE FEEL LIKE WE'RE STANDING ON
THE SHOULDERS OF GIANTS WHEN WE SIT HERE AND CARVE FIGURES IN
THE SAME ROOM WHERE THE MEN AND WOMEN OF THIS COMMUNITY DID
MANY, MANY DECADES AGO. SO YOU CAN CONTROL HOW MUCH YOU
WANT HIM TO SMILE. THE STRAIGHTNESS OF THE MOUTH HAS TO
CHANGE. I'VE TAUGHT HERE AT THE JOHN C.
CAMPBELL SCHOOL GOING BACK 20 YEARS OR SO. >> HOW DO YOU HANDLE THAT WITH YOUR KNIFE? >> OK... THERE'S A GROUP OF ENTHUSIASTIC
STUDENTS. AND I TYPICALLY CARVE DOWN
HERE... AND SURE ENOUGH, WE HAVE A VERY
GOOD WEEK. >> WHY IS HARLEY REFSAL
IMPORTANT? WELL, IN ORDER TO REALLY LEARN CRAFT, YOU HAVE TO
LEARN FROM A MASTER, I THINK, AND HE BRINGS THOUSANDS OF YEARS
OF SCANDINAVIAN TRADITION AND HERITAGE TO FLAT-PLANE CARVING. >> I TYPICALLY LIKE TO SKETCH A FEW LINES ON THERE FIRST SO I
KNOW WHERE IT IS I'M HEADING. I THINK I'LL PUT HIS HANDS IN HIS
POCKET. I GREW UP IN WESTERN MINNESOTA
IN A LITTLE TOWN CALLED HOFFMAN. PUT HIS NOSE ABOUT THERE. [CHURCH BELLS RINGING] HOFFMAN HAD LOTS OF DESCENDANTS
OF IMMIGRANTS FROM NORWAY AND SWEDEN. SO THE WHOLE NOTION OF
DOING THINGS WITH ONE'S HANDS--EVERYONE KIND OF DID
THAT. NOW, THIS STYLE OF SCANDINAVIAN
FLAT-PLANE CARVING STEMS FROM THE FACT THAT THESE FLAT FACETS
WERE THERE, AND THE REASON WAS THAT ONE WAS TYPICALLY CARVING
JUST WITH A SINGLE KNIFE RATHER THAN A WHOLE ARSENAL OF TOOLS. WHAT I'M DOING IS RIGHT IN THE SAME TRADITION THAT HAS BEEN
GOING ON IN SCANDINAVIA A LONG, LONG TIME. PEOPLE CARVED WHAT
THEY KNEW. I ENJOY CARVING FARMERS AND
FISHERMEN AND FOLKS THAT I JUST SAW IN EVERYDAY LIFE WHEN I WAS
GROWING UP AND THAT I SEE AROUND ME TODAY. BUT I ALSO ENJOY, VERY MUCH, CARVING FIGURES THAT ARE TIED IN
WITH HOLIDAYS. PEOPLE WHO LIVE IN THE FAR NORTH
HAVE BEEN CELEBRATING THE MIDWINTER HOLIDAY, THE SOLSTICE
HOLIDAY, FOR TIME IMMEMORIAL. PEOPLE REALIZED THAT THE DAYS
WERE GETTING SHORTER AND SHORTER. IT WAS A TIME TO CREATE
LIGHT AND WARMTH INSIDE THE HOUSE BECAUSE THERE WASN'T THAT
OUTSIDE THE HOUSE. AND MANY OF
THE SAME IMAGES THAT WERE PART AND PARCEL OF THE PRE-CHRISTIAN
NORSE MYTHOLOGY WOUND UP AS PART OF CHRISTIANITY AS WELL. I'M STARTING TO GET THE HEAD GOING NOW. THEN I THINK I'LL
GIVE HIM WOODEN CLOGS. THEY GO BACK A LONG WAY. ONE OF THE CHARACTERS THAT HEARKENS BACK TO PRE-CHRISTIAN
TIMES IS A FIGURE THAT IS REFERRED TO AS THE NISSE IN
NORWAY, THE TOMTE IN SWEDEN. THEY'RE THE PEOPLE WHO ARE THE
NORDIC VERSIONS OF SANTA CLAUS, OR THE BRINGER OF GIFTS. I DON'T KNOW WHAT KIND OF A CAP HE WOULD WEAR--PROBABLY SOME
FABRIC OF SOME KIND. THE PREDECESSOR OF THE TOMTE
BACK IN PRE-CHRISTIAN TIMES WAS OFTEN REFERRED TO AS THE
HAUGBUI. GET SOME EYES IN HERE SO HE CAN
LOOK BACK AT US. THERE WAS A STRONG BELIEF THAT
THERE WAS A LITTLE CREATURE THAT LIVED OUT IN THE PRIVATE
CEMETERY ON THE FARM, AND THAT HAUGBUI, OR THE DWELLER OF
THE MOUND, EMBODIED THE SPIRIT OF THE FARM. AND THIS IS SORT OF MY RENDITION OF A TOMTE OR NISSE WITH
ATTITUDE--ONE THAT YOU DIDN'T LOOK AT AND SAY, "WOW. THAT'S
REALLY CUTE." I MEAN, HOW FRIENDLY AND COZY HE LOOKS. >> [LAUGHTER] [FOLK MUSIC PLAYING] >> THERE'S A SIMPLICITY TO
SCANDINAVIAN FLAT-PLANE CARVING. IT LOOKS SO EASY, AND IT'S SO
DECEPTIVELY HARD. SO NOW I'M IN MY FOURTH YEAR OF TRYING. BUT I
GREW UP IN AN ERA WHERE MY FAMILY WAS AN ASPIRING FAMILY,
AND THE WORST THING THAT COULD HAVE HAPPENED TO US WAS TO FALL
INTO THE POVERTY OF THE HAND-MADE. TODAY SOMETHING THAT
IS HAND-MADE IS ONE OF THE TREASURES YOU COULD HAVE IN YOUR
LIFE. >> CRAFT MATTERS BECAUSE PEOPLE
HAVE THIS NEED TO TELL OTHER PEOPLE WHO THEY ARE AND WHAT
THEY ARE LIKE. IT'S KIND OF LIKE A DUCK SAYS "QUACK," ANOTHER
DUCK SAYS "QUACK." WE'RE IDENTIFYING EACH OTHER AS THE
KIND OF PEOPLE WHO MAKE THINGS AND DO THINGS. >> OK, YOU HOLD THE CART, AND
I'LL PICK IT UP, OK? >> HOPEFULLY IT'LL MAKE IT. HMM. >> YOU GOT IT? >> MM-HMM. >> OK. >> ALL RIGHT, READY? FEEL THOSE? >> GROVE PARK INN IS HOME TO THE
NATIONAL GINGERBREAD HOUSE COMPETITION. WHAT BEGAN 20 YEARS
AGO AS A SMALL REGIONAL EXHIBITION HAS NOW BECOME
NATIONALLY KNOWN, AND PEOPLE COME FROM FAR AND WIDE TO SEE
THESE INCREDIBLE MAGICAL CREATIONS. >> AND THEN LOOK IN RIGHT HERE FOR ME.
AND THEN LOOK IN RIGHT HERE. >> THEY SPEND A LOT OF TIME
PUTTING THESE GINGERBREAD HOUSES TOGETHER, AND, YOU KNOW, THEY'RE
WORKS OF ART. THEY REALLY, REALLY ARE.
AND THEIR CREATIVITY--WHERE THEY GET SOME OF THEIR IDEAS--IT'S
AMAZING. >> MY MOTHER-IN-LAW IS CHINESE. WE'RE VERY, VERY CLOSE, AND I JUST WANTED TO MAKE A REPLICA OF
WHAT IT WOULD LOOK LIKE IN THE VILLAGE WHERE SHE GREW UP, WHERE
SHE WAS BORN, TO SHRINK IT DOWN AND JUST PAY RESPECT TO HER, YOU
KNOW? >> I GOT THE IDEA FOR THIS
BECAUSE FOR EVERY YEAR, MY FAMILY AND I WOULD WATCH
"MUPPETS CHRISTMAS CAROL," AND SO I JUST DREW THE INSPIRATION
FROM THAT. IT'S KIND OF LIKE AN HOMAGE TO MY CHILDHOOD. >> WANT ME TO TAKE THIS FROM THE
INSIDE? >> YES. >> IT'S VERY NICE. >> THERE'S A LOT OF WORK HERE. >> YES, YES. I LIKE THE SHAPE OF IT. AESTHETICALLY, I LIKE THE
DESIGN OF THE PIECE. >> MM-HMM. >> YOU KNOW, AND YOU CAN SEE THE BRICKS ARE ALL
DIFFERENT INTEGRATED COLORS, SO THAT'S ALWAYS GOOD. >> AND THERE'S A LITTLE CAKE IN HERE, TOO. >> YES. >> I'M IMPRESSED WITH THIS ONE. I MEAN, IT LOOKS REAL. I MEAN, LOOK AT
THE DETAIL OF THE RING, THE COINS. >> YEAH. WELL, THE HANDS ON THIS GUY ARE A LITTLE SMALL FOR ME. IT'S A MINOR, MINOR IMPERFECTION. AT THIS LEVEL I HAVE NEVER ACTUALLY SEEN 3 WISE MEN DONE IN
GINGERBREAD, EITHER. >> UH-HUH. >> THIS IS THE FIRST ONE. >> GINGERBREAD IS A TRADITIONAL
HOLIDAY DECORATING TECHNIQUE. IT STARTED OUT WITH HOUSES, BUT NOW
IT'S BECOME ALL KINDS OF SCULPTURES AND THINGS. BUT THEY
TRADITIONALLY ARE A HOLIDAY THEME. >> THE IDEA OF DOING A CHRISTMAS
TREE OUT OF GINGERBREAD REALLY APPEALED TO ME. SO THEN I HAD TO
FIGURE OUT THE ENGINEERING OF IT. THERE ARE ABOUT 150
GINGERBREAD COOKIES. I USED A RUBBER STAMP TO GET THE TEXTURE
ON THE TOP AND THEN PAINTED THEM WITH AN EDIBLE PAINT, AND THEN I
BEGAN TRYING TO STACK IT SO IT WOULD LOOK LIKE A REAL TREE. >> WE'VE HAD GINGERBREAD HOUSES
THAT LOOK LIKE ART WORKS. WE'VE HAD GINGERBREAD HOUSES THAT LOOK
LIKE FAMOUS BUILDINGS. EVERY YEAR, WE'RE SURPRISED BY WHAT
PEOPLE ENTER INTO THE CONTEST. >> I LIKE THE OLD-FASHIONED
BUTTONS. >> YEAH. YEAH. AND THIS, I
THINK, IS GREAT. EACH PAGE IN THE BOOK IS THERE. >> UH-HUH. >> WE HAVE A LOT OF RULES. EVERYTHING HAS TO BE EDIBLE--EVERY SINGLE THING--AND
IT HAS TO BE 75% GINGERBREAD. >> FOR THE LAST 8 MONTHS, I'VE
BEEN STUDYING SUGAR. I MADE THE JARS BY BUILDING A MOLD OUT OF
SILICONE, AND I COOKED SUGAR AND POURED THE SUGAR INTO THOSE
MOLDS. THE LACE--IT'S FROSTING THAT'S REALLY FLEXIBLE. THIS IS
POTATO STARCH PAPER. I SCANNED IN THE IMAGES, AND I PRINTED
WITH FOOD COLORS IN A PRINTER. >> WHAT I THINK MAKES A REALLY
GOOD GINGERBREAD HOUSE IS NOT ONLY PERFECT TECHNIQUE BUT ALSO
SOMETHING THAT PULLS YOU IN AND TELLS A STORY. >> HERE YOU HAVE THIS CAT WHO IS SO SORT OF SCRUFFY--LOOK AT HIS
FUR. LOOK AT THE KIND OF CROOKED WHISKERS HE'S GOT. AND THEN HE'S
LOOKING AT HIMSELF IN THE MIRROR IN THE MIDDLE OF ALL THIS
BEAUTY--PINS AND BROOCHES AND BRACELETS. >> AND ALL THESE RUFFLES AND BOWS AND EDIBLE GLITTER ON HERE. >> BUT THIS IS ONE THAT THE MORE YOU LOOK AT, THE MORE YOU SEE. IT'S PERFECTION. IT'S WONDERFUL. I MEAN, THEY'RE ALL JUST
SENSATIONAL. >> CHILD CATEGORY, TOP 10
WINNERS. FROM BLACK MOUNTAIN, NORTH
CAROLINA, TOP 10 YOUTH DIVISION. [APPLAUSE]
FROM GAINESVILLE, GEORGIA. FROM GREENBACK, TENNESSEE. >> CONGRATULATIONS. >> WHAT ARE YOU GONNA SAY? >> SMILE FOR EVERYBODY. >> TOP 10 WINNER, ADULT
CATEGORY. >> TO SEE THE PASSION IN THOSE
GINGERBREAD HOUSES--IT'S AWE-INSPIRING. IT REALLY IS. >> LET'S GIVE A BIG ROUND OF APPLAUSE TO ALL OF OUR TOP-10
WINNERS IN THE ADULT CATEGORY. >> YOU CAN JUST IMAGINE THE
AMOUNT OF COMPETITION. BUT, HEY, I MAKE NO BETS ON THE
WINNERS. >> IT'S A SURPRISE TO US
SOMETIMES WHO THE WINNERS ARE. >> YEAH. >> AND NOW THE GRAND PRIZE WINNER OF THE 20th ANNUAL
NATIONAL GINGERBREAD HOUSE COMPETITION IS... ENTRY NUMBER A-111 FROM CARY, NORTH CAROLINA, ANN BAILEY. >> THANK YOU. >> EVERYBODY HERE IS DOING THIS
BECAUSE OF LOVE--LOVE FOR THE CRAFT, LOVE FOR THE PEOPLE, THE
PLEASURE THAT THIS BRINGS TO PEOPLE THAT THEY CARE ABOUT. GOD
KNOWS WE DON'T DO IT FOR THE MONEY. >> ART IS CRAFT, AND CRAFT IS
ART. THAT'S HOW I FEEL. IF YOU'RE DOING ANY KIND OF
CRAFT, YOU'RE AN ARTIST. BOTTOM LINE. [KLEZMER MUSIC PLAYING] I LIKE SO MANY DIFFERENT
MATERIALS, WORKING WITH DIFFERENT MEDIUMS, LIKE DRAWING
AND PAINTING, BUT CLAY JUST HAPPENS TO BE ONE OF MY
FAVORITES. HAND-BUILDING IS THE OLDEST WAY
OF WORKING WITH CLAY. JUST KIND OF LIKE HAVE THE MATERIAL IN
YOUR HAND AND THEN START EXPLORING WITH IT. RIGHT NOW I AM FOCUSING ON NOT
LETTING ANYTHING GET TOO THIN BECAUSE THEN IT CAN GET A HOLE
IN IT WHILE YOU'RE SMOOTHING OUT THE INSIDE, SO I'M JUST BEING
REALLY CAREFUL TO BE, LIKE, CONSISTENT ABOUT HOW I'M FORMING
IT. IT DOESN'T HAVE TO BE PERFECT. THAT'S NOT WHAT YOU
WANT AT ALL. DON'T WORRY ABOUT THE CRACKS ON THE BOTTOM,
BECAUSE THEY WILL BE ON THE BOTTOM. THIS PIECE IS GOING TO BE THE
BASE OF A BIRD MENORAH. A MENORAH
IS THE CANDELABRA THAT JEWISH PEOPLE PUT CANDLES IN AND LIGHT THEM AT HANUKKAH TIME. I STARTED MAKING MENORAHS 25
YEARS AGO, IF NOT LONGER, AND IT WAS LIKE, "WOW. I LOVE THIS,"
AND PEOPLE LIKED IT, TOO. IT JUST STARTED CATCHING ON. I JUST DO DIFFERENT KINDS OF
CHARACTERS AND ANIMALS, AND I THINK THAT'S JUST ABOUT ALL IT'S
ABOUT--FANTASY. AS YOU CAN SEE, I'M FORMING THE
HEAD. JUST GENTLY SQUEEZE IT A LITTLE BIT. THE THING ABOUT
CLAY--YOU CAN ALWAYS COME BACK IN AND DO MORE. LESS CAN BE MORE. NEXT WHAT I'M GONNA DO IS
SCRATCH AND SCORE IT, AND THAT WILL KEEP IT SECURED ON THERE SO
IT DOESN'T BREAK OFF. I'VE GOT MY SLIP, WHICH IS WATERED-DOWN
CLAY, BASICALLY. IT'S THE GLUE, AND IT HELPS GIVE IT A NICE,
SECURE AREA. NO SURPRISES. WELL, WE HOPE NOT. DOING CANDLE HOLES WITH THE
DOWEL. PRESS IT IN. AND THEN I'M GONNA ADD A LITTLE
EMBELLISHMENT ON IT. I'M GONNA MAKE A LITTLE SWIRL. I PINCH IT OUT A LITTLE BIT, ROLL IT UP JUST REALLY GENTLY. JUST ROLL. LOOKS LIKE A SNAIL SHELL. SCRATCH AND SCORE. IT'S
GOOD TO BE GENEROUS WITH THE SLIP, TOO. AND THEN... GIVE IT A LITTLE CLEANING UP. I'M GONNA PUT PLASTIC OVER IT
NOW AND MAKE SURE THAT IT'S COMPLETELY DRY BEFORE IT'S
FIRED. I FIRST SAW TOM THROWING ON THE
WHEEL AT UCLA. IT WAS MY LAST YEAR THERE, AND IT WAS HIS
FIRST. I WAS REALLY FASCINATED WITH HIS WORK. IT WAS JUST SO
REFINED AND BEAUTIFULLY DONE. AND I'M LIKE, "I WANT TO PAINT
ON ONE OF YOUR PIECES." >> AND AT FIRST I WAS, LIKE,
"YOU WANT TO WORK ON MY WORK? I LIKE TO EMBELLISH MY OWN WORK." >> AND I WAS LIKE, "OH. OOPS." I THOUGHT, "OH, I WON'T BOTHER HIM
ANYMORE," AND ONE DAY HE HAD THIS BEAUTIFUL TEAPOT, AND HE
CAME UP TO ME, AND HE WENT, "HERE. YOU CAN PAINT ON THIS." AND I WAS LIKE... "YAY!" >> I MADE SOME PIECES. SHE DREW ON THEM, I CARVED THEM, AND IT
WENT ON FROM THERE. >> LIKE THE WEDDING GOBLET. THE
CELADON AND THE CARVING JUST CAME OUT PERFECT, JUST LIKE THE
MARRIAGE. I'M WORKING WITH UNDERGLAZES
FOR THE COLORS. THEY'RE VERY SIMILAR TO WATERCOLOR. YOU
CAN PUT THEM ON THINLY, OR YOU CAN PUT THEM ON OPAQUE, ALSO. IF YOU MAKE A MISTAKE, YOU CAN ALWAYS TAKE YOUR SPONGE AND JUST
WIPE IT OFF AND START OVER. I'M DRAWING IN PENCIL. THE
PENCIL WILL NOT SHOW WHEN IT'S FIRED. IT WILL BURN OFF. ON THE BIRD, I'M PUTTING THE UNDERGLAZE ON THICKER. I WANT IT
TO BE MORE OF A SOLID COLOR. IT'S NOT GONNA BE WATERY AND
LOOSE. IT'S GOING TO BE LAYERS OF UNDERGLAZE. I START FEELING LIKE IT'S FINISHED WHEN ALL THE LITTLE
IMAGES ARE OUTLINED AND I DO CLOUDS AND STARS IN THE SKY, AND
THEN IT JUST SEEMS LIKE IT'S TIME. SO IT'S GLAZED AND FIRED IN THE
KILN. >> NICE. >> MMM. WOW. WHOA. THAT'S TOTALLY DIFFERENT. WHOA. I TELL PEOPLE THAT THESE MENORAHS CAN BE AN HEIRLOOM. IT'S FUNNY HOW WE VIEW FAMILY HEIRLOOMS. WE THINK OF SOMETHING
FROM YOUR GREAT-GREAT GRANDMOTHER. THINKING OF A PIECE
I MADE AS AN HEIRLOOM IS A LITTLE SPOOKY AND IT'S A LITTLE
DIFFERENT. A FISH MENORAH. BUT IT'S VERY HEARTWARMING. >> THE BIRD CAME OUT GOOD, HUH? >> YEAH. YOU FEEL LIKE YOU WANT TO LEAVE
A MARK. YEAH. SO I'M LEAVING PART OF WHO I AM, PART OF MY SOUL, HERE ON THE
EARTH. [CHATTER] MY MEMORY OF HANUKKAH IS
SPINNING THE DREIDEL AND LAUGHING AND... MY PARENTS BEING IN THAT MOMENT WITH MY TWO BROTHERS AND ME. >> HERE THEY ARE! FRESHLY MADE LATKES! >> MY MOM MAKING LATKES. >> HOME-MADE. >> ♪ HANUKKAH, HANUKKAH ♪
[SINGING IN HEBREW] >> IT WAS A REAL FAMILY TIME
TOGETHER WHERE EVERYBODY WAS JUST HAPPY. >> ♪ BARUCH ATAH ADONAI ELOHEINU MELACH HA'OLAM ♪
>> WE KINDLE THESE LIGHTS AND FEEL THE GRATITUDE OF BEING
TOGETHER AS A COMMUNITY, OF BEING TOGETHER AS A PEOPLE,
BEING ABLE TO LIGHT A MENORAH ON A NIGHT LIKE THIS. >> [HUMMING] >> BILTMORE WAS BUILT BY A MAN
NAMED GEORGE WASHINGTON VANDERBILT. THE VANDERBILT
FAMILY MADE THEIR MONEY IN RAILROADS AND IN SHIPPING, AND
GEORGE WAS THE YOUNGEST SON OF THIS FAMILY. AND SO HE FELL IN
LOVE WITH THIS AREA, MOVED TO ASHEVILLE, STARTED BUYING LAND,
AND THEN STARTED CONSTRUCTING HIS DREAM HOME. TOOK AROUND 6 TO 7 YEARS TO
CONSTRUCT. AND THE HOUSE WAS OPENED
OFFICIALLY IN 1895. GEORGE WAS A BACHELOR, WHICH IS SORT OF HARD
TO IMAGINE, GIVEN THE SIZE OF THE PLACE. IT'S ABOUT 250 ROOMS,
175,000 SQUARE FEET. A
FEW YEARS LATER, HE MET THE LOVE OF HIS LIFE, EDITH. THEY WERE MARRIED IN 1898, AND IN
1900, THEY HAD THEIR FIRST DAUGHTER. SO REALLY BILTMORE
BECAME A FAMILY HOME. TO PUT CHRISTMAS TOGETHER AT
BILTMORE, IT TAKES US A YEAR. JUST GO SLOW. NOW, WAIT A
MINUTE. LET ME ADJUST MY FINGER. WE'LL PUT OUR PLAN TOGETHER IN DECEMBER, AND BY JULY, WE'RE
MAKING THE PIECES THAT ARE GOING INTO THE VARIOUS ROOMS
THROUGHOUT THE HOUSE AND THE REST OF THE ESTATE. THERE ARE 68 CHRISTMAS TREES. EACH IS HAND-DECORATED WITH
CAREFULLY CHOSEN ORNAMENTS. ONE TREE IN THIS ROOM HAS 400
ORNAMENTS ON IT ALONE. [PIANO PLAYING]
EACH YEAR, WE DO HAVE A THEME FOR CHRISTMAS, ALTHOUGH WE STAY
WITHIN THE LOOK OF THE GILDED AGE AND WHAT MIGHT HAVE BEEN
HERE IN GEORGE VANDERBILT'S HOME AT THE TURN OF THE CENTURY. THIS YEAR THE THEME IS THE ART OF CHRISTMAS. IN THIS BREAKFAST ROOM ARE TWO BEAUTIFUL RENOIR PAINTINGS. ONE
IS "THE ALGERIAN GIRL," AND THE OTHER IS "BOY WITH AN ORANGE." SO THIS TREE HAS A VERY CITRUS FEEL TO IT. CHRISTMAS ISN'T
ALWAYS A RED AND GREEN CHRISTMAS. ALL OF THESE ORNAMENTS INTERPRET THE PAINTINGS. THESE ARE
HAND-BLOWN ORANGES. THIS LOVELY LITTLE LEMON SLICE, AND THEN THE
CITRUS TONES OF THESE DROPS. THIS PIECE ON THE TABLE IS EASY
TO PUT TOGETHER ON YOUR OWN. IT IS A STYROFOAM CONE IN THE
CENTER, CITRUS FAUX FRUIT WRAPPED IN A PRETTY, GREEN
RIBBON, AND THEN BERRIES TUCKED IN. YOU CAN SCALE IT TO YOUR
TABLE. THIS IS A PRETTY LARGE TABLE IN THE BREAKFAST ROOM OF
BILTMORE HOUSE. WE'RE IN THE MORNING SALON. IT'S A ROOM WHERE
THE LADIES MIGHT COME AFTER BREAKFAST AND JUST RELAX, BUT
ONE OF MY FAVORITE PAINTINGS IN THE HOUSE IS THIS BEAUTIFUL
PAINTING CALLED "THE WALTZ," BY ANDERS ZORN, AND THAT WAS THE
INSPIRATION FOR OUR DECORATIONS IN THIS ROOM. SO WE HAVE BROUGHT
THE SWOOP OF THE LADY'S DRESS INTO THE FABRIC THAT IS DRAPED
ON THE TREE, SO WE HAVE THESE GRACEFUL SWIRLS THAT CONVEY THAT
SENSE OF DANCE. IT'S A FAMILY TREE. CHILDREN CAME TO THE
PARTIES IN THE EVENING, AND THEN THEY WOULD BE SHUFFLED OFF TO
BED, AND THEN THE DANCING, THE WALTZ, WOULD BEGIN. WE'RE IN GEORGE VANDERBILT'S
LIBRARY. THIS WAS HIS FAVORITE ROOM. HE WAS VERY SCHOLARLY,
LOVED TO READ, AND INSIDE THE LIBRARY ALONE THERE ARE 20,000
BOOKS. THE RICH TEXTURE OF THE ORNAMENTS, I THINK, IS REALLY
WHAT CREATES THIS TREE. THE TREE DECORATIONS ARE INSPIRED BY THE
COLORS OF THE BOOK BINDINGS--THE RICH GOLDS AND BURGUNDIES AND
BLUES IN THIS ROOM. THE LIBRARY WAS PROBABLY A
LITTLE BIT OF AN ESCAPE DURING THE FESTIVITIES OF THE HOLIDAYS. I HAVE THIS VISION OF GEORGE VANDERBILT AND HIS DOG CEDRIC
SNUGGLED UP BY THE FIRE WITH A GOOD BOOK. THIS ROOM IS THE GRAND BANQUET
HALL, AND THIS IS WHERE GEORGE VANDERBILT CELEBRATED CHRISTMAS
WITH HIS FAMILY AND FRIENDS AND HIS STAFF THAT VERY FIRST
CHRISTMAS OF 1895. THE RICH RED OF THE DAMASK, THE GOLDS AND
SILVERS AND BLUES IN THE TAPESTRIES ALL ARE BROUGHT INTO
THE DECORATIONS OF THE ROOM. THE VANDERBILTS QUITE OFTEN WOULD
PRESIDE OVER THE FESTIVITIES IN THE BANQUET HALL FROM A SMALL
TABLE WHERE THEY WOULD CHITCHAT WITH THE FAMILIES AS THEY CAME
UP AND TALKED WITH THEM. WE ALSO DO HAVE MENU BOOKS FROM
THE 1890s THAT TALK ABOUT WHAT WAS SERVED FOR DINNER, AND
WE SEE LITTLE SCRATCHED-OUT PLACES WHERE GEORGE OR EDITH
VANDERBILT WOULD MAKE THEIR COMMENTS. THE TOWERING TREE WAS HERE IN
1895 DECORATED JUST AS IT IS TODAY WITH ELECTRIC LIGHTS. A
LOT OF PEOPLE HAD NEVER EVEN SEEN ELECTRIC LIGHTS ON A
CHRISTMAS TREE. I CAN IMAGINE THE STAFF COMING
IN AND THE CHILDREN BEING GIVEN GIFTS BY GEORGE AND EDITH
VANDERBILT. THE TRADITION CARRIES ON, AND
THAT IS THE ROOT OF OUR CHRISTMAS CELEBRATION HERE AT
BILTMORE. >> [SINGING IN SPANISH] >> IN SAN ANTONIO DURING THE
HOLIDAYS, THE MEXICAN AMERICAN COMMUNITY CELEBRATES LA POSADAS. >> [SINGING IN SPANISH] >> I REMEMBER WE WOULD GET TO
PLAY, AS CHILDREN, MARY OR JOSEPH OR THE ANGELS, AND WE
LEARNED TO SING THOSE SONGS AS PART OF GROWING UP. >> [SINGING IN SPANISH] >> YOU CELEBRATED THE POSADA FOR
9 DAYS, AND THEN THE FINAL DAY, YOU WOULD ACTUALLY GO TO THE
CHURCH. [MARIACHI MUSIC PLAYING] >> [SPEAKING SPANISH]
>> [SINGING IN SPANISH] >> 500 YEARS AGO, BEFORE
EUROPEANS CAME, WE AS INDIGENOUS PEOPLE CELEBRATED THE SUN GOD. WHAT AN IMPORTANT GOD THAT IS, YOU KNOW, WHO GIVES US LIFE. THERE WERE 9 DAYS OF FESTIVITIES. AND THIS JUST
HAPPENED TO BE DURING THE MIDDLE OF DECEMBER. BUT WHEN THE SPANISH CONQUERORS COME IN, THEY WANT TO RID THE
INDIGENOUS COMMUNITIES OF THOSE CELEBRATIONS. AND SO THE SUN GOD GETS REPLACED BY JESUS AND OUR CELEBRATION OF
NAVIDAD. >> ♪ SLEEP IN HEAVENLY PEACE ♪
[TRUMPET PLAYING] >> NAVIDAD IN SAN ANTONIO IS
FULL OF PARTIES, FULL OF FAMILY GATHERINGS, FULL OF COLOR. THE
WEATHER IS ALWAYS BEAUTIFUL HERE. IN FACT, WE WOULD LOVE FOR
IT TO BE A LITTLE COLDER. GARCIA ART GLASS IS VERY MUCH A
FAMILY AFFAIR. WE HAVE 3 WOMEN THAT RUN THE BUSINESS. IT'S MY
MOTHER, WHOSE NAME IS DORA; IT'S MYSELF, AND ALSO MY SISTER GINI. GINI IS REALLY THE ONE WHO STARTED THE COMPANY. >> WE COMPLEMENT EACH OTHER. GINI DOES ALL THE DESIGNS. DORA
INTERPRETS HER DESIGNS IN GLASS, AND THEN I TAKE CARE OF THE
BUSINESS SIDE OF IT. >> WE HAVE A MASTER GLASSBLOWER
THAT WORKS WITH US. HIS NAME IS GERARDO MUNOZ. [SPEAKING SPANISH] >> FROM HIM WE'VE LEARNED SO
MUCH ABOUT THE GLASSBLOWING IN MEXICO, WHICH IS OUR ORIGINAL
HOME. >> AND I THINK WE CARRY THAT
LATIN CONNECTION IN OUR BRIGHT CHRISTMAS ORNAMENTS. WE MAKE ORNAMENTS WITH RECYCLED
GLASS, BROKEN SHARDS OF GLASS. WE PICK THEM UP ONTO THE HOT
GLASS AND MELT THEM IN. THE ITALIANS ARE KNOWN FOR THEIR
GLASSBLOWING TECHNIQUES, BUT IT'S BEEN AN ART IN MEXICO FOR A
VERY LONG TIME. GLASS IS THE MOST NOBLE OF
MEDIUMS TO WORK WITH. IT'S SO STRONG AND YET SO FRAGILE. >> WHEN WE WORK WITH IT, IT'S ALWAYS SURPRISING US. WE'RE
ALWAYS SORT OF CHASING IT. >> WE JUST NEVER QUITE KNOW ITS
REACTION WITH THE COLORS. >> WE HAVE YEARS OF EXPERIENCE,
AND SO WE KNOW WHERE WE'RE HEADING TO WITH A PIECE AND
WHERE WE WANT TO GO WITH IT, BUT THE GLASS SOMEHOW ALWAYS KEEPS
YOU GUESSING. >> OK. WE HAVE A VERY UNIQUE WAY TO
MAKE A CHRISTMAS ORNAMENT. WE LIKE TO THROW LITTLE STRINGERS
OF GLASS INTO THE PIPE TO FALL INTO THE SPHERE. PEOPLE ALWAYS WALK INTO OUR
GALLERY AND SAY, "OH, GOD. THIS IS JUST LIKE SAN ANTONIO." THE
BRIGHT COLORS, THE HISPANIC PRESENCE HERE. HOPEFULLY FUTURE GARCIA
GENERATIONS CAN CONTINUE IT GOING. >> I WAS DOING PAINTING,
PRINTMAKING, DRAWING BUT WHEN I MOVED TO SAN ANTONIO, THAT'S
WHEN I DISCOVERED PAPEL PICADO, WHICH MEANS, LITERALLY, PUNCHED
PAPER. I REALIZED THAT THIS IS AN INCREDIBLE CRAFT. SO PEOPLE
WERE NOT THINKING OF THIS AS AN ART FORM AT ALL, AND I WENT TO
MEXICO AND BEGAN TO RESEARCH IT. PAPEL PICADO PROBABLY STARTED
WITH THE MANILA GALLEONS COMING OVER FROM CHINA
AND BRINGING WHAT THEY STILL CALL PAPEL DE CHINA,
THE CHINESE PAPER. IT WAS VERY THIN, COLORED PAPER. SO THE LITTLE MEXICAN VILLAGES, RESOURCEFUL AS THEY WERE, THEY
FIGURED OUT HOW TO PUNCH THIS PAPER USING CHISELS TO MAKE IT
INTO PAPER LACE FOR THEIR ALTARS. AND AS I EXPLORE THIS MORE AND
MORE, I'M CHALLENGING MYSELF--HOW CLOSE CAN I COME TO
DUPLICATING ONE OF MY DRAWINGS AS A PAPER CUT? YOU CAN USE THIN
AND THICK LINES TO MAKE A SORT OF PERSPECTIVE. I CUT THE MOST DIFFICULT THING FIRST BECAUSE IF I'M GONNA MAKE
A MISTAKE, I WANT TO MAKE A MISTAKE ON THE DIFFICULT THING
BEFORE I MOVE ON TO THE EASY STUFF SO THAT IF I HAVE TO START
OVER AGAIN, I CAN STILL START OVER AGAIN. BUT THAT NEVER
HAPPENS. INSTEAD, IF I MAKE A MISTAKE, I FIGURE OUT A WAY TO
CHANGE IT, HOPEFULLY MAKE IT BETTER. THIS ONE IS GONNA BE
HUNG IN A MUSEUM. HERE'S THE DRAWING. FROM THE BEGINNING, WHEN I
STARTED WORKING ON PAPEL PICADO, RIGHT AWAY I THOUGHT,
"I'M DOING SOMETHING THAT MAKES PEOPLE HAPPY." IT'S AN EPHEMERAL
ART FORM, AND IT'S FUN, AND I'M ALMOST TOTALLY ABSORBED IN
COMMISSIONS HERE IN THIS GREAT CITY. >> WHEN YOU THINK OF CHRISTMAS
IN SAN ANTONIO, YOU DEFINITELY THINK OF TAMALES. I HAVE
MEMORIES THAT BEGIN WITH MY GRANDPARENTS MAKING TAMALES, AND
THEN THEY SHARED THAT KNOWLEDGE WITH MY PARENTS, WHO ARE NOW IN
THEIR MID-80s. >> WANT A LITTLE CHILI? >> THEY CONTINUE THIS TRADITION, AND THEY DO IT THE ORIGINAL WAY. >> I WENT TO TOWN WITH THE CHILI. I WANTED THE TAMALES TO
LOOK A LITTLE RED, NOT SICK-LOOKING LIKE SOMETIMES I
SEE PEOPLE MAKE TAMALES. >> TO MAKE TAMALES, YOU NEED TO
MAKE THE NIXTAMAL FROM THE MASA, THE CORN. >> TASTE. >> SOME PEOPLE MIGHT SAY IT'S
NOT HEALTHY FOOD. >> YEAH. IT'S GOOD. >> IS THAT ALL RIGHT? >> YEAH. >> YOU KNOW, THEY MIGHT USE LARD. I'M NOT SURE. WE'LL SOON
FIND OUT, I GUESS. >> WHAT I NEED IS A LITTLE MORE
LARD. >> OK. >> SHOULD BE ENOUGH. >> AREN'T YOU GLAD YOU'RE NOT ON
A DIET? >> GET OUT OF HERE. THERE'S NO
SUCH THING AS DIETETIC TAMALES. >> DON'T YOU WANT THE BROTH NOW? >> YOU'RE THE BOSS. >> YOU KNOW, THEY'RE NOT HARD TO
MAKE, EXCEPT IT TAKES TIME. >> AND THEN MY PARENTS PUT THE
NIXTAMAL ONTO THE CORN SHUCK. >> WOULD YOU CHECK THE MEAT,
PLEASE? >> THEN, YOU KNOW, SOMEBODY'S
HAVING TO MAKE THE MEAT, AND THAT TAKES A WHILE TO BOIL AND
COOK, THEN ADD ALL THE INGREDIENTS TO IT, AND THEN THEY
HAVE TO PUT THE MEAT INSIDE AND THEY HAVE TO WRAP THE TAMAL. IT'S A LONG PROCESS. >> I LOVE TO DO THIS. >> I KNOW. >> NOT EVERY DAY, BUT... >> [CHUCKLES] >> BUT IT'S A FAMILY AFFAIR, AND
THERE WERE 6 OF US IN OUR FAMILY, SO WE'D SHARE THE WORK. >> COME ON, ISABEL. YOU'RE SLOW. >> I KNOW. YOU'RE ALWAYS FASTER
THAN I AM. >> I REMEMBER THE FIRST TIME
THAT WE EVER MADE TAMALES. IT WAS IN CHICAGO, AND SHE FIXED UP
THE MEAT AND ALL THAT, AND THEN WHEN WE BIT INTO THAT TAMALE,
KIND OF LIKE BITING INTO SAND. >> BUT, YOU KNOW, SURPRISINGLY,
FRIENDS OF OURS THAT WE INVITED, THEY SAID, "THEY'RE SO GOOD. THEY'RE SO GOOD." SO THEY EITHER DIDN'T NOTICE, OR THEY WERE VERY
POLITE. [LAUGHS] >> OK. TAMALES. LAST ONE FOR
TODAY. I FEEL SAD THAT THE YOUNGER
GENERATION IS NOT DOING THIS. INSTEAD THEY GO TO THE STORE AND
BUY THEM. BUT REALLY, HOMEMADE TAMALES--THERE'S NOTHING LIKE
REAL HOME-MADE TAMALES. I ALWAYS HAVE TROUBLE GETTING
THIS--AH, NOW WE GOT YOU. >> WE DON'T GO CHRISTMAS
SHOPPING FOR EACH OTHER. WE DON'T GIVE EACH OTHER GIFTS. THIS IS OUR TOGETHERNESS FOR CHRISTMAS, YOU KNOW. I'M GONNA SHOW YOU WHAT
LUMINARIA IS. HERE I HAVE A COUPLE OF THEM THAT I'VE MADE. THIS IS A MEXICAN TRADITION. IT'S INEXPENSIVE DECORATIONS
THAT YOU CAN DO AT HOME OUT OF JUST LITTLE WHITE PASTRY BAGS. I'M GOING TO DO 5 OF THEM HERE, AND MY PATTERN HAS TO BE
ATTACHED TO THE 5 LAYERS. SO THIS WILL DO IT. SO I'M GOING TO
START WITH THE EASIEST THING, WHICH IS A HOLE PUNCH, AND I'M
JUST GONNA GO AROUND THE PERIPHERY OF MY SNOWFLAKE. NOW, THE NEXT THING I'M GONNA DO
IS I'M GONNA ADD THESE LITTLE TRIANGLES, AND I'M GONNA GO ALL
AROUND IN ONE DIRECTION, AND THEN I GO THE OTHER DIRECTION. NOW I'M PICKING UP ANOTHER
CHISEL FOR THE BOTTOM OF THE TRIANGLES. SO WE'VE GOT OUR HOLES IN PLACE AND OUR TRIANGLES IN PLACE. YOU CAN DO LUMINARIAS ALL YEAR ROUND, BUT PEOPLE BEGIN TO THINK
ABOUT THEM MORE AT CHRISTMASTIME. NOW A HOLE IN THE
CENTER... AND THE NEXT THING IS GONNA BE
THE SCALLOPED EDGE ON TOP. NOW WE HAVE THE RESULTS. WE'RE
GONNA TAKE OFF THE PATTERN, AND WE'RE GONNA OPEN
THEM UP, AND YOU'LL SEE... AND THEN YOU PUT YOUR SAND AND
YOUR TEA CANDLE IN IT, AND YOU'RE READY FOR YOUR
CELEBRATION. THERE. S >> OK. >> OK. >> VERONICA CASTILLO IS THE
MASTER CRAFTS PERSON FROM PUEBLA. SHE AND HER FAMILY HAVE
BUILT MANY TREES OF LIFE THAT ARE FOCUSED ON NAVIDAD. [SPEAKING SPANISH] >> THE ORIGINS OF THE TREE OF
LIFE BEGINS IN MEXICO. WHEN A FAMILY IDENTIFIED THAT THEY WERE
GONNA MARRY TWO DIFFERENT CHILDREN TO EACH OTHER, THE
FAMILIES WOULD GIVE A BRANCH TO THEIR RESPECTIVE FUTURE
FAMILIES. [SPEAKING SPANISH]
>> THEY HELD ON TO THAT BRANCH FOR 10 YEARS. AND ON THE 10th
YEAR, THEY WOULD TAKE THOSE BRANCHES AND BURN THEM. [SPEAKING SPANISH] >> AND THEN INSTEAD OF THE
BRANCH, WHAT THEY SHARED WITH EACH OTHER WAS A TREE OF LIFE IN
CLAY. [SPEAKING SPANISH] >> WHEN THE SPANISH CONQUERORS
COME IN, BRINGING IN THEIR CATHOLIC RELIGION, THE TREE OF
LIFE CHANGES. THE REGULAR HUSBAND/WIFE BECOMES ADAM AND
EVE. NOW IT'S ABOUT GOOD AND EVIL,
AND SO INSTEAD OF VINES GOING UP, IT SUDDENLY IS LIKE A SNAKE,
THE EVIL COMING IN. TODAY PEOPLE ARE STARTING TO
REMEMBER WHAT THEIR TRADITIONS WERE IN THE PAST. [SPEAKING SPANISH] >> AND THE CASTILLO FAMILY ARE
NOW COMING BACK TO WHAT THEIR GREAT-GREAT-GREAT-GRANDPARENTS
DID BEFORE THE CONQUEST. >> [SPEAKS SPANISH] PERFECT. [SPEAKING SPANISH] >> SO WE HAVE THIS PIECE CALLED
OFRENDA TO HONOR THE PEOPLE THAT DIED, AND SO THIS OFRENDA IS TO
HONOR MY FATHER AND HIS LIFE. [SPEAKING SPANISH]
>> VERONICA CASTILLO HAS BEEN TEACHING THE SKILL OF MAKING
THESE WORKS IN CLAY TO THE MEXICAN AMERICAN WOMEN OF SAN
ANTONIO FOR 17 YEARS. SHE HAS KEPT UP THE TRADITION OF
HER FAMILY, BUT SHE'S ALSO GONE BEYOND WHAT ANYBODY IN HER
FAMILY HAS DONE, AND WE HAVE BEEN HONORED TO HAVE HER. [SPEAKING SPANISH] >> GRACIAS. [SPEAKING SPANISH] >> NOW, THAT'S A HOT TAMALE. >> [CHUCKLES] COME ON, EVERYBODY. TAMALES ARE READY. >> THANK YOU. >> GRACIAS. >> MMM. [LAUGHTER] >> ♪ JOY TO THE WORLD ♪ >> MAJOR FUNDING FOR "CRAFT IN
AMERICA" WAS PROVIDED BY... CYNTHIA LOVELACE SEARS & FRANK
BUXTON... LILLIAN PIERSON LOVELACE... L.L. BROWNRIGG... STOLAROFF FOUNDATION... THE SHERI AND LES BILLER FAMILY
FOUNDATION... THE SETH SPRAGUE EDUCATIONAL AND
CHARITABLE FOUNDATION. ADDITIONAL SUPPORT WAS PROVIDED
BY THE FOLLOWING... >> ♪ SING JOY... ♪ ♪ JOY
JOY JOY
TO THE WORLD ♪ JOY TO THE WORLD ♪
>> ANY TRADITION IS IMPORTANT TO CARRY ON. >> MY DADDY HAD BROTHERS THAT WERE OLDER THAN HE WAS, AND
THAT'S THE WAY HE LEARNED TO MAKE POTTERY, WORKING WITH HIS
BROTHERS. >> CLAY, GLASS, WOOD, METAL,
FIBER. HUMAN HANDS TRANSFORM HUMBLE
MATERIALS INTO WORKS OF FUNCTION AND BEAUTY. >> MAKING AND EXPERIENCING BEAUTY IS REALLY A BASIC HUMAN
NEED. >> I HAVE A COMMITMENT TO CARRY
ON THIS TRADITION. I HAVE A REAL STRONG FEELING ABOUT DOING THIS. >> TO WORK WITH ONE'S HANDS AND CRAFT SOMETHING THAT GENERATIONS
WILL SEE IS PROBABLY ONE OF THE GREATEST GIFTS THAT ANYONE CAN
GIVE. >> DISCOVER WHAT DRIVES ARTISTS
TO CREATE, ON "CRAFT IN AMERICA." [CAPTIONING MADE POSSIBLE BY CRAFT IN AMERICA, INC.]
