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OUR HILLS AND VALLEYS SHAPED OUR DESTINY When you're driving south from Indianapolis on State Road 37, the land is flat and the trees are few. Then you get to Martinsville, and everything changes. Rolling hills covered in hardwood forests stretch all the way to the Ohio River, giving the region the scenic beauty that shows up on calendars and postcards. These hills are here because the last glacier to come through Indiana, about 20,000 years ago, stopped at Martinsville. A sheet of ice more than 1,000 feet thick scraped across the northern part of the state, flattening the land in its path. But the glacier didn't touch Southern Indiana, leaving us with the same forests, hills, caves, swamps, springs and waterfalls found in Kentucky. That last glacier not only shaped the geography of our state, but also our cultural history, says Walter Hasenmueller with the Indiana Geological Survey. "Rugged country changes land use," he says. Somewhere between the northern and southern parts of the state, "the topography changes and the human use of the land changes." The glacier that flattened the land in the north left behind sand, gravel and clay, creating a dense soil that proved to be great for farming. The hills in the south, however, weren't as suitable for large-scale farming. Cities like Fort Wayne, South Bend and Gary flourished in the north where the terrain was more welcoming and transportation was easier and faster. Here in the south, towns stayed small, with the exception of Evansville on the banks of the Ohio. That rugged topography that wasn't conducive to big farms or big cities is

why we now have so much public land in the lower third of the state. Southern Indiana has 13 of our 14 state forests, plus the 202,000-acre Hoosier National Forest. In the northern two-thirds of the state, only 3 percent of the land is public. But in Indiana's south-central counties, that figure climbs to nearly 20 percent. Jim Eagleman, a naturalist at Brown County State Park, has a photograph in his office taken from a satellite 440 miles above Indiana. "Do you see that dark green blob in the center?" he asks. "That's us." That swath of green sweeping up from Kentucky brings us migrating birds and animals that wouldn't be here otherwise. Mike Homoya, a botanist for the Indiana Department of Natural Resources, says he's always thought of Southern Indiana as "the northern edge of the South" when it comes to plants and animals. You'll find mistletoe and yellowwood trees here. Cottonmouth snakes and Mississippi myotis bats. Carolina chickadees and chuck-will'swidows. And all that public land also means we have more places for hiking, biking, camping and—a classic Southern pastime—hunting. Even the rocks and minerals beneath the soil connect us with the South, says Walter Gray with the Indiana Geological Survey. We have coal and limestone— with its serpentine underground caves. "In terms of geology, Southern Indiana is not much different than Northern Kentucky," he says, "until you hit Martinsville, the glacial boundary." You have to wonder: If it weren't for the half-mile-wide Ohio River, Southern Indiana today might well be part of Kentucky.

DO YOU TALK LIKE A MIDWESTERNER OR A SOUTHERNER? Answer these 10 questions and see. 1. How do you pronounce aunt? a.Rhymes with can't b.Rhymes with want 2. How do you say caramel? a.Two syllables: car-mel b.Three syllables: car-a-mel 3. How do you say creek? a.Rhymes with meek b.Rhymes with kick 4. How do you pronounce the second syllable in pajamas? a.Rhymes with ham b.Rhymes with tom 5. How do you pronounce route? a.Rhymes with pout b.Rhymes with hoot 6. Do you pronounce cot and caught the same way? a. Yes b.No 7. How do you say pen? a.Rhymes with hen b.Rhymes with sin 8. How do you say coupon? a.Coo-pon as in coop b.Cu-pon as in cute 9. How do you say mayonnaise? a.Two syllables: man-aze b.Three syllables: may-o-naze 10. What phrase do you use to address a group of two or more people? a. You guys b. You-all If you chose mostly A's, you talk like someone from the Midwest. If you chose mostly B's, you talk like someone from the Upper South.

19 812

WINTER/ SPRING 2012 Southern Indiana's hills weren't good for farming, which is why we have so much public land, like Yellowwood State Forest. / Photo by Zach Hetrick

aitiMa 11p#11 1 , 11Fide,,N ORIN THEORFNMTHEOST SOUTH MIDLAND DIALECT

The South Midland dialect loops up from Kentucky into Indiana in what linguists call "the Hoosier apex."

WE FIX MIDWESTERN FOOD WITH SOUTHERN STYLE If you go due south into Louisville, you'll find derby pie and barbeque. If you head southeast, you'll find Cincinnati chili. Here in Southern Indiana, we grow sweet corn, heirloom tomatoes, persimmons and a wealth of other produce. We're perfectly positioned to take

man-made watermelon that drops real melons, ringing in the new year with a colorful splat. We also have local farms that provide us with beef, pork, chicken, duck and even bison. And how do we fix all these fresh, homegrown foods and farm-raised animals? Well, we tend to fry a lot of them, just as they do in the South. You'll find everything from hot fried biscuits

IN SOUTHERN INDIANA, THE THING WE WRITE WITH AND THE CODE WE PUNCH INTO OUR ATM ARE BOTH "PINS." advantage of a bounty of regional foods.

20 812

WINTER/ SPRING 2012

Christine Barbour, author of "Home Grown Indiana: A Food Lover's Guide to Good Eating in the Hoosier State," describes Southern Indiana food as "Midwestern cuisine with Southern preparation." What does she mean? In Southern Indiana, we rely on fresh foods and ingredients during growing season. We have an abundance of small farms and farmers markets that supply families and local restaurants with produce. The stretch of highway from Terre Haute to Vincennes on U.S. Route 41 is known as "melon road" because of the melon farms and stands. Jackson County is known for its cantaloupe, and in Vincennes, they celebrate New Year's Eve with an 18-foot, 500-pound

in Nashville to fried brain sandwiches in Evansville. Yes, brain sandwiches. Found only in the southern part of the state, the "delicacy" was passed down by German immigrants who settled in the Ohio River Valley. Fried baloney sandwiches are another favorite. The classic way to eat one is on Wonder Bread with mayonnaise and a slice of processed American cheese. It's called the "hillbilly hamburger." But, brains and boloney aside, Barbour says the pork tenderloin is probably the quintessential Southern Indiana sandwich. Joanne Raetz Stuttgen is the co-author of the "Cafe Indiana Cookbook" and has eaten in more than 500 small-town

restaurants across the state. She says we're still all about comfort food down here. People fry chicken, bake pies and enjoy each other's company around the dinner table. We may use more shortcuts nowadaysâ&#x20AC;&#x201D;like mixes and frozen pie crustsâ&#x20AC;&#x201D;but we still appreciate a homecooked meal. Some of the more Southern-inspired dishes she's seen are dried beans, cornbread, corn mush, cobblers, meatloaf and tomato gravy. "Noodles are found in the northern part of the state," she says, "while you are more likely to find dumplings in the southern part." So, when it comes to food, we're solidly in the Midwest. But with a dash of Dixie. "I definitely see, feel and taste a Southern tradition here," Stuttgen says.

WE SPEAK WITH THAT "HOOSIER TWANG" We talk a little differently down here. We hang on to some words a little longer but cut others off. We make "and" a two-syllable word (an-duh) but say we're goin' fishin' or huntin'. We say we want a "coke" when we mean a Sprite. We need to "git" where we're goin'. The thing we write with and the code we punch into our ATM are both "pins." Here in Southern Indiana, we speak the South Midland dialect, along with the folks in Kentucky, Tennessee and

Northern Alabama. When linguists asked Americans how they pronounced the words "pen" and "pin," they found that Southern Indiana was the northernmost point where they pronounced the two words the same. The South Midland dialect literally loops up from Kentucky into Southern Indiana and back. That's what linguists call the Hoosier apex. Indiana University English professor Scott Herring described that Hoosier twang in the Southern Communication Journal: "It is a typical sweltering summer afternoon in Bloomington ... I find myself, once again, stuck in the Dairy Queen drive-thru ... The attendant ... kindly cautions that the bacon cheeseburger is "really greasy," only her sibilant [s] sounds a lot more like a [z]. Her grea[z]y gives me a pause, since the Indiana-based delivery seems more like Alabamatalk to my well-trained ears. I drive off, reminded that I reside in the dead-center of the Hoosier apex." A dialect is more than an accent. It's a combination of pronunciation, grammar and vocabulary. A dialect develops when people who are set off from others by geographical or social boundaries use the same language in different ways. When you walk into a room, people can tell where you're from just by the way you speak. And people take pride in where they're from. For a while, experts predicted that American dialects would disappear with time. They thought mass media would reduce regional speech patterns, and we'd all begin to sound like television newscasters. But five years ago, the "Atlas of North American English," the first text to plot all the major U.S. speech patterns, found the reverse: Regional dialects are

actually becoming more distinct. The author says people want to sound like their friends—it's part of their identity. Dialects are a way of letting everyone know what region you're from, which plays a big part in who you are. IU linguistics professor Brian Jose says people in Southern Indiana talk as they do because the region is more rural. "I think people tend to sound more Southern in rural areas," he says. His colleague Kenneth de Jong suggests the reason people in Southern Indiana speak like people in the Upper South has a lot to do with history. "During the Civil War, abolitionists wanted to get to the first piece of land they could find that wasn't in the South, and guess where that is? Southern Indiana," he says. "That's where I think the Hoosier apex came from. So here you get people who think like Northerners but talk like Southerners."

SO WHO ARE WE, REALLY? What it all comes down to is that Southern Indiana is a lively fusion of Midwest and South. We're proud to be Hoosiers, but the natural world around us is more like Kentucky. Our food is made from Midwestern ingredients but prepared in a Southern style. We have a Midwestern attitude, but sound like our neighbors to the south. Folks here mix Midwestern practicality with Southern grace, and we can identify with that. Don't you-all agree?

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21 812 AN/INTER/ SPRING 2012

No one's a stranger when square dancers

BY STEPHANIE DOCTROW I PHOTOS BY CHAZ MOTTINGER

quare dancers cluster around the stage, ready for their next number. Black and tan cowboy hats and fluffy patterned skirts coexist with blue jeans and matching plaid shirts. Sixteen-year-old Sam Mestel from New Albany climbs the steps and takes the mic. He's part of a family of 10 that dances, the first to learn the art of square-dance calling. He fumbles with the mic, adjusting his glasses. "This song was requested by my mom," he jokes with a hint of Southern twang, "and she's my ride home, so I figure I better do it." He presses Play, and Bobby Darin's "Dream Lover" echoes through the ballroom. Sam begins the song energetically, as if he's been calling his whole life. "Every night I hope and pray, a dream lover will come my way ... Left allemande, you'll do-sido, left allemande, c'mon and weave it you know...." The dancers fall seamlessly into the steps, rotating gracefully across the floor. "Because I want... a girl... do-si-do and promenade along... I want a dream lover so I won't have to dream alone." For one weekend, 500 square dancers converged on the Indianapolis Marriott East for the 22nd annual Indiana Square Dance Convention. Enthusiasts of all ages, from teens to retirees, spent two days dancing and celebrating an American folk tradition. For many, dancing is a lifestyle. It goes beyond putting on a crinoline and driving to the dance hall one night a weekâ&#x20AC;&#x201D;it's a place to make friends, to stay healthy and to celebrate love.

"IT'S AMERICA'S FOLK DANCE, SO YOU SHOULD WEAR THE CLOTHES. IF YOU'RE GOING TO PLAY A SPORT, YOU BUY THE UNIFORM." - JULIA BRANHAM

*** John Cook is waiting as you enter the hotel ballroom. He's in the teal shirt with the black scarf tie, wearing small glasses and beaming excitedly. He throws his arm around you as if you're old friends and says, "In square dancing, the men always hug the ladies. That's just how it is." He introduces you to his wife, Carolyn, who's wearing a black blouse and a poufy skirt decorated in teal and orange jungle flowers. Cook, 64, dances with the Merry Mixers in Greenwood. He's from Dunkirk, but he spends most of his time traveling with his job for Sears. Whether he's at home or on the road, dancing is always part of Cook's life. "Square dancing is responsible for my marriage," Cook says. He learned how to square dance in the Navy, and when he was home, he went to a square dance in Indianapolis with his friends. "She was the first girl I met when I walked in the door, and I'm still married to her," he says. "Forty years." Cook and his wife joined the Merry Mixers about a year and a half ago, but they've been active in the Indiana Dance

Julia Branham and her husband dance at the Indiana Square Dancing Convention. Branham was one of the organizers of the convention.

BEGINNER'S LUCK Try your hand at square dancing. Clubs meet once per week and usually offer beginner's dance lesson nights. SEYMOUR: Star Promenaders, Trinity UMC, 812-346-6164 NASHVILLE: Bucks & Does, Historical Society, 317-796-8249 TERRE HAUTE: Swinging Mates, Devaney School, 812-299-9343 GREENSBURG: Tree City Squares, Parks & Rec Building, 812-663-4666 CHANDLER: Warrick Promenaders, Chandler Community Center, 812-925-6840 BEDFORD: Stone City Squares, Parkview School, 812-925-6840 NEW ALBANY: Sunnyside Solos, Grant Line Methodist Church, 502-931-8538 OWENSVILLE: Mt. Carmel Promenaders, Owensville Community Center, 812-724-4812

Leaders Association for years. Cook served for five years as the state treasurer, and two years as the state president. Cook also credits square dancing for his healthy body and spirit. Two years ago he had two heart attacks and was back to work in five weeks. His doctors attributed his quick recovery to his healthy lifestyleâ&#x20AC;&#x201D;all those evenings spent square dancing. "It's like a five-mile hike," he jokes, "only a lot more fun." If you want to square dance, you need about four months of weekly lessons to learn the more than 60 basic calls. There are five standard levels of square dancing: basic, mainstream (the level most clubs use), plus, advanced and challenge. Each level builds on the previous one, with a few more steps to learn. "The lessons teach you the language, so you know when the caller says something what to do," Cook says. "It's like driving a stick shift, after you've been doing it awhile you don't have to think about it." Each song in square dancing is called a tip, which is made up of two separate parts. The patter is like the practice round. The caller introduces some of the trickier steps, so dancers know what to expect for the real dance, and gives the dancers a chance to get used to his or her rhythm and calling style. Then, it's time for the song. The pattern of steps the caller sings is repeated four times, with the women rotating around the men in a square and back to their partners by the end. There are usually different people in your square each time you dance. "You can have a guy who drives a garbage truck and a brain surgeon in the same square," Cook says. "It's a leveler, and everyone has a good time." And don't worry about getting tired of country tunes by the end of the night. "The only music we don't dance to is hip hop," Cook says. This includes gospel, songs from musicals, rock, and even rap. Cook has danced to "YMCA' and "Macho Man," but he loves dancing to Neil Diamond's "Beautiful Noise" with his wife.

*** Square dancing's roots are found in the French and English line dances Early American settlers brought with them to the New World. Square dancing developed first in New England and Appalachia, and took on its now-famous Western flair as settlers migrated across the country. Interest waxed and waned, but Henry Ford revitalized square dancing in the 1920s as a pastime for his automobile factory workers. Today the United Square Dancers of America has 310,000 members across the country. But square dancing is at its purest in small towns, where people dance for recre-

Chuck Roberts dances with his wife. Roberts says he loves dancing to Michael Jackson and AC/DC songs.

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John and Carolyn Cook have been active in the Indiana Dance Leaders Association for years, serving as treasurer and president. The Cooks met at a square dance and have been dancing together for 40 years.

ation and pleasure. The Indiana Dance Association has 2,000 members, and Cook estimates there are at least 1,500 other dancers in the state. In Southern Indiana there are clubs in Nashville, Seymour, Bedford, Evansville, Terre Haute, Greensburg, Chandler, Owensville, Daylight and New Albany, each with its own local flavor. Bill Monroe, the founder of bluegrass music, was discovered at a community square dance. Dancers are encouraged to visit other clubs, creating a network throughout Southern Indiana. Dennis Grasch and Gail Branscom of Scottsburg are members of the Southern Indiana squaredancing family. The couple has been dancing with the New Albany Sunny Side Solos twice a week for the last 31 years, but they dance in other cities, too. "They enjoy having visitors," Branscom says. "They like showing their club to new people, and we like visiting." Cook's favorite part of square dancing is all the

25 812 WINTER/ SPRING 2012

Sam Mestel, 16 calls out the steps to "Dream Lover." Mestel is from New Albany, and he was one of the youngest callers at th convention

easy, but the music gets faster and the pace increases. Yellow and red cards fly. The competition decreases from five to four to three to two squares. The dancers spin across the floor. In minutes, one square remains. The Star Wrongers have won again, and the Bergers are beaming. "Now ladies, half of a half turn," Miller calls. The female dancers do a double take, their feet fumbling. The champions are defeated, and the crowd claps and cheers. "Half of a half turn," Cook remarks. "I've never heard of that in my forty years dancing." "You sure?" his friend says. "I think he called that to break them down." "No, I think he knew what to call next if the dancers figured that out." The debate continues on, all in good fun.

***

friends he has made throughout the area. "You might not know them when you get there, but by the end you're friends," he says. "It's unreal."

***

26 812 WINTER/ SPRING 2012

At 1 p.m., it's time for the dance competition. National caller Tom Miller, visiting from Pennsylvania, is calling the competition this year. Six different squares are competing this year, a solid number for this annual competition. "It's not how fast you dance, it's how well," Miller says as he explains the rules. The contest is at mainstream dance level, and there are no points awarded for styleâ&#x20AC;&#x201D;it's all about technique. Judges with yellow and red cards stand by to call dancers out of the contest. Teresa and Andrew Berger, wearing matching lime green and orange ensembles, patiently wait for the beginning of the tip. The high school students and siblings are the reigning champions, and they're ready to take the title for a third year in a row. They're dancing with the Star Wrongers, a combination of two groups from Michigan City and New Albany. "As we all square dance, this is just for fun," Miller jokes. "No blood." The dancers and the crowd laugh. The music starts, and all eyes are on the floor. The calls start

If square dancing is an art, calling is a discipline. Many square dancers get into calling because they want to try something different. They often work with callers in their area to learn the basics, and then attend caller schools around the country to refine their skills. Though it requires a sense of rhythm and creativity to put calls together into a tip, calling is mostly based on math. Think of it as one giant logic problem: You have eight people in a square who have to get around the square and back to their original partners in the end. Teressa and Andrew Berger, the winners of the dance contest, started calling to spice up their square dancing. The Bergers, upperclassmen in their high school in New Carlisle, got dragged into square dancing by their parents. Teresa and Andrew were bored by the basics, so they began calling. The Bergers spent the summer in calling school. Teresa's favorite music to call to is old gospel songs. "It's a lot of work, but in the end it's worth it," Andrew says.

*** In the back of the hotel ballroom, crinoline skirts and blouses of every color line the walls. Paula Cleary sets up square-dance clothing shops at state conventions around the country For couples not handy enough to sew their own, shops like this are a godsend. It costs about $150 for a woman to put together her first square dancing outfit: a skirt and blouse, pettipants and a crinoline skirt. More relaxed clubs allow women to wear jeans and a Western-style top. Men must wear long sleeves, usually a Western-style shirt, and some wear scarf ties and a belt. Cleary's popup store sells it all, even embroidered towels the men can throw in their pockets to wipe the sweat from their brows. Julie Branham, one of the Indiana Square Dance Convention CONTINUED ON PAGE 40

IF SQUARE DANCING IS AN ART, CALLING IS A DISCIPLINE.

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Let us introduce you to five artisans who are as distinctive as the art they create. They, and their work, are

By Danielle Rindler I Photos by Chaz Mottinger

Randall O'Donnell, wood it 01 A

In a world where the word artisan has become a descriptor for anything from breakfast sandwiches to stainless steel sinks, it's easy to forget artisans once formed the backbone of civilization. Farmers depended on tools from the local blacksmith. Housewives stocked their kitchens with stoneware from the local potter and covered their floors with rugs from the local weaver. Furniture was handmade. Today, dotted through Southern Indiana are innumerable artists. But only a few can be called artisans in the traditional sense. Artisan crafts, once made out of necessity, have morphed into contemporary art forms. Today, intricate door hinges, hand-painted pots and customized rag rugs stand as decorative rather than necessary.

Ray Sease, metalwork

Barb Gallagher, textiles

But even today, you can still see those practical roots, says Jon Kay, director of Traditional Arts Indiana. Most utilitarian things have elements of aesthetics, Kay says. "Whatever they're making, it has to look right, feel right, fit right. Artisans make an aesthetic choice, but what they're making must still do its job. The things artisans produce go beyond necessity."

Anthony Nava, Native American art

With the help of Kay, 812 discovered some of the region's most authentic artisans, the kind you can't find with a simple Google search. So dive in, explore and discover their storiesâ&#x20AC;&#x201D; and their artâ&#x20AC;&#x201D;for yourself. John & Beth Mills, pottery

EXCLUSIVELY AT 812MAGAZINE.COM From wineries to workshops, we look at four artisan trails that wander through Southern Indiana.

Randall O'Donnell, woodwork

Price guide $ — Relatively inexpensive $$ — Moderately expensive $$$ — Relatively expensive

30 812 WINTER/ SPRING 2012

Woodcarver Randall O'Donnell explains how he creates the carvings on his colonial furniture pieces. The hardest part, he says, is hand drawing the pattern and replicating it.

Location: 2380 Turning Tree, Nashville

my family. That's hard to move away from."

Contact: 812-988-1380, csodonne@juno.com

Like what you see? Visit www.randallodonnell.com for more information.

Why Southern Indiana: "There's good wood here. And

Price: $$$

you're looking for Randall O'Donnell, u'll have to know where you're going. 's gravel driveway gives no indication at there's a house at the end of it. No ailbox, no address, nothing. likes it out here, says it helps him focus on his work. And when, like O'Donnell, your work involves pre-industrial age tools and colonial furniture, living in an Indiana forest might be just what you need. O'Donnell says his traditional woodworking tactics add character and personality to his pieces. "With modern tools, everyone who picks it up get the same shape," he says. "You see personality when you use a hand plane. If it's someone with a strong hand and a good eye, you see that, whereas it's dead and lifeless with a machine." O'Donnell can make you a set of kitchen cabinets or a hardwood floor. But his favorite pieces are more intricate. A restored, cherry table from the 1700s. A brown bureau with a shining, almost golden, swirled pattern. Chairs with carved talon-like feet. In today's world of concrete and plastic and drywall, O'Donnell says real, handcrafted wood is a novelty, but that's what attracts him to it. "Can you imagine a time when everything—a spoon, a button, a table— had little edges? Details that someone had to look at and go, 'No, that's not quite right'? Imagine the life that comes to everything in a world like that." As someone who loves the soul of wood, O'Donnell lives in the right place. Here he's among some of the country's best walnut and white oak trees. His favorite, though, is the black walnut. "When it comes to prime hardwood, there's nowhere like Indiana," he says. Walking around his workshop, O'Donnell can barely take two steps without finding something to talk about. First it's a photo of a piece of colonial furniture in the Met. Next it's a particularly beautiful plank of Amazonian mahogany. And as he talks, it's hard to imagine him anywhere else. "If I could sing I'd rather be a rock star," he says. "If I was taller I'd be in the NBA. But this is what I was meant to be."

Learn foryourself: O'Donnell offers a rigorous, I-to-2-year apprenticeship. Want something less intensive? The Marc Adams School of Woodworking offers weekend workshops. Visit marcadams.com/weekend or call 317-535-4013 for more information.

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