Now!Pavilion Magazine Volume 2 Issue 3 by Washington Pavilion

SOMETHING’S COMING WEST SIDE STORY CHAMPAGNE TASTE SPARKLING WINE GUIDE BROADWAY BECKONS A CHORUS LINE TRANSFORMING SOCIETY FACE IT TOGETHER®

Vol. 2 Issue 3

CONTRIBUTORS

Elizabeth Venrick is the Executive Assistant/ Affiliate Coordinator for Face It TOGETHER®. A native of Sioux Falls, she has a Bachelor’s in Journalism from the University of NebraskaLincoln. In her spare time, Elizabeth enjoys spending time with family and friends, running, Nebraska football and her iPhone. Contact her at evenrick@wefaceittogether.org.

Sara H. Crosby received her B.F.A. in Theatre Arts from Stephens College and her M.S.W. from Loyola University of Chicago. She is co-founder of DAPA and lead facilitator for DAPA at the Pavilion PFL.

Shannon Wright Barnes has twenty-five years of immersion in the world of beauty, fashion, pageants, film and television.

Benjamin Gutnik is a native of Sioux Falls and holds a degree in Contemporary Media from the University of South Dakota. He currently works in corporate sales. If something involves an LED screen or operates on Android, count Ben in.

Tim Hoheisel recently transitioned from board member to executive director of the Sioux Falls Arts Council. He is a state and national awardwinning museum director and has been working in the field since 1997, the majority of that time in Watertown and Sioux Falls.

Brienne Maner is a Sioux Falls Washington High School graduate Brienne Maner received her degree in Mass Communications at St. Cloud State. She has worked for Sesame Street Live, Sioux Falls Jazz & Blues and is currently the Communications and Membership Coordinator for Downtown Sioux Falls, Inc., and a board member for Sioux Empire Community Theatre.

WEST SIDE STORY • Feb. 5-7 • 7 p.m.

Laurel Lather is a well-seasoned chef and culinary entrepreneur who has a passion for discovering both old and new flavors. This quest has taken the path to sharing her finds with others through The Market on Phillips in downtown Sioux Falls.

ON THE COVER

Annie Lanning is, among other things, a writer and educator. She began her writing career at age 15 with her hometown news weekly. After nearly a decade in education, Annie is excited to return to writing.

NOW PAVILION THE WASHINGTON PAVILION OF ARTS AND SCIENCE

PUBLISHER: MICHELE WELLMAN

mwellman@washingtonpavilion.org • 605-731-2306

EDITOR IN CHIEF: DAVID XENAKIS

dxenakis@washingtonpavilion.org • 605-610-9391

MANAGING EDITOR: PARKER OWENS

powens@washingtonpavilion.org • 605-731-2313

ADVERTISING SALES & PROMOTIONS: BEN GUTNIK

bgutnik@washingtonpavilion.org • 605-731-2413

ART DIRECTION & LAYOUT: JOHN MYERS jmyers@washingtonpavilion.org

DESIGN & LAYOUT: BECKY BAUMAN bbauman@washingtonpavilion.org

STYLE EDITOR: SHANNON WRIGHT BARNES COPY EDITOR: SUZANNE TOLL Now!Pavilion is published bi-monthly by the Washington Pavilion, 301 S. Main, Sioux Falls, SD 57104, 605-367-6000. Now!Pavilion cannot be responsible for unsolicited material, content, photography, artwork, or other items. Materials sent to Now!Pavilion Magazine will be returned only when accompanied by self-addressed and postage paid envelope/packaging. Content within Now!Pavilion does not reflect any of the opinions or viewpoints of the Washington Pavilion, its employees, or supporters. Now!Pavilion attempts to publish accurate information responsibly, and cannot be held liable for errors or omissions in content. All content published in Now!Pavilion is protected by U.S. copyright law. All rights reserved. Reproduction by any means, in part or whole, including photocopying, internet sharing, illegal upload or download, is strictly prohibited without prior consent and permission of the publisher.

LETTER

NOW PAVILION

FROM THE PUBLISHER BY MICHELE WELLMAN

Often in life we are forced to unwittingly play the “lead” in intense dramas that infiltrate our lives. This issue’s letter is going to be a tad bit more personal than those of the past. I am hoping you will graciously indulge this little discourse from my head and more importantly, heart. With limitless negativity filling every media outlet, I find myself consumed with gratitude for what surrounds me. In my personal life, I have been with the same loving, generous and kind man for over 20 years. We have a bright and active teenage young man growing more and more each minute. And you can’t forget my three fur-children demanding insurmountable amounts of snuggles in return for innumerable kisses. My family and many of my friends live on the East Coast and are still working their way through the ravages of Hurricane Sandy. For the most part, life there is slowly returning to a new normal. Having been raised in Boston, MA with extended family in New York, I spent many holidays on Long Island and possess many carefree memories of summers on the New England Coastline and Jersey Shore. I am appreciative for those memories, and my heart breaks for the youth in these areas that will have to learn of the coast’s past magnificence via films, photos and stories recited by elders. These places will never be the same, In my professional life, I am extremely grateful for my position at the Washington Pavilion and the opportunities it has afforded me. I am surrounded by individuals who are as passionate for the arts as I am. I enjoy the “escape” that live theater offers. Please consider that when life forces you to play the aforementioned “lead” in another drama, contemplate escaping into the arts; if even for just a few minutes. Because of the positive energy I garner from the arts, I consider the arts one of my cherished emotional reset buttons. I want to thank you for taking the time to read this brief snapshot of my life’s discourse. Please join me in ringing in the new year and give thanks to those you love and be mindful of life’s elements that give you strength and push your emotional reset buttons. I hope you too start 2013 with a gracious heart and are mindful of life’s elements that give you strength.

THE WASHINGTON PAVILION OF ARTS AND SCIENCE

UPFRONT 8

THE ART OF CHAMPAGNE By Laurel Lather

ACTION ARTS By Michele Wellman

SOLVING ADDICTION By Elizabeth Venrick

DOWNTOWN SIOUX FALLS 18

FIRST FRIDAYS DOWNTOWN By Brienne Maner

ARTS 32

VISUAL ARTS CENTER GALLERY HIGHLIGHTS By Jodi Lundgren

WEST SIDE STORY - AN INTERVIEW WITH ARTHUR LAURENTS

A CHORUS LINE By Annie Lanning

SOUTH DAKOTA SYMPHONY ORCHESTRA, COMMISSION

SIOUX FALLS JAZZ & BLUES

SIOUX FALLS ARTS COUNCIL By Tim Hoheisel

FUSION 53

VOICE OF THE VIOLA By Sara H. Crosby

TRENDS 57

GIVE ‘TIL IT HELPS By Shannon Wright-Barnes

Michele Wellman Publisher, Now!Pavilion Magazine

301 S. Main Ave., Sioux Falls S.D. 57104

605 367 6000 phone 877 wash pav toll free

www.washingtonpavilion.org

iPHONE 5: THE LASTING PROJECT By Benjamin Gutnik, The Tech Guy

Art Champagne The

By Laurel Lather

“Come quickly, I am tasting the stars!” —Dom Perignon

UPFRONT Upfront is the portion of Now!Pavilion which spotlights individuals, media, culture, essays, and hard news. This section will vary with events, news, and topics du jour.

hampagne is a region of France, located northeast of Paris. Throughout history it was both a crossroad for trade and a path for invaders. Armies repeatedly marched across the landscape destroying the vineyards. Political clashes kept this area in turmoil. With such a dark backdrop it is ironic that the treasured wine of this region is associated with frivolity and celebration.

When you think of Champagne, visions of corks popping and bubbles tickling your nose come to mind. This signature trait was once thought of as a terrible flaw in the wine. The cool climate and short growing season of the region had a bad effect on the grapes. The yeast on the skins didn’t have time to convert the sugar in the juice before the winter temperatures stopped the fermentation. Once spring arrived, the fermentation would start again, creating carbon-dioxide that was trapped in the bottle. With this building pressure, cellars would lose more than 20percent of their wine to exploding bottles. The thin glass and hemp closures were not strong enough. One exploding bottle would often start a chain reaction, causing another to blow up, occasionally wiping out an entire cellar of wine. While the nobility of Europe were enjoying the luscious red wines of Burgundy, the people of Champagne worked hard to solve their winemaking difficulties. Then, a Benedictine monk named Dom Perignon was appointed treasurer of the Abby of Hautvillers, whose

The Abbey of Saint Pierre d’Hautvillers where Dom Pierre Pérignon dedicated 47 years of his life to invent and perfect the techniques to create champagne.

duties also included management of the cellars and winemaking. Knowing that the monastery financially needed the cellars to produce, he resurrected the vines and worked on new methods of blending grape varietals, and trying to get rid of those darn bubbles. After 47 years as cellar master, fortunately, he never did succeed on the bubble issue. He did, however, perfect the sparkling wine. Perignon developed a process to press the pinot noir grape to yield a white juice rather than the cloudy grayish color. Stronger bottles were brought in from England, and with the use of Spanish cork, the loss from breakage was nearly eliminated. Dom Perignon brought such nobility and renown to Champagne’s sparkling wines that they soon became the preferred libation of royalty. Many people credit him as the inventor of Champagne, which, of course is just a myth. Through his work, the basic principles of creating high quality sparkling wine were created and are still used today. So, just what is the difference between Champagne and sparkling wine? The wines of France are very terroirdriven. Just as the regions of Burgundy (pinot noir) and Bordeaux (cabernet and merlot) protect the quality and reputation of their wines, so too does Champagne.

Sparkling wines labeled Champagne were being made from inferior grapes. These wines, which neglected the true quality and the classic method used by Perignon, were often cheap and sweet, causing severe headaches. Because of this, the consumption of the wine began to fall. The fight for protection of the name “Champagne” was necessary. Thus, similar wines from the rest of the world should properly be called “sparkling wines.” This prestigious winemaking style is called methode champenoise and is costly and labor-intensive. In Champagne, the two primary grape varietals used are chardonnay and pinot noir. They are harvested at a lower sugar content than those picked for typical wines, to keep the alcohol level low during the initial fermentation, since a second fermentation

Statue of Benedictine monk Dom Pérignon (c. 1638–14 September 1715) at Moët et Chandon.

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later in the process will produce additional alcohol. Once harvested, the juice is pressed and placed in oak barrels or stainless steel tanks. After it has spent the desired time fermenting, the winemaker will do

a final blending of grape varieties or make any other adjustments needed for the finished wine. At this point the tirage, a mixture of sugar and yeast, is added. The wine is bottled and secured with a crown cap, like those on a bottle of beer. Itâ&#x20AC;&#x2122;s in the bottle that the second fermentation takes place, producing alcohol and carbon dioxide. Temperature is very important during this time. The cooler the fermentation, the finer the bubbles, which is highly desirable. This process can last from one to three years or more. After the second fermentation is completed, dead yeast cells break down and settle to the bottom or attach to the side of the bottle. At this point the winemaker decides how long the wine will remain in contact with the yeast. A longer period gives the wine a biscuity flavor and adds complexity. Once the desired time has passed, the sediment must be removed without losing too much wine or carbon dioxide.

The pressed grapes and yeast are placed in oak barrels for the primary fermentation process.

The beginning of this process is called riddling. Bottles are placed in an A-framed wooden rack with holes carved to cradle the neck upside down at a slight angle. Each day

Methode Champenoise Primary Fermentation

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Blending CuvĂŠe & Bottling

Secondary Fermentation (2 to 5 years)

The traditional method of making the highest quality sparkling wine like theyâ&#x20AC;&#x2122;ve done for centuries in the Champagne region of France.

Riddling

Riddling on racks, or remuage, is a process destined to get the sediment to sink into the cap in the neck of the bottle. Riddling involves the slow rotation and turning of the bottle at specified time intervals.

they give the bottles a slight turn, increasing the upward angle so the sediment collects in the neck for easier removal. Some Champagne houses still hand riddle but many have gone to automation. Once the yeast is tight against the cap, the bottles are placed neck down into a frigid brine bath for a short period to freeze only the bottles’ necks. At this point, disgorging the frozen plug

Final Riddling Stage

Freezing Bottle Necks

of sediment happens. With the carbon dioxide trapped inside and the cap removed, the plug shoots out of the bottle from the pressure. A dosage, a tiny amount of wine, sugar and/or brandy, is quickly added to replace the wine lost during disgorgement. The bottle is now corked and secured with a wire cage. The cork starts out as a straight ‘tube’ shape. It’s only the pressure and way

Disgorging

(removing of yeast)

Dosage

Corking

(wine, sugar and/or brandy, is quickly added to replace the wine lost during disgorgment)

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Depending on your preference, here are the classifications to look for on the label: Ultra Brut/Extra Brut/Zero Dosage/Brut Sauvage —No added sugar.

Brut—Nearly dry, contains no more than 1.5% sugar.

Extra Dry/Extra Sec— Slightly sweeter, can contain up to 2% sugar.

Dry/Sec—Can contain up to 4% sugar.

Demi-Sec—Just sweet enough, can contain up to 8% sugar

Doux—Sweet, can contain up to 10% sugar

Cuvee—blend of many still wines into a well-balanced sparkling wine.

Cuvee de prestige— A winery’s most houghtfully conceived, carefully crafted sparkling wine.

of corking that gives it its mushroom head and flared bottom. The dosage added will determine the degree of sweetness or dryness of the wine.

Blanc de Noir is a white wine made with all red grapes such as Pinot Noir or Pinot Meunier and Rose is a blend with red wine added.

You may also see Blanc de Blanc, which is made with all chardonnay grapes and will be a very delicate wine,

After reading the label and making your selection, you can’t help but notice the higher price tag. The fact that it came from Champagne itself is the first reason for the

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elevated cost. This region boasts some of the most expensive real estate in the world. The area is also very small and one of the coldest, which makes it a lot more difficult to grow grapes. When it takes approximately 1,150 grapes to make one bottle, the rarity of those precious grapes raise the price. It is also a long, laborious process that also has a long time period before there is a return on the investment. Champagne has to age for at least 15 months. Additionally, some Champagnes are a blend of different years, so some components of the wine may be 8-10 years old! Is it worth it? Open a bottle and you be Champagne mechanical bottling process. the judge. While the loud pop of the cork as it flies across the room is festive, it for 15 – 20 minutes. Take the bottle out and dry down often leads to bubbly on the floor and possible damage. with a linen cloth to get a good grip. Take off the foil to Opening the bottle the correct way will save all the reveal the cork cage. Holding down the cork with a towel wine for your sipping enjoyment. covered hand, unwind to loosen the wire cage. Tilt the bottle away from you at a 45-degree angle. With the cloth Start by filling your bucket with ice and a glass still over the top of the bottle, grasp the cork with one of cold water, allow the bottle to sit in this bath hand and gently twist the bottle, not the cork. Let the pressure in the bottle gently force out the cork, allowing your cloth to catch the cork. Don’t give in to temptation and yank the cork when you feel it loosen. A loud pop means you let too much of the gas out which is usually followed by a stream of foam and wine. When pouring into the flute, start with about an inch of wine. Let the bubbles settle. Sparkling wines have a mousse, that frothy topping that will continue to rise after it’s been poured. Finish pouring until the glass is about two-thirds full. Don’t hold the glass by the bowl. Use the stem. It’s natural to move your hand up and support the bottom of the bowl where it meets the stem, however this warms the champagne quickly. So raise your glass and be ready to toast. It doesn’t always have to be a wedding, a ship christening, or New Year’s Eve to enjoy this historic wine. A votre sante! NOW!PAVILION

THE

N O I L I V PA

IN A REALLY GOOD WAY! By Michele

Wellman

n a daily basis, there are so many extraordinary things happening at the Washington Pavilion, that the walls can no longer contain them. The situation is ideal, as the Pavilionâ&#x20AC;&#x2122;s mission is to educate, entertain, inspire, and enrich the community by making arts and science part of our lives. The Pavilionâ&#x20AC;&#x2122;s Community Learning Center (CLC) takes this mission to heart every week as the CLC team conducts weekly outreach via its Action Arts and Science Program (AASP). AASP enhances the work of the local after-school programs and supplements classroom learning by offering Title I students hands-on art and science activities that inspire confidence, encourage collaboration, and inspire creativity. In doing so, AASP is extending the resources of the Washington Pavilion to young people who traditionally have had fewer chances to participate in extra-curricular activities, and connecting them to all the opportunities available at the Washington Pavilion. Every week the Pavilion sends our Action Arts and Science instructors to 16 different after-school sites

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located throughout the Sioux Falls area. Washington Pavilion teachers lead engaging, hands-on art or science activities that go above and beyond what the sites are able to provide on a regular basis. With 13 experienced instructors on board, each lesson is passionately taught with endless energy. Students are invited to explore, create, and discover through project-based learning. Instructors serve as mentors who open the door of possibility to kids at the partner sites.

This program is made possible through the 21st Century CLC Grant program, and through the support of the South Dakota Department of Education. The grant has given the Pavilion the opportunity to connect its cultural resources to more than 500 kids each week! Without the support from our partners this program would not be possible. The Washington Pavilion is honored to lead this important program that is truly making a difference to the youth in our community.

Laura B. Anderson • Cleveland • Hayward • Longfellow • Terry Redlin • Anne Sullivan • Garfield • Hawthorne • Lowell • Horace Mann

Edison • Whitter • Axtell

Juvenile Detention Center • Bowden Youth Center • Multi-Cultural Center After-school Programs

The program is currently offered through the YMCA’s afterschool program at Axtell Park, Whittier, and Edison middle schools. Participants are invited at the end of the academic year to a Girls Night at the Pavilion that includes free time in the KSDC, dinner, a CineDome movie, and special science demonstrations and experiments. Survey evaluations have confirmed that Girls in STEM was effective. Overall, the girls’ interest in all STEM subjects increased during the course of the program. When asked how their participation influenced them, 100 percent of the written responses were positive including: “It made me a smarter person by learning about science” “It has changed the type of jobs and activities I have wanted to do” “It taught me more about science, math, engineering, and technology. It made me more interested in those topics more and is more entertaining than those topics. STEM was awesome and I hope I can do it next year”; and “It helped me learn a lot more about science then I ever did before, and I want to do it again. And my favorite activity is when we exploded pop!!!!” STEM is made possible through funding from AAUW, Sioux Falls Women’s Alliance Fund of the Sioux Falls Area Community Foundation, and the Larson Family Foundation. Due to their generous support, this program is being offered at no cost to all participants.

Another exciting outreach program run by the Washington Pavilion Kirby Science Discovery Center (KSDC) is Girls in STEM (Science, Technology, Engineering and Math), which is in its second year. The 25-week STEM program is offered at no cost to underserved girls in 6th through 8th grades, focusing on providing a fun and exciting handson, interactive opportunity for participants to engage in science, technology, engineering, and math (STEM) subjects. The weekly sessions are led by instructors who encourage the girls to learn and explore with the goal of gaining confidence, skills, and access to resources— regardless of their academic level in these areas.

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FIRST FRIDAYS DOWNTOWN By Brienne Maner

“Just listen to the music of the traffic in the city, linger on the sidewalk, where the neon signs are pretty - how can you lose?”

he Petula Clark classic Downtown continues to resonate with Downtown Sioux Falls, which hosts a monthly event called First Friday. It’s is a special day of shopping, art, and entertainment in downtown Sioux Falls. The event, of course, occurs on the first Friday of every month, with a different theme accompanying each month’s event. Additionally, many stores stay open for extended hours and the incorporation of culture, arts, and activity is abundant. There many participating locations stretching all the way from Phillips Avenue to Uptown and to the Eastbank. Highlights from 2012 included: February’s Go Red For Women and Blood Drive, the popular Restaurant Week in April and probably the most talked about First Friday in the history of the event, September’s Chalk The Walk which featured an incredible 3D chalk drawing of Superman by local artist Mike Dowling!

2013 promises to continue with popular traditions and the infusion of exciting new themes. The dates are set and many of the themes are already in place, which include: January 4, February 1, and March 1, the first three dates for First Fridays in 2013.

APRIL 5, 2013—RESTAURANT WEEK KICK OFF Savor the flavors of downtown as Restaurant Week kicks off on First Friday, April 5th and continues through the 13th. This is your chance to try something new on the menu at a value price, and also let participating restaurants know how you like their new items. Each time a feature is purchased, you will be entered to win a gift certificate from one of the participating restaurants.

MAY 3 AND OCTOBER 4, 2013—ART & WINE WALK Walk both sides of the river where you’ll find a wide variety of artists to greet you and wine samples to warm you at several locations in DTSF. Viewing the art and meeting artists is free, and wine samples will be available for purchase at each location.

JUNE 7, JULY 5, & AUGUST 2, 2013—DOWNTOWN BLOCK PARTIES ON THE EASTBANK Come downtown to the Eastbank the first Friday of June, July and August for our Block Parties! Enjoy live music, food vendors, beer & wine for purchase, and shopping at some of the most unique stores in Sioux Falls. Picnic table seating will be provided, but feel free to bring your own lawn chair. The best part is that admission is free!

SEPTEMBER 6, 2013—CHALK THE WALK

Photo by Katrina Lehr-McKinney

Featured chalk artists, doodling, and a Chalk the Walk competition are what this First Friday event entails. Registered participants will be placed at public venues throughout the downtown area during the day and evening, and a small group of judges will view the drawings. Judges will present awards to artists in various categories. Winners will receive prizes from downtown businesses!

NOVEMBER 1, 2013—DOWNTOWN GIVES KICK OFF DTSF and several participating retailers will celebrate the spirit of the season with the Downtown Gives program. Downtown Gives is a collaborative effort of Downtown business owners giving back to Downtown charities. It’s also a reminder to shop local and give back for the holidays! First Fridays 2013 will close out on December 6. Please visit dtsf.com for First Friday updates and additional event information. Downtown, everything’s waiting for you!

DTSF RECEIVES AN INTERNATIONAL DOWNTOWN ASSOCIATION AWARD During its most recent annual conference the International Downtown Association recognized Downtown Sioux Falls, Inc. with a Downtown Merit Award for its work and initiatives related to the Destination Downtown Riverfront program. The Destination Downtown Riverfront program was created to bring people back into a neglected downtown area by providing over 30 free events and activities that were designed to involve, educate, and entertain the community and visitors. “We are honored to receive this international recognition,” said Jason Dennison, President of Downtown Sioux Falls, Inc. “This award acknowledges the dynamic partnerships that are created by DTSF to leverage resources and achieve our vision for downtown. We share this award with all those who have supported our efforts and those who have worked to reclaim the river as a valued community asset. It is a direct reflection of the cooperative spirit of our city.” Mayor Mike Huether comments, “Having Downtown Sioux Falls recognized by the International Downtown Association demonstrates how successful partnerships are shaping our city. Congratulations to the Board and Staff.”

Phot o by Ann Louisa Phot ography

Watch for updates regarding 2013’s Downtown Riverfront Programming at dtsf.com!

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n o i t c i d d A g n i ® v l o S R E H T E G O T Face Ihte chronic disease tackles tmunity at a time, Falls one com x u o i S n i starting th Venrick By Elizabe

Drunk. Drug addict. Alcoholic. Druggie. Substance abuser. These are all words Americans use to talk about people with a serious alcohol or drug problem. A growing group of social entrepreneurs says this language has to change. In fact, just about everything we think and do about addiction has to change to make headway against our nation’s most pressing public health issue.

Terri Brown Terri Brown lived much of her life in the shadows of addiction. Now, she’s in long-term recovery and a volunteer and spokesperson for Face It TOGETHER. “There are no more excuses. There is no more feeling, okay, I can’t live like this, but maybe tomorrow will be different. Nothing changes unless you change,” said Brown.

Face It TOGETHER is a social venture born in Sioux Falls that marries social mission with business innovation to fundamentally transform the way our nation deals with the chronic disease of addiction. “Stigmatizing labels and stereotypes about those who suffer from addiction are part of what keeps today’s system broken,” said Face It TOGETHER co-founder and CEO Kevin

Kirby. “People don’t get help until they are very sick, or they don’t get help at all.” But it’s not just the language that needs work. Today’s approach to treating the disease makes it harder to get well because it doesn’t match the chronic nature of the illness. “Medicine and science have long recognized addiction as

a treatable, chronic disease – not at all unlike diabetes or hypertension. Yet almost everywhere, addiction continues to be treated like an acute health crisis,” said Kirby. “It would be absurd to expect a 30-day treatment to permanently resolve other chronic conditions like diabetes. Yet that’s what we’ve come to believe about addiction,” Kirby added. “Most communities don’t have the tools, supports or services to help people manage addiction over the long-term as a chronic illness.” Today, roughly 23 million Americans suffer from a serious alcohol or other drug problem. In the Sioux Falls area alone, approximately 10 percent of the population age 12 and up – or 20,000 people in the four-county area – may have a problem. However, only a small fraction will get help in a given year. They are kept in the shadows because of fear and stigma, and because of barriers in today’s care system that make it difficult to get well.

Economic Costs of Addiction Healthcare costs for employees who have alcohol problems are twice those for other employees People with an alcohol problem use twice as much sick leave as other employees and are five times more likely to file workers compensation claims

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Face It TOGETHER’s bold vision is a nation that understands and treats addiction the same as any other chronic disease.

Kirby, a person in long-term recovery from addiction, seasoned business executive and attorney, had previously founded Transitional Living Corporation, a Sioux Falls nonprofit with a network of sober living homes and residential recovery program. While he had already taken steps to meet one community need, Kirby realized that something far more fundamental had to change. Together, Kirby and Day started reaching out to local stakeholders, national recovery leaders and experts in the field and began crafting a plan to engage the Sioux Empire in a groundbreaking effort to reshape the community’s approach to addiction. That began seven months of “Recovery Town Halls” that united the private and public sectors to identify shared solutions to the disease. This initiative spawned a groundbreaking new community recovery model – called the Face It TOGETHER model – designed to achieve system change and social transformation around addiction.

Social

Addiction is estimated to cost 500 million lost workdays annually.

Entrepreneurship

The economic cost of excessive drinking in 2006 is estimated at $223 billion, with 72.2% attributed to lost productivity and 11% to health care costs.

A process by which citizens build or transform institutions to advance sustainable solutions to social problems. Social entrepreneurs create new combinations of people and resources that significantly improve society’s capacity to address problems. Social entrepreneurs create public value, pursue new opportunities, innovate and adapt, act boldly, leverage resources they can’t control and exhibit a strong sense of accountability (Source: Bornstein and Davis, 2010).

Changemakers The seeds of Face It TOGETHER were sown in 2008, when Kirby connected with Charlie Day, a national health care finance expert and start up strategist, and the two started mapping out a bold vision for the community.

The success in Sioux Falls and interest from other communities led Kirby and Day to establish a nationally focused non-profit organization, “Face It TOGETHER,” dedicated to bringing Face It TOGETHER affiliates to communities nationwide. Located in downtown Sioux Falls, its mission is to empower communities with innovative, sustainable and proven tools to attract millions of Americans to recover from addiction. “For real change, we recognized the need for a revolutionary social movement capable of attracting significant and world-class human and financial resources,” said Kirby. “This is about dreaming big. “We package proven tools that attract community investments to solve our nation’s top public health issue, leveraging a fortuitous confluence of forces that, for the first time in history, make success possible,” said Kirby.

The Face It TOGETHER Approach The Face It TOGETHER model is designed to fundamentally transform the way communities deal with the disease of addiction. At the center of the model is the Face It TOGETHER affiliate, a nonprofit “Recovery Community Organization,” that serves as the hub of the new community recovery system, marshals resources to remove barriers to recovery, develops a network of recovery supports and empowers people to find their own paths to getting well. The Face It TOGETHER affiliate works with three lines of business to help dramatically more people enter and sustain recovery and to greatly improve quality of care for addiction. The Advocacy line of business is focused on facilitating a fundamental system transformation in communities to reach vastly more people and deliver greatly improved recovery care. This systemic change includes shifting the community from an acute care to a chronic care approach to the disease and developing an integrated continuum of care to support all stages of recovery, in partnership with a major health care system.

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Face It TOGETHER’s Mission is to empower communities with innovative, sustainable and proven tools to attract millions of Americans to recovery from addiction.

The Awareness line of business seeks to draw more people into the recovery system by shattering stigma, shame and other barriers that keep most people from seeking help. An award-winning awareness program targets individuals and family members struggling with the effects of addiction. The program includes advertising, public education, social media, partnerships and community outreach, such as a special exhibit, Portraits of Recovery. Developed by some of the nation’s leading marketing and research firms, the Face It TOGETHER awareness program is modeled on the success of other proven social movements such as Susan G. Komen for the Cure and LiveSTRONG.

The third line of business is the delivery of Recovery Support Services, designed to fill gaps in the community to help support long-term recovery. These services are generally provided by volunteers, mainly peers, in recovery themselves, and intended to help build “recovery capital” in individuals and families to prevent reoccurrence of the disease. All three of these lines of business help communities shift to a chronic care approach to addiction. “We must start talking about and treating addiction like any other chronic disease,” said co-founder and COO, Charlie Day. “When we do that, communities will reap tremendous benefits from reduced social, human and economic costs.”

The Model at Work in Sioux Falls Face It TOGETHER Sioux Falls serves as the national organization’s first affiliate. The affiliate is leading the community’s efforts for social transformation around addiction. Mary Hitzemann, who serves as Executive Director, says the organization’s leadership is facilitating dramatic change in the community.

“Face It TOGETHER Sioux Falls strives to dramatically improve recovery services by fostering a “chronic care” approach to alcohol and other drug addiction,” said Hitzemann. “This approach helps significantly more people, provides better care and delivers cost savings.” Responsible for many of those improvements is the organization’s active Advocacy Committee. Chaired by Avera Behavioral Health’s Steve Lindquist and Face It TOGETHER Board Director Jon Sommervold, the committee includes representatives from the community’s treatment and recovery providers, prevention programs serving K-12 education, health care providers and employers. The committee meets regularly to identify, coordinate and facilitate change through their sectors of the community. According to Hitzemann, it’s the goal of the committee to expand membership and reach to include representation from the other important areas of the community, including faith, the judiciary and the criminal justice system. The Face It TOGETHER affiliate’s Employer’s Initiative, established in 2009, extends the “community of recovery” directly into the workplace through robust partnerships with a wide range of local public, private and non-profit sector employers representing a variety of industries. The organization is reaching about onethird of the area’s workforce, with 22 major employers currently engaged in the initiative.

Kevin Kirby

Kevin Kirby is CEO and cofounder of Face It TOGETHER. Kirby is in long-term remission from the disease of addiction and a long-term recovery advocate. Bookmark his blog for weekly updates on this revolutionary movement, http://www.wefaceittogether.org/face-it-together-blog

“The Employer’s Initiative is the primary successful outcome of the advocacy business line. We’ve had some other tremendous successes as well, including collaboration with the recovery and treatment provider community and a wonderful partnership with the Washington Pavilion DAPA program,” said Hitzemann. The Employer Initiative at Face It TOGETHER Sioux Falls includes “culture of recovery” - each partner is provided a set of tools and activities to deliver recovery support services and education to thousands of employees in the Sioux Empire. Employers incorporate these into their existing chronic disease management and corporate wellness programs. “I can’t put a dollar amount on how much Face It TOGETHER has helped [Orion] but investing in recovery makes good economic sense for employers,” said Justin Rey, Human Resources Director for Orion Food Systems. “We’re attacking this [addiction] head-on.“

Above are the list of employers involved in the Face It TOGETHER Sioux Falls Employer’s Initiative. The only one of its kind nationwide, the Employer Initiative, is designed to reach the 75 percent of those who suffer from addiction who are employed. The fear of discrimination, stigma, shame and consequences at work often keep people from seeking help - which is exactly what the Employer Initiative aims to remove by helping more families heal by creating a supportive culture and brining recovery services into the workplace. For more info visit www.faceitsiouxfalls.org

In the future, the Advocacy Committee intents to focus its efforts on education initiatives, especially K-12 and higher education, as well as other key areas related to community resources. “The Committee also recognizes the need to engage in both the legal and judicial sector in a meaningful way,” said Hitzemann.

If You Need Help The local Face It TOGETHER affiliate has also been implementing an innovative Awareness Program, which has included paid and donated advertising, public education and media partnerships, among other activities. As part of the award-winning awareness initiative, Face It TOGETHER Sioux Falls partnered with the Argus Leader and Harolds Photo to develop the Portraits of Recovery exhibit, which features the real stories of local people in recovery. It aims to breakdown stereotypes, provide positive recovery role models and show that the community of recovery stands ready to help. The exhibit has been featured in Leonardo’s Café for several months.

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See the Portraits of Recovery Exhibit currently at Leonardo’s Cafe in the Washington Pavilion. Or contact Face It TOGETHER Sioux Falls to see where the traveling exhibit is today and book the exhibit for your place of worship, worksite, school or other organization

Face It TOGETHER Sioux Falls also serves as the hub for the local recovery community, connecting people and families to information, resources and organizations that help foster and sustain long-term recovery. This includes serving as a call center and operating a drop-in Recovery Center and information clearinghouse, including a comprehensive website (www.faceitsiouxfalls.org). “We provide information about and link clients to a wide range of resources related to recovery, including treatment options and availability, housing, transportation, employment issues, health care, employment support and peer recovery support groups,” said Hitzemann. “Our goal is to help our client reduce barriers to sustain long-term recovery.” Non-clinical peer-to-peer recovery coaching and trained, volunteer “recovery coaches” may be provided to individuals seeking to enter or sustain recovery with informal, personalized support, along with their family and friends. “The concept of a recovery clearinghouse is to provide free, confidential connectivity and resources for you or a loved one to get help,” said Mary Hitzemann. “We touch the life of a person immediately.”

If you or a family member needs help with an alcohol or drug problem, they can help you find it. Face It TOGETHER® Sioux Falls 2011 W. 26th St. Sioux Falls, SD 57105 605.274.2262 • 1.855.432.2348 www.faceitsiouxfalls.org • info@faceitsiouxfalls.org Hours of operation: 9 A.M. – 5 P.M. Mon.–Fri. and as needed. Clients can also participate in the organization’s telephone recovery support program. This is a free service in which trained volunteers in recovery make weekly telephone calls to individuals at any stage of the recovery journey, although most often they are new recoverees recently discharged from treatment or other programs. The calls are an opportunity to “check in” and see how clients are doing, identify any issues and connect them to community resources as needed. Face It TOGETHER is a world-class revolutionary organization located in the heart of downtown at 231 S. Phillips, Suite 201. Their goal is to recognize addiction as a chronic disease; out of the darkness, into the (green) light.

Prince Amukamara Addiction does not discriminate. Over 23 million Americans suffer from the chronic disease. Join New York Giants defensive back, Prince Amukamara and, show your support, get your green Face It TOGETHER wristband today – Visit www. wefaceittogether.org for more information or email evenrick@wefaceittogether.org

An Equal Opportunity Disease Research shows that one in four children are directly exposed to addiction, putting them at greater risk of school failure, mental health and behavior problems and addiction. Just like other chronic diseases, addiction should be addressed proactively in a variety of community settings to improve prevention and early detection to keep the disease from becoming too severe. Avera McKennan Hospital and University Health Center has partnered with Face It TOGETHER Sioux Falls to reinforce the importance of recognizing and treating addiction as a chronic disease. “We know that it [addiction] is truly a disease. The best thing is to recognize the problem first and early, as early as possible. It is a longitudinal illness that requires support for a lifetime,” said Dr. David Kapaska, a family practice physician and Regional President of Avera McKennan Hospital & University Health Center. Kapaska believes that more people will get the help they need to recover if we better understand the treatable and chronic nature of addiction. “The bottom line is it could happen to anybody. Many people won’t come forward because they’re afraid they’ll lose their jobs, lose their families, lose their home and the fact of the matter is if you don’t get help and have people help you, you will lose those things,” said Kristi Metzger, Vice President and Trust Manager at Home Federal Bank, and a person in longterm recovery from prescription painkillers.

Growing the Movement With plans to fundamentally and permanently change the way addiction is addressed nationwide, Face It TOGETHER is creating a financially sustainable network of branded, community-supported affiliate organizations grounded in the principles of social entrepreneurship. Face It TOGETHER’s goal is to mobilize every sector of every community—businesses, health systems, treatment and recovery programs, housing providers, college campuses and more—to join forces and attract millions more Americans to recovery from addiction. “We are all about disrupting the status quo,” said Kirby. “We are working to ask the hard questions that nobody else in this field is asking. This is a tremendously devastating disease and we’ve had our heads in the sand for too long. It’s time for real change.” Just like every other chronic disease has a color, Face It TOGETHER has adopted green to represent its movement and all it stands for. “Green represents life, healing and renewal,” explained Kirby. “We hope that someday it will be as universally understood as the pink ribbon.” With the success of the first affiliate in Sioux Falls, the Face It TOGETHER team is working to establish additional affiliates in a number of communities in South Dakota and the upper Midwest region. Face It TOGETHER recently opened a new headquarters in downtown Sioux Falls and are adding seasoned members to their team to meet demand. “This is about building a movement. Friends, family, communities are all part of recovery. But the complete solution is in transforming our society,” said Kirby. “If we can imagine it, we can accomplish it.”

Join the movement – www.wefaceittogether.org

The arts in Sioux Falls span multiple arenas. Dance & other performing arts, visual arts, design, crafts - you name it, Sioux Falls has it! Downtown is the nerve center for the community’s vibrantly active arts culture.

Gallery Highlights from the Washington Pavilion’s

ARTS

Connie Herring: In Memory of Earth Sep 28, 2012–Jan 2, 2013; Gallery F Closing Reception: Dec. 21, 5:30–7:30 p.m. December 21, 2012, is the end of the Mayan calendar. Some see this foretelling the end of the earth. Some think it will be the dawn of a new age. In Memory of Earth is a fullgallery installation inspired by Connie Herring’s interest in archeology, nature, and ancient and native cultures. It brings the elements of a fictional archaeological find—a tomb for the earth—to a museum for people to view. If someone were to find a tomb dedicated to the planet after the end of the earth, what would they find?

County Lines: Images from Across South Dakota Nov 9, 2012–Feb 17, 2013; Gallery A Sponsored by Scott Christensen Recent paintings by South Dakota native D. George PrisbePrzybysz will be on exhibit at the Washington Pavilion in Sioux Falls. County Lines: Images from Across South Dakota is a continuation of the artist’s Dakota Tonalism Series in which Prisbe-Przybysz is attempting to capture and reflect the inner truth and spiritual beauty of the state.

Bryan Christiansen: Trophy Hunter Nov 16, 2012–Feb 10, 2013; Galleries B and C Sponsored by Scott Christensen A native of the Black Hills, Bryan Christiansen makes contemporary sculptures that challenge conventional notions about rural life, the rituals of the hunting tradition, home, and the innocence of childhood. Using discarded household furniture that he finds in neglected urban areas, Christiansen crafts assemblages that stand in for the trophies, antler mounts, and pelts so often prized by hunters.

P3 (Painters, Poets & Pavilion) Dec 21, 2012–Mar 16, 2013; Everist Gallery Poetry Reading: Mar 16, 3:00–5:00 p.m. Closing Reception: Mar 16, 6:00–8:00 p.m.

Connie Herring, Guardian Figure—Horse, 2012

This exhibition pairs artists and poets together in the creation of collaborative works of art and poetry. After successful exhibitions in 2008, 2009, and 2010, the artists and poets of P3 took a year off. Now, as a part of a biennial schedule for the show, they are back in the collaborative process for P3 2012. A closing reception and poetry reading will be held on the last day of the exhibition, March 16, 2013.

Sacred Symbols in Sequins: Vintage Haitian Vodou Flags Jan 25 – Mar 16, 2013: Galleries D and F

George Prisbe, Opus 66— Acetes, 2011-2012

Bryan Christiansen, Doe (loveseat with prairie grass), 2009

For many Americans, the term Vodou brings up unfortunate Hollywood-inspired imagery involving hexes and curses, but visitors to Sacred Symbols in Sequins will gain new insights to the beauty and sanctity of Haitian Vodou after viewing 16 exquisite early to mid-20th century Haitian Vodou flags (drapo Vodou). Six stunning Vodou libation bottles and eight portraits of contemporary Vodou practitioners by renowned photographer Phyllis Galembo provide a context for these dazzling sequin-and-bead-encrusted ceremonial banners.

Ogou e, mid-20th century

Closed for Holiday

KSDC & CineDome close at 4 PM Closed for Holiday

ER:

The Last Reef:

Cities Beneath the Sea *Films and show times are subject to change. Please call ahead at (605 )367-6000 for more info.

Every Hour

Jr. Scientist Program Pick up you r packets in the KSDC and get your Jr. Scientist badge today! $5 after 5 PM every Friday in Dec , 2012 for admission to the KSDC & CineDome (with valid student I.D.) 2012 Winter Hours Tue s-Thur, & Sat 10 AM–5 PM Fri 10 AM–8 PM, Sun 12 PM–5 PM Closed Mondays 2013 Winter Hours Tues-Sat 10 AM–5 PM* *Open 5-8 PM Free First Fridays ONL Y Closed Mondays Dec 7, 5 PM Boy/Girl Scout Recruitment Night Dec 7, 5–8 PM Free First Friday (free admission into KSDC) Jan 4, 5–8 PM Free First Friday (free admission into KSDC) Jan 21 VAC, KSDC and CineDome Open for Mar tin Luther King, Jr. Day Jan 25, 6 PM Junior and Cadette Girl Scout Camp In: Musician and Public Speaker Badges. Registrat ion begins Dec 1

KIRBY SCIENCE DISCOVERY CENT

Jan 1

Dec 24-25

Dec 1

HOLIDAY CLOSURES

Closing Reception: Dec 21, 5:30–7:3 0 PM

First Juried Exhibition, Everist Gallery Connie Herring: In Memory of Ear th,

Gallery F

Dec 9, 6 PM

Dec 7–8, 7:30 PM Dec 9, 2:30 PM

Dec 7, 7:45 PM Dec 7, 8 PM

Dec 6, 7:30 PM

Dec 4, 7 PM

Dec 2, 3:30 PM

Dec 1, 7:30 PM

door.

South Dakota Symphony Youth Orch estra Concert at the Washington Pavilion

Augustana College Bands Christmas Extravaganza Christmas for a Cause featuring Rac helle Hope Sioux Falls Jazz and Blues Society pres ents: Regina Carter’s “Reverse Thread” at the Sioux Falls Orpheum Theater South Dakota Symphony: Holiday Coll age

ticket required-donations accepted at the

Tonic Sol-fa Holiday Show BritZa Studios Proudly Presents: Welc ome to Our World DAPA presents: Chamber Ensemble Recital No

Sacred Symbols in Sequins: Vintage Haitian Vodou Flags Galleries D & F

HUSBY PERFORMING ARTS CENT

Jan 25–Mar 16

Poetry Reading: Mar 16, 3–5 PM Closing Reception: Mar 16, 6–8 PM

County Lines: Images from Across South Dakota, by D. George Prisbe-Przybysz, Galle ry A Nov 16–Feb 10 Bryan Christianse n: Trophy Hunter, Galleries B & C Dec 21–Mar 16 P3 (Painters, Poets & Pavilion)

Nov 9–Feb 17

Sept 14–Dec 2 Sep 28–Jan 2

DECEMBER-JANUARY

Feb. 5, 12:30 PM

Dec 15, 10 AM

Dec 8, 10 AM

Dec 4, 10 AM

Dec 1, 10:15 AM

Dec 1, 10 AM

Ages 4-15 years

Spectacular Saturdays: Elementary, My Dear Watson Homeschool Classes: Art Sampler,

Spectacular Saturdays: Scents and Sense Abilities Spectacular Saturdays: Postcard Prod igies Spectacular Saturdays: Broadway Bou nd: Dance Storytime: “The Rainbow Fish,” FREE All Ages Welcome Toddler Art: Terrific Textures Spectacular Saturdays: Outrageous Origami Spectacular Saturdays: Castles and Crowns Spectacular Saturdays: Sounds Goo d to Me Spectacular Saturdays: Arrr t Class Spectacular Saturdays: Comic Relief

COMMUNITY LEARNING CENTER

Dec 1, 10 AM

at the door

DAPA presents: Chamber Orchestra Holiday Concert

No ticket required-donations accepted

Holiday Jam with the Heggs presente d by First Bank and Trust Bowfire Holiday Heart Strings

Brulé and AIRO Holiday Concert ben efitting HBA Care Foundation DAPA presents: The Tale of Snow Whi te

Lorie Line “Immanuel” Dec 21, 7:30 PM “A South Dakota Acoustic Christmas with Dec 22, 2 & 7:30 PM Guest Michael Johnson” at The Lorang Theatre at O’Gorman Dec 23, 3 PM Jim Brickman: On a Winter’s Night Jan 12, 7:30 PM South Dakota Symphony: Rachmaninof f’s Symphony No 3 Jan 17, 7 PM A Chorus Line Jan 19, 8 PM Sioux Falls Jazz and Blues Society pres ents: Hadden Sayers at the Sioux Falls Orpheum Theater Jan 26, 3 PM The St. Olaf Choir in Concert Jan 26, 7:30 PM South Dakota Symphony: Tchaikovsky’ s Piano Jan 27, 2:30 PM Concerto with Alessio Bax Jan 29, 7 PM Royal Winnipeg Ballet: Moulin Rouge® -The Ballet Feb 5–7, 7 PM West Side Story

Dec 20, 7:30 PM

Dec 19, 7 PM

Dec 16, 3 PM

Dec 15, 7 PM

Dec 13–15, 7 PM Dec 15–16, 2 PM

Dec 13, 7:30 PM

n the opening moments of the revival of West Side Story, before a note is played, before a word is said, before a step is danced, before a finger is snapped, Riff, the leader of the Jets stands center stage and glares out at the audience. The look is sullen, menacing. He’s joined by other members of his gang, who project that same intimidating look. Then Riff snaps his fingers and the Prologue begins. But the effect of the Jets staring down the audience remains unsettling. And that’s precisely what director Arthur Laurents had in mind. “I felt the gangs in the original production were sweet little things,” said Laurents, the director of the Broadway revival that the national tour is based on, “and the truth is, they’re all killers—every one of them. I wanted to do a much tougher West Side Story.”

-FOR THE 21ST CENTURY-

AN INTERVIEW WITH

ARTHUR LAURENTS 36

He’s entitled: he created those characters, together with composer Leonard Bernstein, lyricist Stephen Sondheim, and director/ choreographer Jerome Robbins. Laurents wrote the book for the landmark 1957 musical, and over the course of more than a half century, his views about the material have evolved. In the published version of the original script, he used the word “nice” to describe one member of the Jets, and “slightly whacky” to describe Riff – hardly adjectives associated with killers. “I don’t think any of them are nice,” said Laurents. “What I thought 50 years ago, I certainly don’t think today. If you never change the way you think, if you stand still, you’re dead. A lot of my ideas have changed, and this whole production is radically different from what it was back then. It would have to be.” Laurents has directed a West Side Story for the 21st century. It’s not that the show has been updated; rather, it’s been infused with a contemporary sensibility and the knowledge

of what has and has not changed in this country over the past 50-plus years. Maria and Tony still fall in love and are still doomed, unable to escape the warring factions that circumscribe their lives. Maria is the sister of Bernardo, leader of the Sharks, a Puerto Rican gang fighting a turf war with the Jets. And Tony, a former Jet who has left the gang but cannot break free of its hold, is propelled into the battle in spite of himself. Bernstein’s gorgeous music still soars. Robbins’ dynamic choreography, reproduced by Joey McKneely, remains invigorating. But Laurents has added more grit to an already gritty show, and heightened the romance. He also has the Puerto Rican characters sometimes sing and speak in Spanish, which not only gives them a bit more authenticity, but also reflects the sounds of New York City today. In fact, the initial impetus for this revival was Laurents’ desire to explore how the dynamics of the piece would

shift if the Puerto Rican characters spoke in their native language. He believes that in this country, most audiences view the Jets as the good guys and the Sharks as the bad guys. But when his life partner, the late Tom Hatcher, saw a production of the show in Bogotá, the reaction was very different. “Tom told me that when Spanish is the hometown language, the Sharks become the heroes and the Jets become the villains,” said Laurents. “That interested me, although I think both gangs are the villains. I said to Tom, ‘What if there was some way to equalize the gangs?’ And Tom said, ‘What if the Sharks spoke and sang in Spanish at those moments when they would in life?’ And that was it. That’s when I became interested in directing the show.” Lin-Manuel Miranda, who conceived, composed and wrote the lyrics for In the Heights, was asked to translate some lyrics, and parts of the dialogue were also translated into Spanish. Laurents said that, from the start, the use of

Spanish was an experiment; when he felt that audiences did not understand what a song was about, he restored at least some of the English lyrics. “‘A Boy Like That’ was originally in Spanish and it was very effective—for people who knew the show,” he said. “But once you got past that audience, people had no idea what was being sung. So now the song is in both languages, first in English then in Spanish. We did the same thing with ‘I Feel Pretty.’” Laurents said he “directed the musical as though it were a play,” emphasizing the acting as much as the singing and dancing. He cast very young actors, both on Broadway and on tour, which adds an additional level of poignancy: it not only makes Tony and Maria’s situation more heartbreaking, but is a constant reminder to the audience that the simmering hatred, the violence, is being perpetrated by kids, by lost youths on the verge of wasted lives. Every member of the cast, regardless of the size of his or her role, had to create a full-blown character. “On the first day of rehearsals, I told them, ‘I want every one of you to know why you have ended up in a gang,’” he said. “‘Don’t tell me what you’re thinking. Don’t show me what you’re thinking. Just think it, and I will get it.’ And that’s what’s happened.”

While always mindful of the period in which the show was created and originally took place, Laurents added some new details that give the piece more of an immediacy, that underscore the musical’s timelessness. Early on, a policeman

“Arthur told us that we’re not pretty boys, like in the movie,” says Akram, who has been enthralled by West Side Story since seeing the film as a youngster in his native Venezuela. “He told us that the way the Jets and Sharks look when the movie ends is the way we have to look at the beginning of the show. We have to look tired, we have to look like gang members. And gang members don’t wear gel in their hair, their hair isn’t slicked back. From the start, we’re screwed up in our bodies, and that’s something we have to project.”

George Akram, who originated the role of Bernardo on Broadway, says that Laurents trusted the actors to find their way into their parts on their own, but willingly provided as much or as little guidance as each individual needs. “It’s so important to have a director that gives you the freedom to bring something to the table,” says Akram. “I’m really grateful for that. When I had questions—and this was true for everybody—Arthur would explain why the character does what he does. He once gave me a note about the first scene, when Lt. Schrank comes in and yells my name. I’m not paying attention to him, because I’m talking to the Sharks. The way I reacted was very aggressive. Arthur said that in the ’50s, I couldn’t be so aggressive or sarcastic to the police, because they would just grab me and put me in jail.”

brandishes a gun, an action not in the original version. “I was heightening the violence,” said Laurents. “I wanted you to be aware, right from the beginning that this isn’t kidding.” The very topical word abstinence is uttered pointedly and sarcastically. The costumes by David C. Woolard are purposely independent of any particular decade.

The evocative set by James Youmans suggests an airless, claustrophobic neighborhood that engulfs its inhabitants. “I wanted the set to suggest that the characters are trapped,” said Laurents. “These people live in a black-gray world of nothing, but it’s all they have. And my staging of the opening is totally different, because I want it to reflect that. I told the cast, ‘You have nothing but this piece of street, and you’re not going to let anyone take it away from you. You’re fighting over something undesirable.’” Laurents’ changes may make the show speak more clearly, more truthfully, to contemporary audiences, but even without them, the material remains evergreen. Falling in love with the wrong person has led to bloodshed for

centuries, long before Shakespeare wrote about it in Romeo and Juliet, the play that inspired West Side Story. Hatred and prejudice and suspicion of other cultures has always been, and continues to be, one of the main reasons wars are fought—not just gang wars. It’s impossible not to think of the great divide in this country when Lt. Schrank orders the Sharks to leave Doc’s drugstore. He says, “Sure; it’s a free country and I ain’t got the right. But it’s a country with laws, and I can find the right. I got the badge, you got the skin. It’s tough all over.”

If something didn’t ring true to Laurents, it was changed or cut, like the “yeah” that usually punctuates the end of the Jet’s Song. The ballet has been tweaked and truncated. He restaged the show’s closing moments, eliminating the processional in which the Jets and Sharks come together to carry off Tony’s body. “I never believed that ending for a minute,” he said. “They all have this great epiphany and everybody’s happy? This new ending gives a little hope, but that’s it. I also think it’s smaller and more personal.”

“I think people kid themselves how much better things are today,” said Laurents. “It’s better, but not all that much. I’ve received hate letters because of the Spanish in this production. Underneath, the prejudice remains, and I think most people know that. So you hear a couple of these lines in West Side Story, and the show seems more contemporary now than ever before.” Don’t miss West Side Story at your Pavilion February 5, 6, & 7, 2013 at 7 p.m. Tickets at www.washingtonpavilion.org or at 605367-6000. Viewer discretion: Strong language, adult themes. Parental Guidance suggested. Recommended ages 14+

By Annie Lanning

WE ALL BECOME IMPORTANT WHEN WE REALIZE OUR GOAL SHOULD BE TO FIGURE OUT OUR ROLE WITHIN THE CONTEXT OF THE WHOLE. There is a place where the themes from one of Broadwayâ&#x20AC;&#x2122;s greatest hits and the lyrics of singer/ songwriter Kimya Dawson intersect. The timeless hit A Chorus Line highlights the life stories of Broadway dancers as they audition for spots in a chorus line, thus examining the individual parts as they become a greater whole. The classic appears on the stage of the Mary

W. Sommervold Hall of the Washington Pavilion on Thursday, January 17, 2013 at 7 p.m. What began as a workshop setting in which Broadway dancers known as gypsies shared their stories of trying to make it on Broadway developed into a musical about veteran dancers coming to the ends of their careers. Their stories, purchased for a meager dollar apiece, were taped, and subsequently woven into one of the most beloved and revered musicals in Broadway history.

James Kirkwood, Jr. and Nicholas Dante authored the book. Edward Kleban wrote the lyrics and the late Marvin Hamlisch wrote the music for some of Broadwayâ&#x20AC;&#x2122;s most recognizable tunes. The show was originally directed by Michael Bennett and co-choreographed by Bob Avian. Bennett also choreographed Follies, Promises, Promises, and Company and co-choreographed Dreamgirls.

A Chorus Line opened Off-Broadway at the Public Theater on April 15, 1975. Tickets for the entire Off-Broadway run immediately sold out. The production moved to the Shubert Theatre on Broadway on July 25, 1975, where it played until April 28, 1990. The show ran for an unprecedented 6,137 performances and stood as the longestrunning production until unseated by Cats in 1997, and then Les Miserables and Phantom of the Opera in 2002.

A Chorus Line was the longest running Broadway musical originally produced in the United States until Chicago took the title in 2011. Countless productions have taken the stage worldwide and the show enjoyed a Broadway revival in 2006. The revival cost eight million dollars to finance, which was made up within nineteen weeks of the opening. The 2006 version was directed by Avian and choreographed by Baayork Lee, who played Connie Wong in the original Broadway production. The show was nominated for twelve Tony Awards in 1976 and won nine, including Best Musical, Best Book of a Musical, Best Performance of a Lead Actress in a Musical, Best Performance of a Featured Actor in a Musical, Best Performance of a Featured Actress in a Musical, Best Original Score, Best Direction of a Musical, Best Choreography, and Best Lighting Design. A Chorus Line also garnered eight Drama Desk Awards as well as the Pulitzer Prize for Drama, a Theatre World Award, a Gold Record Award from Columbia Records, and a special Tony Award in 1984 for longest-running Broadway musical. Few viewers will not identify with one or more of the universal struggles the characters describe as they audition for a spot on the chorus line. The show opens with director Zach searching for eight dancers—four

boys and four girls—for a chorus line. After the initial cut, seventeen dancers remain and the director asks them to introduce themselves.

Mike, the youngest of 12 children, tells the story of taking his sister’s place one day when she refused to go to dance class in “I Can Do That.” Bobby plays the part of the clown in an effort to cover up his unhappy childhood. Sheila, Bebe, and Maggie reveal that they took to ballet as an

her evolving appearance in “Dance: Ten, Looks: Three [Tits and Ass].” While the other dancers leave to learn a dance sequence, Cassie stays to talk to Zach, revealing a past intimate relationship. When Zach tells Cassie she’s too good for the chorus, she lets him know that she can no longer find solo work and wants a part in the chorus so she can at least keep dancing. Paul tells his story next, eventually breaking down on stage. The cast runs through “One,” a number designed to highlight one member of the chorus. Paul injures his knee during a tap sequence, forcing the other dancers to recognize their careers can end in an instant. When Zach asks what the dancers will do when they can no longer dance, they all answer that whatever happens, they will be without regret (“What I Did for Love”). escape from their unhappy family lives in “At the Ballet.” While she can dance, it is obvious the Kristine cannot “Sing” and only succeeds vocally with the assistance of her husband Al. Various members of the cast lament struggles of appearance, sexuality, career choices, and horrible teachers in a montage of “Hello Twelve, Hello Thirteen, Hello Love,” “Mother,” and “Gimme the Ball,” followed by “Nothing.” Val comes next with the story of

Finally the chorus line is chosen: Mike, Cassie, Bobby, Judy, Richie, Val, Mark, and Diana. According to Hamlisch, the first previews of the show were not received as well as anticipated. Actress Marsha Mason suggested that Cassie should not be cut because the character does everything right. Bennett changed the line-up so Cassie got a place, a move that has almost always resulted in a standing ovation. The show closes with the hit “One,” featuring all

nineteen dancers, now all dressed in gold costumes and assimilated into one unit, a chorus line. The movie version of A Chorus Line released in 1985 was not met with the same accolades as the stage version. Mixed review ranged from Time Out London calling it “too corny and unbelievable for words” to Roger Ebert naming it “one of the most intelligent and compelling movie musicals in a long time.” “Hello Twelve, Hello Thirteen, Hello Love,” “Sing!” and “The Music and the Mirror” were cut from the film version, and “What I Did for Love” shifted from a song about dancers passion for their craft to a love song from Cassie to Zach, played by Michael Douglas.

A Chorus Line’s reach has gone far beyond Broadway. A

parody of “One” was featured in The Simpsons episode “Treehouse of Horror V.” Music from the score was featured in the television program Fringe and the movie Land of the Lost. Various songs from the musical have been featured on the hit television musical Glee. James D. Stern and Adam Del Deo premiered Every Little Step, a documentary film at the Toronto International Film Festival in 2008. The film featured footage of Bennett, some of the audio from the original tapes, interview with original cast members, and footage of auditions, rehearsals, and performances of both the original 1975 production as well as the 2006 revival. In 1990, Lee and Thommie Walsh, the original Bobby, along with Robert Viagas released the book On the Line: The Creation of a Chorus Line. Viewer Discretion: strong language and adult themes. Parental Guidance Suggested. Recommended ages 14+

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commission E

mbarking on a commission is something of a leap of faith. Whether music, painting, theater, an organization commissioning a new work cannot be sure of what they will receive as a completed product. Usually the commissioner has some familiarity with the artist’s body of work and may even, to some degree, have input during the creative process. Ultimately that process is, and should be, in the hands of the artist.

This January the South Dakota Symphony Orchestra will premiere a new piece of music written for the SDSO’s Lakota Music Project, by native American composer Jerod Impichchaachaaha’ Tate. It will be a song cycle (a set of five songs), sung in the Lakota language, each song honoring a different Lakota warrior. Jerod is in the process of composing at the time of this writing. He has traveled twice to Rosebud reservation from his home in Oklahoma City to meet with Webster Two Hawk in order to work on the translation of the text of the songs into Lakota. He recorded Mr. Two Hawk speaking the text and has sent that recording to Stephen Bryant, the baritone soloist who will sing the premiere. (Mr. Bryant will be familiar to SDSO audiences, having sung Haydn’s The Creation with the orchestra last season and Handel’s Messiah the season before.) This is all part of an extended creative process which began with a meeting in New York City between Delta David Gier and Mr. Tate MORE THAN three years ago. “Jerod and I figured out that we were going to be in NY at the same time, and so arranged to meet. I told him the history of the genesis of the Lakota Project, after which he said, ‘Here’s what I’d like to do . . .’ and told me his vision of the Lakota song cycle,” comments Delta David Gier, Music Director of the South Dakota Symphony Orchestra. Maestro Gier continues, “The SDSO has played a fair amount of contemporary music over the past several seasons and

has developed relationships with many living composers from around the globe. We have even premiered several of these composers’ works, which is always a privilege. Stephen Yarbrough has had a long-standing relationship with the SDSO. In fact, we’ll premiere a new piece of his during our Holiday Collage concerts in December.” Dr. Stephen Yarbrough says, “Creating a new work for the SDSO is without a doubt my favorite form of compositional activity! I can say that whenever the SDSO has worked with me on a commissioned piece that I have been treated with the utmost courtesy, friendship, and professional respect. I have always been given complete freedom to comment on how my work is being played. Any changes I wish to make are done on the spot.”

Daniel Kellogg served as the orchestra’s composer-in-residence for three years, during which time the SDSO played many of his existing works and then capped off his residency by commissioning a new work, which was premiered last season. This season SDSO audiences can hear his piece Mozart’s Hymn on an otherwise all-Mozart program in April, a fantasia on Mozart’s Ave Verum Corpus for string orchestra. On his compositional process, Daniel Kellogg says, “Every commission is a bit different, but my main goal is to offer the best music I can that will fit the needs of the commission while playing to the strength of the performers. I have truly loved working with the SDSO. They are a great orchestra with warm and generous musicians. Maestro Gier is one of the best interpreters of modern American music. He has expertly handled every one of my scores and I have a rare confidence whenever I work with him. My experiences with the SDSO have tended to be my most collaborative and exciting experiences with any orchestra. The performers are eager to talk with me about the music and I believe they share a passion that is not always present with professional orchestras.” For the first tour of the Lakota Music Project (2009), the SDSO commissioned Native American composer Brent Michael Davids (Mohican) to write a piece for the SDSO to play with a Lakota drumming group, The New Porcupine Singers. The parameters of this piece were somewhat clear: an orchestral work which would incorporate this form of native music, with both traditions (Indian and Caucasian) well-represented. Brent met with Ronnie Theisz, then head of Humanities at Black Hills State University, and a founding member of the original Porcupine Singers. They selected a traditional Lakota song from the drumming group’s repertoire, and Brent then created a very

effective work that has been played all over our state, in cities, on reservations, at Crazy Horse memorial, and for the Governor in Pierre during the tourism banquet. The SDSO also premiered Desert Wind, composed for the project by principal oboist Jeffery Paul. Originally written for electric guitar (which Jeff still plays within the orchestra for this new incarnation), he re-imagined the work to incorporate a lullaby sung by Melvin Young Bear (keeper of the drum for the Porcupine Singers) for his niece. Jeff has just completed a new work, commissioned by the Sisseton reservation, which the SDSO will premiere on a Lakota Music Project tour in April. This is a concerto for cedar flute and orchestra, written for Lakota musician Bryan Akipa. Jeffery Paul comments, “My process for writing a commission varies with the particulars of every project. I like to meet with whoever is commissioning, and get as many specifics as possible, especially with regard to the philosophy, conception, and expressive intent of the music. Then I do a little research— fieldwork—as necessary, and in the case of the Lakota Music Project, a lot of listening and understanding the musical and cultural values, as well as the nature of a collaboration from the perspective of the Native musicians with which we will work. “I always knew I would thrive best in a musical environment where I could involve myself in as many aspects of music as possible. In this way, working with the SDSO has been both enriching and educational for me. I’m also thankful that Maestro Gier and the SDSO have given me regular opportunities to compose, conduct, and educate.”

Whittier Neighborhood Mural Project at Meldrum Park By Tim Hoheisel

he many works of public art in Sioux Falls make the city more interesting, charming, and unique—from the dozens of sculptures to the CommUnity Youth Mosaic. Another distinctive work of public art is about to be added to the list, thanks to a partnership between the City of Sioux Falls, the Whittier Neighborhood Association, Whittier Middle School, the Sioux Falls Arts Council, and the National Endowment for the Arts (NEA). With a $50,000 grant from the NEA to the Sioux Falls Arts Council, nationally renowned mural artist Dave Lowenstein will assist in painting a mural on the westfacing wall of the water tank in Meldrum Park next summer in addition to many other renovations to the park.

The Mural Project began with a Whittier Middle School neighborhood revitalization project. In 2011, Social Studies teacher Mrs. Lela Himmerich asked her eighth grade students a simple question, “What is needed to keep the Whittier Neighborhood vital?” The assignment was a venture into project-based learning for her eighth graders. Students had to learn about the neighborhood surrounding their school, decide what was needed, and then develop ways to improve the neighborhood. Mrs. Himmerich gave her students four weeks to complete the project and create a justified plan of action. The project concluded with a class presentation attended by city officials, including the Mayor. Under its new leader, long-time Broadway theatre producer Rocco Landsman, the National Endowment for the Arts charted a new vision for the organization beginning in 2010. An emphasis was placed on grants to projects that contribute to the livability of communities and put the arts at their core. The term for that is creative placemaking, which involves partners from the public, private, non-profit, and community sectors that work together to strategically reshape the physical and social character of a neighborhood, town, city, or region around arts and cultural activities, according to the NEA. Chairman Landsman said, “Creative placemaking animates public and private spaces, rejuvenates structures

and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire, and be inspired.” To work more closely with the NEA and creative placemaking, Nan Baker, former executive director of the Sioux Falls Arts Council, applied for and was awarded a fellowship in the Creative Community Leadership Institute, CCLI, in Minneapolis in 2011. The fellowship provided comprehensive, professional-level training and support for local communityengaged artists and community developers and is funded in part by the Bush Foundation. “Essentially, we dissected the field of arts-based community development, and then put the artistic pieces back together with sensitivity toward the hopes, dreams, and desires of the communities that intersect our individual lives. One such community project is the Whittier Neighborhood Project at Meldrum Park,” wrote Baker. Near the top of the Whittier eighth graders’ list of improvements was an idea to create a historical mural on the side of their school. Through several community meetings, it was decided that a mural in Meldrum Park would be an ideal location for a major collaborative project that the community and students could design and create. The Arts Council applied for and was awarded a creative placemaking grant from the NEA. The intent of the project is to create public art—in this case a wall mural that hopefully will instill a sense of pride within the Whittier neighborhood. In the process of creating the mural, the project will engage the community through design workshops, educational activities, and creation of the mural. It is also intended to be a model for other neighborhoods in Sioux Falls who wish to create their own public art projects. The NEA received 317 applications for grants in 2012 that were assigned to one of three application review panels based on their project type. These were arts engagement, cultural planning and design, or non-metro and tribal communities. Only 80 grants were awarded nationwide. For a complete listing of projects, visit www.arts.gov. For more visit: www.ArtsSiouxFalls.org

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f variety is the spice of life, then Sioux Falls Jazz and Blues has a musical lineup that will make your mouth water! The 2012-2013 Concert Series, The Spectrum of Sound, shows the diversity of today’s jazz and blues artists in a five-performance series. Two of the scheduled artists who provide nearly polar opposites in their style and musical approach, are jazz violinist Regina Carter and Texas blues troubadour Hadden Sayers. If you cannot make it to all five shows, these are two you must not miss!

“One of the things that is always so fundamental about music, is that it provides such an endless and limitless stream of possibilities and styles—especially today with access to so much more music via the internet,” says Robert Joyce, Executive Director of Sioux Falls Jazz & Blues, “and in jazz and blues music, the art of improvisation provides an artist with the framework to never play a song the same way twice. It’s absolutely amazing.”

REGINA CARTER—NOT JUST YOUR RUN OF THE MILL JAZZ MUSICIAN! Appearing on December 7, 2012, at Sioux Falls’ historic Orpheum Theater, Regina Carter is a classically trained jazz violinist hailing from Detroit. Are you familiar with Itzhak Perlman or Yehudi Menuhin? She took master classes from both them. And how about Ella Fitzgerald? Her close friend, jazz singer, Carla Cook introduced them while Carter was in high school. She has played with the likes of Aretha Franklin, Lauryn Hill,

Mary J. Blige, Billy Joel, Dolly Parton, Max Roach, Oliver Lake, and Wynton Marsalis. Is she beginning to seem beyond reach? Well she did work as a nanny for a German family and taught violin on a U.S. military base while trying to make connections at the onset of her career. Everyone has to start somewhere! In 2006, Carter was awarded a MacArthur Fellows Program grant, also referred to as a genius grant. Presented to between 20 and 40 Americans annually, it recognizes individuals who “show exceptional merit and promise for continued and enhanced creative work.” After having just lost her mother, the support of the MacArthur Foundation grant gave Carter the confidence and opportunity to experiment with music in a way that was daring and different from her past work. The resulting album, Reverse Thread, celebrates African folk tunes and embraces the unique sound of a kora, the West African harp traditionally played by village storytellers. Kora virtuoso Yacouba Sissoko assisted Carter in helping to recreate the spirit of passing stories from one generation to another, a tradition paramount in African culture. Speaking about her inspiration for the album, Carter says, “There is an immense amount of amazing music coming from all around the world, much of which is barely accessible. Reverse Thread gave me the opportunity to explore and celebrate a tiny portion of music that moved me.” Although this album is very progressive, she still has the musical chops to play a traditional jazz style as well. “I am excited to have the opportunity to enjoy the unique talents of Regina Carter again,” Miles Schumacher, Sioux

Falls Jazz and Blues Board President remarks. “Her technical skills on the violin are exceeded only by her improvisational jazz artistry.” As if her genius grant isn’t remarkable enough, Carter is also recognized for being one of a select few (and the only female and African American) to ever play II Cannone Guarnerius, a violin nicknamed the Cannon because of the explosive sound that it is able to produce. The instrument was originally made in 1743 and loved by Niccolo Paganini, an Italian violinist, violist, guitarist and one of the most celebrated composer-performers of his time. In the spirit of universal cohesion and healing after the September 2011 attacks on the United States, Carter was invited to play the instrument during a concert in Genoa in December, 2011. She used the instrument again in 2003 while she recorded her album Paganini: After a Dream.

HADDEN SAYERS—A RENAISSANCE BLUES MAN Sioux Falls Lawyer and music fan Rico Johnson loves the blues. And he loves the music of Hadden Sayers. “Hadden Sayers is not a household name in this locale, but if you love music and you like the blues, this is a show you should not miss. This guy is the real deal-- his life story epitomizes the life of a bluesman.” If ever there were an artist to soulfully sing the blues, it is Hadden Sayers. No stranger to heartache, Hadden Sayers has repeatedly met misfortune. After the death of his beloved uncle and the loss of a close friend, he retreated to a dilapidated cottage in Southern Ohio and into seclusion. On hiatus from music, he focused instead on repairing the structure. Through happenstance, Sayers met Conard McCorkle, a retired stonemason, whom he hired to rebuild his stone chimney. The chimney project then became a complete renovation and as the months wore

on and the two men became closer, Sayers began humming tunes aloud. He even lugged in recording gear to begin working through songs, sometimes recording lyrics as voice memos on a cell phone until he could reach the studio. In a continued turn of fate as the renovations came to a close, Grammy-nominated soul vocalist Ruthie Foster contacted Sayers in search of a guitarist for her band (Foster appeared as the opening performance for the 2010-2011 Sioux Falls Jazz and Blues Concert Series). Of kindred spirits, the two share adoration for the Brazos Valley hybrid of blues, Tejano, country, soul, gospel, and reggae. Resuming his musical career with a new and lively edge and exposed soul, Sayers began writing songs with Foster in mind. Their duet Back to the Blues became the keystone of his 2011 album, Hard Dollar, and was nominated for 2012 Song of the Year by the Blues Music Awards. If you were expecting his lyrical disposition to be jaded and bleak, you’re mistaken. Regina Carter may have Itzhak Perlman to whom to attribute her astounding virtuosity, but Hadden Sayers nods his hat to Conard McCorkle, who through silent strength, patience, and friendship, ultimately repaired and revitalized his soul. Sayers might be singing the blues, but he is doing it in a jovial and upbeat way. Come see his new material (and maybe a few from the past) January 19, 2013, at the Sioux Falls Orpheum Theater!

No matter what your musical preferences are, Sioux Falls Jazz & Blues has an artist for you! Concert series subscriptions are still available until December 7 starting at $166. All performances are held at the historic Orpheum Theater in downtown Sioux Falls, with 8 p.m. show times. For more information, visit www.sfjb.org or call (605) 367-6000 to reserve your tickets today.

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M FUSION Fusion is a blend of community involvement, and cooperative collaborations between organizations, companies, and individuals that make waves across the community. Fusion is here to inform and inspire you to become part of the action.

ozart, Dvorak, Brahms, and Mendelssohn all played one. Jascha Heifetz used to have everyone in his master classes play one in chamber music rehearsals. He himself played occasionally. Joseph Joachim, a friend of Brahms and a famous violinist, played one as well. In fact, Joachim’s viola is on display in the National Music Museum in Vermillion, South Dakota. The viola is that sometimes misunderstood instrument with a tone range that sits between the violins and cellos. There are many famous violinists who also play viola, and famous violists such as William Primrose, Emanuel Vardi, and Michael Trees started out as concert violinists. Pinchas Zuckerman plays both instruments in concerts all the time.

So why do certain musicians gravitate toward the viola even though they may play both? “Since the technique is the same (almost) for violin and viola, and early composers didn’t expect much from the viola, often violists were ‘disappointed violinists.’ This is no longer true,” explains Sue Sidoti, string chamber instructor for the Dakota Academy of Performing Arts (DAPA) Chamber Music Program, and violist for the South Dakota Symphony Orchestra (SDSO). Sue began as a violinist and actually holds a degree in violin performance, but learned the

viola in the ninth grade in order to play in a string quartet. Her husband, Raymond Sidoti, is a world-renowned violinist. He is the Chamber Orchestra director and also a string chamber instructor for DAPA. Ray played viola in the Columbus Symphony while he was getting his doctorate in violin. Sue played violin in the Columbus Symphony as well, while getting her master’s degree in violin, but now considers herself more of a violist. When Ray and Sue play chamber music together, Ray plays violin and Sue viola. Ray used to play violin as associate concertmaster in the SDSO, but switched to viola so that Sue and he could sit together. Adam Schechter is coprincipal violist in the DAPA Chamber Orchestra program and a student of Ray and Sue’s. At well over 6 feet tall it would seem that the size of the viola played a part in attracting him to this instrument. But Adam explains, “I love the viola’s sound, its warmth, its velvety richness.” “When I was in fourth grade, I thought it would be really cool to play the trumpet, but that option wasn’t available to me until fifth grade, so in the mean time I thought it might be fun to pick up the viola, ”says Roosevelt junior, Drew Carlson, another gifted musician who is coprincipal violist with DAPA’s Chamber Orchestra. “I ended up liking it so much that I’ve stuck with it ever since.”

Adam points out, “The role of violists varies. We often play a supporting role in the orchestra, though sometimes we have a gorgeous, essential line that must be brought out.” Adds Drew, “I personally think that the viola is at its best when it’s used to play heart-wrenching, yearning music, a kind of sound that’s hard to put into words, which is what I think makes the viola so great.” It seems that the reasons musicians play viola are as varied as their role in the orchestra and as diverse as the musicians themselves. The commonality lies in the passion, understanding, and pride each have for their violas, as Drew insightfully illustrates when he says, “I think that the viola really speaks to my mellow side. When I play something slow and emotional, nothing feels better than when a very tense phrase resolves to a much more relaxed chord. When it happens I can actually feel my muscles relaxing all at once, which is always amazing.” DAPA alumnus, Iain Crosby, remembers being five when he began viola. “I was on a waiting list at the Preucil School of Music in Iowa City for a cello teacher. I don’t remember why I picked cello. Janse Vincent, a graduate viola student of William Preucil, Sr. at the U of Iowa called my mom to say she was taking viola students if she thought I might like viola instead. That was 18 years ago and I have been playing viola ever since.” All three DAPA students play violin as well. Drew and Adam as a second instrument and Iain, a 2007 graduate, was concertmaster at Lincoln High School, but they all consider themselves violists at heart. For the readers who don’t know much about the difference between the violin and viola, Drew elaborates, “The violin has a high, very bright sound that is easily heard through the rest of an orchestra, which is why they get so many melodies. The viola, however, has a much more rich mellow sound to it, and due to its register (not high enough to pierce through an orchestra, yet not low enough to have the deep reverberation of a cello) is Adam is equally insightful when he says, sometimes harder to hear in an orchestra.” Adam adds, “Well, “The viola speaks to every aspect of my personality, the obvious difference is that the viola is larger, so the violin really. Which is why I enjoy playing the viola. The tends to feel very small in comparison. The violin also requires world makes more sense to me because of it. I a bit of a different approach, for it has a quicker response than a make more sense to me because of it.” viola and the bow is lighter, among other reasons.” For more information on viola lessons “Bach , Mozart, Stamitz, Telemann, and Hoffmeister are or other instrumental lessons and the composers who wrote more difficult pieces for viola,” Ray Sidoti Dakota Academy of Performing Arts explains. “By the time of Beethoven, Schumann, Mendelssohn, Chamber Music Program, please and Brahms—the 19th century—viola parts were much more contact Bob Wendland, at complex, and in the 20th century composers wrote a lot of viola the Washington Pavilion, music exploiting its technical and tonal capabilities, so violists 605-367-6000. now have extensive solo repertoire, in addition to orchestral music and chamber music repertoire.”

GIVE â&#x20AC;&#x2DC;TIL IT HELPS Article by Shannon Wright Barnes

TRENDS

We are so lucky to live in a beautiful, prosperous community. There are so many in the world that go without. When you shop for the holidays this year, shop with your heart. Here are some ideas that we hope will be helpful in many ways!

Itâ&#x20AC;&#x2122;s more important now than ever to stay on top of your game. The global marketplace is shrinking as our horizons are expanding second by second. Trends will bring you the most up-to-date pieces of the puzzle that will help your life run a little smoother.

MOUNTAIN & SACKETT WWW.MOUNTAINANDSACKETT.COM

These are beautiful handmade ties in the European tradition. Purchase the Autism Speaks 7-Fold Printed Neat Tie or the Classic Neat Bow Tie, and 60% of the purchase price will be donated directly to Autism Speaks, a charity dedicated to changing the future for all who struggle with autismspectrum disorders.

WINGIVE

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This local company uses the sales of t-shirts and their WG Repel Backpack to provide food and backpacks with school kits to Guatemalan school-age children and their families. You get to decide in which capacity you want the money used. Just one t-shirt can provide a school kit backpack to a child, or an entire week’s worth of food for one family. They also have great package deals for those who want to give more. Prices range from $24-$65.

SNIFF PET CANDLES

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This may be one of the most unique gifts we’ve seen! SNIFF Pet Candles are created especially for the well being of your dog. Since a dog’s nose pretty much dominates their brain, these natural aromatherapy candles offer emotional balance, energy and stress relief for your best friend. A portion of the proceeds of every SNIFF candle goes to animal rescue groups to provide low-cost or no-cost spaying and neutering services with the ultimate goal of a No Kill Community. Prices start at $38.

MAC VIVA GLAM LIPSTICK WWW.MACCOSMETICS.COM

MAC Cosmetics has long been known for their charitable work in the field of AIDS/HIV research and they’ve used a simple and beautiful way to give millions to the cause. Purchase a MAC VIVA GLAM lipstick (there’s a new color each year) and EVERY CENT of the purchase goes to advance research into a cure for AIDS. At only $15, you can buy the whole set!

TOM’S SHOES AND EYEWEAR WWW.TOMS.COM

With every pair you purchase, Tom’s will give a pair of shoes to a child in need through their ONE for ONE program. As of September 2010, Tom’s had given over a million pairs of free shoes to children in need. They also have an eyewear program that helps provide the gift of sight to those in need. Prices range from $68-$130.

CHAINS OF GRACE ON ETSY WWW.ETSY.COM/SHOP/CHAINSOFGRACE

Chains of Grace offers a beautiful selection of unique handmade jewelry. A portion of the proceeds from each sale goes to Love146, a charity working to abolish child sexual slavery.

he world lost a great individual last October (2011). Steve Jobs will go down as one of the greatest entrepreneurs and innovators in history. As the co-founder of Apple, he helped introduce the world to revolutionary products such as the Macbook, the iPod, the iPad, and the iPhone. The final innovation that Steve Jobs was able to help oversee was the new iPhone 5. This will surely end up as the most prestigious product he helped develop. It is undoubtedly the most dominant wireless phone device in the present world market, even in its first couple months of release. While iPhone 5 is the newest smartphone to be produced by Apple, it is interesting to review the history of how Apple is now on its sixth generation of smartphones.

iPhone Originally introduced in January of 2007, it was one of the first devices to arrive at the concept of a device with a multi-touch screen that also contained phone functions. Many may remember the release in stores, which consisted of mad rushes, stock shortages, and even a shooting. The original iPhone operating system was marketed to be equivalent to Mac’s OS X software system found on their personal computers. It helped introduce HTML email containing images, elaborate text formatting, multi-touch gestures, and the Safari web browser, and was one of the first phones to support YouTube. Even with all new features that were introduced to the wireless phone market, it was still held back by the speed of Cingular/AT&T’s network, as it was only running on 2G—second generation—speed.

iPhone 3GS In 2009, Apple released its third generation of the iPhone. The 3GS featured smaller dimensions, a much improved camera, and increased download speed capacity. Unknown to many, the S in 3GS stands for speed, not size. The iPhone 3GS is 2 times faster than the iPhone 3G, allowing for the 3GS to be much friendlier and efficient when handling apps.

iPhone 3G The following year in 2008, Apple released the iPhone 3G, its newest generation of iPhone to have the capability to get on the new 3G/ EDGE network. This allowed for much faster connectivity and ability to stream and download data. The sizing of the new 3G iPhone was actually larger than the original iPhone, along with all the buttons being converted to metal from plastic. One of the biggest additions to the iPhone 3G was the addition of Assisted GPS, to help with navigation while driving. With these upgrades in the second generation, there were still a couple issues with the battery life, screen cracks, and the operating system running slow.

iPhone 4 The iPhone 4 took a huge step forward with the launch of Facetime—video calling software that allows for face-to-face communication. In addition, the design of the iPhone changed quite a bit in the fourth generation upgrade, with a stainless steel design element added for antenna purposes.

iPhone 4S In 2011, Apple released the iPhone 4S, which incorporated software and hardware updates. The two biggest additions were Siri and iCloud. Siri is what the S stands for in the name, and is a voice-activated personal assistant that can help with anything from navigation to searching for information on the internet. iCloud is a cloud storage service that allows users to store data and media on various servers hosted by Apple, to help back up any locally stored data on an iCloud integrated Apple device.

One of the biggest changes with the iPhone 5 involves adjustments to the dimensions of the phone. The new phone is only .3” thick, 2.31” wide, but is 4.87” high. The new design hypothetically should allow the average person to have everything within thumb’s reach, without having to move the hand around. With the iPhone 5 also came the introduction of the new operating system iOS 6. With the new system, Apple removed the apps for YouTube and Google Maps. One of the biggest points of criticism specifically deals with Apple replacing Google Maps with its own proprietary Maps app. Consumers have experienced many errors and bugs thus far since the development of it is at such an early stage.

iPhone 5

According to Roy Simental with Business Sales at Next 2 New Wireless in Sioux Falls, Apple did take a step back by getting rid of Google Maps, “Apple Maps are a step backward. Apple is trying to distance itself from its rivals [Google is behind the Android operating system, hence the distancing], so for now and probably a long time, the Samsung Galaxy S3 has the edge in terms of getting you where you need to go properly.”

In September 2012, the iPhone 5 was released. It was the sixth generation of the iPhone family, and the last project that Steve Jobs was able to oversee before his death October 5, 2012.

One of the greatest additions is the new Passbook app. Users can store and retrieve important items such as tickets, coupons, passes, and many other important documents. These documents are able to be scanned or printed.

With the release also came litigation. Samsung filed a lawsuit against Apple claiming it had infringed some of Samsung’s patents, most specifically with the Samsung Galaxy S III smartphone. The case will not be tried until 2014 when it is scheduled in the U.S. This is not the first time that Apple and Samsung have squared off, as Apple has previously won a lawsuit involving the iPhone and the Galaxy Nexus.

Two new auxiliary items come with the iPhone 5, EarPods and a new dock connector titled Lightning. The EarPods are newly designed ear buds that allow for better sound fidelity and acoustics. Lightning is a power cord with an 8-pin connector. This is a large reduction from 30 pins, which was the standard for other devices under the Apple umbrella.

As far as economic impact is concerned, there are effects from both Apple’s stock market presence as well as iPhone sales, both to consumers and to businesses. With its release, the iPhone 5 sold out twenty-five times faster than the iPhone 4. According to research done by J.P. Morgan, it is estimated that the iPhone 5 could impact the economy annually by $12.8 billion.

Overall, iPhone 5 is the most successful release for the Apple family, both in numbers and reception. Apple is taking a big step forward by attempting to make most of the apps native to the i OS operating system. While there may be some hiccups along the way—the Apple Maps app is an example—in the long run, Apple will be able to provide consumers the fastest and most efficient wireless phone experience. Over the next few years, Apple will continue to push

forward its effort to take over the wireless phone market. According to AYTM Research, 23% of smartphone users own an iPhone product. 87% of these users will purchase an iPhone again in the near future. 40% of the smartphone users own an Android product, and 22% of these users will switch over to an iPhone in next 6 months. (http://mashable.com/2012/09/23/iphone-infographic/)

If you’re looking at buying a new wireless smartphone in the next couple months, the iPhone 5 could be a good option. It all comes down to how you intend on using your phone and what is important to you. The iPhone 5 is competitive in all types of phone features, while at the same time pushing its own proprietary elements that many have come to know and love from Apple.

The numbers don’t lie that iPhone 5 has made a huge impact on the market already and will continue to do so. Consumers are looking for an experience that is easy, fun, and efficient. “iOS 6 is simple, easy to use, and full of fun animations. No other touch operating system is so pleasant and enthralling to learn and operate,” says Simental.

At the end of the day, the iPhone 5 is an American tale of entrepreneurial success from a great man. Steve Jobs was a dreamer, innovator, and visionary, and iPhone 5 was his masterpiece. While Jobs may no longer be with us, his dream pushes on through a device that keeps many connected to family, friends, and the world.

Top 3 Holiday Tech Gifts iPad Mini $ .99

329

Plantronics Marque 2 Bluetooth Headset $ .99

With the increase and importance of traffic safety, this holiday gift keeps your loved ones in mind. The Marque 2 is slick, comfortable and easy for anyone to use whether that be in the car or in the garden Top Features: Good sound fidelity, 7 hours of battery life, Lays comfortably in ear, Bluetooth range up to 33 feet Perfect Gift For: The road warrior, busy parent, runner or gardener

As the fifth generation of the iPad series from Apple, iPad Mini will be the hottest gift of the 2012 holiday season. It’s smaller in size, yet still packs the power of an iPad 2 Top Features: 7.9” LED display, iOS 6.0 software, 10 hour battery life, and up to 64 GB storage capacity Perfect Gift For: The business person, traveler or student. It’s easy to store yet is powerful

Sonos Play:5 $ .99

399

One of the newest all-in-one music systems, the Sonos Play:5 has all the features and more for any music/media lover. It’s small, has tons of options and contains 5 speakers in one shell Top Features: 5 HiFi speaker system, Great streaming capabilities, Supports multiple media formats, Only 9 pounds Perfect Gift For: Music lovers and traveler

FEB. www.washingtonpavilion.org

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