¶ ¶ ¶ ¶ >>> COMING UP, WE'RE CONNECTING YOU WITH THE CREATIVITY AND CULTURE IN YOUR COMMUNITY, INCLUDING AN INDIAN COOKING CLASS THAT WILL MAKE YOUR MOUTH WATER.

>> INDIAN FOOD, THE SPICE BOX, IS LIKE A MEDICINE BOX.

>> ARTIST MARK SWAN SISSOUS NEW EXHIBITION AT MASS MOCA COMES RELATIONSHIPS BETWEEN HUMANS AND THE NATURAL WORD.

>> USING THESE KIND OF OUT-OF-STALE, OUT-OF-DATE OBJECTS THAT WERE SITTING IN THESE STORES FOR ALMOST NOTHING, I THINK IT INVITES THE VIEWER TO THINK ABOUT WHAT IS THIS.

>> AND VIEWING CULTURE AND TRADITION THROUGH THE LENS OF NEEDLEWORK ART AND DOILY MAKING.

>> AS I WAS WASHING THE PIECE AND HOLDING AND IT IRONING, I BEGAN TO THINK WHOSE GRANDMOTHER MADE THIS PIECE.

>> JOIN US FOR THOSE STORIES AND MORE AS WE EXPLORE THE CREATIVITY, CULTURE, AND COMMUNITY THAT MAKE US WESTERN NEW ENGLAND, UP NEXT ON "CONNECTING POINT."

>>> SUPPORT FOR "CONNECTING POINT" IS PROVIDED BY OUR CONTRIBUTING VIEWERS.

¶ ¶ ¶ ¶ >>> WELCOME AND THANKS FOR JOINING US FOR "CONNECTING POINT," YOUR SOURCE FOR CREATIVITY, CULTURE, AND COMMUNITY.

I'M TONY DUN, IN FOR ZYDALIS BAUER.

>>> OVER THE YEARS, AUTHENTIC INDIAN CUISINE HAS BECOME ONE OF THE MOST POPULAR DINING EXPERIENCES NATIONWIDE.

AND FROM SPRINGFIELD TO THE BERK SUNSHINES,THERE ARE MANY WONDERFUL INDIAN RESTAURANTS TO CHOOSE FROM.

BUT CLASSES ON LEARNING HOW TO PREPARE THESE DELECTABLE--S?

THOSE ARE FEW AND FAR BETWEEN.

MALA PATEL OF WILBRAHAM IS SOMEONE WHO'S BEEN ABLE TO FILL THAT NEED AND "CONNECTING POINT'S" BRIAN CELL VAN BRINGS US HER STORY.

>> IT'S A TUESDAY NIGHT IN MID MARCH AND MALA PATEL IS TEACHING ANOTHER ONE OF HER INCREASINGLY POPULAR INDIAN CUISINE COOKING CLASSES.

THEY OWN AND OPERATE THE INN HERE ON ROUTE 20.

IT'S WHERE THEY WERE ABLE TO CONVERT THIS KITCHEN INTO THE WORK SPACE/CLASSROOM WHERE IT IS NOW.

IT'S ALSO WHERE PATEL HAS FOUND A UNIQUE USE FOR THE DEGREE SHE RECEIVED YEARS AGO WHILE DOING SOMETHING SHE TRULY LOVES.

>> TEACHING HOW TO COOK IS A PASSION.

AND I'VE BEEN DOING IT FOR SEVERAL YEARS.

I FEEL -- I FEEL I DON'T KNOW HOW PEOPLE SITTING HERE WOULD SAY, BUT THAT'S WHAT THEY SAY, TOO, THAT I HAVE A VERY CALM, LIKE, I'M JUST DOING -- IT'S A VERY WARM, INFORMAL, FUN CLASS.

>> IT'S NO SECRET THAT INDIAN CUISINE HAS TAKEN OFF HERE IN THE STATES.

IN NEARLY EVERY METROPOLITAN AREA FROM COAST TO COAST, THERE ARE LIKELY SEVERAL OPTIONS FOR RESTAURANT-GOERS TO GET THEIR FIX OF FOOD INFUSED WITH ANY NUMBER AND FLAVOR OF INDIAN SPICES.

THE PEOPLE WHO LOVE INDIAN FOOD TEND TO REALLY LOVE IT.

IN FACT, MANY WILL SAY IT ACTUALLY MAKES THEM FEEL BETTER.

TURNS OUT, IT MAY BE MORE THAN JUST A FEELING.

>> INDIAN FOOD, THE SPICE BOX, IS LIKE A MEDICINE BOX.

EVERY SINGLE SPICE HERE HAS SO MUCH MEDICINAL VALUE, LIKE TURMERIC.

IT'S AN ANTISEPTIC, ANTICARCINOGENIC, ANTI-INFLAMMATORY.

IF YOU TAKE A TEE SPOON A DAY, IT LOWERS YOUR BLOOD PRESSURE, ACT LIKE COUMADIN.

GREAT FOR ARTHRITIS.

I CAN GO ON AND ON WITH TOMB RICK.

-- TURMERIC.

BASED CIVIL LARRY, ALL THESE SPICES HAVE SO MUCH VALUE.

>> EACH CLASS RUNS FOR THREE HOURS.

AND THEY HAVE PARTICIPANTS ARE GIVEN A CRASH COURSE ON ANYTHING FROM CLASSIC VEGETARIAN QUIZEN, AND AUTHENTIC INTERESTIANA.

-- INDIAN.

THE STUDENTS WERE LEARNING THE INS AND OUTS OF MAKING CORA -- NAAN AND BAZ MANI RICE.

AND IT'S MORE THAN JUST WATCHING AND TAKING NOTES.

EVERYONE INVOLVED GETS TO PUT THEIR HANDS RIGHT INTO THE PRODUCTION.

THE HOPE HERE IS THAT THEY CAN TAKE THESE NEW-FOUND SKILLS WHEN THEY BELIEVE.

THE THING ABOUT THIS CLASS AND OTHERS LIKE IT IS THAT STUDENTS CAN TAKE WHAT THEY'VE LEARNED, BRING IT HOME, AND APPLY THAT KNOWLEDGE TO A PROJECT IN THEIR OWN KITCHEN.

AS FAR AS THE LEARNING PROCESS IS CONCERNED, IT'S DEFINITELY SOMETHING TO BE SAID FOR THE GROUP DYNAMIC.

>> IT IS A FUN ENVIRONMENT WHEN YOU HAVE MORE THAN COUPLE PEOPLE, BECAUSE YOU ACTUALLY WILL LEARN FROM EACH OTHER'S QUESTION BECAUSE A QUESTION THAT SOMEONE WOULD ASK YOU MIGHT HAVE IT INSIDE BUT YOU DON'T ASK.

SO THAT JUST GIVES YOU GREAT GROUP FUN, KIND OF ACTIVITY.

>> COOKING CLASSES IN GENERAL TEND TO BRING OUT DIVERSE AUDIENCE.

FOR SOME, IT'S DATE NIGHT.

OTHERS MAY BE LOOKING TO SWER TAIN GUEST -- ENTERTAIN GUESTS AND WANT TO IMPRESS SOMETHING MORE EXOTIC.

OTHERS MAY BE LOOKING TO BOOST THEIR SKILL SET IN THE KITCHEN.

NO MATTER WHAT THE PROFILE, MALA HAS SEEN AND TAUGHT FOR THEM.

HER EASY GOING AND OFTENTIMES HUMOROUS DEMEANOR ALLOWS STUDENTS TO LEAVE FEELING MORE RELAXED AND CONFIDENT IN THEIR BOOKING ABILITIES.

AND THEY ALSO LEAVE WITH FULL STOMACHS.

>> WHEN THEY FIRST COME, THEY'RE LIKE, OH, MY GOD, INDIAN COOKING IS HARD.

WHAT WILL WE DO.

AND BY THE END OF THE CLASS, THEY'RE LIKE, MY GOD, WE THOUGHT IT SO HARD BUT WE CAN DO THIS.

WE CAN DEFINITELY DO THIS RECIPE AT HOME.

>> EVERYTHING IS SO FRESH.

¶ ¶ ¶ ¶ >>> AND YOU CAN CHECK OUT MORE FROM MALA PATEL'S COOKING CLASS IN A DIGITAL EXTRA, AVAILABLE ONLINE RIGHT NOW AT NEPM.ORG/CONNECTINGPOINT.

>>> LAST MONTH THE FIRST OF TWO COMPANION EXHIBITIONS FROM ARTIST MARK SWANSON PREMIERED AT MASS MOCA IN NORTH ADAMS, WITH THE SECOND EXHIBITION OPENING ON JULY 16TH AT THE THOMAS COLE NATIONAL HISTORIC SITE IN CAT SKILL, NEW YORK.

ENTITLED, "MARC SWANSON, A MEMORIAL TO ICE AT THE DEAD DEER DISCO," THIS EXHIBITION HAS DRAWN INFLATION FROM THE WORKS OF THOMAS COLE, THE FOUNDER OF THE MID 19TH CENTURY AMERICAN HART MOVEMENT -- ART MOVEMENT KNOWN AS THE HUDSON RIVER SCHOOL.

ZYDALIS BAUER SPOKE WITH SWANSON TO LEARN HOW HIS WORK EXAMINES THE RELATIONSHIPS BETWEEN HUMANS, CULTURE, AND THE NATURAL WORLD.

>> THOMAS COLE IS CONSIDERED THE FATHER OF THE HUDSON RIVER SCHOOL, PAINTING SCHOOL, AND THAT SORT OF DEFAULT CONSIDERED THE FIRST ART -- AMERICAN ART MOVEMENT.

SO I WAS GOING A LITTLE STUCK WITH MY WORK.

SO I JUST SORT OF FOLLOWED THIS THREAD OF THOMAS COLE THINKING, I'M A CONTEMPORARY SCULPTOR.

DOESN'T HAVE A LOT TO DO WITH LAND -- LANDSCAPE PAINTING, BUT I THOUGHT I'D FOLLOW THAT THREAD.

TURNS OUT THOMAS COLE WAS A BROUGHTO ENVIRONMENTALIST, AND HIS PAINTINGS WERE VERY IN LINE WITH THE SPIRITUALITY OF NATURE AND THAT'S VERY MUCH WHERE I'M IN, WHERE I LIKE TO SORT OF BRING IN NATURE AND CULTURE TOGETHER.

AND SO I JUST FOLLOWED THAT THREAD.

AND IT TOOK ME DIFFERENT -- YOU KNOW, IT TOOK ME TO DIFFERENT PLACES.

BUT THE WORK DOES INSPIRE ME AND THOMAS COLE WAS SELF-TAUGHT.

THERE'S A LOT OF INTERESTING THINGS FOR ME IN PULLING THESE THREADS OUT WITH THOMAS COLE, SPENDING TIME IN THE CATSKILLS AND WHERE HE PAINTED, HOW HE PAINTED IS WELL -- CAN RELATE IN QUITE A BIT DIFFERENT WAYS.

>> LET'S TALK ABOUT THE TITLE OF THESE EXHIBITIONS A LITTLE BIT.

"A MEMORIAL TO ICE AT THE DEAD DEER DISCO" CAN YOU MAKE THAT DOWN FOR US AND TELL US THE MEANING AND EXPWANS HINT IT?

>> I WAS -- SIGNIFICANCE BEHIND IT?

>> I WAS NERVOUS ABOUT USING THAT TITLE.

THROUGH FOLLOWING THE THREAD, I DID A RESIDENCY AT PLATTE CLOVE IN THE CATSKILLS HERE THROUGH THE CAT SKILL -- CATSKILLS CENTER THAT WAS A SMALL CABIN.

AND YOU CAN STAY FOR A WEEK.

I WAS HIKING EVERY DAY AND IN THE WOODS AND THERE'S NO RUNNING WATER.

THERE'S AN OUTHOUSE.

THERE'S NO -- YOU YOU HAVE TOO T WITH WOOD.

SO YOU'RE VERY CLOSE TO THE HAND THERE.

AND ABOUT A WEEK INTO THAT, I -- I WAS THINKING THE WHOLE TIME HOW THIS WAS VERY -- HOW THOMAS COLE WOULD HAVE LIVED AND MAYBE THE KIND OF PLACE HE WOULD HAVE HAD STAYED IN IN THE 1800s.

I HAD THIS MOMENT WHERE I REALIZED, WOW, YOU KNOW, I JUST FEEL SO CONNECTED.

I FEEL AT ONE WITH THE UNIVERSE HERE.

BUT THEN I WAS SORT OF PULLED OUT OF IT BY THE SPECTER OF CLIMATE CHANGE.

AND WE USE ICE SO MUCH, I THINK, IT'S KIND OF THE CANARY IN THE COAL MINE KIND OF VERSION, YOU KNOW.

IT'S LIKE HOW MUCH THE POLAR ICE KEPT MELTING, HOW MUCH OF THE GLACIER IS MELTING, HOW MUCH IS THE SEE RISE GOING TO RISE.

LIKE THAT -- WHERE I'M CONNECTING WITH THE UNIVERSE JUST -- WILL IT LAST, YOU KNOW.

BUT ALSO THIS IDEA OF SORT OF BEING THRUST INTO THE FUTURE.

WHAT WOULD IT BE LIKE TO SET UP A MEMORIAL TO SOMETHING LIKE ICE, YOU KNOW, WHICH IS JUST A SHORTHAND I THINK FOR HOW WE LOOK AT CLIMATE CHANGE.

THEN WHEN I CAME BACK AND I WAS WORKING ON PIECES TO DO WITH THAT, AND THEN COMING UP WITH CONCEPTS FOR THE SHOW, I REALIZED I KEPT HAVING THIS DEJA VU MOMENT OF THIS THING LIKE FEELING REALLY CONNECTED, REALLY HOME, AND BEING PULLED OUT OF IT INTO THE DANGEROUS OF THE FUTURE AND I REALIZED IT WAS SO SIMILAR TO WHEN I WAS FIRST COMINGCH AGE AND WENT TO NIGHTCLUBS WHEN I WAS YOUNGER AND IT WAS A VERY SAME FEELING WHERE I FELT CONNECTED.

I FELT WHOLE.

I FELT THIS WAS MY PLACE.

BUT WHEN I WAS FEELING SO CONNECTED, I WOULD BE PULLED OUT OF IT BY THE SPECTER AND THE FEAR OF THE AIDS CRISIS, BECAUSE VERY MUCH LIKE CLIMATE CHANGE NOW, YOU COULDN'T SEE IT, AND IT WAS SORT OF LIKE VERYA MORE FUSS HOW IT WAS -- AMORPHOUS HOW IT WAS HAPPENING BUT IT WAS HAPPENING.

SO I FOR A LONG TIME SORT OF HAD THIS IDEA THAT THE TITLE WOULD BE THE MEMORIAL TO ICE OR THE DEAD DEER DISCO, WHICH HAD TO DO WITH THOSE TWO THINGS.

AND I WAS VERY UNCOMFORTABLE WITH TRYING TO LIKE CONFLATE THESE TWO HUGE THINGS, ONE MORE IN THE PAST AND ABOUT THE WHOLE DIFFERENT THING.

BUT REALIZING THAT THEY WERE SORT OF TREATED IN VERY MUCH THE SAME WAY AND THOUGHT, REALLY -- WELL, MAYBE I CAN PUT THE TITLE TOGETHER AND TRYING TO PUT THESE WHOLE THINGS TOGETHER IT COULD LINK THE WHOLE THING.

>> I KNOW THE EXHIBITION IS A SERIES OF SCULPTURING AND ENVIRONMENTS.

TELL ME ABOUT THE MATERIALS THAT YOU USED AND HOW WE WILL KIND OF GO THROUGH THAT -- THOSE LEVELS OF CONNECTIONS OF CULTURE, NATURE, AND JUST HUMAN.

>> FOR MATERIALS IN THE SHOW, AT FIRST IT WAS -- IT WAS KIND OF -- LIKE HOW DO I MAKE A SHOW ABOUT CLIMATE CHANGE AND NOT AFFECT, YOU KNOW, HOW DO I DO IT WITHOUT CARBON.

AND I CAME UP WITH THE IDEA, WELL, THE ONLY THING I CAN I COULD REALLY DO IS SHOW A COMPLETELY DARK GALLERY SPACE.

BECAUSE ARTWORK IN ITSELF, IF YOU THINK ABOUT IT, IS NOT MEANT TO DEGREAT.

LIKE A COUCH, NO MATTER HOW MUCH YOU SPEND ON IT, IF YOU ICE IT IT WILL GO OUT OF STYLE, AND TWO, IT WILL DEGREAT.

WE LOOK AT -- DEGRADE.

WE LOOK AT ARTWORK HUNDREDS OF THOUSANDS YEARS OLD.

LOOKING A IT DOESN'T DEGRADE IT.

I WASN'T WORRIED ABOUT THE MATERIALS BEING NECESSARY SUSTAINABLE, BECAUSE -- NECESSARILY SUSTAINABLE, BECAUSE IT WAS A CHOICE, DO I DO A DARK GALLERY OR SAY WHAT I WANT TO SAY.

IT WAS SO INTERESTING LOOKING AT THESE THINGS THAT COULD WORK FOR BASES FOR SKULL TUPRS AND -- SCULPTURES THAT WHEN PEOPLE BUY THESE BEAUTIFUL PIECES OF FURNITURE, THEY NEVER THINK THEY'RE GOING TO GET RID OF THEM.

SEEMS LIKE IT WOULD LAST FOREVER.

IT DOES END UP IN A RESTORE OR A LANDFILL MORE LIKELY.

SO KIND OF NATURALLY USING FOUND OBJECTS AND BRINGING THIS INTO MY SCULPTURE, ENDED UP SORT OF COMMENTING ON THIS PART OF HOW CULTURE WORKS, THAT USING THESE KIND OF OUT-OF-STYLE, OUT-OF-DATE OBJECTS, THAT WERE SITTING IN THESE STORES FOR ALMOST NOTHING, I THINK IT INVITES THE VIEWER TO THINK ABOUT WHAT IS THERE.

>> THESE EXHIBITIONS CREATE A NARRATIVE THAT TIE THE PAST, THOMAS COLE'S PAST, TO THE PRESENT.

ALSO TALKING ABOUT CONSERVATION AND MEMORIAL.

SO WHAT DO YOU HOPE PEOPLE TAKE AWAY AND FEEL AFTER VIEWING YOUR WORK?

>> I THINK I TRIED TO CREATE AN EMOTIONAL SPACE, WHERE PEOPLE COULD ENTER THESE SUBJECTS IN A VERY PERSONAL LEVEL, BECAUSE THEY THINK -- I THINK THESE AS ONE OF MY FAVORITE THING, IF ALL IN, TIM MORTON CALLS HYPER OBJECTS.

THEY'RE SO BIG WE CAN'T EVEN LEARN, FIGURE OUT HOW TO THINK ABOUT THEM.

I THINK A LOT OF TIMES FOR ME LIKE SEEING A MOVIE OR TV SHOW OR READING A BOOK ABOUT A VERY DIFFICULT SUBJECT, REALLY GIVES ME THE DISTANCE TO BE ABLE TO PROCESS IT THROUGH SOMEBODY ELSE'S EXPERIENCE.

SO I WANTED TO TRY AND DO THAT IN THIS SHOW AND CREATE A SPACE WHERE PEOPLE COULD WONDER THROUGH -- WANDER THROUGH IT AND HAVE THEIR OWN FEELINGS LOU HOPEFULLY SORT OF ME -- THROUGH HOPEFULLY SORT OF ME BEING HONEST, BUT THROUGH ATTAR, THROUGH A VISUAL MEDIUM, WHICH I THINK CAN BE MORE OPEN IN THAT WAY.

¶ ¶ ¶ ¶ >>> OF UNCREDITED.

CURRENTLY ON DISPLAY AT WISTARIAHURT MUSEUM IN HOLYOKE, UTILIZES THE TRADITIONAL NEEDLE ART OF DOILIES TO DRAW ATTENTION TO MARKERS OF THE IDENTITY, SHARED EXPERIENCES AND MEMORIES.

A COMPANION WORK ENTITLED "WHEN ASK THE MAPS WAGES ERNLED BY WOMEN COMPARED TO MEN SINCE THE EQUAL PAY ACT OF 9 DEEP 63 WAS SIGNED INTO LAW IN THE UNITED STATES.

BOTH EXHIBITS WERE CURATED BY FELICE KAI-VANO AND ARTIST AND CHAIR OF THE VISUAL ART DEPARTMENT AT HOME YOKE COMMUNITY COLLEGE AND SHE SPOKE WITH PRODUCER DAVE FRASER ABOUT THIS UNIQUE ART FORM.

¶ ¶ ¶ ¶ >> THIS ROOM COULD TALK, IF ALL OF THESE PEOPLE WERE HERE, AS THESE WOMEN WERE HERE, WHAT WOULD THE STORIES BE.

WHAT WOULD THEY SAY?

IT WOULD BE PRETTY LIVELY, I WOULD THINK.

I WAS NEVER REALLY DRAWN TO DOILIES LIKE MOST OF US OUR AGE, BECAUSE OUR GRANDPARENTS HAD THEM AND OUR GREAT AUNTS AND THEY WERE UNDER EVERYTHING AND EVERYWHERE.

AS I STARTED TO BUY THEM, WASH THEM, IRON THEM, AND HOLD THEM, I BEGAN TO THINK ABOUT THEIR MAKERS AND WHO THE WOMEN WERE AND WHY WERE THEY IN THE HOUSEHOLDS FROM THE TURN OF THE CENTURY HERE IN THE UNITED STATES THROUGH THE '50S.

WHY ARE THEY STILL MADE.

IN 2018 I WAS INVITED TO BE PART OF THIS EXHIBITION AND IT WAS SIMPLY CALLED "VOTE."

SO I THOUGHT ABOUT IT.

AND CAME UP WITH THIS IDEA BECAUSE WE WERE APPROACHING THE 100TH YEAR ANNIVERSARY OF WOMEN'S RIGHT TO VOTE, WHICH WAS 2020.

AND I HAD THIS IDEA TO GET A DOILY THAT I THOUGHT WAS A HUNDRED YEARS OLD.

AND ON IT I SIMPLY WANTED TO BROIDER THE WORD "VOTE" IN A TYPE FACE THAT MIGHT HAVE BEEN FROM THE 1920s.

AND I SELECTED FRENCH KNOTS BECAUSE FRENCH KNOTS ARE MY FAVORITE BROIDY STITCH.

-- EMBROIDERY STITCH.

THIS IS THE PIECE THAT STARTED IT ALL, BECAUSE AS I WAS WASHING, HOLDING IT, AND IRONING IT, AND I SPENT A LOT OF TIME MAKING EACH FRENCH NAULT, I BEGAN TO WONDER WHO MADE THIS, WHOSE GRANDMOTHER MADE THIS PIECE.

THE WALLS THAT ARE BEHIND ME AND ALL AROUND HERE, THIS PIECE IS CALLED "UNCREDITED."

AND IT'S COMPOSED OF INDIVIDUAL DOILIES.

AND TOGETHER THEY MAKE UP THE WHOLE.

THEY MAKE UP THE INSTALLATION.

THE PIECE CALLED IS UNREQUEST -- "UNCREDITED" BECAUSE WE DON'T KNOW WHO THE WOMEN WERE WHO MADE THESE PIECES.

THEY'RE ALL BLANK CENTERS.

BECAUSE EACH BLANK IN MY THINKING REPRESENTS THE UNKNOWN WOMAN WHO MADE THEM.

THERE ARE A FEW CASES IN HERE WHERE FRIENDS GAVE ME DOILIES, SO I KNOW THEY'RE MADE BY SO-AND-SO'S GRANDMOTHER, BUT VERY FEW COMPARED TO THE AMOUNT OF DOILIES THAT ARE IN THIS SPACE.

THIS PIECE IS TITLED, "WHEN."

AND THOSE OF THESE DOILIES I EMBROIDERED DORIAN -- DURING COVID.

ALSO I SAT HOME IN MY CHAIR EACH DAY EMBROIDERING.

THE NUMBERS REPRESENT THE AMOUNT OF MONEY WOMEN HAVE MADE, PERCENTAGE TO THE DOLLAR COMPARED TO MEN SINCE THE EQUAL PAY ACT OF 1963.

SO IT BEGINS ON THE LOWER LEVEL OF THE DOLLAR, WITH A 58.9%, AND IT MOVES AROUND.

AND WHAT WAS IMPORTANT FOR ME WAS NOT ONLY TO SHOW THE WORK AND TO PUT THE LABOR INTO IT, BECAUSE IT REPRESENTS LABOR AND WAGES, BUT TO USE THREADS THAT KIND OF TAKE A LOOK LIKE MONEY.

SO THERE'S A LOT OF COPPER AND SILVER AND GOLD IN HERE.

IT WAS IMPORTANT FOR ME TO FIND DOILIES THAT I THOUGHT WERE MADE HERE IN THE UNITED STATES, IN AMERICA, BY IMMIGRANT WOMEN.

SO EACH DOILY AND EACH TYPE OF DOILY FOR ME REPRESENTS THE HISTORY OF THAT WOMAN, THE CULTURE, THE STORIES THAT THEY BROUGHT WITH THEM.

BUT WHAT I DIDN'T EXPECT WAS THAT I'D GROW TO LOVE THEM SO MUCH, BUT THAT THEY'D BE SO BEAUTIFUL WHEN IT'S ALL PUT TOGETHER AND UP ON A WALL AND INSTALLED.

AND THAT'S BEEN THE REACTION OF MANY PEOPLE.

¶ ¶ ¶ ¶ >> FOR MORE ON WISTARIAHURT, HEAD OVER TO OUR WEDGE PAGE FOR A DIGITAL EXTRA IN WHICH THE MUSEUM'S DIRECTOR DISCUSSES ITS HISTORY AND MISSION.

>> SKIN ESHFAMILY BROUGHT THIS HOUSE HERE AFTER A FLOOD IN WILLIAMSBURG IN 1874 AND IT WAS BUILT HERE ON THIS PROPERTY.

WE HAVE GARDEN TOURS THAT WE DO IN THE SUMMER WHEN EVERYTHING AND BEAUTIFUL AND IN BLOOM.

EVERYTHING IS MOTELD AS WELL AS POSSIBLE AFTER THE ENGLISH GARDEN PLANTS MADE BY THE SKINNER FAMILY.

>> YOU CAN FIND THAT DIGITAL EXTRA ONLINE RIGHT NOW AT NBC.

>>> THE SPRINGFIELD MUSEUMS ARE ENTERING A NEW ERA.

JENNY POWERS, FORMER FAMILY ENGAGEMENT COORDINATOR FOR THE SPRINGFIELD MUSEUMS, HAS BEEN NAMED AS THE DIRECTOR OF SCIENCE AND IS THE FIRST WOMAN TO HOLD THIS POSITION IN MORE THAN 70 YEARS.

GRACE PETTIS JOHNSON OVERSAW THE ROLE FROM 1910 TO 1949 AND HAS SERVED AS AN EPS SEPARATION FOR POWERS AS SHE TRANSITIONS INTO THIS NEW LEADERSHIP POSITION.

ZYDALIS BAUER SPOKE WITH POWERS TO LEARN MORE ABOUT HER PREDECESSOR AND TO LEARN ABOUT HER VISION FOR THE FUTURE FOR THE SPRINGFIELD SCIENCE MUSEUM.

>> I LEARNED ABOUT HER BY READING A PUBLICATION THAT WAS AN OVERVIEW OF HOW THE MUSEUM, WAS FOUNDED AND HOW THE COLLECTIONS EXPANDED.

AND IT WAS WRITTEN BY GRACE.

AND THROUGHOUT THE ENTIRE BOOK, YOU COULD TELL HOW EXCITED SHE WAS TO SHAR NEW -- NEWS WITH THE PEOPLE IN THE CITY OF SPRINGFIELD, THE COLLECTIONS CAME -- FROM ALL OVER THE PLACE.

AT THAT TIME PEOPLE COULD JUST SHIP SPECIMENS TO THE MUSEUM TO BE ACCEPTED INTO THE COLLECTIONS.

SO SHE HAD PART OF THE JOB OF WEEDING THROUGH THEM, PICKING WHICH ONES SHE THOUGHT WERE -- WOULD BE BEST, WHICH ONES TO DISPLAY.

AND SO SHE WAS AN ASSISTANT CURATOR FOR A LONG TIME.

AND THEN SHE EVENTUALLY BECAME DIRECTOR.

WHILE SHE WAS DIRECTOR, ONE THING THAT I ABSOLUTELY LOVED WAS THAT SHE STARTED THE JUNIOR ROOM AT THE SPRINGFIELD SCIENCE MUSEUM, WHICH WAS THE FIRST EVER PROGRAM FOR CHILDREN.

>> NOW, BEFORE WE GET INTO SOME OF YOUR HISTORY AT THE SPRINGFIELD SCIENCE MUSEUM, I KNOW YOU'VE BEEN A SCIENCE EDUCATOR FOR 20 YEARS.

TELL ME HOW DID YOUR INTEREST AND PASSION FOR SCIENCE BEGIN?

>> I HAD A COUPLE REALLY GOOD MENTORS.

ONE WAS A SCIENTIST TEACHER IN CHICOPEE PUBLIC SCHOOLS AND I WAS A SUB AT THE TIME.

BUT SHE INVITED ME TO HER CLASSROOM OVER AND OFFER -- OVER AND I GOT TO LEARN WHETHER LENSONS VERY -- SHE CREATED AND HOW SHE CREATED FOR SCIENCE TO STICK IN THE KIDS 'BRAINS.

-- KIDS' BRAINS.

THEY REALLY WERE ABLE TO ABSORB THOSE CONCEPTS.

AND THEN I HAD SECOND SCIENCE MENTOR WHO WAS THE CURATOR OF PHYSICAL SCIENCE AT THE MUSEUM AND HE'S THE ONE THAT TAUGHT ME TO LOVE ASTRONOMY.

AND IT JUST BECAME SOMETHING KIND OF ENGRAINED IN ME AND A PASSION THAT I LOVE SHARING WITH OTHER PEOPLE.

PEOPLE HAVE BEEN SO GENEROUS IN SHARING THEIR KNOWLEDGE WITH ME.

I'M EXCITED TO BE ABLE TO PRESENT INFORMATION IN A REALLY ACCESSIBLE, INTERESTING WAY TO THE PUBLIC, TOO.

>> FOR THE PAST SIX YEARS YOU HELD THE FAMILY ENGAGEMENT QUARTER MAINER ROLE AT THE USM MUSEUM.

WHAT WHY SOME OF THE -- WHAT WERE SOME OF THE PROJECTS YOU WORKED ON THAT HAS LED YOU HAVING THIS NEW ROLE AS DIRECTOR?

>> WELL, EVERYONEY FAMILY PROGRAM THAT WE'VE EVER DONE, NO MATTER WHAT THE THEME WAS, HAS INTEGRATED SCIENCE INTO IT.

SO WHETHER IT'S THE DR. SEUSS OPENING PARTY, I GOT TO PLAN THE PARTY FOR THAT.

THAT WAS ONE OF THE BEST THINGS I EVER GOT TO DO!

WHETHER IT WAS THAT AND WHERE WE COMPARED REAL LIVE CATS OR FELINE ANIMAL 'SKINS AND TALKING ABOUT THEM BEING THE CAT IN THE HAT'S WILD COUSINS OR GETTING TO USE REAL TOOLS THAT SCIENTIST USE, LIKE MICROSCOPES.

SO ALL OF THOSE THINGS, THEY'RE JUST SO INTERESTING AND THEY'RE SO FUN.

AND THERE'S NO THEME THAT DOESN'T WORK WITH SCIENCE.

FROM WIZARDS TO ROCK 'N ROLL, SCIENCE IS EVERYWHERE ALL AROUND US.

>> NO, THAT'S SO TRUE.

I LOVE THAT YOU POINT THAT OUT, BECAUSE EVEN TALKING ABOUT THE FELINE 'SKINS, I WOULD HAVE NEVER IMAGINED THAT, BUT IT'S NICE TO HAVE THE CONNECTION TO THE CAT IN THE HAT AND BRING THAT TOGETHER.

SO WITH YOUR EXPERIENCE ON BRINGING ALL OF THIS DYNAMIC PROGRAMMING TO THE SCIENCE MUSEUM, WHAT IS YOUR VISION ON THE DIRECTION THAT YOU WOULD LIKE TO SEE THE MUSEUM GO NOW BEING THE NEW DIRECTOR?

>> WELL, THERE'S A FEW THINGS THAT ARE TOP PRIORITIES FOR ME.

SO NUMBER ONE IS ANY NEW EXHIBIT OR ANY UPDATED EXHIBIT IS GOING TO BE FULLY BILINGUAL, ENGLISH AND SPANISH.

SOME OTHER THINGS WE'RE DOING, YOU CAN NEVER GO WRONG WITH MORE DINOSAURS.

[LAUGHTER] >> WE'RE ALSO UPGRADING OUR PLANETARIUM.

WE HAVE A NEW INTERNATIONAL SPACE STATION EXHIBIT OPENING THAT'S GOING TO ENHANCE ASTRONOMY HALLS.

LIKE I SAID, I HAVE A SPECIAL PASSION FOR ASTRONOMY.

BUT ALSO DINOSAURS.

AND THEN WE HAVE THESE AMAZING DIRE RAM WRAYS -- DIORAMAS THROUGHOUT THE HABITAT.

WHERE WANT TO KEEP THEM BECAUSE THEY'RE TREASURES, BUT WE WANT TO ENHANCE THEM TO CREATE A MORE IMMERSIVE EXPERIENCE.

>> SOMETHING THAT'S IMPORTANT FOR YOU IS CREATING A BARRIER-FREE ENVIRONMENT AT THE MUSEUMS.

SO IN ADDITION TO HAVING BILINGUAL EXHIBITS, HOW ELSE DO YOU ENSURE THAT IT'S VERY WELCOMING FOR PEOPLE OF ALL BACKGROUNDS.

>> I'VE ALWAYS HEARD THAT A GOOD MUSEUM SHOULD BE BOTH A MIRROR AND A WINDOW.

SO WE WANT PEOPLE TO BE ABLE TO FIND THEMSELVES IN THIS MUSEUM.

WE KNOW THAT EVERY VISITOR COMES IN WITH SOME KNOWLEDGE OF SCIENCE, SO THEY SHOULD BE ABLE TO FIND THEMSELVES.

SHE SHOULD BE ABLE TO FEEL EMPOWERED BY REM ANY THINGS OF CONCEPTS THEY KNOW.

AND THEN WE SHOULD GO DEEPER AND LET THEM LEARN EVEN MORE.

ANOTHER WAY THAT WE'RE GOING TO MAKE SURE THAT THE AREA IS ACCESSIBLE IS BY INCLUDING THINGS FOR PEOPLE WHO MAY HAVE LOW OR NO SIGHT.

OR OTHER PEOPLE WITH DISABILITIES.

SO THAT WE MAKE SURE THAT THEY CAN ACCESS EVERYTHING WE HAVE AS WELL.

FOR INSTANCE, WE'RE TALKING ABOUT AN EXHIBIT THAT IS ALL TOUCH, ABOUT NEBULOUS.

AND WE'RE ALSO TALKING ABOUT A PLANETARIUM SHOW THAT YOU DON'T NEED SIGHT TO ENJOY.

>> THAT'S AMAZING.

AND I KNOW THAT YOU ALSO SAID THAT YOU LOVE HOW THE SCIENCE MUSEUM OFFERS SIMPLE AND POSITIVE INTERACTIONS AND THAT'S ALWAYS WHAT STANDS OUT TO ME WHEN I VISIT.

LIKE IT'S ALWAYS AMAZING THAT ME AND MY 6-YEAR-OLD DAUGHTER CAN INTERACT WITH THE SAME EXHIBIT AND HAVE THE SAME LEVEL OF ENGAGEMENT.

SO TELL ME WHAT IS THE IMPACT THAT SCIENCE CAN HAVE ON INDIVIDUALS, ESPECIALLY WHEN YOU HAVE ACCESSIBLE INTERACTIVE HANDS-ON ACTIVITIES?

>> SCIENCE CAN HAVE SUCH A WIDE VARIETY OF IMPACTS, FROM TINY THINGS THAT HELP YOU GO ABOUT YOUR DAY IN A MORE EFFICIENT WAY, TO INSPIRING PEOPLE'S CAREERS.

AND SO ALL -- BOTH OF THOSE THINGS ARE REALLY IMPORTANT.

LEARNING SCIENCE SHOULD IMPROVE YOUR LIFE IN SOME WAY.

SO WHETHER IT'S JUST TURNING OFF THE SINK WHILE YOU BRUSH YOUR TEETH OR WHETHER IT'S BEING ONE OF THE NEXT ASTRONAUTS ON THE INTERNATIONAL SPACE STATION, EVERYTHING IN BETWEEN, SCIENCE DOESN'T HAVE TO BE A CAREER.

IT CERTAINLY CAN.

BUT SCIENCE CAN ALSO BE JUST FOR PLEASURE.

SO EVEN IF WE'RE IMPROVING YOUR LIFE JUST BY HAVING THAT TIME TOGETHER, AND THAT'S ONE THING THAT OUR VISITORS VALUE MOST.

WE KNOW FROM EVALUATIONS THAT WE'VE DONE, THAT JUST THOSE TIMES TO BE TOGETHER ARE REALLY, REALLY IMPORTANT.

>> THE SAME WAY THAT YOU TOOK INSPIRATION FROM GRACE PETTIS JOHNSON, SOME YOUNG GIRL OR YOUNG WOMAN WILL LOOK TO YOU AND IS ALREADY LOOKING TO YOU AS AN INSPIRATION.

SO WHAT WORTH OF ADVICE WOULD YOU -- WORDS OF ADVICE WOULD YOU LIKE TO SHARE?

>> YOU DON'T HAVE TO KNOW THE DIRECTION THAT YOU WANT TO GO RIGHT AWAY.

I DIDN'T TAKE A DIRECT PATH TO GET TO THIS PLACE.

YOU CAN TRY LOTS OF DIFFERENT THINGS AND DECIDE WHAT YOU WANT TO DO.

AND EVEN WHEN YOU MAKE A DECISION, YOU DON'T HAVE TO DO THAT THE REST OF YOUR LIFE.

YOU CAN DO WHAT YOU WANT.

AND YOU SHOULD BE ABLE TO FIND WAYS TO BOTH WORK AND IN YOUR LIFE THAT BRING YOU SO MUCH PLEASURE THAT HAVE YOU A VERY HAPPY LIFE.

THAT'S -- THAT'S WHAT I HAVE MANAGED TO ACCOMPLISH.

AND I HOPE THAT GIRLS -- OTHER GIRLS AND WOMEN WILL BE ABLE TO, TOO.

¶ ¶ ¶ ¶ >>> AND THAT DOES IT FOR THIS EDITION OF "CONNECTING POINT."

REMEMBER, YOU CAN ALWAYS FIND ALL OF THE STORIES THAT YOU SAW IN THIS EPISODE, AS WELL AS EXCLUSIVE FEATURES, DIGITAL-ONLY CONTENT, AND SO MUCH MORE ONLINE ANYTIME AT NEPM.ORG/CONNECTINGPOINT.

>>> AND PLEASE BE SURE TO JOIN US AGAIN EVERY WEEK RIGHT HERE FOR MORE STORIES OF THE CREATIVITY, CULTURE, AND COMMUNITY THAT MAKE US WESTERN NEW ENGLAND.

I'M TONY DUNNE IN FOR SIELDZ.

THANKS FOR WATCHING AND HAVE A GOOD NIGHT.

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