Art Works Podcast

We're marking Halloween and Dia De Los Muertos with a conversation with Mexican American author Isabel Cañas. She employs gothic frameworks and tropes with historical detail in her novels—a combination as terrifying as it is informative. In this podcast, we discuss her books The Hacienda which is frightening haunted house mystery set in Mexico soon after its War of Independence and Vampires of El Norte set in northern Mexico (now south Texas) during the Mexican American war. Cañas discusses the racial and ethnic disparities, the rigid class structures, and the gender dynamics at work in both of these eras and how  gothic tropes are fertile ground for these explorations. We also discuss the growth of Mexican gothic fiction more generally and the balancing act required to portray actual historical events and authentic experiences in genres that are deeply imaginative. Cañas also talks about her extensive research into the historical periods in which she sets her novels, the family histories she also drew upon, her own academic background in Medieval Islamic history, and what it was like to write two novels and a dissertation simultaneously.

We’re marking National Disability Employment Awareness Month with a conversation with James LeBrecht and Day Al-Mohamed—two founding members of FWD-Doc-- a global, intersectional community of disabled creators and allies working in media to build a more inclusive, accessible, and equitable entertainment industry that cultivates and champions disabled media-makers, and elevates stories by, for, and about people with disabilities.   James LeBrecht is a film and theater sound designer and mixer, author, disability rights activist, and filmmaker who with Nicole Newnham produced and directed  Crip Camp-the story of Camp Jened which ignited a community of people with disabilities to fight for their rights. Day Al-Mohamed  is an author, filmmaker, disability policy strategist, and a member of the Coast Guard Auxiliary.  The Invalid Corps, a documentary about disabled veterans' contributions during the Civil War, was her first documentary as a blind filmmaker. In this podcast, Jim and Day detail the mission of FWD-Doc and the issues that it is addressing: the lack of access and opportunity for people with disabilities in filmmaking, and the dearth of stories by and for people with disabilities. They discuss the many resources they offer on their website including their robust “Toolkit for Inclusion & Accessibility: Changing the Narrative of Disability in Documentary Film,” and their partnership with the International Documentary Association to establish the Nonfiction Access Initiative (NAI),  a fund for nonfiction storytellers and media makers from the disability community. Al-Mohamed and LeBrecht also talk about their career trajectories, the difference between compliance and best practices,  and the need for access to be recognized as essential to diversity.

In this podcast, actors Sylvia Kwan and Jacob Yeh discuss their many roles in Lauren Yee's play The King of the Yees--a semi-autobiographical comedy about community, culture and the connection between fathers and daughters—now playing at Arlington, Virginia’s Signature Theatre. It is funny and wildly imaginative— with Act II centered on a fabulous quest through San Fransisco's Chinatown. Kwan and Yeh discuss the challenges and fun in playing multiple characters in the play, the intricacies of comedic timing, and physical comedy while ensuring authentic portrayals of the characters as well as the meta aspects of the play and continual breaking of the fourth wall. The actors talk about working in a play that puts Asian-American stories front and center with a creative team that was largely Asian-American.  They discuss the play's physical demands: rapid pacing, choreography, puppetry, and quick changes and their strategies to maintain their stamina as well as their individual journeys to acting.  We’d love to know your thoughts--email us at artworkspod@arts.gov.

We close out Hispanic Heritage Month with Manuel Delgado—a luthier who carries on a multi-generational family legacy of hand-crafting string instruments—a history that goes back to 1928. In this podcast,  Delgado talks about his family’s tradition of instrument-making and working closely as a boy with his father and grandfather in their shop in East LA. He discusses the craftsmanship that goes into the making the instruments in the Delgado Style with an emphasis on "old-world luthier" techniques, a marriage of art and science. Delgado also talks about his move to Nashville after his father’s passing and opening his own shop Delgado Guitars—bringing the same fine craftsmanship and personal touch to Nashville.  He also discusses his advocacy for arts education--especially his support for music educators, stressing the scientific evidence of music's impact on the brain and its benefits in other academic areas. He talks about his involvement in Music Makes Us where he created a mariachi program for kids at risk, the Music City Mariachi Festival that he was instrumental in creating, and Music Makers Stage—a venue he created for the community and for artists. Finally, he talks about passing the tradition down to his daughters and the emotional connection he still feels for his father and grandfather as he crafts an instrument. We’d love to know your thoughts--email us at artworkspod@arts.gov.

Flamenco Artist and 2022 National Heritage Fellow Eva Enciñias has transformed and broadened the performance and study of flamenco in the United States generally and in her hometown of Albuquerque, N.M. particularly.In this podcast, Eva Enciñias talks about the artistry and history of flamenco and her family’s roots in this art form;  her dual loves: flamenco and teaching,  her 43 year-long career as a teacher in the dance department at the University of New Mexico where she created a concentration in flamenco in the undergraduate and graduate levels— the only accredited dance program of its kind internationally. We also discuss the institute she founded The National Institute of Flamenco which houses many programs and events including the Flamenco Festival Alburquerque (they went back to the original spelling) which has just celebrated its 35th anniversary and is one of the premier flamenco festivals in the world, and her on-going work weaving flamenco in the fabric of her community.

In this podcast, 2023 National Heritage Fellow “Little Joe” Hernández describes his musical journey, explaining how his culture, family, and personal experiences shaped his legendary style. Coming from a musical family, he took the traditional Mexican songs he grew up hearing and blended them with jazz, country, rock 'n roll, and blues to create a distinctive voice in Tejano music. He discusses his transition from a shy boy to the front Hispanic Hisman of Little Joe and the Latinaires—later Little Joe and La Familia—as well as his time in California and the explosion of Latin jazz, the great significance of the Chicano Movement on his music, his concerts for the United Farm Workers Union, and his return to Temple, Texas, to raise his family. He sheds light on the band's compositions and collaborations, indicating how they honed their distinctive sound over time. Hernández also discusses the profound emotional connection music can forge, allowing artists and audiences to bond over shared feelings and experiences, his collaborations with Willie Nelson for Farm Aid, his five Grammy Awards, his longevity in the music business, and the way the music preserves, expands, and celebrates Chicano culture.

Sculptor and 2023 National Heritage Fellow Luis Tapia has helped to revitalize and transform the art of the santero (a person who makes religious imagery), a Hispanic tradition practiced in New Mexico and southern Colorado that goes back over 400 years. In this podcast, Tapia discusses his artistic journey. He began by reproducing traditional Santos (carved and painted statues of saints). But the Chicano movement, which revolved around farm workers' rights, was significant in his artistic development. He became curious about his cultural and historical identity and the result of that curiosity became apparent in his art.  He began incorporating bright colors and modern figures into his work, which continued the forms and styles of traditional religious iconography while reflecting contemporary issues. He placed his “saints” among us-- as immigrants crossing a border, a man in jail, a grandmother protecting her grandchild. His blending of tradition with the contemporary, the sacred with the quotidian, was, at the time, controversial but now has been adopted by other santeros. Tapia also talks about his approach to sculpting which ensures his pieces are viewed from all angles, allowing them to reveal complex stories from multiple perspectives. He describes his process as a dialogue between himself and the wood, starting with a concept and asking questions as he carves until the piece evolves. He also discusses the diverse range of art he creates: from religious icons to vibrant pieces inspired by pop culture, like his sculptures inspired by lowriders which have great cultural significance in New Mexico. Tapia finally emphasizes the paramount importance of cultural memory, observation, and storytelling that resonate through every piece he creates. Let us know what you think about Art Works—email us at artworkspod@arts.gov.

It’s a two-part podcast looking at one topic: exploring ways arts are being encouraged in communities.  First up, philanthropist Adrienne Arsht.  Arsht discusses her long-term support for the arts-- at The Kennedy Center, at Lincoln Center, at the Metropolitan Museum of Art, and reflecting upon her decision to make a sizable donation to sustain the performing arts center in Miami ---now the Adrienne Arsht Center for the Performing Arts in Miami-Dade County which had been about close. Arsht also discusses  the importance of having a performing arts center in every great city and highlights how Miami's diverse community was reflected in the center's programming from the beginning. Arsht also discusses her commitment to arts education through the flagship program "Learning Through the Arts" at the Adrian Arsht Center and her ground-breaking funding of paid internships at both the Metropolitan Museum of Art and the Adrienne Arsht Center, emphasizing the importance of breaking down barriers that prevent talented individuals from pursuing internships and the positive impact of these programs.  Then we hear from Debbie Shapiro the artistic director of the Marie Rader Presenting Series at Rowan University. The series brings award-winning and emerging artists to South Jersey, emphasizing transformative engagement that goes beyond performances which includes direct interactions between world-class artists and students, as well as partnerships with community organizations in the region.  Shapiro discusses the series and its curation which is unique in that it's integrated within the College of Performing Arts at Rowan University, allowing for close collaboration with faculty and a focus on aligning the artist selections with the educational offerings of the university. The programming  reflects the diversity of the audience which comprises community members, Rowan students, university employees, faculty from various area colleges, and families of the students.

A conversation with Dr. David Fakunle who uses the art of storytelling to promote public health by listening, understanding, and addressing the personal, social, and structural factors that contribute to health disparities. He powerfully combines science with art and is transforming discussions about the role of storytelling in healing.  Dr. Fakunle shares his personal story of growing up in a family deeply rooted in the arts, especially music and storytelling. His childhood was marked by significant cultural influences, such as his experiences at the Great Blacks in Wax Museum in Baltimore and his memorable encounter with renowned griot, Mary Carter Smith who with 2019 National Heritage Fellow Linda Goss co-founded the Association of  Black Storytellers.  Dr. Fakunle took these influences to the Johns Hopkins Bloomberg School of Public Health where he realized the deeper implications about the potential of storytelling in the realm of public health. Fakunle's innovative ideas were supported by the faculty, and upon graduation, he began teaching storytelling in the Mental Health Department at Hopkins,  emphasizing the importance of effectively communicating scientific research through engaging narratives. Fakunle argues that the profound benefits of storytelling in health communication come from its ability to resonate with audiences but more importantly,  authentic narratives and voices need to be central in discussions about health challenges Dr. Fakunle also discusses his many years of work at WombWork Productions (where he is now executive director). WombWork is a social change performing arts company. Under his leadership, the company shifted its focus from implicit to explicit public health impact, tackling a range of serious topics such as HIV, gang violence, and child sexual abuse through art. Dr. Fakunle’s passionate belief  that the creative process serves as a crucial part of the healing process is the thread that moves through all his work.

We are revisiting one of my favorite interviews—a 2013 conversation with Kati Texas about the Kinetic Sculpture Race. The Kinetic Grand Champion Race is a one-of-a-kind, multi-day event that combines engineering, art, athleticism, and a strong sense of fun. It involves teams competing with human-powered, artistically-themed contraptions that are engineered to race over land, mud, sand, and water terrains. Originating in 1969, this quirky competition has grown to become a significant and anticipated event in Humboldt County, California, where the Kinetic Grand Championship is held each year. As you will hear, one of the standout features of this event is its joyful and humorous atmosphere. Spectators line the streets to cheer on their favorite racers, and participants often dress in elaborate costumes, aligning with the theme of their sculpture. Furthermore, the race is characterized by unique and whimsical award categories, such as the "Golden Flipper" for sculptures that tip over or the "Poor, Pitiful Me" award for the racer perceived to whine or complain the most. And Kati herself is a Rutabaga Queen (a highly coveted title!) It's hard to imagine a better guide for a behind-the-scenes look at this human-powered art race than Katie Texas.  Aside from being a veteran racer herself, Katie has served the Kinetic Universe as president of its board of directors.  The Kinetic Sculpture Race is not only a celebration of art and engineering but also of community spirit and the joy of taking on challenges with creativity and a smile.  As you’ll hear in this podcast, participants and spectators alike are united in their love for this eccentric, innovative, and delightful event.