¡Colores!; 1940; New Mexican Sculptor Michael Naranjo, Still-Life Painter Marc Rubin, Dance Pioneer Bill T. Jones, British Theatre Director Trevor Nunn

>>Narrator: THIS TIME, ON COLORES! DURING THE VIETNAM WAR NEW MEXICAN SCULPTOR MICHAEL NARANJO WAS BLINDED.. FOR THE LAST 40 YEARS HE HAS PRODUCED WORKS OF SPLENDID ARTISTRY. >>Naranjo: If you want to do it, I guess you have to sit down and do it. When I could see I always wanted to be a sculptor and I thought I would never be able to do that. But then I suddenly discovered I could do that with one hand, creating a very simple piece and the moment I made that, I knew that I had my life, I had my purpose." STILL LIFE PAINTER MARC RUBIN SHARES HOW USING TECHNIQUES BORROWED FROM RENIASSANCE MASTERS IS A WAYTO CONNECT TO THE PAST AND KEEP A LINEAGE ALIVE. >>Rubin: "I paint from life, painting from life you see the three dimensions, they aren't flattened out by a photograph. It's not fake; the shadows have depth and color." DANCE PIONEER BILL T. JONES PUSHES THE BOUNDARIES IN DANCE . >>Jones: "We are

the paint on the canvas; we're not at the service of drawing on the vase of flowersanymore but the act of painting, the act of the body moving and gravity." FROM "SHAKESPEARE UNCOVERED" TREVOR NUNN LOOKS AT "THE TEMPEST," IN WHICH AN OLD BLOOD FEUD RESURFACES FOR A SHIPWRECKED FATHER AND DAUGHTER. >>Nunn: "It's a tabula rasa, the island, it's a clean slate. There's no connection to civilization.You have to see how nature or nurture, how embedded is it in humanity." >>Narrator: IT'S >>MICHAEL NARANJO: We're all living creatures and full

of life experiences and it doesn't matter where you're from, what you do, everyone has a story to tell. And I guess that's what inspires me, is kind of living and life itself. >>AKIM: You lost your sight in Vietnam. How do you see? >>NARANJO: Since I'm totally blind, my world is that of sound and touch. I see what I want to see I guess, in that I don't see things that people don't want to see. The driving down the highway, the garbage, the burnt buildings and towns, those kinds of things. So I live, what I believe, is a rathersheltered way of seeing because what I perceive and what comes into my mind's vision, what I allow in. So when my fingers look at things, I get this visual imagery in my mind,

the mind never stops creating. >>Hakim: In all of your years the most important lesson that you've learned? >>NARANJO: If you want to do it, you have to sit down and do it. When I could see, I always wanted to be a sculptor, and I thought I wouldn't be able to do that. But then I suddenly discovered I coulddo that with one had, creating a very simple piece. And then when I knew that, I knew that I had mylife, I had my purpose. The energy in my younger days was like the fire is blazing internally. I would sit down and I would create a piece in a week, sleeping three or four hours in a night and just going through it and total exhaustion at the end of the week. And I would find myself sitting there thinking, "will I ever have another idea for sculpture?" But they come

again, they always come. >>Hakim: When you were creating these pieces, you are quite literally feeling your way through it. Can you describe that experience? >>NARANJO: First I have to have an idea. I've received ideas from dreams, reading books, people talking, things I've seen in the past. Once I get this idea, then it sits inside, and sometimes on rare occasions, I can turn around, sit down and create it. Other times I can't do that. So it all varies.There's this war dancer I was creating and I was sitting and working on this piece. And after aboutseveral hours, I knew it wasn't working. Though I could see it in my mind's eye, my mind and my fingers just weren't connecting. So I put it on a shelf and about six months later I came back to it and started working on it again. And I knew right then, that the time had come. So I sat there again for days

and that was the one time that I was really afraid I had gone crazy. Because in the middle of the night, no one around, my head is thrown back, I'm laughing out loud, and I scared myself because I didn't intend to throw my head back and laugh. It's just suddenly, I didn't know who that person was. So I got up, went to the living room and sat down. And I gathered my wits about me and I thought, "I guess it's okay, I was just happy creating what I was making." >>Hakim: What are your obstacles and do If I could look at a picture or look at something that

I was trying to create, it would be so much easier. But as it is, it's fingertips touching thousands upon thousands of touches. Frustrating- there's so many things that I would like to see, but I can't. There's so many things that I would like to do, but I can't. Simple things in life that we take for granted. But then by the same token, how important is it in my life to be able to run down the street? It would be nice but it's not important. I think the way I see it is, way back, I came across this: "Rather than it being a problem, it's a challenge." >>Hakim: There's so much

movement in your pieces. Can you tell us a little bit about why that's important to you? >>NARANJO: My brother and I used to go hunting and fishing all the time. We would sit on top of mountains and watch the river go by. It's a very gentle, peaceful way. Birds come floating into this little grassy meadow on top of the peaks. Down below, you'll see a deer gently walking by; a blade of grass swaying with the breeze. And you look up and see the clouds appearing and dissolving and reappearing on the other side of the peaks. So everything's moving, but it's slow and it's gentle. >>Hakim: What drives you to continue making this work? >>NARANJO: My creations, my designs live inside me. Sometimes for long periods

of time, for years, sometimes for days and weeks. But for the time, it's own time comes, that it to has to be born, it has to come out. And I find that at times, I'm fighting a piece from coming. I know I want to make it,but I'm afraid, there's fear in it. Can I make it as good as I think I can? As I want to make it? Maybe, maybe not, you know? But when the time comes, it comes out and I start creating and there's nothing in the world like it because it's another world in itself that I'm so fortunate to be able MARC RUBIN PAINTS LIFE INTO EVERYDAY OBJECTS.

BY USING LIGHT AND SHADING, HE PAINTS A STORY INTO HIS STILL LIFE SUBJECTS. >>Marc Rubin: I'm a representational painter, I paint from life not from photographs and I typicallypaint one to one scale. The size you see in a painting is the size of the object I'm painting. It's these little magical pools of light, you walk by something and it strikes you the highlights are kind of Rembrandt-y are the stuff that really gets me excited. So when I see something that catches my attention in that moment, I try to bring it back to the studio and recreate that feeling and then paint it. I paint with oil and typically on Masonite,

I do use some canvas but I really love the hardness and the pushback with the brush on Masonite. I paint from life, painting from life you see the three dimensions, they aren't flattened out by a photograph. It's not fake; the shadows have depth and color.I paint from the north light and the shadows are typically red on the warm side the highlights are blue cause its reflecting the sky. I studied with Tom Buechner for 10 years, he's been my mentor, friend, he taught me more than just painting he taught me the love of classical music, the love of opera, he introduced me to many many books and many artists that I wasn't aware of. His process is a renaissance process that's been passed along from generation to generation. The Dutch painters, Renier, Rembrandt, and many many others of that era that I feel

I'm connected to that. That's part of the responsibility I feel as an artistand as accomplished as I am to go back and pass that along, keep that lineage going. I am in 5 different galleries around the east coast, couple of the major ones are the F.A.N. Galleryin Philadelphia, The Zenith Gallery in Washington DC and the South Street Gallery on Long Island. It's really about seeing and continually

going for the more representational and the trompe-l'oeil, which is having depth in a painting. It's really important to me to get that kind of illusion that things are coming at you I like doing that. It's usually a shadow or an edge that kind of brings things more forward and I like the three dimensionality of things I like old things, I like things that have a history or if it's a vegetable that has a story to it. There is a narrative usually to the work that I do, like the tomatoes that are on the floor behind me, I walked into the local grocery store and they were kind of leaning there, they looked like friends, that they knew each other for a long time. So I tried to create that feeling I had when I walked through the supermarket and recreated that feeling through that little moment that I was interpreting. The brush is such an amazing tool, when you have all the technology

of today and the basic little brush that the cave guys used on the walls...its pretty amazing. >>Narrator: CHOREOGRAPHER BILL T. JONES SHARES HOW HE HAS EXPLORED THE COMPLEX TERRAIN OF THE HUMAN CONDITION THROUGH DANCE. >>Paula Zahn: Bill, it is an absolute honor to meet you. >>Bill T. Jones: Well, thank you. It's a pleasure to be here. >>Zahn: It is particularly fitting to be talking to you at the Juilliard School where you were granted an honorary doctorate, (BTJ: Yes.) and I have this wonderful picture of you. I think you are one of the, the few awardees that actually tap danced to, to get your diploma. >>Jones: Well it was a stomp dance, it wasn't a tapping. It was stomping, yea. When you're happy. >>Zahn: I've read a lot about your background. And um, you have travelled a very

unusual path. From the 10th of twelve children born to migrant farm workers, where along that path were you introduced to movement and, and where could you have had a dream that you someday could perform as you do today? >>Jones: You know, we were because of the social-political nature of, ah, the U.S. in the 50's, entertainment was quite segregated. So we had a, we lived out at the camp, my family, the men and women who worked with my Dad, and where do you entertain yourselves? You have a jukebox. So we entertained ourselves by dancing so movement was always there. We did talent shows, making up steps, seeing things on the Ed Sullivan show, that's where Taylor Dancers. Now what happened when we got to the University, however? Hmm. Now there's this thing called dance as concert performance, and pointing your feet and ballet and turn out, the alignment. >>Zahn: And you had not had any formal

training up until that point? >>Jones: No. No. No. No, at my high school we were fortunate to have a drama teacher. So there was adrama club and I loved it being the ham that I was in my bones, she directed that toward theater. Ithought I was going to University for Broadway, but when I got there I discovered modern dance and it just took the air out of everything else, and I was obsessed. >>Zahn: And then Arnie Zane came into your life. >>Jones: Yes. Yea. >>Zahn: Right. So let's, let's talk about how the two of you completely moved the boundaries of dance. >>Jones: (Laughs) It's sounds like my, my publicist wrote But it's true. Maybe, maybe it would be fair to say expand, would it be more accurate to sayyou expounded the boundaries of dance. >>Jones: Oh, we certainly expanded it, we certainly expanded it. >>Jones: First of all, the question was ah, what was dance? We inherited a certain type of exploration from the 60's experimentalist. Anything could be danced about; any form could be made to dance. Arnie Zane and I came into this

and we benefited from something called contact improvisation as developed by one of Merce Cunningham's great dancers Steve Paxton. If you could do, ah, Karate, if you could do social dance like the Lindy, about counter pull. Anybody could lift anybody. That contact really freed Arnie and I to really explore that. Now there was this other issue, small white Jewish man, tall black man, and they're doing this thing which not about princes and princesses, but there's something else, are they fighting, are they, are they making love, are they, what's going, this relationship has something going on in it and it was all through abstraction, pantomime kind of movements, so we, I think we really did inspire a lot of people to think past gender, think past body size, and began to think what makes choreography. I say it's living sculpture. We're anymore. We are the primary thing, we are the paint on the canvas, we're not

at the service of drawing on the vase of flowers anymore but the act of painting, the act of the body moving and gravity. >>Zahn: I think what I really respect is how honest you have been over the years, particularly in the American Masters documentary... >>Jones: It's a good documentary, yea >>Zahn: ...called "A Good Man", where you expose the audience to the rawness of creating a performance. >>Jones: The truth is what you put on that stage and what you make. Now whose opinion about it are you going to believe, do you believe your own eyes? Ah, and that's where the heart comes in. I'm saying to the public, I am here. No lies here. What I'm doing is, this is the real deal. Maybe it's not about originality but it is about authenticity which is the best I can hope for in this life. "He was real." >>Zahn: Let's talk about this wonderful milestone you've reached with the 30th anniversary of your dance company, the, ah, world premiere of "A Rite" a, a co-production with Anne Bogart's Siti Companyand

on Stravinsky's "Rite of Spring". >>Jones: Yes. Anne Bogart who I have great respect for, she was enthused by the riot in Paris in 1913, and uh I said, you know maybe with Anne's enthusiasm, I can find a way into it, so we decided to work together. And through the brilliance of my co-artistic director, Janet Wong, we have found a way to make the dance and the acting seamless and it's a beautiful piece with a wonderful sound score,design, and no, we do not have a sacrificial maiden, although there is sacrifice in it. And it's really weird, it's kind of wonderful, I'm Let's talk about "Play By Play: An Evening of Music and Movement or Movement and Music", I guess the way you call it, and it's about the delight of musicians

and dancers working together. >>Jones: Simple, right, yeah, it is simple. It's a lot to do with the wonderful Orion String Quartet. If you love chamber music, and you are interested in what we might do to it, this is a wonderful program not to be missed. >>Zahn: You also have been named the Executive Artistic Director of New York Live Arts and you've described NYLA as where thinking and movement meet the future. A destination for innovative movement based artistry. (BTJ: That's it, it's true.) Expand on that. (BTJ: Well.) What do you hope that it will lead you to? >>Jones: Well, a, New York Live Arts is the meeting of Bill T. Jones and Arnie Zane Dance Company and the historic Dance Theater Workshop, a place that I did my, some of my first performances. Um, they, ah, are fearless there, we have always been proud of, of Dance Theater Workshop, and now that, that tradition continues through the DNA of New York our residency commissioning artist program. Carla

Peterson, who is our Artistic Director, really cares about artists. We would like to make sure that artists are taken care of at every stage of their career, and how can we make this innovation that New York is known for. How can we make it something that people fight to get tickets for? >>Zahn: I know you've talked about you wanting your company to be a microcosm of the world that you like to live in. >>Jones: You have done your research haven't you. Yes. >>Zahn: How do you choose your dancers? >>Jones: It's not a science. I wish it were. I do like a certain degree of virtuosity. Ah, that's not what Arnie Zane and Bill T. Jones were doing, but now if someone can actually get into the air andbeat. Great. Then get into the air and beat and drop down and do something which is totally street,that's even better, and if they are a choreographer, who are themselves thinking, and they're willing to lay that on my lap, oh I've won.

They have good technique, they have the ability to create, and they have an aesthetic that I can start a dialogue with 'cause that's what our company is, a lot of artists come through our company, people finding their legs, and finding their aesthetic in our company. Um, I'm very proud of that. >>Zahn: Thanks so much for your time and continued good luck. >>Narrator: IN "SHAKESPEARE UNCOVERED," TREVOR NUNN LOOKS AT "THE TEMPEST," IN WHICH AN OLD BLOOD FEUD RESURFACES. >>TREVOR NUNN: Shakespeare uses his magical island to investigate the truth about human nature. Are we bestial or benign? On another side of the island, his treacherous brother and co-conspirators aretrying to understand where they are and what's happening to them.

cause, so have I. >>Nunn: But amongst them is the aging Gonzalo, no traitor he, but a courtier always loyal to Prospero. And in this verging world, he dreams of his perfect society. >>TEMPEST CLIP: All things in common nature should produce without sweat or endeavor. Treason, felony, sword, pike, knife, gun or need of any engine would I not have. >>Nunn: he says that in future, everything should be held in common, there should be no usury to the making of money out of lending money, no weapons, no wars. Everything should be produced by nature, paradise. >>JULIE TAYMOR: I think it's a tabula rasa, the island. It's a clean slate. There's no connection to see how nature or nurture, how embedded is it

in humanity. You have this court come to the island. They have no castles, they have nothing. And yet all that is nature in them, which is the deceit, starts up again. You know, their character is embedded in them and you watch this incredible duplicitous nature come out. And the conspiracy. the other survivors, Prospero's usurping brother, Antonio, tries to persuade his crony to commit murder to gain for both of them CLIP: I remember you did supplant your brother, Prospero. True, and look how well my garments sit upon me, much fitter than before. >>Nunn: Even in a new land, in an ideal society, the darker human instincts will always emerge.

>>Narrator: NEXT TIME ON COLORES! VISIONARY ALBUQUERQUE DESIGNER KENJI KONDO FOCUSES ON SUSTAINABILITY AND AESTHETICS BUT ALSO ON MAKING DESIGN TOOLS ACCESSABLE TO OTHER ARTISTS. >>Kondo: "The technology has kind of put manufacturing basically on it's ear. What this has done ismade it almost like going to Kinkos." WITH WEATHERED WOOD FROM ACROSS THE ROCKY MOUNTAIN REGION, CRAFTSMEN JOSH MABE AND RANDY VALENTINE CREATE RUSTIC FURNITURE WITH A STORY TO SHARE. >>Mabe: "That's the part of frontier life, that old wild west life, that so brings me alive. You just gotta make things work." SINCE 1970 ARTISAN CHARLIE HOFFMAN HAS BEEN HANDCRAFTING ACOUSTIC GUITARS. HE SHARES HIS PROCESS ANDTHE SOUND HE LIKES TO HEAR. >>Hoffman: "I'm not a musician, but I can contribute by making guitars for other people who make music." SAM AND SARAH EVANS

FIX PIANOS... PIECE BY PIECE. THEY UNDERSTAND THE IMPORTANCE PEOPLE CAN ATTACH TO AN INSTRUMENT GENERATION AFTER GENERATION. >>Evans: "When it's really a piece of the family, a piece of the family's history, we're renewing itfor the next generation. " >>Narrator: UNTIL NEXT TIME, THANK