>> THERE'S SOME WONDERFUL STORIES ABOUT THESE COLONY PEOPLE.

>> YES.

>> FOR EXAMPLE, THIS HOUSE OVER HERE WAS ALAN SHIPMAN'S HOUSE WHO HAD ON HER CALLING CARD GEOGRAPHICALLY IN PLAINFIELD, SOCIALLY IN CORNISH.

[LAUGHTER] >> THAT'S DOWN THERE.

>> ATTITUDE.

[LAUGHTER] THERE YOU GO.

>> FANCY FARMING.

>> FOR SURE.

>> THEY CERTAINLY DID.

>> THAT IS SO COOL.

BE CAREFUL.

IT MAY BE DARK IN HERE.

>> THANK YOU.

>> WELCOME.

>> JONATHAN FARWELL.

WHAT A DISTINCT PRIVILEGE TO SEE YOU.

>> IT'S GOOD TO SEE YOU.

>> I WOULD LIKE TO INTRODUCE YOU OTOSOME FRIENDS.

THIS IS KY OBERT, PERSON'S GRANDDAUGHTER.

THIS IS MAXFIELD PARISH.

>> NICE TO MEET YOU.

>> WE WILL HAVE MUCH TO TALK ABOUT.

>> YOU ARE ALSO A COLONY DESCEND AND THE.

>> YES.

MY FATHER WAS A COMPOSE WHO ARE WROTE MUSIC FOR THE PAGEANTS AND SPENT A LOT OF TIME UP HERE FROM ABOUT 1912 TO 1917.

>> WONDERFUL.

I THINK, JIM, YOU AND I SHOULD SLEEVE HE'S DESCENDANTS TO CATCH UP.

WE'LL SEE YOU L LATER.

>> YOU ARE DESCENDANTS OF VERY PROMINENT PEOPLE IN THE CORNISH COLONY.

I FEEL LIKE I HAVE STEPPED INTO A MAXFIED PARISH PAINTING.

YOUR GRANDFATHER WAS VERY, VERY INVOLVED IN THE CREATION OF ALL OF THIS.

>> FOR SURE.

WE KNOW FROM DESIGNS THAT REMAIN THAT HE DESIGNED IT AND HE PAINTED IT.

IT WAS HIS HAND AND HIS BRUSH AND NEWSPAPERS OF THE TIME DESCRIBED THE STAGE SET AS BEING THE WORK, THE PAINTING BY MAXFIELD PARISH.

IT WAS WRITTE UP IN THE NEWSPAPERS AS THE MOST BEAUTIFUL STAGE NORTH OF BOSTON.

PEOPLE ARE STILL ENJOYING IT TODAY.

IT'S 101 YEARS OLD.

>> 101 YEARS OLD AS WE SPEAK.

I HAVE OBSERVED A WONDERFUL LUMINESCENT QUALITY ABOUT THE BLUE.

THERE MUST BE SOME TECHNICAL EXPLANATION FOR HOW HE DID THAT.

>> PEOPLE HAVE OFTEN ASKED ME WHAT COLOR WAS PARRISH BLUE?

HE'S SO FAMOUS FOR THAT.

IT WASN'T JUST ONE COLOR.

IT WAS THE WAY HE LAYERED THE BLUES THAT GAVE IT THAT JEWEL-LIKE TONE.

[APPLAUSE] [PLAYING VIOLIN] [LAUGHTER] THAT'S ABOUT AS MUCH AS I CAN REMEMBER OF MY FATHER'S PONY HORSES.

IT'S VERY SHORT.

BUT I DON'T THINK HE EVER PLAYED IN FRONT OF A NAKED LADY WITH A BOW AND ARROW IN HER HANDS.

[LAUGHTER] I FIND IT VERY INTIMIDATING.

CERTAINLY SHE'S BEAUTIFUL.

>> THIS IS DIANA, THE HUNT RES.

THIS STATUE TWICE AS BIG WAS ON TOP OF THE MADISON SQUARE GARDEN BUILDING IN NEW YORK CITY.

>> I NEVER KNEW THAT.

>> MOTHERS GOING BY WITH THEIR CHILDREN WOULD APPARENTLY PUT THEY'RE HANDS OVER THEIR EYES.

DON'T LOOK AT THAT LADY.

EVENTUAL TALE THEY -- EVENTUALLY THEY TOOK HER OFF.

DIVITA CLARK'S FACE WAS CONSIDERED VERY GREASAN.

THAT DISTINCTIVE FACE.

YOU CAN'T MISS IT.

>> I'M CURIOUS ABOUT WHY SAINT GAUDENS SETTLED HERE IN THE FIRST PLACE.

WAS HE THE FOUNDER OF THE CORNISH COLONY OR THE IMPETUS BECAUSE HE INVITED OTHER ARTISTS TO THE AREA?

I'M CURIOUS ABOUT THAT.

>> SAINT-GAUDENS HAD JUST RECEIVED THE COMMISSION TO CREATE THE MEMORIAL FOR ABE HAS HAYMAN LINCOLN, THE STANDING LINCOLN IN CHICAGO.

WE HAVE A COPY OF IT HERE ON THE GROUNDS.

HE WAS LOOKING FOR A PLACE TO WORK ON THAT.

THE WONDERFUL LINE HIS LAWYER SAID IF YOU COME UP THERE I PROMISE I'LL FIND YOU WONDERFUL LINCOLN SHAPED MEN TO BE MODELS.

[LAUGHTER] AND HE DID.

DIDN'T FIND THEM IN CORNISH BUT IN WINDSOR.

LANGDON MORSE WHO WAS A STATE REPRESENTATIVE FOR VERMONT, HE HAD THE SAME ROUGH, CRAGGY FEATURES, SAME BEARD.

ALL HE NEEDED WAS THE SUIT.

THEY TOOK CARE OF THAT BY GOING TO LINCOLN'S TAILOR AND HAVING HIM MAKE AN EXACT REPLICA OF THE SUIT THE PRESIDENT WOULD HAVE WORN.

HE SENT HIM AROUND THE FIELDS AND SAID YOU'RE NOT GETTING DIRTY ENOUGH.

YOU HAVE TO RUMMAGE AROUND, GET IT LOOKING WORN.

HE CAME IN HERE AND POSED AND DID THE STATUE.

AFTER THAT SAINT-GAUDENS INVITED HIS FRIENDS SO THE FIRST TO COME WAS THE ARTIST THOMAS DUING.

GEORGE THE 4th BRUSH CAME BECAUSE OF SAINT-GAUDENS' INVITATION.

>> I PRESUME REAL ESTATE PRICES WERE ATTRACTIVE TOO.

>> AND THE MOUNTAIN.

>> OH, I HAVE HEARD ABOUT T. YES.

>> THE WONDERFUL NATURAL FEATURE IN THE LANDSCAPE.

THEY ALL LOVED IT SO ALL THE PEOPLE WHO CAME BUILT THEIR HOUSES TO MAKE SURE THAT THEY HAD AN OPTIMUM VIEW OF IT.

>> WE REALLY HAVE A BEAUTIFUL PLACE HERE, BUT WHAT A MAGNIFICENT VIEW.

>> WE REALLY LOVE IT.

>> IT SEEMS TO BE VERY IMPORTANT TO THIS PART OF THE WORLD.

>> SHOULD WE GO DOWN TO THE STUDIO?

>> IS IT NOT IN THE HOUSE?

>> NO, IT'S ACTUALLY DOWN THE HILL.

>> OH, REALLY?

>> MANY OF THE CORNISH COLONY MEMBERS HAD DETACHED STUDIOS.

>> AND MOST OF THEM HAD CHILDREN.

>> YES.

MY GRANDFATHER APPRECIATED BEING A LITTLE BIT REMOVED.

>> SO DID MY DAD.

HE NEED PRIVACY.

AN ARTIST AT WORK.

>> THERE WAS AN ENORMOUS INTEREST IN BOTH DRAMA AND MUSIC IN THE CORNISH COLONY.

MY GRANDFATHER WROTE THE ST.

LOUIS MASK TO HELP PRESERVE THE MOUNDS.

>> I RECALL FROM THE PICTURES I HAVE SEEN THAT THE CAST OF THAT PAGEANT WAS SOMETHING LIKE 500 -- >> THAT'S RIGHT.

I HAVE A PHOTOGRAPH.

THE AUDIENCE WAS ABOUT 100,000, SO REALLY QUITE AN IMMENSE EVENT.

WITH ALL THIS INTEREST IN PAGEANTRY I SHOULD POINT OUT THE BULLHORN OVER THERE WHICH WAS USED TO SPEAK TO THE ALSO LARGE CAST OF CALI BAN.

YOUR FATHER WROTE THE MUSIC FOR THAT.

BY THE YELLOW SOUNDS.

THERE WAS A CHORUS OF 500 PEOPLE AND AN ORCHESTRA OF 100 TO PLAY YOUR FATHER'S MUSIC.

>> THIS WAS A TIME IN WHICH WE DIDN'T HAVE TELEVISION AND RADIO AND FILM AND OTHER DISTRACTIONS AND RECORDED MUSIC 24/7.

SO PEOPLE NEEDED THINGS TO DO.

PEOPLE WERE EITHER ACTORS OR SINGERS OR MUSICINS OR SCENE PAINTERS OR PROP BUILDERS OR HELPED WITH THE COSTUMES.

IT REPRESENT ADD FORM OF ART THAT WAS MUCH MORE COMMUNAL.

>> I THINK YOUR FATHER AND MY GRANDFATHER HAD THAT AS A REALI-DEAL.

ALSO A DEEP LOVE OF NATURE.

THAT'S WHERE BENTON COMES IN.

HE REALLY BELIEVED IN THE INFLUENCE OF NATURE ON PEOPLE'S LIVES AND I KNOW MANY MEMBERS OF THE CORNISH COLONY THAT WAS A VERY INTEGRAL PART TO THEIR THINKING AND TO THEIR LIFE-STYLE.

BENTON WAS A FORESTER.

HE CONTINUED TO MAP AREAS AND THE WILDERNESS THROUGHOUT HIS LIFE AS LONG AS HE COULD, BUT HE ALSO HAD TREMENDOUS RESPECT FOR A NAME THAT WE KNOW WELL FROM THE MARSH BUILDING'S NATURAL SITE.

>> GEORGE WAS BORN ON THIS VERY PROPERTY BUT HE WOULD NOT RECOGNIZE THE PROPERTY TODAY.

WATCH YOUR STEP.

THE VERMONT OF MARSH'S YOUTH WAS A VERY, VERY DIFFERENT LANDSCAPE THAT HAD BEEN CLEAR CUT BY AXE, NIBBLED CLOSE BY SHEEP.

WE WOULD ALL RECOGNIZE THE MARSH OF HIS YOUTH AS AN ECO-SYSTEM IN CRISIS.

>> HOW IS IT HEALED AND CURED?

MUST HAVE TAKEN A LOT OF WORK.

>> WE ACTUALLY HAVE MARSH TO THANK FOR.

THAT HE WAS A KEEN OBSERVER.

HE NOTICED WHEN YOU CLEAR CUT A HILL SAID ALL OF THAT TOP SOIL NOT HELD DOWN BY TREES AND GREENERY ENDS UP IN PONDS AND RIVERS AND LEADS TO MORE CATASTROPHIC FLOODING.

IN 1847 MARSH PUT A LOT OF THE DATA HE HAD BEEN COLLECTING TOGETHER AND DREW THE CONCLUSION HUMANS WERE CHANGING THE VERY CLIMATE OF THE PLANET.

>> NOW WAIT A MINUTE.

ARE YOU SAYING AS FAR BACK AS -- ARE WE TALKING ABOUT -- >> 1847.

SOMEONE WAS TALKING ABOUT CLIMATE CHANGE WHICH WE DISCUSS EVERY DAY NOW.

>> YES, INDEED.

>> FURTHERMORE POLLINATORS ARE IN DECLINE.

BEES, BUTTERFLIES, ALL OF THE THINGS THAT POLLINATE OUR FLOWERS, NOT JUST THE PRETTY ONES BUT THE FOOD CROP FLOWERS AS WELL.

LOTS AND LOTS OF IMPACTS HERE AT THE NATIONAL PARK.

>> THAT'S TERRIBLE.

FRIGHTENING.

>> REALLY IS.

>> SEE THE YELLOW?

>> OH, YEAH.

>> IT'S COLLECTING NECTAR AND POLLEN.

>> THESE GARDENS HAVE A CORNISH COLONY CONNECTION.

THEY WERE DESIGNED BY A CORNISH COLONIST, CHARLES PLATTE.

ALSO SHIPMAN.

YOU MAY HAVE HEARD OF HER.

>> I HAVE.

>> SHE WAS A LANDSCAPE ARCHITECT.

>> SHE BECAME QUITE FAMOUS FOR THAT.

>> VERY MUCH SO.

SHE ACTUALLY DESIGNED THE GARDEN AT SAINT-GAUDENS.

BUT IT WASN'T JUST HER THAT HAD A HAND IN THE SITE.

IT WAS CHARLES PLATTE AS WELL.

HE WASIN' A LANDSCAPE ARCHITECT, AN ETCHER.

HE MADE THIS LOVELY FOUNTAIN.

>> OH, WONDERFUL.

>> THESE ARE TWO NATIONAL PARKS.

THEY ARE REALLY ALL ABOUT ART AND LANDSCAPE.

VERY MUCH CONNECTED.

[PLAYING PIANO] >> THIS IS BEAUTIFUL.

>> THIS IS A PAINTING BY MARIA OKE DUING.

SHE AND HER HUSBANDS WERE THE FIRST ARTISTS TO JOIN IN SAINT-GAUDENS AND WERE VERY OINFLUENTIAL HERE.

SHE PRONOUNCED IT MARIAH.

>> SHE'S NOT A HOUSEHOLD NAME LIKE AUGUSTUS OR MAXFIELD PARRISH.

>> BECAUSE SHE CAME HERE SO EARLY SHE AND HER HUSBAND THOMAS DUING, WHO WAS A FIGURE PAINTER, WERE CORE MEMBERS OF THE COME NIP AND INFLUENTIAL IN TERMS OF THE GARDENING CRAZE IN CORNISH.

THEY HAD DEEP KNOWLEDGE OF PLANTS AND WERE PASSIONATE ABOUT GARDENING.

>> THE GARDEN WAS REALLY AN OUTDOOR LIVING ROOM.

THE HOUSE IS RIGHT HERE TO THE RIGHT.

THEN WE HAVE THIS BEAUTIFUL SPACE HERE.

>> SOMETHING ABOUT PROXIMITY OF THE GARDEN TO THE HOUSE?

>> ABSOLUTELY.

IT WAS ONE CONTINUOUS SPACE AS FAR AS THE ARCHITECT HAD IN MIND.

YOU HAVE HERE ANOTHER VERY IMPORTANT ELEMENT IN HIS DESIGN, A PERGOLA.

YOU SEE THE COLUMNS HERE OFTEN COVERED WITH GRAPEVINES BECAUSE IN ADDITION TO BEING A CULTURAL EFFECT, THERE'S ALSO WINE.

NOT TO FORGET THAT.

[LAUGHTER] >> THIS IS THE FIRST TIME I HAVE BEEN IN A PERGOLA.

>> YOU'LL NOTICE THIS LOVELY -- AND THEN ANOTHER PERGOLA UP THERE AND STRAIGHT AHEAD YOU CAN SEE THIS LOVELY CLASSICAL STATUE.

>> AH, YES.

>> PAN.

RIGHT THERE, ALL FRAMED UNDER THE ARBOR HERE.

SO THAT YOU CAN HAVE A SENSE THAT THERE'S MUSIC PLAYING IN YOUR GARDEN AND YOU HAVE THESE CLASSICAL ELEMENTS THROUGHOUT.

>> IT SEEMS TO ME FROM WHAT I HAVE LEARNED SO FAR THAT EVERYONE AROUND HERE LOVED NATURE AND WERE IN SOME MEASURE ENVIRONMENTALISTS.

>> I THINK THAT WAS AN IMPORTANT PART OF THE CORNISH COLONY.

ALSO THERE WAS A GROWING AWARENESS ABOUT PROTECTION OF BIRDS.

>> AH, WHAT HAVE WE HERE?

MERIDEN BIRD SANCTUARY.

>> THE BIRD BATH WAS HERE FOR THE DEDICATION OF THE BIRD SANCTUARY.

AT THE TIME THEY ALSO PERFORMED A PLAY IN 1913 WHICH WAS SANCTUARY BIRD MASK.

THE FIGURES AROUND THE URN REPRESENT CHARACTERS IN THE PLAY.

THE PLAY WAS TO BRING AWARENESS TO THE PLIGHT OF BIRDS AT THE TIME.

THERE WAS A LOT OF HUNTING AND EXOTIC BIRDS WERE BEING KILLED FOR THEIR FEATHERS.

THE PLAY WAS TO RAISE AWARENESS FOR THAT NEEDLESS SLAUGHTERING AND TO WRITE EMPATHY AND AWARENESS TO WHAT WAS GOING ON.

IT TOOK PLACE IN THE CLEARING.

THEY HAD PRETTY MINIMAL STAGE SET LIKE A DOG DRAWN ACROSS.

THEY RELIED A LOT ON NATURAL SURROUNDINGS AND THE BIRD BATHS AND BIRDHOUSES THEY ARE CREATED.

A LOT OF MUSIC AND DANCE.

>> ONE OF THE INSPIRING THINGS ABOUT THIS MASK WAS JUST THE ENACT IT WAS ABOUT BIRDS.

BIRDS ARE NOT ONLY WONDERFUL CREATURES IN THEMSELVES BUT THEY HAVE ALSO BEEN KNOWN AS SYMBOLS OF IMAGINATION AND OF FREEDOM.

AND I THINK THAT'S PART OF WHAT INSPIRED PEOPLE ACROSS THE COUNTRY TO BECOME MORE ACTIVE IN BUILDING SOME OF THESE SANCTUARIES.

>> BUT A LOT OF THE CAUSE WAS KEPT GOING IN NATURE PARK BECAUSE OF THE BIRD CLUB'S FOUNDER ERNEST EARL BAINES.

>> HE SOUNDS FASCINATING.

>> HE'S GREAT.

HE WAS A NATURALIST, A PHOTOGRAPHER.

WHEN HE SETTLED WITH HIS WIFE LOUISE, WHO WAS ALSO A PHOTOGRAPHER, THEY WERE INVITED BY THE OWNER OF THE PARK AUSTIN CORBIN WHO BASICALLY HAD BAINES BE THE GAMES KEEPER.

HE WAS INTERACTING WITH THE ANIMALS, PHOTOGRAPHING THEM, WRITING ABOUT INTERACTIONS, PUBLISHING THESE WORKS.

HE WAS LIKE A DR.

DAO LITTLE TYPE.

HAD A NATURAL RAPPORT AND BEFRIENDED SOME OF THESE ANIMALS.

IN PARTICULAR HE GOT TO KNOW THIS BEAR CUB NAMED JIMMY.

JIMMY WOULD BREAK OINTO THE KITCHEN PAN TRIP AND START EATING CRACKERS.

>> UNFORTUNATELY JIMMY GOT TOO BIG SO THEY HAD TO RELOCATE HIM TO THE NEW YORK ZOOLOGICAL PARK BUT BAINES HAD HIS HANDS FULL.

AUSTIN HAD HIM HELPING REINTRODUCE BISON HERDS.

THEY WERE BREEDING THEM IN THE PARK THEN WORKING TO SENDS THEM TO MONTANA AND YELLOWSTONE.

THIS WAS A HUGE INITIAIVE WITH TEDDY ROOSEVELT AND BAINES AND ROOSEVELT WERE ACTUALLY FRIENDS.

>> DID YOU KNOW THAT WE ACTUALLY HAVE THAT CORRESPONDENCE IN A SCRAPBOOK THAT WHEN OPENED SAID BUFFALO SCRAPBOOK AND IT IS BAINES' CORRESPONDENCE WITH ROOSEVELT WITH THE AMERICAN ZOOLOGICAL SOCIETY WITH NATIONAL FIGURES SETTING UP THE AMERICAN BISON SOCIETY.

IT ALSO INCLUDES ALL THE ARTICLES HE WROTE ABOUT BISON.

IT HAS A LOGO THAT MAXFIELD PARRISH MADE FOR THE AMERICAN BISON SOCIETY SPECIFICALLY AT THE REQUEST OFFER FERL EARL BAINES.

>> THIS WHIRLPOOL OF ACTIVITY WENT ON THROUGHOUT THIS PERIOD OF THE CORNISH COLONY, CREATED RIPPLES THAT EXTENDED THROUGHOUT THE COUNTRY AND AFFECTED THE CULTURE OF THE COUNTRY.

>> ABSOLUTELY.

YEAH.

>> WHEN SAINT-GAUDENS CAME HERE MANY IDEAS WERE FOMENTING IN THE COUNTRY.

WELCOME THOUGHT THEY SHOULD BE ABLE TO VOTE, FOR EXAMPLE AND HERE THEY ESTABLISHED SOMETHING CALLED THE CORNISH EQUAL SUFFERAGE LEAGUE.

JULIA WAS VERY FAMILIAR WITH MARGARET SANGER AND THEY TALKED ABOUT BIRTH CONTROL.

THERE WAS ALSO THE ISSUE THAT A LOT OF MONEY WAS COMING IN.

>> THEY CREATED KINDS OF A SOCIAL STRATIFICATION.

>> THEY DID INDEED.

NOT ONLY DID YOU HAVE PLAINFIELD FOLK BUT YOU HAD NEW YORK PEOPLE, NEW YORK FOLK.

THE CITY LADIES COMING IN TOO.

THEY CAME FROM PRIVILEGED CLASS, SO THESE PEOPLE WHO HAD LOTS OF MONEY THOUGHT THAT MAYBE THEY COULD DO SOMETHING FOR THE LOCAL WOMEN AND THIS NOTION CAME OUT OF THE PROGRESSIVE MOVEMENT, THE PROGRESSIVE ERA.

>> I SEE.

>> AND THAT REALLY WAS THE NUCLEUS OF THE WHOLE MOTHERS AND DAUGHTERS CLUB BEGAN.

THEY CAME UP WITH THIS IDEA THAT MAYBE THEY COULD USE THIS BUILDING, SOMETHING CALLED THE MOTHER AND DAUGHTERS CLUB INDUSTRY.

HERE YOU CAN SEE THEM.

THEY ARE JUST SEWING.

EVENTUALLY YOU SEE THIS LOOM.

THAT'S WHERE THEY STARTED DOING CARMTS AND RUSSIAN.

-- CARPETS AND RUSSIAN.

THE LOCAL WOMEN THOUGHT THIS WOULD BE A GOOD IDEA.

THEY COULD SELL THESE THINGS AND THAT WOULD BRING MONEY INTO THE LOCAL COMMUNITY.

>> OF COURSE.

INDUSTRY.

>> YES.

BUT THE WHOLE IDEA OF COOPERATION AND COMMUNITY WAS REALLY WHAT IT STARTED WITH.

>> I SEE.

I SEE.

WERE ART COLONIES CREATED INTENTIONALLY?

>> VERY GOOD QUESTION.

MOST ART COLONIES EVOLVED ORGANICALLY.

THE EXCEPTION IS MCDOWELL, VERY INTENTIONAL COLONY.

IT WAS FOUNDED BY EDWARD MCDOWELL, THE COMPOSER, AND HIS PIANIST WIFE.

THEY INVITED ARTISTS TO COME AND DO RESIDENCIES.

THEY WERE SELECTED.

IN CONTRAST TO MCDOWELL, THE CORNISH COLONY EVOLVED IN THE MORE TYPICAL WAY, WHICH WAS VERY ORGANIC.

WAS BASED A LOT ON SOCIAL RELATIONSHIPS THAT WERE ESTABLISHED IN NEW YORK THROUGH VARIOUS CLUBS AND ARTISTIC ASSOCIATIONS.

IN BOSTON.

I DON'T THINK SAINT-GAUDENS COULD HAVE IMAGINED OR PREDICTED HOW THIS WOULD DEVELOP AND THE RANGE OF PEOPLE WHO WOULD BE ATTRACTED TO IT FROM ALL WALKS OF LIFE AND DIFFERENT CAREER PATHS.

>> I DON'T THINK HE COULD HAVE EITHER.

>> IT IS STILL EVOLVING.

IN FACT THERE'S A POLICEMEN AIR PAINTING CLASS AROUND THE CORNER RIGHT NOW.

>> WONDERFUL TO SEE THE TRADITION BEING CONTINUED.

IT'S LIKE A TRIP INTO THE PAST.

WHAT REALLY GOT TO ME IN PARTICIPATING IN THIS OWHOLE PROJECT AND LEARNING THIS HISTORY WAS THE FACT THAT THE GROWTH OF ART DEPENDED IN SOME MEASURE ON THE WAY THEY SHARED.

MADE IT A KIND OF UTOPIAN COMMUNITY.

HAVING COME TO LIVE HERE IN ORDER TO BE TOGETHER AS A COMMUNITY OF ARTISTS, THEY CREATED A WORLD HERE.

THEY WERE CELEBRATING THEIR OWN HUMAN INDIVIDUAL ELEMENT.

>> YES.

>> THAT'S WHAT ARTISTS DO.

AND WHEN THEY DO IT TOGETHER IT'S QUITE AMAZING.

>> VERMONT PBS, PARTNERING WITH LOCAL FILMMAKERS TO BRING YOU STORIES MADE HERE.