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Dewey Monson
Oil painter’s artwork captivates with prismatic diversions from reality
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| By Brian D'Ambrosio, Editor |
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Dewey Monson’s abstract artwork can fall anywhere between pure visual aesthetic to pure philosophical statement; his works exist at the ends of the continuum that shades into works that some may look at as outside the definition of art.
Some of his paintings are chromatic diversions from reality; others seem to have greater significance. Abstract paintings are obviously much different from landscape art, or still life, or nature art, and Monson’s abstractionist body of work separates itself from other nonrepresentational art styles, by stridently voicing its own spirit, know-how, and fanciful, often dreamlike niche.
“There’s a real fire in these abstracts,” says Monson. “There’s a deep well of feeling, and a deep fire within me, that comes out in my abstract work.”
Abounding in pigment, Monson’s abstract oil paintings have designs, shapes and colors that do not look like specific physical objects, making them a lot harder to understand than representational paintings. Indeed, when you look at the final result of this artist’s abstract work, you’re viewing the impulsive, uncontrived mixing of a puddle of paint on a paper palette, and you often have no idea what it is you are actually seeing.
“It’s funny but I didn’t think much of abstraction until seeing abstract works in 1997. Before then I felt as if abstractionists really didn’t know how to draw. But I saw this one abstract piece in particular and it sang to me. Even now, I’m not interested in drawing but in painting. I get to the painting as rapidly as I can,” says Monson.
In Monson’s paintings, he tries to capture his own vision of life, his own clandestine reality, and he hopes that his paintings will wallop a receptive, impressionable chord within the viewer’s sensibilities. That, to Monson, is the essence of artist to viewer communication, and epitomizes the essence of the aesthetic experience.
“I started painting in high school. Three years of art in high school, and college classes in art history and charcoal drawing were my training. All the rest has been self-taught, and by trial and error. In life, you learn by doing and trying and sometimes failing, more than by anything else,” says Monson.
Monson says that over the years his own artistic flavor has evolved from formal realism the use of pastels and oil paints to depict people and still lifes to a more abstract style, combining surrealistic and hypnotic imagery, ruptured geometric forms, and a dizzying array of vivid colors. With still life and landscape art, the beauty is already there, but an abstractionist has to create his own animated beauty his own dramatic lines, shapes and colors.
One example of this mesmerizing imagery can be found in Monson’s 42x60 in. oil on canvas “Icon,” which blurs the boundaries of space and time, by splashing a radiantly beautiful geometric sun ornamented to symbolize inner peace and tranquility against the maniacal backdrop of the hectic skyscraper skyline embodying our overwrought ultramodern cities.
“I like using oil the most because it gives a unique range of techniques. I like the rich texture of oil on the canvas. With oils you can do a lot more blending than with other materials. But by using mixed media, like acrylics, I’ve been able to enhance the visual and textural aspects of my paintings more effectively,” says Monson.
Monson’s artistic sensibilities and love of painting glossy materials jumpstarted his journey into still life painting, a category that he’s shown savant skill in, especially when it comes to the simulation of true life and real objects in interesting, practical and precious ways.
“I do my still life and traditional landscape art from photographs because my method of painting is quite slow; real fruit would be compost by the time I’d be finished with it. So, I photograph items and pick out the images that I feel will make nice paintings. From there, I’ll start slathering the paint and see where it goes.”
Monson shows unflappable confidence when discussing his own work, which is a trait that he says he only acquired after many years of sweat and spiritual bonding in the art world.
“Painters that make it are the ones that have the greatest confidence in their work,” says Monson.
Just because he’s supremely self-assured with the overall quality of his eclectic artistic output doesn’t mean that Monson’s suffering from delusions of grandeur, or that he’s going to overdose on grandiloquence. In fact, it’s just the opposite. Self-confidence has fostered a fastidious eye in Monson, creating an excessively particular, critical, and demanding criteria that he needs to meet for himself as both an artist and as a patron of the arts.
Over the years, Monson has developed a technique, which he’s dubbed the “whip and splash” method, that comprises two layers of paint, each using an oil medium he mixes himself, and topped with a layer using a readymade oil medium that fits these exacting standards.
Most mornings, Monson is in his backyard studio, painting or pondering, undisturbed by sound, unmitigated by silence, often before the sun rises, many days as early as 5 a.m.
Sometimes, calling or summoning the strength to engage in the art of painting can be an inimical contest all by itself:
“Every painting is a challenge. Whether you’re struggling with the way you’re going to put the colors on, or wondering about what colors you’re going to use, every painting is tough.”
One thing that Monson has learned, however, is the ability to suppress restlessness and annoyance when confronted with delay or uncertainty. He understands that you don’t just slop on the paint to get a painting done.
“There’s a school of thought that feels that if you push yourself in the studio, then the painting won’t be good. If you leave the painting while you’re still excited, when you come back that excitement should still exist, and that helps create a much better painting.”
For more of Dewey Monson’s work, visit www.deweymonson.com.
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Hamilton Performing Arts Center
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| By Brian D'Ambrosio, Editor |
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Diversity offers innumerable artistic possibilities. Diversity in music, entertainment, theater, and dance, allows audiences to explore new worlds, and to appreciate the visual arts’ capacity to translate differences into common bonds as well as examine art’s power to develop peoples’ intercultural competence.
Buttressed by the unbridled enthusiasm of its managing director, Monica Grable, the Hamilton Performing Arts Center is doing its best to provide the Bitterroot Valley with cultural events featuring people from many different parts of the globe.
“The amount of world-class performers that we have here may be a little bit surprising. You don’t have to drive to Missoula all the time to see professional events because things are happening here. The community is hungry for even more artistic exposure, and we have enjoyed bringing in acts on a multicultural level, and exposing our audience to other cultures,” says Grable.
Last year, multicultural music was a mainstay on the performing arts center’s menu.
Ladysmith Black Mambazo, a ten member South African vocal ensemble propelled into worldwide fame when they collaborated with Paul Simon on his groundbreaking 1986 recording, “Graceland,” played at the HPAC in 2006. As did Mongolian quartet Huun Huur Tu, a premier folk group representing Tuva’s remarkable musical culture, keeping alive both the instrumental and khoomei(throat-singing) traditions of their central Asian homeland, which transported concertgoers to a unique landscape of sounds, including percussion and whistling.
While Grable enjoyed the untypically entertaining throat-singing, the biggest payoff for her came after the show had ended when members of the audience expressed their sheer gratitude for being given the opportunity to see and appreciate something so uncommonly cool.
“The Huun Huur Tu show was a stunning piece of art, enjoyed by many. I received more hugs after that performance than I ever had before…artists always comment on our audiences’ high energy levels and the fact that they’re so engaged,” says Grable.
The diverse lineup of performers at the HPAC still catches some off guard, but what’s even more surprising to many is the fact that the Arts Center has the ability and budget to book the big acts. In fact, in terms of attracting fine musical talent, Grable says that she has no qualms about gunnin’ for the bigs’:
“Lots of people comment on liking the great range of things that we’ve got going on here and some are shocked that such a small community can get larger acts. Some people suggest artists to me already thinking that we can’t get them. As we develop our audience, more artists are in our reach.”
Indeed, more brilliant quartets and ensembles like Huun Huur Tu and Ladysmith Black Mambazo will be playing at the center in the future.
“The focus for 2007 is to bring in more national and international artists that can’t be seen anywhere else in our area,” says Grable.
Construction on the Hamilton Performing Arts Center, tucked inside of the Hamilton High School, began in 2000. For two years following its completion, the theatre was used only sparingly for school projects and functions, and the HPAC lacked organizational direction. Indeed, when Grable began working as managing director in August 2002, things were substantively different.
“In the beginning, you’ve got to prove yourself. It’s easier now to get funding and to find businesses that are happy to support us. Plus, we’ve got a little leeway to experiment with acts.”
Today, audiences at HPAC events are larger than in previous years, and the selling out of shows is common (seating capacity is just under 700). Early shows at the HPAC sort of went a little like this: Established acts and artists played and very few people showed up to listen and appreciate; empty seats were more prevalent than toe-tappin’ ticket holders.
Symbolic of the center’s progress, the number of season pass subscribers has skyrocketed from about 75 five years ago to more than 235 current supporters. “Having a big subscriber base takes a lot of the pressure off because there’s a greater cash flow for advertising and other purposes. It also helps alleviate a little bit of the stress of worrying about paying for costs,” says Grable.
Grable credits a hefty portion of the program’s overall success - and for the fact that the HPAC has come so far in such a short period - to the two high school superintendents that have been involved with the organization’s operations: Duane Lyons, and Dr. John Matt.
Former superintendent Lyons, says Grable, was instrumental in getting the facility built in the first place. Dr. Matt, the current superintendent, allowed the programming aspects to continue when there was some doubt as to whether or not it was really worth doing, and he also has helped give the program a dramatic push in the right direction, says Grable.
Both men believed that this small community arts center could not only survive and endure but that it had the remarkable ability to be successful on financial and cultural levels, and that it could satisfy, even create, the community’s hungry demand for artistic involvement.
However, don’t let the slick brochure fool you into thinking that the Hamilton Performing Arts Center has an overabundance of employees. Throughout the years, dozens of volunteers have contributed countless hours in the development of arts programming at the HPAC, and Grable, who’s always quite busy as the organization’s professional staff of one, is continually on the lookout for willing volunteers.
“We rely heavily on volunteers for promotional purposes, like putting out posters. We always need volunteers to help on performance nights, too.”
While it’s been almost seven years from the time that the Hamilton Performing Arts Center first swung its doors open, some confusion still exists as to where this cultural events center actually is. Perhaps a little bit of this perplexity and lack of clarity will subside in the future after the building undergoes its planned aesthetic enhancement.
“It’s still pretty nondescript here. But, we’re hoping to raise funding to buy a professional sign to place along the road in front, and we’d like to add a new entrance with better access to the theatre, too” says Grable.
As far as attending future shows at the Hamilton Performing Arts Center, the general rule of thumb is: Even if you don’t recognize the names of the artists, just show some trust in Grable’s cultural sensibilities, purchase your tickets to one of the shows, and go immerse yourself in the elevating sights and sounds of a fresh cultural encounter.
Without a doubt, Grable enjoys the performances at the HPAC, but her predominant satisfaction comes from being granted the opportunity to be able to enrich the quality of life in the valley through art.
“My main tenet is: our audiences deserve this kind of exposure. Our community is sophisticated enough and plenty large enough to support it. A great community deserves great art.”
For more information, visit www.hamiltonPAC.org.
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Steve and Carrie Whitson’s “The Family Guardian”
Unique safety program designed to help keep children safe from predators
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| By Shannon Selway, Staff Writer |
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Steve and Carrie Whitson are now in full throttle running their business, The Family Guardian, a child safety program, and are offering to do workshops - free of charge - to educate parents on how to communicate with and educate their children on how to be safe from child predators.
They came into the business after they were introduced to Child Shield USA, and embraced the additional security that protection program offered for their six children. They were so impressed by the program that they became registered agents for Child Shield USA, and became the first (and currently the only) agents in Montana.
Their dynamic workshops provide a wealth of information which is geared to prevent child abduction and to offer fascinating (and sometimes shocking) information from staggering statistics to education and resources.
The National Center for Missing and Exploited Children tracks statistics on missing children. There is a 1 in a 100 chance your child will be missing this year. Every day there are over 2,000 children reported missing in the United States; and every 40 seconds another child becomes lost or missing in the United States.
The U.S. Department of Justice indicates that 797,500 children younger than 18 were reported missing in a one-year period, with the average of 2,185 reported missing every day. Of those, 203,900 were victims of family abductions, 58,200 were victims of non-family abductions and 115 were victims of the “stereotypical” kidnapping (of someone not known or barely known to the child).
One out of every 4 girls and 1 out of 6 boys will be sexually assaulted by the time they reach 18. The highest rates of abductions occur with children between the ages of 11 18, typically by someone they know.
Locally, according to the National Alert Registry, as of February 19th, there are 498 registered sex offenders in Missoula (combined zip codes of 59801, 59802, 59803, 59804 and 59808 - nothing under post office boxes), 34 in Hamilton, 23 in Corvallis, 32 in Stevensville and 17 in Florence! See: www.RegisteredOffenderslist.com.
It was concerns like the above statistics that drew the Whitsons into purchasing the Child Shield program for their children, and later sharing that information with others via their Family Guardian business. They wanted to prevent something from happening by educating their children (without fear), and implement a program that is activated immediately should something (God forbid) actually occur by way of a missing child.
Parents are the most effective people to educate their children about safety. However, the approach taken may not have the depth necessary for a child’s true safety.
The biggest error many parents make is the standardized “don’t talk to strangers.” This statement seems like good advice, but in itself is much too vague. Kids, like adults, continuously run into strangers throughout their day. Is a stranger someone whom you haven’t given them permission to interact with? Is a stranger the school’s janitor, the substitute teacher, or a clerk at a convenience store? How about a police officer or their Scout master? That rule can be pretty confusing for a child, and difficult to discern what a stranger is.
Rather, the Whitsons recommend teaching kids red flags situations when it is not appropriate for an adult to be approaching them, for any reason. Adults don’t normally ask kids questions, such as ask for directions, ask for help, etc. Obviously, keep your conversation with your child at a level they can comprehend.
Some red flags include:
· “I need help”
· Lost pet
· Directions
· Authority lures (very dangerous)
· Emergency lures
· Name recognition (keep kid’s IDs from general view!)
· Ego lure
· Bribery lures
· Affection lures
· Playmate lures
· Pornographic lure
· Toy lure
Luring techniques change constantly, but the foregoing remains the mainstay for predators. However, there may be clever ways for predators to contact and interact with your child on the Internet. Parents should always be vigilant when their children are on the Internet.
Should the “unthinkable” occur, and your child becomes missing, it is of extreme importance not to panic and to remain as calm as possible. Re-trace your child’s steps and explore all possibilities. Finally, if necessary, call the police.
The Family Guardian (via the Child Shield USA) provides wonderful tools of protection for children and families to safeguard from such an event, or, if it comes down to it, accelerate the process of finding your child. Child Shield USA offers a lifetime enrollment fee for its program and package, regularly $99 per family (which covers all children in the family), and a nominal $15/month fee. When a registered child becomes missing, Child Care USA immediately posts a reward of up to $50,000, hires a full-time private investigator, produces, duplicates and distributes full-color posters and videos with no waiting time or qualifications.
There is the national statistic that 10,000 in 1 million children become missing, and 40% are never found. Child Shield USA has had three out of 2 million missing, and ALL were recovered safely.
The workshops performed provide mountains of information on what and how to teach your child about safety, and the workshops are free. They are hosted by individuals, or organizations, such as scout organizations, schools, churches, etc. Participants of the workshops are not obligated to purchase anything.
Should you desire to host a workshop or have an inquiry about The Family Guardian, Steve and Carrie Whitson can be contacted at (406) 369-2443. They also have an excellent website: www.familyguardian.info.
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Avalanche Awareness and Education
Warnings to winter backcountry travelers
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| By Rich Raines, Ed Snook and Julie Schreck for the Clark Fork Journal |
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Each week for the past 10 years, from December through March, employees of the Bitterroot NF have forsaken their warm offices, bundled up and ventured out onto the high slopes of the Bitterroot National Forest to assess the snow pack for avalanche hazards. This activity is part of a partnership with the West Central Montana Avalanche Center based in Missoula, Montana. The Center is hosted on the Lolo National Forest with support from the Bitterroot and Clearwater National Forests. The West Central Avalanche Center gathers snow pack information from five general areas across these National Forests: Swan Valley, St.Regis Basin, Rattlesnake, Lolo Pass, the Southern Bitterroot and Sapphire Mountains. The information gathered is analyzed and a weekly avalanche advisory is issued. The advisory area includes the Bitterroot Mountains from Lost Trail Pass to Lookout Pass, the Rattlesnake Mountains north of Missoula and the Southern Mission Mountains near Seeley Lake. This information is indispensable for all winter backcountry travelers, whether you are a backcountry snow-mobiler or a skier.
On the Bitterroot NF, seven folks are involved in the program and assist with gathering the weekly snow pack information. They come from all professions and are united through their passion for winter backcountry safety. The individuals on the Forest are Rich Raines-Road Maintenance Coordinator, Ed Snook-Hydrologist, Betsy Ballard-Resource Coordinator, Cole Mayn-Soil and Watershed Program Manager, Bret Lewis-Engine Foreman, Joe Butsick Resource Assistant and Stu Hoyt- Fire Management Officer. Each Thursday, some of these employees ski or snowmobile into the high country to gather crucial information about snow pack conditions. They try to visit a variety of locations to get the “pulse” of the snow pack basin-wide, and a feel for how the avalanche hazard may differ by aspect, elevation, and exposure to wind and sun.
The employees generally dig a snow pit at least two meters wide and typically down to the ground to inspect the snow pack profile. The density and depths of the snow layers is assessed and the temperature of the snow is taken at various depths in the snow pack. Snow crystal size and form are evaluated, as well as the relationship of these components between the snow layers. Several standardized snow stability tests are done, which measure how much energy it takes to break loose a slab from underlying weak layers. Inconsistencies that might indicate a weakness in the snow pack are noted.
A variety of snow conditions can lead to avalanches. High avalanche hazard generally results when cohesive, heavy surface layers sit upon weaker snow or hard ice layers, but other combinations also produce slides. Avalanches can be minimal such as a small loose snow avalanche, or they can be severe such as a large hard slab avalanche. Backcountry travelers in the Northern Rockies can observe all types of avalanches. Areas of greatest avalanche hazard are on the lee slopes of high alpine terrain where wind piles up the snow that has been “stolen” from windward slopes.
The slopes where people most often get in trouble with avalanches have angles of 33-38 degrees. This describes a lot of the peaks in the Montana-Idaho divide area, which have many accessible alpine slopes on north to northeast aspects.
After examining the snow in the high country, observations & measurements are entered into a computer program that creates a pit profile. The pit profile and a report of the day’s observations are then e-mailed to the West Montana Avalanche Center. There, Steve Karkanen of the Lolo NF evaluates all the pits and reports and writes the weekly Friday morning avalanche advisory.
The advisory can be accessed at www.missoulaavalanche.org and www.avalanche.org. The advisory is also announced on local radio stations each Friday morning. This information is indispensable for all winter backcountry travelers, no matter the mode of travel. Snow and weather conditions may change quickly, so be aware the published advisory may rapidly become obsolete.
From 1996-2002, 19% of the nation’s avalanche fatalities occurred in Montana. As of February 20, five avalanche fatalities have occurred in Montana during the current winter season. All were snowmobilers. Snowmobilers represent a bigger “trigger” on the snow pack than skiers, so they should pay extreme attention to their surroundings in the back country. The best warnings to winter backcountry travelers are:
1. Even before you head out the door, assess your travel route carefully and understand the terrain you will be traveling in. This is the single most important factor for your safety.
2. Be aware of rapid changes in temperature, wind, or snow fall.
3. Be aware of snow loading on lee slopes and snow accumulation due to wind effects.
4. Avoid terrain traps such as ravines/gullies where, if an avalanche did occur you could be buried where the sliding snow piles up the deepest.
5. If you must cross an avalanche path, do so one at a time, with other party members watching from a safe spot outside the path.
According to Raines, “The single most important recommendation that I can give the public about being in the backcountry in winter is to pay attention to your surroundings. Think about what is going on around you; don’t believe you are safe just because you have a bunch of expensive technical gear. This awareness could save your life!” With many avalanche victims dying of trauma, rather than suffocation, you must depend on route selection that will keep you out of avalanches, rather than hoping you can dig a partner out after being buried.
To improve your odds of surviving a burial, carry the following equipment if you are traveling in avalanche terrain during the winter months:
1. Transceiver/avalanche beeper.
2. Collapsible probe.
3. Shovel.
Carry all of these items on your “person”, as there will be no time to grab them off a snowmobile or sled if an avalanche does occur. You must not only have these items on you, but you must also know how to use them as well. If possible attend search and rescue or avalanche safety classes and practice using the equipment regularly.
An individual generally has only 15 20 minutes of survival time if buried in an avalanche. So it is crucial that you know how to use the equipment before you venture into the backcountry. When you have only 15 minutes to locate and then dig out your buddy, you do not have time to figure out how that transceiver works, or why your probe won’t stay together. The items listed above can be purchased at outdoor sports, ski or snowmobile shops. Avalanche education and search and rescue training is offered seasonally through the same shops and other organizations.
The time frame for rescue has another importance. If your partner gets caught in an avalanche, YOU have to be the rescuer. If you decide to go for help, rescue may turn into body recovery instead. Self-reliance is the key to successful rescue efforts!
The West Central Montana Avalanche Center web site (www.missoulaavalanche.org) is sponsored by the West Central Montana Avalanche Foundation, a 501 (c)(3) nonprofit corporation.
The Foundation is dedicated to promoting avalanche safety education and awareness to all interested user groups. The Center in partnership with the Foundation provides basic avalanche safety classes and transceiver clinics for interested citizens and groups. If you have been in the backcountry and would like to submit a snow pack observation report, please visit the Web site and follow the instructions.
If you have any questions or would like to schedule a training or lecture please call the Center at 406-329-3752. Enjoy the mountains and travel safely!!
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Getting Acquainted With Alpacas:
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| By Brian D'Ambrosio, Editor |
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In the Bitterroot Valley, alpacas, domesticated hoofed mammals related to llamas, are no longer an anomaly. In fact, there are at least seven ranches in Ravalli County raising alpacas for their fine and luxurious natural fibers. One such place to spy these soft, silky fleeced alpacas is at the ten-acre Yumedono Alpacas Ranch (you-may-dough-no) in Stevensville.
Yumedono is a Japanese word that means “dreaming place.” So the fact that there’s a bit of a cultural naming theme going on at Yumedono, with all of the animals named after Japanese words, such as Inazuma, Kizoku, Kentaro, Natsuko, and Yojinbo, shouldn’t addle anybody.
“My husband Ted and I both really like Japanese culture, and he suggested Yumedono. It’s also the name of an octagonal temple in Nara, Japan, and also happens to be the name of a terrific bottle of sake that he used to drink,” says Cheryl Tenold, owner of Yumedono Alpacas Ranch.
The Tenolds married in 2000 and moved to the Bitterroot Valley in March 2006. While the alpacas at the ranch are essentially Cheryl’s commodities, they’ve both been involved in the alpaca business since 2001, when they purchased their first maiden female, named Antoinette, from Rolling Thunder Farms in Canada. Since that time, they have sold Antoinette and her son Tipo, and have acquired four more females who have since given birth to another eleven animals. Today, fifteen animals are living at the ranch: nine females and six males.
Cheryl’s straightforward plan to start alpaca ranching has been implemented simply and successfully. She spent a few months building the infrastructure for the animals, including barns, sheds, and fencing, and then brought the first alpacas down from up north. Indeed, Cheryl asserts that these fluffy and inquisitive animals are worth every bit of the abundant attention that she’s been giving to them.
“Alpacas are very environmentally friendly, which makes me like them more because I’m a bit of a tree-hugger myself. They’re sustainable, and they don’t tear up the earth like other and much bigger livestock. Plus, you don’t have to kill them for their product, which is an absolutely wonderful fiber,” says Cheryl.
Prior to purchasing her first alpaca, Cheryl attended every alpaca-related seminar and educational forum that she could, including taking a class a few years ago in Canada about fiber sorting and classing. Indeed, she’s spent enough time around alpacas to clearly apprehend their character, nature, and subtleties.
“Alpacas come to you for affection on their own terms and are very aware of themselves. They definitely each have their own personality: Boys chest-butt and wrestle and girls spit at one another during conflicts over grain,” says Cheryl.
What makes alpacas most exceptional is the beautiful fiber that’s derived from these mild-mannered, gregarious animals. The wool can be clipped from the animal without causing it injury. The fibers of an alpaca which has an average individual lifespan of around 15 years are as soft as cashmere and warmer, lighter and stronger than wool, and come in more colors than any other fiber producing animal (an alpaca has approximately 22 basic colors with many variations and blends). This fleece is sheared once a year, yielding roughly five to ten pounds of fiber, sometimes more or less, all depending on the size and density of the alpaca.
“It’s lightweight, hypoallergenic, and water-resistant. It’s long-lasting and creates heirloom-type products. Their fibers last for years and years. It’s a nice, breathable, warm and natural fiber,” says Cheryl.
Additionally, alpacas, says Cheryl, can be managed and maintained by a female rancher much easier than a number of other more bad-tempered and snappish livestock can be, making them the perfect fit for a woman’s ways.
“Women can do this by themselves. I do all the main care. I do need help with giving shots or trimming toenails or doing something that needs special care. Alpacas don’t require a restraining shoot, something you need with bigger livestock. This is something that I can do and that only requires my husband’s help a portion of the time, so he can still devote himself to his business,” says Cheryl.
Ted takes pleasure in the animals, too. He doesn’t mind chipping in his time and carrying out daily ranch chores or offering a helping hand when it’s needed. “My wife is an alpaca rancher and that pretty much makes me an alpaca rancher,” laughs Ted.
“He loves having them here. We spend so much time standing at the windows and just watching them,” says Cheryl.
Alpacas are a ranchers’ dream because they only need modest amounts of food and are generally easy to maintain. Plus, alpacas don’t actually spit all the time, which is the single greatest misconception about them. “They’ll get into little spit fests over food, but that’s usually about it. It’s not so bad,” says Cheryl.
There are seven alpaca ranchers in Ravalli County that the Tenolds know about, and it seems as if all these folks have gotten together to form their own self-supportive industry.
“If you’re having a problem you can call a fellow alpaca rancher and they’ll help you out and share their education.”
Cheryl says that the Bitterroot Valley’s moderate climate is conducive to raising healthy alpacas. Alpacas, indigenous to South America and its generally balanced weather patterns, don’t deal well with the heat or cold stresses brought about by extreme temperature changes. They are most content with a little bit of pastureland and all four seasons.
“The area here supplies a weather that makes it cold enough that the fiber has enough reason to grow, and is not so hot that you have to hose them down to keep them cool. It’s perfect.”
Cheryl says that while the Yumedono Ranch is still a proverbial work in progress, visitors are always welcome, and a simple call in advance will give her and her husband the time to make the necessary arrangements to accommodate them.
“We want more folks to come and meet the alpacas and to learn about the sustainable livestock business of alpaca ranching. Hopefully, things here will continue to grow and change and I’ll continue to learn more about alpacas.”
For more information about Yumedono Alpacas, you may contact Cheryl Tenold at 777-3822. www.yumedono.com. The Yumedono Ranch recently held an open house and a $100 gift certificate was won by Gerri Mason of Stevensville. In the future, Yumedono Alpacas would like to participate in an alpaca 4H project and act as host farm, providing animals for kids to work with. Please contact Cheryl if your school is interested in participating in such a project.
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So, what is a Community College going to cost us?
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| By Sarah Monson, For the Clark Fork Journal, |
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This is one of the most frequently asked questions regarding the Community College (CC). I wish I could tell you exactly what will be coming out of your pocket.
At best, I can explain the reasons why I cannot give you an exact number, and I can give you the mental tools you will need to break it down yourself. Moreover, I can provide some figures predictive of the return on your CC tax investment.
A CC is funded via several revenue streams. These include state appropriations, mandatory and optional local taxes (levies, bonds, impact fees), student tuition/fees, and state/federal grants. To figure the mandatory local portion of CC funding, let’s take a look at the current state funding formula for CCs.
Every two years the state legislature sets an amount which it believes represents the cost of sending one student fulltime to a CC for one year. This is called the Cost of Education (COE) factor. The state then decides what percentage of the COE it will pay per student. Each CC then submits to the state legislature its projected number of annual full time students. By multiplying the COE, the state percentage, and the total number of projected students, the amount of state funds appropriated to each CC is determined.
Similarly, the amount needed from the mandatory local levy is determined by multiplying the COE, the local levy percentage (as determined by the CC’s trustees under Regent approval), and the total number of projected students. Because these numbers are subject to annual and biannual change, it is impossible to tell you exactly what you will pay.
Moreover, as the taxable value of the CC district increases over time, the number of mills needed to meet the mandatory local levy obligation will decrease.
However, we can provide an educated approximation of the mandatory local levy amount by considering some real numbers. If we project that the COE is set at $5203 (as it was during the 2005 legislative session) and that the local percentage is set at 25% (the average local percentage during 2006) and that the BVCC projects 175 fulltime students, then the amount needed to be raised by the mandatory local levy would be $227,631.25. With the college district’s taxable value currently at $58.6 millionmeaning that one CC mill raises $58,600then by dividing $227, 631.25 by $58,600 (the value of one mill) you can determine that the mandatory local levy for 175 fulltime students would be 3.88 mills, which translates to $8.50 per year per $100,000 in residential property value.
As you think about taxes, keep the following in mind: welfare, prisons, law enforcement, and related government services are paid through what could be called reactive taxes, meaning that we are reacting to these problems with our tax dollars. Schools are paid through what could be called proactive taxes, meaning that we are being proactive and paying for prevention by way of education. Reactive taxes go down as proactive services are funded.
Now, if I asked you to give me a dollar and I told you I would give you fifteen dollars in return, would you do it? The following are some statistics from research done for the U.S. Department of Education on the returns of tax dollars that go into CCs.
Maryland has 16 CCs. At these 16 colleges, there were 380,419 students in the fiscal year 2002, costing $507.7 million in total annual payroll. These CC districts accounted for 4.2% of all earnings ($134.7 billion) generated from all sources in the region. These wages and salaries generated additional incomes as they were spent.
Likewise, the aggregate college operating and capital expenditures generated still further earnings. Altogether, these earnings accounted for $755.4 million annually in the Maryland economy (equal to 22,378 jobs.) Over the next 32 years, taxpayers should see a return of $15 for EVERY dollar of state or local tax money invested in Maryland’s CCs today.
Moreover, students benefit from an annual return of 24% on their investment of time and money. Source: Christopherson, K. A. and Robinson, H. M. (2003). The socioeconomic benefits generated by 16 community colleges in Maryland. CCbenefits, Inc and the Maryland Association of Community Colleges.
These studies have been conducted in numerous states for the U.S. Department of Education. The results are startlingly similar in each case. You can access this research by going to our website at bvcc-edu.org
In conclusion, the economic benefits of having a CC far outweigh the costs. For the same amount you pay to buy your children a couple of happy meals, you can pay out once per year into a solid investment for their future. That seems like a sound investment to me.
This is also your chance to become a part of something that will take our community to great places. This community belongs to all of us; the community college project should be a community effort. Ask us how you can be involved.
If you never ask, you will never know. If you never seek, you will never find. If we never jump, how can we ever expect to fly?
Get involved by visiting www.bvcc-edu.org., or by calling Sarah Monson at 406-360-6460.
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L’art pour l’art?
Does art matter in the Twenty-First Century?
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| by Shawn Wathen, for the Clark Fork Journal |
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Come, my friends, ‘tis not too late to seek a newer world. -Tennyson
What is the purpose of art in society? In ours, it has fought a rear-guard action for survival during the last several decades. Government funding for the arts is continually under threat and could evaporate entirely in the near future. In times of budget cuts, the axe falls first on the arts at local schools. Further marginalization occurs under an assault of cliches: “My two-year old could draw better”; “That sounds like screeching cats”; “This is nothing but mental masturbation; “You’re an artist? How fun!”; etc. College students, when asked their major, are congratulated if they respond business, engineering, science. If, however, they answer English literature, sculpture, or the cello, the inquisitor retorts “What are you going to do with that?”
The disdain couched in that question reflects the lack of respect for art in society. It was not always so. Patronage of the arts has a long and distinguished history. Governments and individuals understood the value of the arts and supported them. Today we stand in awe before Michelangelo’s David, listen transfixed to Chopin’s Etudes, and lose ourselves in the language of Shakespeare, but ignore the significance of these and countless other works of art, to western civilization.
The search for new forms, to bring a measure of order to chaos, inspired artists to question the reality around them, or to seek those other worlds of which Tennyson wrote. In the 19th century, Arthur Schopenhauer saw in art the universalization of reality and truthone that rises above the ordinariness of everyday experience. He accepted that as individuals each of us may not agree on what is beautiful, but in Beauty one can glimpse a higher form of consciousness, unattainable in other ways. For Schopenhauer it was through music, a medium that moved beyond words, that one achieved the highest state of being, but all the arts function as pathways to growth.
To open ourselves to the potential realities and truths expressed in art requires a willingness to push ourselves aesthetically. Seeing Oklahoma! for the tenth time, while perhaps entertaining for some, does little to question the dominant Weltanschauung. Oscar Wilde’s The Importance of Being Earnest, does. While entertainment does not always have to “wound and stab” us as Kafka opined, the more thoughtful and probing it is, the closer it comes to art. Only when it remains intellectually and emotionally challenging does art retain its function as art.
Recently at a dinner party, a scientist from Nigeria, seeking to illustrate a point on the social value of art, extemporaneously composed a play that stressed the arts as social mirrors. He embraced the legacies of Ibsen and Shaw. He could not conceive of a society where art was separate from life. He talked of murals painted on walls in his native land that boldly challenged the reality of tyranny in Nigeria. He recognized that art added to, rather than distracted from his life in science. Without the broader conceptual frameworks provided by art, life would be just a shadow of truncated possibilities. He was terribly dismayed to learn that this conviction was the exception here. Few would have attended a staging of his play.
Art often outstrips public tastes, which are by definition conservative. Robert Hughes’ phrase “shock of the new” is apt. The inability to grasp meaning in art does not, however, justify its marginalization. During the fin de siecle, Decadence and Dawn often were used to define the same point in time. Van Gogh and Cezanne struggled for acceptance in their lifetimes; now their paintings garner millions. Stravinsky’s Rite of Spring shocked the public; now it is a mainstay of the classical repertoire. Joyce and Mann forged new conceptualizations of the novel; Whitman and Baudelaire, verse. These and other artists persevered in the face of a hostile public as they wrestled with ideas of perception and truth. To ask these fundamental questions is to be human.
Without the skills to gage artistic merit, however, people are adrift in an unfamiliar sea, quick to discount the value of art. Art education has suffered, and continues to be sacrificed on the altar of standardized tests, reasoning that it is unessential to “making a living.” Critical reading, listening and viewing skills have withered. In such an environment, commercial “art” dominates the scattered conversations broaching the subject. Thomas Kincaid; elk painted on sawblades; “Drop-kick me Jesus”; the poetry of Jewel; the sad list seems endless. Commercial yes; art, no.
Perhaps there remains a way out of this artistic desert. Children are much more receptive to the possibilities embodied in art. Their powers of imaginationprovided they have not faded under the influence of GameBoys and televisionallow them to see beneath the surface. They are less constrained by expectations and pressures to conform. They freely explore different realities with less judgement. Instinctively they can grasp the value of art and its creative message. If that can be nourished, the potential for art to return to its rightful place in society can be realized.
Shawn Wathen is part-owner of Chapter One Book Store, 252 Main Street, Hamilton. Phone: 406-363-5220
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