HOLIDAY episode

>> CRAFT MATTERS BECAUSE WE’RE IDENTIFYING EACH OTHER AS THE KIND OF PEOPLE WHO MAKE THINGS AND DO THINGS.

>> THEY SPEND A LOT OF TIME PUTTING THESE GINGERBREAD HOUSES TOGETHER.

WHERE THEY GET SOME OF THEIR IDEAS--IT’S AMAZING.

>> WHAT I’M DOING IS IN THE SAME TRADITION THAT HAS BEEN GOING ON IN SCANDINAVIA A LONG, LONG TIME.

PEOPLE CARVED WHAT THEY KNEW.

>> ORIGINALLY WE’RE FROM MEXICO.

WE CARRY THAT LATIN CONNECTION IN OUR BRIGHT CHRISTMAS ORNAMENTS.

>> I STARTED MAKING HANUKKAH MENORAHS, AND IT WAS LIKE, "WOW.

I LOVE THIS."

>> ♪ ’TIS THE GIFT TO BE SIMPLE ’TIS THE GIFT TO BE FREE ’TIS THE GIFT TO COME DOWN WHERE WE OUGHT TO BE AND WHEN WE FIND OURSELVES IN THE PLACE JUST RIGHT ’TWILL BE IN THE VALLEY OF LOVE AND DELIGHT ♪ ["JOY TO THE WORLD" PLAYING] >> THE JOHN C. CAMPBELL FOLK SCHOOL IS IN THE WESTERN END OF NORTH CAROLINA, AND WE’VE BEEN HERE SINCE 1925, MAKING THINGS.

WE TEACH POTTERY, FIBER ARTS, ALL KINDS OF IRONWORK.

WE ALSO TEACH COOKING, ONE OF MY FAVORITE CRAFTS.

>> THAT’S VERY NICE, PAULA.

>> IT’S NOT COLLEGE.

IT’S NOT ART SCHOOL.

IT’S MOUNTAIN LIFE, AND IN THE OLD TIME MOUNTAIN LIFE, THE MUSIC, THE DANCING, AND THE MAKING OF THINGS, IT WAS ALL TOGETHER.

[PLAYING "JOY TO THE WORLD"] >> OLIVE DAME CAMPBELL WAS FROM NEW ENGLAND, AND SHE CAME TO THE SOUTH TRYING TO FIND AN ALTERNATIVE EDUCATION THAT WOULD HELP PEOPLE LEARN THINGS THAT THEY COULD USE STAYING HERE ON THE FARM.

SHE CAME BY ONE DAY TO THE COUNTRY STORE, AND THERE WAS A BUNCH OF LOAFERS SITTING THERE, AND SHE SAID, "WHAT ARE YOU CARVING?"

THEY SAID, "SHAVINGS."

AND SHE SAID, "WELL, CAN YOU MAKE SOME OTHER THINGS?"

THEY SAID, "YEAH, WE PROBABLY COULD."

AND SO SHE WOULD WORK WITH THEM, AND THEY WOULD DEVELOP CARVINGS OF ANIMALS THAT THEY KNEW WELL, AND THE FOLK SCHOOL WOULD HELP TO SELL THEM.

IN THE DEPRESSION, THIS WAS A MAJOR OPPORTUNITY.

PEOPLE COULD MAKE A LITTLE CASH BY CARVING DUCKS AND GEESE AND HORSES AND THINGS LIKE THAT.

WE FEEL LIKE WE’RE STANDING ON THE SHOULDERS OF GIANTS WHEN WE SIT HERE AND CARVE FIGURES IN THE SAME ROOM WHERE THE MEN AND WOMEN OF THIS COMMUNITY DID MANY, MANY DECADES AGO.

SO YOU CAN CONTROL HOW MUCH YOU WANT HIM TO SMILE.

THE STRAIGHTNESS OF THE MOUTH HAS TO CHANGE.

I’VE TAUGHT HERE AT THE JOHN C. CAMPBELL SCHOOL GOING BACK 20 YEARS OR SO.

>> HOW DO YOU HANDLE THAT WITH YOUR KNIFE?

>> OK... THERE’S A GROUP OF ENTHUSIASTIC STUDENTS.

AND I TYPICALLY CARVE DOWN HERE... AND SURE ENOUGH, WE HAVE A VERY GOOD WEEK.

>> WHY IS HARLEY REFSAL IMPORTANT?

WELL, IN ORDER TO REALLY LEARN CRAFT, YOU HAVE TO LEARN FROM A MASTER, I THINK, AND HE BRINGS THOUSANDS OF YEARS OF SCANDINAVIAN TRADITION AND HERITAGE TO FLAT-PLANE CARVING.

>> I TYPICALLY LIKE TO SKETCH A FEW LINES ON THERE FIRST SO I KNOW WHERE IT IS I’M HEADING.

I THINK I’LL PUT HIS HANDS IN HIS POCKET.

I GREW UP IN WESTERN MINNESOTA IN A LITTLE TOWN CALLED HOFFMAN.

PUT HIS NOSE ABOUT THERE.

[CHURCH BELLS RINGING] HOFFMAN HAD LOTS OF DESCENDANTS OF IMMIGRANTS FROM NORWAY AND SWEDEN.

SO THE WHOLE NOTION OF DOING THINGS WITH ONE’S HANDS--EVERYONE KIND OF DID THAT.

NOW, THIS STYLE OF SCANDINAVIAN FLAT-PLANE CARVING STEMS FROM THE FACT THAT THESE FLAT FACETS WERE THERE, AND THE REASON WAS THAT ONE WAS TYPICALLY CARVING JUST WITH A SINGLE KNIFE RATHER THAN A WHOLE ARSENAL OF TOOLS.

WHAT I’M DOING IS RIGHT IN THE SAME TRADITION THAT HAS BEEN GOING ON IN SCANDINAVIA A LONG, LONG TIME.

PEOPLE CARVED WHAT THEY KNEW.

I ENJOY CARVING FARMERS AND FISHERMEN AND FOLKS THAT I JUST SAW IN EVERYDAY LIFE WHEN I WAS GROWING UP AND THAT I SEE AROUND ME TODAY.

BUT I ALSO ENJOY, VERY MUCH, CARVING FIGURES THAT ARE TIED IN WITH HOLIDAYS.

PEOPLE WHO LIVE IN THE FAR NORTH HAVE BEEN CELEBRATING THE MIDWINTER HOLIDAY, THE SOLSTICE HOLIDAY, FOR TIME IMMEMORIAL.

PEOPLE REALIZED THAT THE DAYS WERE GETTING SHORTER AND SHORTER.

IT WAS A TIME TO CREATE LIGHT AND WARMTH INSIDE THE HOUSE BECAUSE THERE WASN’T THAT OUTSIDE THE HOUSE.

AND MANY OF THE SAME IMAGES THAT WERE PART AND PARCEL OF THE PRE-CHRISTIAN NORSE MYTHOLOGY WOUND UP AS PART OF CHRISTIANITY AS WELL.

I’M STARTING TO GET THE HEAD GOING NOW.

THEN I THINK I’LL GIVE HIM WOODEN CLOGS.

THEY GO BACK A LONG WAY.

ONE OF THE CHARACTERS THAT HEARKENS BACK TO PRE-CHRISTIAN TIMES IS A FIGURE THAT IS REFERRED TO AS THE NISSE IN NORWAY, THE TOMTE IN SWEDEN.

THEY’RE THE PEOPLE WHO ARE THE NORDIC VERSIONS OF SANTA CLAUS, OR THE BRINGER OF GIFTS.

I DON’T KNOW WHAT KIND OF A CAP HE WOULD WEAR--PROBABLY SOME FABRIC OF SOME KIND.

THE PREDECESSOR OF THE TOMTE BACK IN PRE-CHRISTIAN TIMES WAS OFTEN REFERRED TO AS THE HAUGBUI.

GET SOME EYES IN HERE SO HE CAN LOOK BACK AT US.

THERE WAS A STRONG BELIEF THAT THERE WAS A LITTLE CREATURE THAT LIVED OUT IN THE PRIVATE CEMETERY ON THE FARM, AND THAT HAUGBUI, OR THE DWELLER OF THE MOUND, EMBODIED THE SPIRIT OF THE FARM.

AND THIS IS SORT OF MY RENDITION OF A TOMTE OR NISSE WITH ATTITUDE--ONE THAT YOU DIDN’T LOOK AT AND SAY, "WOW.

THAT’S REALLY CUTE."

I MEAN, HOW FRIENDLY AND COZY HE LOOKS.

>> [LAUGHTER] [FOLK MUSIC PLAYING] >> THERE’S A SIMPLICITY TO SCANDINAVIAN FLAT-PLANE CARVING.

IT LOOKS SO EASY, AND IT’S SO DECEPTIVELY HARD.

SO NOW I’M IN MY FOURTH YEAR OF TRYING.

BUT I GREW UP IN AN ERA WHERE MY FAMILY WAS AN ASPIRING FAMILY, AND THE WORST THING THAT COULD HAVE HAPPENED TO US WAS TO FALL INTO THE POVERTY OF THE HAND-MADE.

TODAY SOMETHING THAT IS HAND-MADE IS ONE OF THE TREASURES YOU COULD HAVE IN YOUR LIFE.

>> CRAFT MATTERS BECAUSE PEOPLE HAVE THIS NEED TO TELL OTHER PEOPLE WHO THEY ARE AND WHAT THEY ARE LIKE.

IT’S KIND OF LIKE A DUCK SAYS "QUACK," ANOTHER DUCK SAYS "QUACK."

WE’RE IDENTIFYING EACH OTHER AS THE KIND OF PEOPLE WHO MAKE THINGS AND DO THINGS.

>> OK, YOU HOLD THE CART, AND I’LL PICK IT UP, OK?

>> HOPEFULLY IT’LL MAKE IT.

HMM.

>> YOU GOT IT?

>> MM-HMM.

>> OK. >> ALL RIGHT, READY?

FEEL THOSE?

>> GROVE PARK INN IS HOME TO THE NATIONAL GINGERBREAD HOUSE COMPETITION.

WHAT BEGAN 20 YEARS AGO AS A SMALL REGIONAL EXHIBITION HAS NOW BECOME NATIONALLY KNOWN, AND PEOPLE COME FROM FAR AND WIDE TO SEE THESE INCREDIBLE MAGICAL CREATIONS.

>> AND THEN LOOK IN RIGHT HERE FOR ME.

AND THEN LOOK IN RIGHT HERE.

>> THEY SPEND A LOT OF TIME PUTTING THESE GINGERBREAD HOUSES TOGETHER, AND, YOU KNOW, THEY’RE WORKS OF ART.

THEY REALLY, REALLY ARE.

AND THEIR CREATIVITY--WHERE THEY GET SOME OF THEIR IDEAS--IT’S AMAZING.

>> MY MOTHER-IN-LAW IS CHINESE.

WE’RE VERY, VERY CLOSE, AND I JUST WANTED TO MAKE A REPLICA OF WHAT IT WOULD LOOK LIKE IN THE VILLAGE WHERE SHE GREW UP, WHERE SHE WAS BORN, TO SHRINK IT DOWN AND JUST PAY RESPECT TO HER, YOU KNOW?

>> I GOT THE IDEA FOR THIS BECAUSE FOR EVERY YEAR, MY FAMILY AND I WOULD WATCH "MUPPETS CHRISTMAS CAROL," AND SO I JUST DREW THE INSPIRATION FROM THAT.

IT’S KIND OF LIKE AN HOMAGE TO MY CHILDHOOD.

>> WANT ME TO TAKE THIS FROM THE INSIDE?

>> YES.

>> IT’S VERY NICE.

>> THERE’S A LOT OF WORK HERE.

>> YES, YES.

I LIKE THE SHAPE OF IT.

AESTHETICALLY, I LIKE THE DESIGN OF THE PIECE.

>> MM-HMM.

>> YOU KNOW, AND YOU CAN SEE THE BRICKS ARE ALL DIFFERENT INTEGRATED COLORS, SO THAT’S ALWAYS GOOD.

>> AND THERE’S A LITTLE CAKE IN HERE, TOO.

>> YES.

>> I’M IMPRESSED WITH THIS ONE.

I MEAN, IT LOOKS REAL.

I MEAN, LOOK AT THE DETAIL OF THE RING, THE COINS.

>> YEAH.

WELL, THE HANDS ON THIS GUY ARE A LITTLE SMALL FOR ME.

IT’S A MINOR, MINOR IMPERFECTION.

AT THIS LEVEL I HAVE NEVER ACTUALLY SEEN 3 WISE MEN DONE IN GINGERBREAD, EITHER.

>> UH-HUH.

>> THIS IS THE FIRST ONE.

>> GINGERBREAD IS A TRADITIONAL HOLIDAY DECORATING TECHNIQUE.

IT STARTED OUT WITH HOUSES, BUT NOW IT’S BECOME ALL KINDS OF SCULPTURES AND THINGS.

BUT THEY TRADITIONALLY ARE A HOLIDAY THEME.

>> THE IDEA OF DOING A CHRISTMAS TREE OUT OF GINGERBREAD REALLY APPEALED TO ME.

SO THEN I HAD TO FIGURE OUT THE ENGINEERING OF IT.

THERE ARE ABOUT 150 GINGERBREAD COOKIES.

I USED A RUBBER STAMP TO GET THE TEXTURE ON THE TOP AND THEN PAINTED THEM WITH AN EDIBLE PAINT, AND THEN I BEGAN TRYING TO STACK IT SO IT WOULD LOOK LIKE A REAL TREE.

>> WE’VE HAD GINGERBREAD HOUSES THAT LOOK LIKE ART WORKS.

WE’VE HAD GINGERBREAD HOUSES THAT LOOK LIKE FAMOUS BUILDINGS.

EVERY YEAR, WE’RE SURPRISED BY WHAT PEOPLE ENTER INTO THE CONTEST.

>> I LIKE THE OLD-FASHIONED BUTTONS.

>> YEAH.

YEAH.

AND THIS, I THINK, IS GREAT.

EACH PAGE IN THE BOOK IS THERE.

>> UH-HUH.

>> WE HAVE A LOT OF RULES.

EVERYTHING HAS TO BE EDIBLE--EVERY SINGLE THING--AND IT HAS TO BE 75% GINGERBREAD.

>> FOR THE LAST 8 MONTHS, I’VE BEEN STUDYING SUGAR.

I MADE THE JARS BY BUILDING A MOLD OUT OF SILICONE, AND I COOKED SUGAR AND POURED THE SUGAR INTO THOSE MOLDS.

THE LACE--IT’S FROSTING THAT’S REALLY FLEXIBLE.

THIS IS POTATO STARCH PAPER.

I SCANNED IN THE IMAGES, AND I PRINTED WITH FOOD COLORS IN A PRINTER.

>> WHAT I THINK MAKES A REALLY GOOD GINGERBREAD HOUSE IS NOT ONLY PERFECT TECHNIQUE BUT ALSO SOMETHING THAT PULLS YOU IN AND TELLS A STORY.

>> HERE YOU HAVE THIS CAT WHO IS SO SORT OF SCRUFFY--LOOK AT HIS FUR.

LOOK AT THE KIND OF CROOKED WHISKERS HE’S GOT.

AND THEN HE’S LOOKING AT HIMSELF IN THE MIRROR IN THE MIDDLE OF ALL THIS BEAUTY--PINS AND BROOCHES AND BRACELETS.

>> AND ALL THESE RUFFLES AND BOWS AND EDIBLE GLITTER ON HERE.

>> BUT THIS IS ONE THAT THE MORE YOU LOOK AT, THE MORE YOU SEE.

IT’S PERFECTION.

IT’S WONDERFUL.

I MEAN, THEY’RE ALL JUST SENSATIONAL.

>> CHILD CATEGORY, TOP 10 WINNERS.

FROM BLACK MOUNTAIN, NORTH CAROLINA, TOP 10 YOUTH DIVISION.

[APPLAUSE] FROM GAINESVILLE, GEORGIA.

FROM GREENBACK, TENNESSEE.

>> CONGRATULATIONS.

>> WHAT ARE YOU GONNA SAY?

>> SMILE FOR EVERYBODY.

>> TOP 10 WINNER, ADULT CATEGORY.

>> TO SEE THE PASSION IN THOSE GINGERBREAD HOUSES--IT’S AWE-INSPIRING.

IT REALLY IS.

>> LET’S GIVE A BIG ROUND OF APPLAUSE TO ALL OF OUR TOP-10 WINNERS IN THE ADULT CATEGORY.

>> YOU CAN JUST IMAGINE THE AMOUNT OF COMPETITION.

BUT, HEY, I MAKE NO BETS ON THE WINNERS.

>> IT’S A SURPRISE TO US SOMETIMES WHO THE WINNERS ARE.

>> YEAH.

>> AND NOW THE GRAND PRIZE WINNER OF THE 20th ANNUAL NATIONAL GINGERBREAD HOUSE COMPETITION IS...

ENTRY NUMBER A-111 FROM CARY, NORTH CAROLINA, ANN BAILEY.

>> THANK YOU.

>> EVERYBODY HERE IS DOING THIS BECAUSE OF LOVE--LOVE FOR THE CRAFT, LOVE FOR THE PEOPLE, THE PLEASURE THAT THIS BRINGS TO PEOPLE THAT THEY CARE ABOUT.

GOD KNOWS WE DON’T DO IT FOR THE MONEY.

>> ART IS CRAFT, AND CRAFT IS ART.

THAT’S HOW I FEEL.

IF YOU’RE DOING ANY KIND OF CRAFT, YOU’RE AN ARTIST.

BOTTOM LINE.

[KLEZMER MUSIC PLAYING] I LIKE SO MANY DIFFERENT MATERIALS, WORKING WITH DIFFERENT MEDIUMS, LIKE DRAWING AND PAINTING, BUT CLAY JUST HAPPENS TO BE ONE OF MY FAVORITES.

HAND-BUILDING IS THE OLDEST WAY OF WORKING WITH CLAY.

JUST KIND OF LIKE HAVE THE MATERIAL IN YOUR HAND AND THEN START EXPLORING WITH IT.

RIGHT NOW I AM FOCUSING ON NOT LETTING ANYTHING GET TOO THIN BECAUSE THEN IT CAN GET A HOLE IN IT WHILE YOU’RE SMOOTHING OUT THE INSIDE, SO I’M JUST BEING REALLY CAREFUL TO BE, LIKE, CONSISTENT ABOUT HOW I’M FORMING IT.

IT DOESN’T HAVE TO BE PERFECT.

THAT’S NOT WHAT YOU WANT AT ALL.

DON’T WORRY ABOUT THE CRACKS ON THE BOTTOM, BECAUSE THEY WILL BE ON THE BOTTOM.

THIS PIECE IS GOING TO BE THE BASE OF A BIRD MENORAH.

A MENORAH IS THE CANDELABRA THAT JEWISH PEOPLE PUT CANDLES IN AND LIGHT THEM AT HANUKKAH TIME.

I STARTED MAKING MENORAHS 25 YEARS AGO, IF NOT LONGER, AND IT WAS LIKE, "WOW.

I LOVE THIS," AND PEOPLE LIKED IT, TOO.

IT JUST STARTED CATCHING ON.

I JUST DO DIFFERENT KINDS OF CHARACTERS AND ANIMALS, AND I THINK THAT’S JUST ABOUT ALL IT’S ABOUT--FANTASY.

AS YOU CAN SEE, I’M FORMING THE HEAD.

JUST GENTLY SQUEEZE IT A LITTLE BIT.

THE THING ABOUT CLAY--YOU CAN ALWAYS COME BACK IN AND DO MORE.

LESS CAN BE MORE.

NEXT WHAT I’M GONNA DO IS SCRATCH AND SCORE IT, AND THAT WILL KEEP IT SECURED ON THERE SO IT DOESN’T BREAK OFF.

I’VE GOT MY SLIP, WHICH IS WATERED-DOWN CLAY, BASICALLY.

IT’S THE GLUE, AND IT HELPS GIVE IT A NICE, SECURE AREA.

NO SURPRISES.

WELL, WE HOPE NOT.

DOING CANDLE HOLES WITH THE DOWEL.

PRESS IT IN.

AND THEN I’M GONNA ADD A LITTLE EMBELLISHMENT ON IT.

I’M GONNA MAKE A LITTLE SWIRL.

I PINCH IT OUT A LITTLE BIT, ROLL IT UP JUST REALLY GENTLY.

JUST ROLL.

LOOKS LIKE A SNAIL SHELL.

SCRATCH AND SCORE.

IT’S GOOD TO BE GENEROUS WITH THE SLIP, TOO.

AND THEN... GIVE IT A LITTLE CLEANING UP.

I’M GONNA PUT PLASTIC OVER IT NOW AND MAKE SURE THAT IT’S COMPLETELY DRY BEFORE IT’S FIRED.

I FIRST SAW TOM THROWING ON THE WHEEL AT UCLA.

IT WAS MY LAST YEAR THERE, AND IT WAS HIS FIRST.

I WAS REALLY FASCINATED WITH HIS WORK.

IT WAS JUST SO REFINED AND BEAUTIFULLY DONE.

AND I’M LIKE, "I WANT TO PAINT ON ONE OF YOUR PIECES."

>> AND AT FIRST I WAS, LIKE, "YOU WANT TO WORK ON MY WORK?

I LIKE TO EMBELLISH MY OWN WORK."

>> AND I WAS LIKE, "OH.

OOPS."

I THOUGHT, "OH, I WON’T BOTHER HIM ANYMORE," AND ONE DAY HE HAD THIS BEAUTIFUL TEAPOT, AND HE CAME UP TO ME, AND HE WENT, "HERE.

YOU CAN PAINT ON THIS."

AND I WAS LIKE...

"YAY!"

>> I MADE SOME PIECES.

SHE DREW ON THEM, I CARVED THEM, AND IT WENT ON FROM THERE.

>> LIKE THE WEDDING GOBLET.

THE CELADON AND THE CARVING JUST CAME OUT PERFECT, JUST LIKE THE MARRIAGE.

I’M WORKING WITH UNDERGLAZES FOR THE COLORS.

THEY’RE VERY SIMILAR TO WATERCOLOR.

YOU CAN PUT THEM ON THINLY, OR YOU CAN PUT THEM ON OPAQUE, ALSO.

IF YOU MAKE A MISTAKE, YOU CAN ALWAYS TAKE YOUR SPONGE AND JUST WIPE IT OFF AND START OVER.

I’M DRAWING IN PENCIL.

THE PENCIL WILL NOT SHOW WHEN IT’S FIRED.

IT WILL BURN OFF.

ON THE BIRD, I’M PUTTING THE UNDERGLAZE ON THICKER.

I WANT IT TO BE MORE OF A SOLID COLOR.

IT’S NOT GONNA BE WATERY AND LOOSE.

IT’S GOING TO BE LAYERS OF UNDERGLAZE.

I START FEELING LIKE IT’S FINISHED WHEN ALL THE LITTLE IMAGES ARE OUTLINED AND I DO CLOUDS AND STARS IN THE SKY, AND THEN IT JUST SEEMS LIKE IT’S TIME.

SO IT’S GLAZED AND FIRED IN THE KILN.

>> NICE.

>> MMM.

WOW.

WHOA.

THAT’S TOTALLY DIFFERENT.

WHOA.

I TELL PEOPLE THAT THESE MENORAHS CAN BE AN HEIRLOOM.

IT’S FUNNY HOW WE VIEW FAMILY HEIRLOOMS.

WE THINK OF SOMETHING FROM YOUR GREAT-GREAT GRANDMOTHER.

THINKING OF A PIECE I MADE AS AN HEIRLOOM IS A LITTLE SPOOKY AND IT’S A LITTLE DIFFERENT.

A FISH MENORAH.

BUT IT’S VERY HEARTWARMING.

>> THE BIRD CAME OUT GOOD, HUH?

>> YEAH.

YOU FEEL LIKE YOU WANT TO LEAVE A MARK.

YEAH.

SO I’M LEAVING PART OF WHO I AM, PART OF MY SOUL, HERE ON THE EARTH.

[CHATTER] MY MEMORY OF HANUKKAH IS SPINNING THE DREIDEL AND LAUGHING AND... MY PARENTS BEING IN THAT MOMENT WITH MY TWO BROTHERS AND ME.

>> HERE THEY ARE!

FRESHLY MADE LATKES!

>> MY MOM MAKING LATKES.

>> HOME-MADE.

>> ♪ HANUKKAH, HANUKKAH ♪ [SINGING IN HEBREW] >> IT WAS A REAL FAMILY TIME TOGETHER WHERE EVERYBODY WAS JUST HAPPY.

>> ♪ BARUCH ATAH ADONAI ELOHEINU MELACH HA’OLAM ♪ >> WE KINDLE THESE LIGHTS AND FEEL THE GRATITUDE OF BEING TOGETHER AS A COMMUNITY, OF BEING TOGETHER AS A PEOPLE, BEING ABLE TO LIGHT A MENORAH ON A NIGHT LIKE THIS.

>> [HUMMING] >> BILTMORE WAS BUILT BY A MAN NAMED GEORGE WASHINGTON VANDERBILT.

THE VANDERBILT FAMILY MADE THEIR MONEY IN RAILROADS AND IN SHIPPING, AND GEORGE WAS THE YOUNGEST SON OF THIS FAMILY.

AND SO HE FELL IN LOVE WITH THIS AREA, MOVED TO ASHEVILLE, STARTED BUYING LAND, AND THEN STARTED CONSTRUCTING HIS DREAM HOME.

TOOK AROUND 6 TO 7 YEARS TO CONSTRUCT.

AND THE HOUSE WAS OPENED OFFICIALLY IN 1895.

GEORGE WAS A BACHELOR, WHICH IS SORT OF HARD TO IMAGINE, GIVEN THE SIZE OF THE PLACE.

IT’S ABOUT 250 ROOMS, 175,000 SQUARE FEET.

A FEW YEARS LATER, HE MET THE LOVE OF HIS LIFE, EDITH.

THEY WERE MARRIED IN 1898, AND IN 1900, THEY HAD THEIR FIRST DAUGHTER.

SO REALLY BILTMORE BECAME A FAMILY HOME.

TO PUT CHRISTMAS TOGETHER AT BILTMORE, IT TAKES US A YEAR.

JUST GO SLOW.

NOW, WAIT A MINUTE.

LET ME ADJUST MY FINGER.

WE’LL PUT OUR PLAN TOGETHER IN DECEMBER, AND BY JULY, WE’RE MAKING THE PIECES THAT ARE GOING INTO THE VARIOUS ROOMS THROUGHOUT THE HOUSE AND THE REST OF THE ESTATE.

THERE ARE 68 CHRISTMAS TREES.

EACH IS HAND-DECORATED WITH CAREFULLY CHOSEN ORNAMENTS.

ONE TREE IN THIS ROOM HAS 400 ORNAMENTS ON IT ALONE.

[PIANO PLAYING] EACH YEAR, WE DO HAVE A THEME FOR CHRISTMAS, ALTHOUGH WE STAY WITHIN THE LOOK OF THE GILDED AGE AND WHAT MIGHT HAVE BEEN HERE IN GEORGE VANDERBILT’S HOME AT THE TURN OF THE CENTURY.

THIS YEAR THE THEME IS THE ART OF CHRISTMAS.

IN THIS BREAKFAST ROOM ARE TWO BEAUTIFUL RENOIR PAINTINGS.

ONE IS "THE ALGERIAN GIRL," AND THE OTHER IS "BOY WITH AN ORANGE."

SO THIS TREE HAS A VERY CITRUS FEEL TO IT.

CHRISTMAS ISN’T ALWAYS A RED AND GREEN CHRISTMAS.

ALL OF THESE ORNAMENTS INTERPRET THE PAINTINGS.

THESE ARE HAND-BLOWN ORANGES.

THIS LOVELY LITTLE LEMON SLICE, AND THEN THE CITRUS TONES OF THESE DROPS.

THIS PIECE ON THE TABLE IS EASY TO PUT TOGETHER ON YOUR OWN.

IT IS A STYROFOAM CONE IN THE CENTER, CITRUS FAUX FRUIT WRAPPED IN A PRETTY, GREEN RIBBON, AND THEN BERRIES TUCKED IN.

YOU CAN SCALE IT TO YOUR TABLE.

THIS IS A PRETTY LARGE TABLE IN THE BREAKFAST ROOM OF BILTMORE HOUSE.

WE’RE IN THE MORNING SALON.

IT’S A ROOM WHERE THE LADIES MIGHT COME AFTER BREAKFAST AND JUST RELAX, BUT ONE OF MY FAVORITE PAINTINGS IN THE HOUSE IS THIS BEAUTIFUL PAINTING CALLED "THE WALTZ," BY ANDERS ZORN, AND THAT WAS THE INSPIRATION FOR OUR DECORATIONS IN THIS ROOM.

SO WE HAVE BROUGHT THE SWOOP OF THE LADY’S DRESS INTO THE FABRIC THAT IS DRAPED ON THE TREE, SO WE HAVE THESE GRACEFUL SWIRLS THAT CONVEY THAT SENSE OF DANCE.

IT’S A FAMILY TREE.

CHILDREN CAME TO THE PARTIES IN THE EVENING, AND THEN THEY WOULD BE SHUFFLED OFF TO BED, AND THEN THE DANCING, THE WALTZ, WOULD BEGIN.

WE’RE IN GEORGE VANDERBILT’S LIBRARY.

THIS WAS HIS FAVORITE ROOM.

HE WAS VERY SCHOLARLY, LOVED TO READ, AND INSIDE THE LIBRARY ALONE THERE ARE 20,000 BOOKS.

THE RICH TEXTURE OF THE ORNAMENTS, I THINK, IS REALLY WHAT CREATES THIS TREE.

THE TREE DECORATIONS ARE INSPIRED BY THE COLORS OF THE BOOK BINDINGS--THE RICH GOLDS AND BURGUNDIES AND BLUES IN THIS ROOM.

THE LIBRARY WAS PROBABLY A LITTLE BIT OF AN ESCAPE DURING THE FESTIVITIES OF THE HOLIDAYS.

I HAVE THIS VISION OF GEORGE VANDERBILT AND HIS DOG CEDRIC SNUGGLED UP BY THE FIRE WITH A GOOD BOOK.

THIS ROOM IS THE GRAND BANQUET HALL, AND THIS IS WHERE GEORGE VANDERBILT CELEBRATED CHRISTMAS WITH HIS FAMILY AND FRIENDS AND HIS STAFF THAT VERY FIRST CHRISTMAS OF 1895.

THE RICH RED OF THE DAMASK, THE GOLDS AND SILVERS AND BLUES IN THE TAPESTRIES ALL ARE BROUGHT INTO THE DECORATIONS OF THE ROOM.

THE VANDERBILTS QUITE OFTEN WOULD PRESIDE OVER THE FESTIVITIES IN THE BANQUET HALL FROM A SMALL TABLE WHERE THEY WOULD CHITCHAT WITH THE FAMILIES AS THEY CAME UP AND TALKED WITH THEM.

WE ALSO DO HAVE MENU BOOKS FROM THE 1890s THAT TALK ABOUT WHAT WAS SERVED FOR DINNER, AND WE SEE LITTLE SCRATCHED-OUT PLACES WHERE GEORGE OR EDITH VANDERBILT WOULD MAKE THEIR COMMENTS.

THE TOWERING TREE WAS HERE IN 1895 DECORATED JUST AS IT IS TODAY WITH ELECTRIC LIGHTS.

A LOT OF PEOPLE HAD NEVER EVEN SEEN ELECTRIC LIGHTS ON A CHRISTMAS TREE.

I CAN IMAGINE THE STAFF COMING IN AND THE CHILDREN BEING GIVEN GIFTS BY GEORGE AND EDITH VANDERBILT.

THE TRADITION CARRIES ON, AND THAT IS THE ROOT OF OUR CHRISTMAS CELEBRATION HERE AT BILTMORE.

>> [SINGING IN SPANISH] >> IN SAN ANTONIO DURING THE HOLIDAYS, THE MEXICAN AMERICAN COMMUNITY CELEBRATES LA POSADAS.

>> [SINGING IN SPANISH] >> I REMEMBER WE WOULD GET TO PLAY, AS CHILDREN, MARY OR JOSEPH OR THE ANGELS, AND WE LEARNED TO SING THOSE SONGS AS PART OF GROWING UP.

>> [SINGING IN SPANISH] >> YOU CELEBRATED THE POSADA FOR 9 DAYS, AND THEN THE FINAL DAY, YOU WOULD ACTUALLY GO TO THE CHURCH.

[MARIACHI MUSIC PLAYING] >> [SPEAKING SPANISH] >> [SINGING IN SPANISH] >> 500 YEARS AGO, BEFORE EUROPEANS CAME, WE AS INDIGENOUS PEOPLE CELEBRATED THE SUN GOD.

WHAT AN IMPORTANT GOD THAT IS, YOU KNOW, WHO GIVES US LIFE.

THERE WERE 9 DAYS OF FESTIVITIES.

AND THIS JUST HAPPENED TO BE DURING THE MIDDLE OF DECEMBER.

BUT WHEN THE SPANISH CONQUERORS COME IN, THEY WANT TO RID THE INDIGENOUS COMMUNITIES OF THOSE CELEBRATIONS.

AND SO THE SUN GOD GETS REPLACED BY JESUS AND OUR CELEBRATION OF NAVIDAD.

>> ♪ SLEEP IN HEAVENLY PEACE ♪ [TRUMPET PLAYING] >> NAVIDAD IN SAN ANTONIO IS FULL OF PARTIES, FULL OF FAMILY GATHERINGS, FULL OF COLOR.

THE WEATHER IS ALWAYS BEAUTIFUL HERE.

IN FACT, WE WOULD LOVE FOR IT TO BE A LITTLE COLDER.

GARCIA ART GLASS IS VERY MUCH A FAMILY AFFAIR.

WE HAVE 3 WOMEN THAT RUN THE BUSINESS.

IT’S MY MOTHER, WHOSE NAME IS DORA; IT’S MYSELF, AND ALSO MY SISTER GINI.

GINI IS REALLY THE ONE WHO STARTED THE COMPANY.

>> WE COMPLEMENT EACH OTHER.

GINI DOES ALL THE DESIGNS.

DORA INTERPRETS HER DESIGNS IN GLASS, AND THEN I TAKE CARE OF THE BUSINESS SIDE OF IT.

>> WE HAVE A MASTER GLASSBLOWER THAT WORKS WITH US.

HIS NAME IS GERARDO MUNOZ.

[SPEAKING SPANISH] >> FROM HIM WE’VE LEARNED SO MUCH ABOUT THE GLASSBLOWING IN MEXICO, WHICH IS OUR ORIGINAL HOME.

>> AND I THINK WE CARRY THAT LATIN CONNECTION IN OUR BRIGHT CHRISTMAS ORNAMENTS.

WE MAKE ORNAMENTS WITH RECYCLED GLASS, BROKEN SHARDS OF GLASS.

WE PICK THEM UP ONTO THE HOT GLASS AND MELT THEM IN.

THE ITALIANS ARE KNOWN FOR THEIR GLASSBLOWING TECHNIQUES, BUT IT’S BEEN AN ART IN MEXICO FOR A VERY LONG TIME.

GLASS IS THE MOST NOBLE OF MEDIUMS TO WORK WITH.

IT’S SO STRONG AND YET SO FRAGILE.

>> WHEN WE WORK WITH IT, IT’S ALWAYS SURPRISING US.

WE’RE ALWAYS SORT OF CHASING IT.

>> WE JUST NEVER QUITE KNOW ITS REACTION WITH THE COLORS.

>> WE HAVE YEARS OF EXPERIENCE, AND SO WE KNOW WHERE WE’RE HEADING TO WITH A PIECE AND WHERE WE WANT TO GO WITH IT, BUT THE GLASS SOMEHOW ALWAYS KEEPS YOU GUESSING.

>> OK. WE HAVE A VERY UNIQUE WAY TO MAKE A CHRISTMAS ORNAMENT.

WE LIKE TO THROW LITTLE STRINGERS OF GLASS INTO THE PIPE TO FALL INTO THE SPHERE.

PEOPLE ALWAYS WALK INTO OUR GALLERY AND SAY, "OH, GOD.

THIS IS JUST LIKE SAN ANTONIO."

THE BRIGHT COLORS, THE HISPANIC PRESENCE HERE.

HOPEFULLY FUTURE GARCIA GENERATIONS CAN CONTINUE IT GOING.

>> I WAS DOING PAINTING, PRINTMAKING, DRAWING BUT WHEN I MOVED TO SAN ANTONIO, THAT’S WHEN I DISCOVERED PAPEL PICADO, WHICH MEANS, LITERALLY, PUNCHED PAPER.

I REALIZED THAT THIS IS AN INCREDIBLE CRAFT.

SO PEOPLE WERE NOT THINKING OF THIS AS AN ART FORM AT ALL, AND I WENT TO MEXICO AND BEGAN TO RESEARCH IT.

PAPEL PICADO PROBABLY STARTED WITH THE MANILA GALLEONS COMING OVER FROM CHINA AND BRINGING PAPEL CHINA, THE CHINESE PAPER.

IT WAS VERY THIN, COLORED PAPER.

SO THE LITTLE MEXICAN VILLAGES, RESOURCEFUL AS THEY WERE, THEY FIGURED OUT HOW TO PUNCH THIS PAPER USING CHISELS TO MAKE IT INTO PAPER LACE FOR THEIR ALTARS.

AND AS I EXPLORE THIS MORE AND MORE, I’M CHALLENGING MYSELF--HOW CLOSE CAN I COME TO DUPLICATING ONE OF MY DRAWINGS AS A PAPER CUT?

YOU CAN USE THIN AND THICK LINES TO MAKE A SORT OF PERSPECTIVE.

I CUT THE MOST DIFFICULT THING FIRST BECAUSE IF I’M GONNA MAKE A MISTAKE, I WANT TO MAKE A MISTAKE ON THE DIFFICULT THING BEFORE I MOVE ON TO THE EASY STUFF SO THAT IF I HAVE TO START OVER AGAIN, I CAN STILL START OVER AGAIN.

BUT THAT NEVER HAPPENS.

INSTEAD, IF I MAKE A MISTAKE, I FIGURE OUT A WAY TO CHANGE IT, HOPEFULLY MAKE IT BETTER.

THIS ONE IS GONNA BE HUNG IN A MUSEUM.

HERE’S THE DRAWING.

FROM THE BEGINNING, WHEN I STARTED WORKING ON PAPEL PICADO, RIGHT AWAY I THOUGHT, "I’M DOING SOMETHING THAT MAKES PEOPLE HAPPY."

IT’S AN EPHEMERAL ART FORM, AND IT’S FUN, AND I’M ALMOST TOTALLY ABSORBED IN COMMISSIONS HERE IN THIS GREAT CITY.

>> WHEN YOU THINK OF CHRISTMAS IN SAN ANTONIO, YOU DEFINITELY THINK OF TAMALES.

I HAVE MEMORIES THAT BEGIN WITH MY GRANDPARENTS MAKING TAMALES, AND THEN THEY SHARED THAT KNOWLEDGE WITH MY PARENTS, WHO ARE NOW IN THEIR MID-80s.

>> WANT A LITTLE CHILI?

>> THEY CONTINUE THIS TRADITION, AND THEY DO IT THE ORIGINAL WAY.

>> I WENT TO TOWN WITH THE CHILI.

I WANTED THE TAMALES TO LOOK A LITTLE RED, NOT SICK-LOOKING LIKE SOMETIMES I SEE PEOPLE MAKE TAMALES.

>> TO MAKE TAMALES, YOU NEED TO MAKE THE NIXTAMAL FROM THE MASA, THE CORN.

>> TASTE.

>> SOME PEOPLE MIGHT SAY IT’S NOT HEALTHY FOOD.

>> YEAH.

IT’S GOOD.

>> IS THAT ALL RIGHT?

>> YEAH.

>> YOU KNOW, THEY MIGHT USE LARD.

I’M NOT SURE.

WE’LL SOON FIND OUT, I GUESS.

>> WHAT I NEED IS A LITTLE MORE LARD.

>> OK. >> SHOULD BE ENOUGH.

>> AREN’T YOU GLAD YOU’RE NOT ON A DIET?

>> GET OUT OF HERE.

THERE’S NO SUCH THING AS DIETETIC TAMALES.

>> DON’T YOU WANT THE BROTH NOW?

>> YOU’RE THE BOSS.

>> YOU KNOW, THEY’RE NOT HARD TO MAKE, EXCEPT IT TAKES TIME.

>> AND THEN MY PARENTS PUT THE NIXTAMAL ONTO THE CORN SHUCK.

>> WOULD YOU CHECK THE MEAT, PLEASE?

>> THEN, YOU KNOW, SOMEBODY’S HAVING TO MAKE THE MEAT, AND THAT TAKES A WHILE TO BOIL AND COOK, THEN ADD ALL THE INGREDIENTS TO IT, AND THEN THEY HAVE TO PUT THE MEAT INSIDE AND THEY HAVE TO WRAP THE TAMAL.

IT’S A LONG PROCESS.

>> I LOVE TO DO THIS.

>> I KNOW.

>> NOT EVERY DAY, BUT... >> [CHUCKLES] >> BUT IT’S A FAMILY AFFAIR, AND THERE WERE 6 OF US IN OUR FAMILY, SO WE’D SHARE THE WORK.

>> COME ON, ISABEL.

YOU’RE SLOW.

>> I KNOW.

YOU’RE ALWAYS FASTER THAN I AM.

>> I REMEMBER THE FIRST TIME THAT WE EVER MADE TAMALES.

IT WAS IN CHICAGO, AND SHE FIXED UP THE MEAT AND ALL THAT, AND THEN WHEN WE BIT INTO THAT TAMALE, KIND OF LIKE BITING INTO SAND.

>> BUT, YOU KNOW, SURPRISINGLY, FRIENDS OF OURS THAT WE INVITED, THEY SAID, "THEY’RE SO GOOD.

THEY’RE SO GOOD."

SO THEY EITHER DIDN’T NOTICE, OR THEY WERE VERY POLITE.

[LAUGHS] >> OK. TAMALES.

LAST ONE FOR TODAY.

I FEEL SAD THAT THE YOUNGER GENERATION IS NOT DOING THIS.

INSTEAD THEY GO TO THE STORE AND BUY THEM.

BUT REALLY, HOMEMADE TAMALES--THERE’S NOTHING LIKE REAL HOME-MADE TAMALES.

I ALWAYS HAVE TROUBLE GETTING THIS--AH, NOW WE GOT YOU.

>> WE DON’T GO CHRISTMAS SHOPPING FOR EACH OTHER.

WE DON’T GIVE EACH OTHER GIFTS.

THIS IS OUR TOGETHERNESS FOR CHRISTMAS, YOU KNOW.

I’M GONNA SHOW YOU WHAT LUMINARIA IS.

HERE I HAVE A COUPLE OF THEM THAT I’VE MADE.

THIS IS A MEXICAN TRADITION.

IT’S INEXPENSIVE DECORATIONS THAT YOU CAN DO AT HOME OUT OF JUST LITTLE WHITE PASTRY BAGS.

I’M GOING TO DO 5 OF THEM HERE, AND MY PATTERN HAS TO BE ATTACHED TO THE 5 LAYERS.

SO THIS WILL DO IT.

SO I’M GOING TO START WITH THE EASIEST THING, WHICH IS A HOLE PUNCH, AND I’M JUST GONNA GO AROUND THE PERIPHERY OF MY SNOWFLAKE.

NOW, THE NEXT THING I’M GONNA DO IS I’M GONNA ADD THESE LITTLE TRIANGLES, AND I’M GONNA GO ALL AROUND IN ONE DIRECTION, AND THEN I GO THE OTHER DIRECTION.

NOW I’M PICKING UP ANOTHER CHISEL FOR THE BOTTOM OF THE TRIANGLES.

SO WE’VE GOT OUR HOLES IN PLACE AND OUR TRIANGLES IN PLACE.

YOU CAN DO LUMINARIAS ALL YEAR ROUND, BUT PEOPLE BEGIN TO THINK ABOUT THEM MORE AT CHRISTMASTIME.

NOW A HOLE IN THE CENTER... AND THE NEXT THING IS GONNA BE THE SCALLOPED EDGE ON TOP.

NOW WE HAVE THE RESULTS.

WE’RE GONNA TAKE OFF THE PATTERN, AND WE’RE GONNA OPEN THEM UP, AND YOU’LL SEE... AND THEN YOU PUT YOUR SAND AND YOUR TEA CANDLE IN IT, AND YOU’RE READY FOR YOUR CELEBRATION.

THERE.

[SPEAKING SPANISH] >> OK. >> OK. >> VERONICA CASTILLO IS THE MASTER CRAFTS PERSON FROM PUEBLA.

SHE AND HER FAMILY HAVE BUILT MANY TREES OF LIFE THAT ARE FOCUSED ON NAVIDAD.

[SPEAKING SPANISH] >> THE ORIGINS OF THE TREE OF LIFE BEGINS IN MEXICO.

WHEN A FAMILY IDENTIFIED THAT THEY WERE GONNA MARRY TWO DIFFERENT CHILDREN TO EACH OTHER, THE FAMILIES WOULD GIVE A BRANCH TO THEIR RESPECTIVE FUTURE FAMILIES.

[SPEAKING SPANISH] >> THEY HELD ON TO THAT BRANCH FOR 10 YEARS.

AND ON THE 10th YEAR, THEY WOULD TAKE THOSE BRANCHES AND BURN THEM.

[SPEAKING SPANISH] >> AND THEN INSTEAD OF THE BRANCH, WHAT THEY SHARED WITH EACH OTHER WAS A TREE OF LIFE IN CLAY.

[SPEAKING SPANISH] >> WHEN THE SPANISH CONQUERORS COME IN, BRINGING IN THEIR CATHOLIC RELIGION, THE TREE OF LIFE CHANGES.

THE REGULAR HUSBAND/WIFE BECOMES ADAM AND EVE.

NOW IT’S ABOUT GOOD AND EVIL, AND SO INSTEAD OF VINES GOING UP, IT SUDDENLY IS LIKE A SNAKE, THE EVIL COMING IN.

TODAY PEOPLE ARE STARTING TO REMEMBER WHAT THEIR TRADITIONS WERE IN THE PAST.

[SPEAKING SPANISH] >> AND THE CASTILLO FAMILY ARE NOW COMING BACK TO WHAT THEIR GREAT-GREAT-GREAT-GRANDPARENTS DID BEFORE THE CONQUEST.

>> [SPEAKS SPANISH] PERFECT.

[SPEAKING SPANISH] >> SO WE HAVE THIS PIECE CALLED OFRENDA TO HONOR THE PEOPLE THAT DIED, AND SO THIS OFRENDA IS TO HONOR MY FATHER AND HIS LIFE.

[SPEAKING SPANISH] [SPEAKING SPANISH] >> VERONICA CASTILLO HAS BEEN TEACHING THE SKILL OF MAKING THESE WORKS IN CLAY TO THE MEXICAN AMERICAN WOMEN OF SAN ANTONIO FOR 17 YEARS.

SHE HAS KEPT UP THE TRADITION OF HER FAMILY, BUT SHE’S ALSO GONE BEYOND WHAT ANYBODY IN HER FAMILY HAS DONE, AND WE HAVE BEEN HONORED TO HAVE HER.

[SPEAKING SPANISH] >> GRACIAS.

[SPEAKING SPANISH] >> NOW, THAT’S A HOT TAMALE.

>> [CHUCKLES] COME ON, EVERYBODY.

TAMALES ARE READY.

>> THANK YOU.

>> GRACIAS.

>> MMM.

[LAUGHTER] >> ♪ JOY TO THE WORLD ♪ >> ♪ I DON’T WANT NOBODY... ♪ >> MOST EVERYBODY NOW WANTS THE OLD-FASHIONED QUILTS.

AND WE WERE GETTING GOOD PRICES, AND THAT MADE EVERYTHING BETTER.

>> LOWELL’S BOAT SHOP HAS REMAINED A BUSINESS FOR MORE THAN 200 YEARS.

>> THERE ARE OVER 18 MILLION ITEMS LISTED ON ETSY.

>> WE’VE GIVEN ARTISTS A DISTRIBUTION OUT TO THE ENTIRE WORLD.

>> THE BUSINESS OF THE HANDMADE ON "INDUSTRY," THE NEXT "CRAFT IN AMERICA."

"CRAFT IN AMERICA."

>> ♪ SING JOY... ♪ ♪ JOY JOY JOY TO THE WORLD ♪ JOY TO THE WORLD ♪