CRAFT at Windsong Farm

CRAFT (Collaborative Regional Alliance for Farmer Training) was held this past Sunday at Windsong farm in Honor. The farm has been in the same family for over 100 years and is still run by a member of that family, Cindra Moore. At the farm she focuses on her personal food supply along with herbs. Her herbs are grown both as food and can be used for medicinal purposes. Some can be heated for herbal teas, made into oils, or eaten directly with foods. There were many plants that she explained in detail, some that help with the common cold, to one more specific plant called Pleurisy that helps with the lung ailment of the same name along with other respiratory conditions.

In addition to having herbs for practical use, Cindra had an interesting take on the relationship between her farming and ritual. This sense seemed to inform how she planted her gardens spatially with the land, what she grows, and how she goes about the harvest and cultivation. We ended the afternoon with some fresh kale from her garden, and lots of other yummy dishes brought by folks who attended.

—Dulcee, ISLAND summer intern

Sense of Place: 10 ways to connect artists to a residency program.

I'm excited to see more residency programs working to connect art making with community, ecology and a sense of place. Unlike the older "retreat" model, which serves artists (often from urban areas) by allowing them to "get away" and commune with something vaguely referred to as "nature," a true sense of place helps artists comprehend that they have arrived somewhere with a rich history. This history is not just the names and stories of artists who have come before or the biography of the founder, but a complex interweaving of ecology, economy and community.

What follows are some notes toward a future document: Ten ways to connect artists to a sense of place at a residency program. This list is slanted towards ecological awareness, rural areas and the ecology of ISLAND's home in northern lower Michigan. Comments and additions are appreciated.

1.) Nature based interpretation. Used to great success in our national parks, interpretive signs, tags, displays and tours readily communicate plant and animal species, historic events, wayfinding and other basic information about the ecology and history of a place. Examples: a display illustrating what a residency looked like 500, 200, 50 and 10 years ago, and how the ecology has changed in that time. A Studio in the Woods has an environmental curator on staff!

2.) Artistic interpretation. A variation on the above, but using local artists to create the signs and referring to the creation and appreciation of art. Examples: signs directing potters to local seams of clay with notes on different types' usefulness in glazes. An outdoor installation which comments on and directs attention to the surrounding landscape.

3.) Life on the land. A residency program must have other uses and be a place of activity and work outside of the work of the artists. Examples: Madroño Ranch is a working bison ranch that offers hunting, fishing and cooking workshops to the public and sells meat, eggs and produce. Atlantic Center for the Arts keeps beehives and sells the honey to raise funds.

4.) Invite artist engagement with the above. Artists can work on the land outside of their art making. Example: morning chores in the garden, help milking the goats, trail work, volunteering at the local food pantry.

5.) Connection to the community. This is always easier said than done, and requires care in creating seclusion for working artists while still allowing them to experience the larger culture in which they work. Example: residency tours/open studio, readings or concerts in community spaces, inviting community elders to dinner at the residency.

6.) Create art supplies from the land. Use locally available natural resources to provide raw materials for art making, either as equipment or supplies. Examples: beeswax (bees), milk paints (goats), art-grade charcoal (willow), wood for carving, clay for pottery, fiber (sheep, alpaca, etc.), natural dyes and found materials.

7.) Use the land itself for art making. This can be as simple as installation art using local resources or using the land itself as gallery. Think beyond just a sculpture park. Examples: much of the work being done at A Studio in the Woods and Art Farm.

8.) Hospitality from the land. Grow food for the artists. Use native flowers as table centerpieces. Use local materials in the construction of buildings. Partner with local farms to eat food that is local and in season. Partner with local breweries, wineries, cideries, dairies, butchers, smokehouses, fermenters and other craft industries to supply as many needs as possible for the artists. Example: the Hill House comes stocked with local and seasonal produce, fish, cheese, meat and wine, along with empty growlers that can be filled at the local pub.

9.) Keep it wild. Resist the urge to over-manicure the landscape. Allow for wilder plants and fungi to populate the grounds, even if some of them are "weeds." Value the edges where the cultivated meets the wild. Create simple paths leading visitors into less manicured places. And yes, provide mosquito spray or bear mace or even a guide. Example: both the Hill House and the ISLAND property are connected to large tracts of public forest, including a canoe river. A Studio in the Woods keeps the cultivated footprint to a minimum to allow artists to engage with the bottomland forest ecology.

10.) Seek close encounters. Vistas are great, but real engagement takes place at arms length or closer. Use wild space, along with bat houses, bird feeders, butterfly gardens and meandering paths to help create dynamic, intimate encounters between artists and the wild nature. If your wild nature includes mountain lions, bears or alligators you'll want to think carefully about what to invite in and what to exclude. Example: A Studio in the Woods has a simple dock overlooking a small pond, and allows fallen trees to decay in place, creating more habitat for wild creatures.

This list is intended to be a rough beginning to a more polished document. I expect it to change drastically as more folks look at it and offer their thoughts, and I realize it is focused on my part of the world - the woods and water of rural northern lower Michigan. Your help is appreciated in tailoring it to your own ecological, economic and cultural landscapes.

—Brad

Students Experience Life on a Small Farm

Mancelona and Ellsworth 5th graders got some hands-on learning last week when they visited Raven's Roost farm in Bellaire.

The students milked goats, led a llama pack animal, gazed at cows, pet two-day-old lambs, practiced spinning yarn, learned about rotational grazing and pasture, made butter and walked the woods with a professional forester.

While some adults are intimidated by llamas, the kids were enthralled. More than once, Doug Bedell, owner of Raven's Roost Farm, heard, "Can I take this llama home with me?"

Raven's Roost Farm, located on Vandermark Road near Bellaire, raises Shetland sheep and Scottish Highland cattle. The sheep are a variety of colors and their fleece is high quality, with an average micron range of 22.9 to 34.3. The cattle is an ancient Scottish breed that is very hardy—perfect for the cold northern Michigan winters.

The farm tour was organized by the Antrim Conservation District, Antrim Michigan State University Extension (MSUE), Foraging Fibers, the Institute for Sustainable Living, Art & Natural Design (ISLAND), Moondog Farm, Natural Resources Conservation Service and Raven's Roost Farm.