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Amaryllis Arna Rennan Barra Bells of the North Morris Dancers Ben Fairbanks Bill Hinkley and Judy Larson Blackbirds Blanche Krbechek Bob Bovee and Gail Heil Bounxou Chanthraphone Bruce Bradley Band CAAM Chinese Dance Theater Carla Vogel Clairseach Creative Theatre Unlimited Dance Revels Moving History Danielle Daniel and Co. Debra Korluka Delores G. Matthews Det Norske Folkedanslaget Diane Jarvi Dolina Polish Folk Dancers Domácí Czech Folk Dancers Drei Groschen Klezmorim Elise M. Schebler Roberts Elizabeth (Becky) Weis Emeline Dziabas Cook Ervey P. Shelley Ethnic Dance Theatre Folk Orchestra, The Finn Hall/Minnesota Pelimannit Flanagan Irish Dancers Flickorna Fem Freshwater Pearls Puppetry Gao Hong Gladys J. Shelley Greenwood Tree Harlen Schmitgen HjerteDans Jim Busta Band John Filipczak and the Classics Joy Parker Karen Jenson Karen Mueller Karen Torkelson Solgård Kip Peltoniemi Konstantinos Papadakis Laura MacKenzie Leo and Kathy Lara Les Harkonen Group Les Schuft and Country Dutchmen Band Linda Breitag Linda Wade Koslowski Lipa Slovak Folk Dancers Mag McDermott Marcie McIntire Mariachi Flor Y Canto Mariachi Serenata Mary Klockeman Mary Reed Matt Vorderbruggen Band Melinda Brobeck Minnesota Chinese Dance Theater Minnesota Scandinavian Ensemble, The Minnesota Scottish Celtic Dance Association Monroe Crossing Montgomery Czech Singers Mooncoin Céilí Dancers Music-On-A-String Nancy Ellison Nordic Angst Norse Folk North Country Fiddle and Dance Paddy O'Brien Paul Wilson and Mary Abendroth Peter and Paul Wendinger Band Piper's Crow Que Huong Rachel Nelson Robayat Robert Hoover Rosemary Lang Roehl Ross Sutter Royal Scottish Country Dance Society Salamat Shakun Maheshwari Sister Cecilia Schmitt Skålmusik Tibetan American Foundation of Minnesota Valeriy Saakian Voices of Sepharad Walter Grittner Wee Willie Band - Bill Makovsky Wild Goose Chase Cloggers, The Zhang Ying |
Additional Information: Her training in Poland included hands-on leaning from masters of forms including wycinanki, weaving, wood carving and ceramics, as well as visits to museums. She also traveled to villages in the regions where the folk arts were most predominant, and also studied regional costumes, dancing, music and foodways. Of all, however, wycinanki has always had the greatest appeal for Emeline. Because of the relative isolation of the era in which wycinanki first appeared, 1800-1825, several regional styles evolved. Emeline's favorite is the Lowitz region style where the very colorful layered cuttings are made. Other regional styles include the Krakow style, where cuttings are used as stencils on furniture and walls. In the Rzeszow region, there are geometric designs and folded accordion style cuttings. The Lublin region features very elaborate, lacy, circle-type designs. The Opoczno region is home to elaborate, square cuttings. The tradition in the Podlasie region is for designs featuring folded snowflakes and other geometric patterns. In the Kurpie and Lasek regions, there are mostly one color, tree of life designs, but they can be very elaborate. Only in the Sannicki region does Polish wycinanki contain anything but paper cuts: Folk artists from this region cut figures, and then draw in eyes, nose and mouth. In general, this artform was important in Spring. At this time of rebirth, new cuttings created over the winter would be pasted on the walls of homes after the walls were freshly whitewashed. Emeline finds the form appealing because it represents the soul of the Polish people. Wycinanki pieces themselves reflect what the peasants saw everyday on their farms. Emeline believes that old wycinanki pieces also reflect the people's love for the chickens, flowers and other things that they saw on their farms everyday. In addition, to Emeline, the form is also appealing because the designs represent abstract visions of what the artists see. Emeline works within the dimensions of traditional wycinanki and also adapts the form to modern subjects. As an example of the latter, for the Bemidji Community Art Center, she created a paper cutting based on a traditional tree of life design. However, the tree in the piece contains northern Minnesota images such as a lady slipper (the Minnesota state flower), a loon (the Minnesota state bird), a white tailed deer, a pine tree, the headwaters of the Mississippi River, a teepee, and Minnesota's state tree, the red pine. Emeline feels very fortunate to have represented wycinanki for so many years and is grateful for the great reactions of others at workshops and school visits. One of her pieces was selected to tour Minnesota for two and a half years in the "Circles of Tradition" exhibit (1989-91). Emeline is an adjunct professor at Bemidji State University, and she has served as a master in the folk arts apprenticeship program of the Minnesota State Arts Board. | |||