CELEBRATION episode

>> KWANZAA WAS DEVELOPED AS AN AFRICAN-AMERICAN HOLIDAY.

IT IS THE OPPORTUNITY TO CONNECT WITH SOME TRADITIONS AND TO CREATE SOME NEW ONES.

>> I JUST WANTED TO MAKE SOMETHING THAT MADE ME HAPPY AND THEN ALSO SOMETHING THAT HAS REALLY GOOD CRAFTSMANSHIP.

THIS NEW CHRISTMAS CARD IS CALLED "WINTER CARDINALS."

>> PEOPLE LOVE COMING IN AND GETTING OUR "12 DAY" ORNAMENTS, SO WE WANT TO MAKE SURE THAT THEY'’’RE THE FINEST QUALITY.

[BAND PLAYING] >> THE LION IS SEEN AS BRINGING AUSPICIOUSNESS TO AN OCCASION, WHERE YOU WANT TO CELEBRATE.

>> CHINESE NEW YEAR IN SAN FRANCISCO--IT'’’S ONE OF THE ONLY NIGHT PARADES LEFT IN THE UNITED STATES.

THERE'’’S JUST MUSIC AND THE FLOATS AND THE FLASHING LIGHTS, AND IT'’’S REALLY SPECTACULAR.

>> HAPPY NEW YEAR!

GUNG HAY FAT CHOY!

>> ♪ '’’TIS A GIFT TO BE SIMPLE '’’TIS A GIFT TO BE FREE '’’TIS A GIFT TO COME DOWN WHERE YOU OUGHT TO BE AND WHEN YOU FIND YOURSELF IN THE PLACE JUST RIGHT '’’TWILL BE IN THE VALLEY OF LOVE AND DELIGHT ♪ CHAN: THE CHINESE NEW YEAR, OR THE LUNAR NEW YEAR, IS BASED ON THE CYCLES OF THE MOON.

IT'’’S NOT THE GREGORIAN CALENDAR.

AND CHINESE NEW YEAR IS CELEBRATED FOR 2 WEEKS, SO, GROWING UP IN SAN FRANCISCO, CHINESE NEW YEAR WAS MY FAVORITE TIME OF THE YEAR BECAUSE IT'’’S CHRISTMAS THAT LASTS FOR 15 DAYS.

WE GET TOGETHER WITH FAMILY, EAT GIGANTIC MEALS, ALL THE TRADITIONAL FOODS IN THE NEW YEAR'’’S, AND, OF COURSE, THEY HAVE LION DANCES.

[BAND PLAYING] LEE: THE STORIES REPRESENTED BY THE LION DANCE-- THEY GO BACK THOUSANDS OF YEARS IN HISTORY.

THEY TALK ABOUT FILIAL PIETY, LOYALTY, BEING RIGHTEOUS.

THESE ARE THE STORIES THAT CHINESE PEOPLE TELL THEIR CHILDREN, "THIS IS WHY YOU'’’RE CHINESE."

[CROWD CHEERS] THE LION IS SEEN AS A HARBINGER OF HAPPINESS, A HARBINGER OF GOOD FORTUNE, BRINGING AUSPICIOUSNESS TO AN OCCASION, WHERE YOU WANT TO CELEBRATE, YOU WANT TO BRING THAT AUSPICIOUS ENERGY TO THE OCCASION.

THE LION DANCE IS A MARTIAL ART IN THE WAY YOU MOVE, IN THE WAY YOU BLINK AT THE RIGHT TIME, IN THE WAY YOU MOVE THE MOUTH AT A CERTAIN TIME, AND HOW YOU MOVE YOUR BODY TO MAKE IT LOOK ANIMAL-LIKE.

THE EYES ARE MADE OF WOOD, PAINTED WOOD.

THE INSIDES ARE MADE OF BAMBOO BOUND WITH PAPER AND THEN COVERED WITH PAPER AS PAPIER-MACHE, AND THEN THERE ARE STRINGS TO PULL THE EYELIDS SHUT.

YOU OPERATE THE MOUTH WITH YOUR HAND.

WHEN YOU LOOK AT SOMETHING THAT'’’S DONE TRADITIONALLY IN THIS MANNER, YOU CAN TELL THAT A VERY DEFT HAND DID IT.

CHAN: WE WANTED TO BE GOOD STEWARDS OF THIS ART FORM.

WE TAKE IN THESE LIONS, AND WE REPAIR THEM AND RESTORE THEM TO WHAT THEY USED TO BE OR, YOU KNOW, SOMETHING EVEN BETTER.

CHUN: THIS LION I'’’M CURRENTLY RESTORING--IT'’’S BEEN CRUSHED ON ONE SIDE, AND PRETTY MUCH WHAT I DO IS I TAKE A LOT OF BAMBOO STRIPS, AND I CREATE SPLINTS.

I TAKE FIRST-AID TAPE, WHICH IS RELATIVELY CHEAP, AND I JUST CREATE THAT SPLINT, AND SOMETIMES IT'’’S EASIER TO GET INSIDE THE LION.

I GO OVER IT WITH THE GLUE TO KEEP IT TOGETHER AND SOLIDIFY THAT.

LUM: THIS LION IS 20 YEARS OLD NOW.

IF WE DIDN'’’T RESCUE IT, IT WOULD BE BURNT AT A TEMPLE.

THAT'’’S ONE OF THE TRADITIONAL WAYS THAT LIONS GO BACK TO HEAVEN.

THEY GET BURNED, AND THE SPIRIT IS RELEASED, AND IT GOES BACK UP.

I'’’M REINFORCING THE SPINE OF THE LION HEAD RIGHT HERE.

OFTENTIMES, THE LION BREAKS RIGHT ACROSS THE SPINE.

I BUILD UP THE PAPIER-MACHE LAYERS... REALLY, REALLY MAKE IT TOUGH TO BREAK AND EASY FOR US TO PAINT.

YOUNG: WHAT WE LIKE TO LOOK FOR IS BLENDING.

BLENDING IS THE USE OF 2 COLORS AND HOW THE ONE COLOR WILL FADE DIRECTLY INTO THE OTHER.

SO, AN EXAMPLE IS RIGHT HERE IN THE EYE SOCKET-- THE BLACK TO THE WHITE.

THIS IS THE MOST NERVE-WRACKING PART OF PAINTING LION HEADS BECAUSE IF YOU'’’RE NOT CAREFUL, YOU COULD END UP WITH SOLID BLACK OR WHITE OR TOO MUCH BLACK OR TOO MUCH WHITE.

LEE: ONE SPECIFIC THING FROM LONG AGO TILL TODAY IS THAT THE NOSE IS STILL ALWAYS GREEN OR AT LEAST HAS SOME KIND OF GREEN ON IT, BECAUSE GREEN SYMBOLIZES BENEVOLENCE.

LUM: THESE ARE THE ORIGINAL EARS THAT CAME WITH THIS LION.

TODAY, I'’’LL BE AFFIXING THE BLACK GOAT FUR TO THE UNDERSIDE HERE.

CHAN: I THINK IT'’’S PLENTY.

IT'’’S AN HONOR TO BE ENTRUSTED WITH PASSING DOWN THE ART TO THE NEXT GENERATION BECAUSE THERE'’’S MANY, MANY PEOPLE THAT HAVE KEPT THE ART ALIVE THIS LONG FOR US, AND WE MUST NOT DROP THE BALL.

SHEA: IT MAY SEEM CONTRADICTORY THAT WHAT IS KNOWN AS THE MOTOR CITY--FOR YEARS, A CENTER OF INDUSTRY, A CENTER OF MASS PRODUCTION-- IS AT THE SAME TIME CONNECTED WITH CRAFTMAKING, BUT THERE'’’S BEEN A LONG AND RICH AND DEEP HISTORY OF CRAFT IN DETROIT.

BEAL: WE'’’RE STANDING IN THE HEART OF THE DETROIT INSTITUTE OF ARTS, AND WE'’’RE SURROUNDED BY DIEGO RIVERA'’’S MURAL CYCLE "DETROIT INDUSTRY."

THESE MURALS REPRESENT DETROIT AT ITS MOST VIBRANT, MOST POWERFUL, WHEN IT REALLY WAS AN ECONOMIC ENGINE.

IT'’’S A REMARKABLE FEAT, PAINTING THIS.

IT'’’S LIKE THE SISTINE CHAPEL.

IT'’’S A HUGE UNDERTAKING.

THEY ALSO REPRESENTED AT THE TIME AN IMPORTANT WORK BY AN ARTIST WHO WAS REGARDED AS ONE OF THE MOST IMPORTANT ARTISTS IN THE WORLD.

AND OF COURSE, THE PAINTING IS A TRUE FRESCO.

RIVERA HELPERS WOULD PREPARE OVERNIGHT THE FRESH PLASTER, STILL WET, THAT RIVERA WOULD PAINT INTO.

THE MAIN PANELS SHOW THE CREATION OF AN AUTOMOBILE, FROM THE VERY BEGINNING OF THE SMELTING OF THE STEEL ALL THE WAY DOWN TO A LITTLE TINY CAR IN THE DISTANCE COMING OFF THE PRODUCTION LINE.

SHEA: I DON'’’T THINK ANY OF US NOW CAN REALLY BE IN THIS SPACE AND NOT BE IMPACTED BY THE MONUMENTALITY.

THESE MURALS WERE JUST AWARDED NATIONAL HISTORIC LANDMARK STATUS.

BEAL: THESE MURALS SAY MANY THINGS, I THINK.

ON THE ONE HAND, GIVEN THE STATE THAT DETROIT HAS FALLEN INTO, THEY COULD BE SEEN AS AN ELEGY OF SOME SORT.

ON THE OTHER HAND, THEY'’’RE ALSO A SONG TO GREATNESS.

DEVLIN: PEWABIC HAS BEEN FIRMLY ROOTED IN THE CITY OF DETROIT FOR 112 YEARS.

THE HOLIDAYS ARE A TIME OF GREAT ENERGY AND EXCITEMENT HERE.

THE GIVING AND RECEIVING OF PEWABIC CERAMICS HAS BEEN A DETROIT TRADITION FOR OVER A CENTURY.

WE ALL FEEL TIED TO SHARING THIS BEAUTIFUL HANDMADE CRAFT.

KWIATKOWSKI: I'’’M PRESSING THE FIRST OF THE "12 DAYS OF CHRISTMAS" TILE SERIES, AND IT'’’S "PARTRIDGE IN THE PEAR TREE."

I CUT OFF MY EXCESS CLAY, SMOOTH IT OUT, GIVE IT A STAMP... AND ONCE IT'’’S DRY, I CAN POP IT OUT OF THE MOLD, PUT THE HOLE IN IT, AND IT DRIES OVER A DAY, AND THEN WE CAN BISQUE IT.

THAT'’’S WHERE YOU CAN PUT THE GLAZE ON IT.

THULLEN: MOST ALL THE TILES THAT WE MAKE ARE SPRAYED WITH GLAZE, RATHER THAN DIPPING GLAZE ON.

IT'’’S A MUCH MORE CONSISTENT WAY TO GLAZE EVERYTHING.

IT ALLOWS US TO DO AN ENTIRE TRAY OF TILES VERY QUICKLY AND VERY EVENLY.

THE GLAZES WE USE ARE VERY SENSITIVE TO THE THICKNESS THAT THEY'’’RE BEING APPLIED IN TERMS OF GETTING JUST THE RIGHT COLOR.

THE MICROMETER MEASURES THE THICKNESS OF THE GLAZE TO 1/1,000 OF AN INCH.

DEVLIN: IN THE EARLY 1900s, MOST WOMEN WOULD GET MARRIED AND RAISE A FAMILY, AND MARY CHASE PERRY STRATTON DECIDED TO OPEN HER OWN BUSINESS.

MARY WAS A SELF-TAUGHT CERAMIC ARTIST.

IN DETROIT, EVERYTHING WAS BEING MASS PRODUCED.

MARY WAS GOING AGAINST ALL OF THAT AND MAKING EVERYTHING BY HAND.

HUNTER: I'’’VE HEARD A LOT ABOUT THE WAY SHE DRESSED, WITH ALL OF HER LONG SEWING DRESSES AND HAVING A BUCKET OF WATER NEAR THE KILNS JUST TO PUT OUT A POSSIBLE FIRE FROM THIS LONG DRESS THAT SHE USED TO WEAR.

DEVLIN: MARY WAS GOOD FRIENDS WITH CHARLES FREER, AND UPON RETURNING FROM A TRIP OVERSEAS, CHARLES PRESENTED MARY WITH A SHARD OF PERSIAN POTTERY.

IT WAS A BLUE IRIDESCENT GLAZE, AND HE CHALLENGED HER, "GO AHEAD AND MAKE THIS," AND SHE SPENT QUITE A LONG TIME GOING THROUGH VARIATION AND VARIATION, AND SHE FINALLY ENDED UP DOING IT.

THE IRIDESCENT GLAZE BECAME ONE OF THE DEFINING ELEMENTS OF PEWABIC.

MARY RAN THIS BUSINESS SUCCESSFULLY UNTIL SHE PASSED AWAY IN 1961, BUT WE STILL ENCOURAGE THAT INNOVATIVE SPIRIT HERE.

MAROCCO: MARY CHASE STRATTON WAS A WOMAN AHEAD OF HER TIME.

SHE WOULD SKETCH OUT IDEAS, AND THEN HAVE HER POTTER THROW THEM, AND THEN SHE WOULD GO BACK AND MANIPULATE AND ADD AND SCULPT ON TOP OF THOSE PIECES.

USUALLY AROUND THE HOLIDAYS, WE'’’LL DO SOME SPECIALTY PIECES LIKE THAT, IN HONOR OF THAT TRADITION.

HICKEY: THE PROCESS OF SLIP CASTING IS, YOU HAVE A CLEAN MOLD.

YOU POUR SLIP INTO IT.

IT'’’S COMPOSED OF 40% WATER, 60% CLAY.

AFTER 2 HOURS, WE POUR IT OUT.

THE REMAINING CLAY CREATES THE PIECES.

THE SNOWDROP VASE-- THIS IS AN ORIGINAL DESIGN FROM MARY STRATTON.

WE SLIP CAST THE SNOWDROP BECAUSE OF ALL THE APPLIQUE AND THE DECORATION ON THE VESSEL.

IT'’’S A GOOD WAY FOR IT TO BE CONSISTENT WITH THE FORM.

AFTER I FINISH THE PIECE, I LET IT DRY A GOOD DAY, AND THEN I GET THEM READY TO FIRE FOR THE FIRST FIRING, WHICH IS THE BISQUE FIRING.

DEVLIN: MARY CHASE PERRY STRATTON'’’S TILES CAN BE SEEN ALL OVER THE CITY.

THE DETROIT INSTITUTE OF ARTS HAS THE STUNNING FOUNTAIN BACKDROP.

SHE DID THE FLOOR IN THE DIEGO RIVERA MURAL ROOM, AND SHE ALSO INSTALLED BEAUTIFUL IRIDESCENT NICHES IN THE AMERICAN WING.

THE PEWABIC FIREPLACE AT THE DETROIT PUBLIC LIBRARY WAS COMMISSIONED AND INSTALLED IN 1921.

IT WAS THEN THE CHILDREN'’’S READING ROOM.

THERE ARE 10 TILES, DEPICTING IMAGES FROM 10 CLASSIC STORIES FROM LITERATURE.

THE GOAL OF THAT WAS, CHILDREN WHOSE MINDS ARE CONSTANTLY WANDERING WOULD ALWAYS HAVE SOMETHING NEW TO FOCUS ON AND THINK ABOUT WHEN THEY WERE IN THAT ROOM AND INTERACTING WITH THAT FIREPLACE.

HAEHL: SO, THIS IS THE "MIDSUMMER NIGHT'’’S DREAM" TILE.

FIRST STEP IS TO PUT IN ALL THE BLACK STAIN IN ALL THE RECESSES SO IT KIND OF CREATES A LITTLE BIT OF DEPTH IN THE TILE, AND THEN YOU WIPE AWAY THE GLAZE, AND THEN YOU'’’RE LEFT WITH THE OUTLINE.

IT'’’S A LITTLE BIT EASIER TO PAINT AFTER YOU CAN SEE THOSE LINES.

LAPERRIERE: WE DO 2 KINDS OF FIRINGS IN THIS KILN.

WE DO A BISQUE FIRING, WHICH IS THE INITIAL FIRING THAT CHANGES THE CLAY INTO CERAMIC, AND THEN WE TAKE THAT A LITTLE BIT HOTTER, AND THAT'’’S THE FINAL GLAZE FIRING, WHERE WE ACTUALLY RECEIVE THE FINISHED GOODS.

WE CHECK OVER A FEW THINGS, MAKING SURE THEY'’’RE NOT WARPED, MAKING SURE THE HOLES ARE FULLY PIERCED, MAKING SURE THE HALLMARK IS NOT OBSCURED.

PEOPLE LOVE COMING IN AND GETTING OUR "12 DAY" ORNAMENTS, SO WE WANT TO MAKE SURE THAT THEY'’’RE THE FINEST QUALITY.

WOMAN: [HUMMING] ♪ ON THE FIRST DAY OF CHRISTMAS MY TRUE LOVE SENT TO ME A PARTRIDGE IN A PEAR TREE ON THE SECOND DAY OF CHRISTMAS MY TRUE LOVE SENT TO ME 2 TURTLEDOVES AND A PARTRIDGE IN A PEAR TREE... ♪ DEVLIN: OVER THE YEARS, WE'’’VE SEEN A LOT OF PEOPLE COME AND GO THROUGH THE WALLS OF THIS BUILDING, BUT THE SPIRIT OF PEWABIC STILL REMAINS: STILL PRACTICING THE CERAMIC CRAFT THE WAY THAT MARY DID IT 112 YEARS AGO.

SINGER: ♪ 5 GOLDEN RINGS... ♪ MAROCCO: IT'’’S GREAT TO BE A PART OF HISTORY THAT'’’S BEEN AROUND FOR SO LONG AND SEEING ALL THE CHANGES THAT THE CITY HAS GONE THROUGH OVER THE LAST YEARS, IT'’’LL BE EXCITING TO SEE WHAT COMES NEXT.

SINGER: ♪ ON THE TWELFTH DAY OF CHRISTMAS MY TRUE LOVE SENT TO ME 12 DRUMMERS DRUMMING 11 PIPERS PIPING 10 LORDS A-LEAPING 9 LADIES DANCING 8 MAIDS A-MILKING 7 SWANS A-SWIMMING 6 GEESE A-LAYING 5 GOLD RINGS 4 CALLING BIRDS 3 FRENCH HENS 2 TURTLEDOVES AND A PARTRIDGE IN A PEAR TREE ♪ MAN: THIS IS A CELEBRATION, KWANZAA, THAT WE'’’VE BEEN DOING FOR OVER 20 YEARS COLLECTIVELY-- 20-SOMETHING YEARS!

[CHEERING AND APPLAUSE] ADAMS: KWANZAA WAS DEVELOPED AS AN AFRICAN-AMERICAN HOLIDAY.

IT IS THE OPPORTUNITY FOR AFRICAN-AMERICANS TO AFFIRM THEMSELVES, TO CONNECT WITH SOME TRADITIONS, AND TO CREATE SOME NEW ONES.

MAN: DON'’’T EVER LET NOBODY TELL YOU WE ARE NOT AN AFRICAN PEOPLE.

IT'’’S IN YOUR SPIRIT.

JUST LET IT GO.

THERE'’’S AN AFRICAN IN EVERY ONE OF US THAT'’’S JUST WAITING TO COME ALIVE.

ADAMS: KWANZAA IS SORT OF A GATEWAY TO LEARNING HOW YOU ARE CONNECTED TO AFRICA AND LEARNING MORE ABOUT OUR DISTRIBUTION, OR OUR DIASPORA, AS YOU WOULD SAY.

ROSS: WE CALL UPON THE CREATOR TO BE HERE WITH US TODAY.

WE ASK THAT YOU ORDER OUR STEPS, OUR WORDS, OUR DEEDS.

WE ASK THAT YOU CLEAR OUR VISION SO THAT WE CAN SEE THE THINGS WE NEED TO SEE.

[WOMEN SINGING IN AFRICAN LANGUAGE] >> ♪ REVOLUTION HAS COME ♪ ADAMS: DURING THE SIXTIES, AT THE VERY HEIGHT OF OUR BLACK POWER/BLACK IS BEAUTIFUL MOVEMENT, KWANZAA WAS BORN.

DR. MAULANA KARENGA, ITS FOUNDER, FELT THAT WE NEEDED A HOLIDAY THAT WE STARTED, THAT WAS NOT ORGANIZED AROUND A SINGLE INDIVIDUAL, BUT WAS ORGANIZED AROUND IDEAS OF PHILOSOPHY.

SO HE RESEARCHED CELEBRATIONS THAT EXISTED IN AFRICA AS A WAY TO DEVELOP SOMETHING THAT WE COULD PATTERN THIS ON.

WHEN PEOPLE SAY, "WELL, THEY DON'’’T DO KWANZAA IN AFRICA," WELL, THEY DO SIMILAR CELEBRATIONS THAT CELEBRATE THE HARVEST.

THE HARVEST IS USED METAPHORICALLY WHEN YOU TALK ABOUT KWANZAA.

IT'’’S A HARVEST OF IDEAS.

HARRIS: FIRST THING YOU DO AT A KWANZAA CELEBRATION OR A KWANZAA OBSERVANCE IS, YOU PREPARE THE TABLE, AND THE FIRST THING I DID WAS, I ADORNED THIS TABLE WITH AN AFRICAN FABRIC WITH THE COLORS RED, BLACK, AND GREEN, WHICH ARE CONNECTED TO THE CELEBRATION.

I WOULD THEN PLACE THE MKEKA.

THE MKEKA IS KISWAHILI FOR STRAW MAT, AND THE MKEKA REPRESENTS THE FOUNDATION.

THEN ON THERE, WE WOULD THEN PLACE THE KINARA.

THE KINARA REPRESENTS OUR ANCESTORS, WHERE WE ALL SPRING FROM.

GRAVES: I'’’M A JEWELER, I'’’M A CRAFTSMAN, AND PART OF MY PURPOSE IS TO CREATE THE KINARAS.

UNITY BELONGS IN THE CENTER.

IT'’’S IMPORTANT IT MUST BE OUT OF NATURAL WOOD.

FOUND TREE IN THE NEIGHBORHOODS.

BUT THE MOST IMPORTANT THING IS THAT IT'’’S REACHABLE.

IF I CAN DO IT, ANYBODY CAN DO IT, ALL OVER THE WORLD.

LIGHTING THE CANDLE DURING THE RITUAL IS SO MUCH A PART OF THE SPIRIT OF WHAT WE BELIEVE.

AND THE SEVEN PRINCIPLES OF THE NGUZO SABA.

MALIK: THERE ARE 7 DAYS IN KWANZAA, ORGANIZED TO RADIATE DIFFERENT PRINCIPLES.

THE FIRST DAY, THE 26th OF DECEMBER, IS THE DAY WHERE WE CELEBRATE UNITY, UMOJA.

HARRIS: WE'’’RE GONNA LIGHT THAT FIRST CANDLE, UMOJA, TO STRIVE FOR...

CROWD: TO STRIVE FOR... HARRIS: UNITY.

CROWD: UNITY.

HARRIS: YES.

LET'’’S PULL TOGETHER AROUND UMOJA.

GIVE THEM AROUND OF APPLAUSE.

YES, YES.

MALIK: UMOJA, KUJICHAGULIA, UJIMA, UJAMAA, NIA, KUUMBA, IMANI-- UNITY, SELF-DETERMINATION, COLLECTIVE WORK AND RESPONSIBILITY, COOPERATIVE ECONOMICS, PURPOSE, CREATIVITY, AND FAITH.

WOMAN: OK. KAREN: TODAY WE'’’RE GONNA BUILD SATCHELS, AND THESE SATCHELS ARE VERY IMPORTANT IN TERMS OF SHARING THE PART OF US THAT WE THINK WILL BE BENEFICIAL FOR OUR COMMUNITIES.

THAT'’’S ROSE PETAL.

WE HAVE CINNAMON FOR SWEETNESS.

WOMAN: MMM!

ADAMS: THE HANDMADE ASSOCIATION WITH KWANZAA WAS AT THE VERY BEGINNING.

SOME PEOPLE GIVE A SMALL GIFT EACH DAY, AND SOME PEOPLE JUST WAIT TILL THE LAST DAY, BUT YOU HOPE THAT YOU TEACH YOUR CHILDREN THAT THEY CAN MAKE YOU A GIFT.

IT'’’S ABOUT BEING FREE AND ABLE TO CREATE.

MALIK: KUJICHAGULIA, SELF-DETERMINATION.

AND WE SAY... ALL: ASHAY.

MALIK: THIS IS A UNIQUE HOLIDAY SPECIALLY MADE FOR BLACK PEOPLE TO CELEBRATE THEMSELVES AND GIVE THEMSELVES TO THE WORLD, PRESENT THEMSELVES TO THE WORLD.

GRAVES: LETTING PEOPLE KNOW THAT WE AS A PEOPLE CAN CREATE, WE CAN MOVE FORTH, AND WE CAN SURVIVE.

MALIK: THE DAY OF KUUMBA, CREATIVITY.

ALL: ASHAY, ASHAY, ASHAY.

MALIK: LET'’’S EAT.

YAMAMOTO: I GREW UP, VERY MUCH LIKE TYPICAL JAPANESE CHILDREN, STUDYING A LOT, AND I ACTUALLY GREW UP IN DOWNTOWN TOKYO, CAME OVER HERE WHEN I WAS ABOUT 20 YEARS OLD.

OOH, LOOK AT THAT.

OH, HOW PRETTY THAT IS.

YOU WANT TO DRAW IT?

GIRL: YEAH.

YAMAMOTO: IN JAPAN, THERE WAS THIS WONDERFUL SCHOOL PROGRAM WHERE WE HAD TO DO SOMETHING EVERY DAY, SO I DECIDED TO DRAW ANIMALS.

I ENDED UP DRAWING, LIKE, MAYBE 600 DIFFERENT ANIMALS, AND THAT HAS BEEN THE BEST TRAINING THAT I CAN USE FOR TODAY'’’S WORK I DO-- MAKING BLOCK PRINTS AND LITTLE PRESSED NOTE CARDS.

ONE SUMMER, WE WENT TO OLYMPIC NATIONAL PARK, AND THERE WERE THESE TREES.

THE WAY THEY WERE ARRANGED WAS JUST SO BEAUTIFUL, SO I HAD TO MAKE SOME SKETCH, AND I WAS ABLE TO USE THAT FOR THIS NEW CHRISTMAS CARD.

IT'’’S CALLED "WINTER CARDINALS."

WINTER HOLIDAYS IN JAPAN IS VERY DIFFERENT, ACTUALLY, FROM AMERICA.

WE DO CELEBRATE CHRISTMAS.

IT'’’S SOMETHING THAT, YOU KNOW, JAPANESE PEOPLE REALLY ADORE ANYTHING FROM THE WEST, BUT I THINK NEW YEAR'’’S IS ACTUALLY A BIGGER DEAL.

THE CHILDREN ARE WAITING TO PLAY WITH THE KITE AND SPIN THE TOP, AND THEN YOU SEE THE PINE TREE DECORATIONS THAT ARE PUT IN FRONT OF EACH HOUSE.

SO THAT'’’S WHAT I GREW UP WITH.

AFTER THE PENCIL SKETCH, I START MAKING WATERCOLOR.

I NEED TO DO THIS STAGE IN ORDER TO KNOW WHERE THE COLORS ARE GOING TO GO.

SMITH: WE STARTED WORKING TOGETHER WHEN WE WERE STILL IN TOKYO.

I WAS MANAGING A FRENCH RESTAURANT IN SHIBUYA AT THAT TIME, AND HER PARENTS WERE MY LANDLORDS, AND SHE CAME DOWN AND HELPED ME WITH SOME OF THE ADVERTISING ARTWORK I NEEDED FOR THE RESTAURANT, AND WE CAME BACK TO AMERICA, WHERE WE GOT MARRIED, AND THEN WE GOT VERY INTERESTED IN THE ARTS AND CRAFTS MOVEMENT, STARTED TO PRINT OUR OWN LITTLE MAGAZINE.

YAMAMOTO: THE ARTS AND CRAFTS MOVEMENT WAS REALLY BORN AGAINST THE INDUSTRIALIZATION OF THE LATE 19th CENTURY, EARLY 20th CENTURY, SO THEY WERE REALLY TRYING TO DISCOVER THEIR OWN ROOTS, SO IN ORDER TO DO THAT, THEY LOOKED FOR INSPIRATION TO THEIR SURROUNDINGS.

AND IT REALLY TALKED ABOUT THE IMPORTANCE OF HAVING ART AS SOMETHING FUNCTIONAL.

YOU KNOW, WILLIAM MORRIS, WHO IS FATHER OF ARTS AND CRAFT MOVEMENT, SAID IT REALLY VERY WELL--THAT EVERYTHING WE MAKE SHOULD BE BORN FROM OUR DAILY LIFE.

IT SUDDENLY MADE SENSE TO ME ABOUT WHAT I NEEDED TO DO AS AN ARTIST.

I JUST WANTED TO MAKE SOMETHING THAT MADE ME HAPPY, MADE OTHER PEOPLE HAPPY, AND THEN ALSO SOMETHING THAT HAS REALLY GOOD CRAFTSMANSHIP.

AFTER I DO THE WATERCOLOR, I HAVE TO BE ABLE TO REVERSE THE IMAGE.

TO DO THAT, I ACTUALLY USE A LIGHTBOX TO TRACE THE LINES EXACTLY AS THEY ARE GOING TO APPEAR.

AND THEN I PUT A CARBON PAPER ONTO THE LINOLEUM BLOCK.

THEN ON TOP OF THAT IS THE REVERSED IMAGE THAT I JUST CREATED.

I'’’LL START TRACING THAT.

I WAS NOT MUCH INTERESTED IN JAPANESE ART WHEN I WAS IN JAPAN, BUT WHEN I STARTED LIVING HERE, IT'’’S INTERESTING-- WHEN YOU ARE AWAY FROM YOUR OWN HOME COUNTRY, YOU START REALIZING THE THINGS THAT YOU DIDN'’’T DISCOVER BEFORE, ESPECIALLY WOODBLOCK PRINTING FROM EDO PERIOD, WHICH IS ABOUT 200 YEARS AGO.

ORIGINALLY, THESE PRINTS WERE MADE IN HUNDREDS, AND THEY WERE REALLY CHEAP, LIKE A POSTCARD, SO IT WAS SOMETHING THAT ALL THE COMMON PEOPLE COULD ENJOY.

THE REALLY AMAZING TECHNIQUE-- THAT'’’S THE KIND OF THING I STARTED REDISCOVERING, AND I FELT, OK, THIS IS SOMETHING I REALLY WANTED TO INCORPORATE INTO MY WORK.

EVEN THOUGH I DO USE MACHINERY TO PRODUCE MY NOTE CARDS, I'’’M HOPING THAT MY NOTE CARDS ARE SOMETHING LIKE THE OLD TRADITIONAL JAPANESE BLOCK PRINTS THAT EVERYBODY CAN BUY AND THAT EVERYBODY CAN ENJOY.

THE SNOWMAN CARD IS MY HOMAGE TO HIROSHIGE, MY FAVORITE ARTIST FROM EDO PERIOD.

HE USUALLY HAS THE DOMINANT FIGURE IN THE FOREGROUND, SO YOU SEE SOME KIND OF A DIALOGUE BETWEEN THE OBJECT THAT'’’S IN THE FRONT AND THE LANDSCAPE BEHIND.

USING THE TRANSFERRED IMAGE AS A GUIDE, THEN I START CUTTING OUT THE AREAS I DON'’’T NEED.

THE AREA THAT'’’S HIGHER IS GOING TO RECEIVE THE INK WHEN I START PRINTING.

I ACTUALLY USE LINOLEUM BLOCKS.

LINOLEUM IS MUCH SOFTER THAN WOOD, SO IT'’’S A REALLY GREAT MATERIAL FOR CARVING.

THAT BLOCK IS WHAT WE CALL KEY BLOCK.

IT'’’S MOST IMPORTANT BLOCK THAT BINDS EVERYTHING TOGETHER AND IS CALLED HONE-BAN IN JAPANESE, AND THAT HONE-BAN I AM GOING TO PRINT IN OUR PRINTING PRESS.

I NEED TO NOW SCAN THE PRINTED HONE-BAN INTO A COMPUTER, AND THEN I CAN DO THE COLOR SEPARATION.

SO IF I'’’M WANTING TO HAVE BLUE BACKGROUND, I NEED TO MAKE A PHOTO NEGATIVE LIKE THIS, AND THAT'’’S GOING TO BE USED TO MAKE VERY HARD POLYMER PLATE THAT IS REALLY DURABLE FOR PRINTING THOUSANDS OF NOTE CARDS.

WE PRINTED ALREADY THE KEY BLOCK, WHICH IS THE DARK OUTLINE COLOR, AND THEN ALSO BROWN AND GREEN.

NOW WE NEED TO PRINT BLUE ON TOP OF THAT.

THAT'’’S GOING TO BE THE BACKGROUND, AND THEN THE RED FOR ALL THE CARDINALS.

MY WORK IS REALLY HYBRID, IN SOME WAY, OF WOODBLOCK PRINTING OF JAPAN, WHERE EVERYTHING WAS DONE BY HAND.

AS I CAME OVER HERE, I DISCOVERED THESE OLD LETTERPRESS PRINTING PRESSES, SO I STARTED MERGING BOTH THE WESTERN METHOD AND THE JAPANESE HANDCRAFT METHOD.

IT'’’S ACTUALLY REALLY GOOD.

SO I'’’LL DO ADJUSTMENT A LITTLE BIT, AND WE'’’LL START PRINTING.

WILLIAM MORRIS SAID THAT EVERYTHING WE MAKE SHOULD BE BORN FROM OUR DAILY LIFE, AND AS I LOOK BACK ON MY LIFE, THAT'’’S WHAT I SEEM TO BE DOING.

AND MY HOPE IS THAT MY OWN PERSONAL MOMENTS CAN BE SOMETHING THAT BECOME UNIVERSAL AND SOMETHING THAT OTHER PEOPLE CAN ENJOY AS NOTE CARDS OR BLOCK PRINTS.

THAT IS DEFINITELY MY HOPE.

MOTAWI: AHH!

OHH...

I STARTED MOTAWI TILEWORKS IN MY GARAGE ON PACKARD ROAD IN ANN ARBOR 23 YEARS AGO, BUT I REALIZED ONLY ABOUT 4 YEARS AGO, 15 YEARS INTO THE JOURNEY, THAT THIS WAS MY CALLING.

I DON'’’T THINK YOU SHOULD HAVE TO GO TO A MUSEUM TO SEE BEAUTIFUL THINGS.

IT'’’S ACTUALLY REALLY IMPORTANT TO ME THAT YOU CAN HAVE BEAUTIFUL THINGS IN YOUR EVERYDAY LIFE.

I STARTED WORKING AT PEWABIC POTTERY BECAUSE THAT'’’S WHAT YOU DID WHEN YOU GRADUATED IN THE CERAMICS IN SOUTHEAST MICHIGAN.

AT PEWABIC, I LEARNED HOW TO MAKE RELIEF TILE.

RELIEF TILE IS ALL ABOUT THE SCULPTURE AND THE FORM OF THE TILE.

IT'’’S LOW-RELIEF, AND THE GLAZE JUST MELTS OVER IT, AND AFTER I HAD SEEN A LOT OF OTHER AMERICAN ART TILE FROM THE 20th CENTURY, I REALIZED THERE WERE SOME MORE TECHNIQUES OUT THERE THAT I REALLY WANTED TO LOOK AT, AND I REALLY WANTED TO BE ABLE TO USE COLOR.

MOTAWI'’’S ART TILE IS A TILE THAT'’’S MADE WITH THE RAISED-LINE TECHNIQUE.

I'’’LL HAVE A LITTLE TINY RIDGE ABOUT 35/1,000 OF AN INCH TALL, AND ESSENTIALLY, THERE ARE ALL THESE LITTLE BATHTUBS INTO WHICH YOU POOL THE GLAZE.

IT'’’S REALLY A SIGNATURE LOOK FOR US.

IT REALLY SEPARATES US FROM PEWABIC OR ANYONE ELSE.

I GET TO PLAY WITH COLOR.

HA HA HA!

YAMAMOTO: MOTAWI TILES-- I LOVE THEIR TILE.

THEY ARE SO SIMPLE AND ELEGANT, AND YET VERY STRONG.

SO, WORKING WITH MOTAWI, THEY TAKE MY MORE TRADITIONAL KIND OF WORK AND MAKE IT MORE CONTEMPORARY.

MOTAWI: I KNEW THOSE DESIGNS WOULD MAKE GREAT TILE, BUT, YOU KNOW, THERE ARE SOME FEELINGS IN PAINTING AND WOODBLOCK THAT YOU CANNOT CAPTURE, SO MY CURIOUS TALENT IS TO TAKE DESIGNS AND MOTIFS THAT I SEE AND ENVISION THEM IN MOTAWI'’’S DESIGN STYLE.

STURM: SO, THE FIRST STEP IS THAT WE GET ART FROM YOSHIKO, AND THEN I GO IN AND ACTUALLY TRACE OUT THE TILE.

NOW, THE TRICK HERE IS THAT WE HAVE TO HAVE A CERTAIN SIZE AREA FOR GLAZE TO BE ABLE TO GO INTO, AND THERE ARE THINGS IN THIS ART THAT CAN'’’T ACCOMMODATE THAT, SO WHAT I DO IS I MAKE DECISIONS ABOUT WHAT STAYS AND WHAT GOES.

I TRY TO KEEP THE SPIRIT OF THE ART AS MUCH AS POSSIBLE.

WE END UP WITH A NICE SET OF LINE ART THAT REPRESENTS ALL THE LINES THAT ARE GONNA BE THE RAISED LINES IN ALL OF THE TILES THAT WE DO.

ROEBUCK: AND THEN WE BRING IT INTO ANOTHER PROGRAM, CALLED ARTCAM, AND THIS ALLOWS US TO CREATE THE ACTUAL 3-DIMENSIONAL OBJECT.

TRADITIONALLY, MOLDS WERE MADE BY ENGRAVING WITH A SHARP TOOL INTO A BLOCK OF PLASTER.

THAT WOULD BE VERY HARD TO ACCOMPLISH, THIS MUCH COMPLEXITY AND DETAIL IN PLASTER.

ONCE WE'’’VE CREATED THE TOOLPATH IN ARTCAM, WE BRING IT RIGHT OVER HERE TO A SEPARATE COMPUTER AND OUR CNC ROUTER.

FIRST WE CARVE THE RADIUS OF OUR TILE AS A CAVITY IN THIS WAX, WHICH I'’’VE ALREADY DONE, AND THEN WE SWITCH TO A SMALLER BIT, AND WE ENGRAVE OUR LINES.

CNC STANDS FOR COMPUTER NUMERICAL CONTROL.

WE CAN ACHIEVE THINGS LIKE CIRCLES AND REALLY SMALL GEOMETRY.

MARKLEY: AFTER THEY CUT OUT THE WAX ON THE CNC MACHINE, I'’’LL FILL IT WITH RUBBER TO MAKE IT A POSITIVE, RATHER THAN A NEGATIVE.

SO AFTER I POUR THE RUBBER, I'’’LL POUR PLASTER OVER IT TO MAKE A MOLD.

ONCE I MAKE THE MOLD, THEN I'’’LL TAKE IT TO THE RAM PRESS.

WITH THE RAM PROCESS, I CAN RELEASE IT WITHIN SECONDS.

MOTAWI: YOU KNOW, WHAT'’’S THE DIFFERENCE BETWEEN A GOOD CRAFTSMAN AND A REALLY GREAT PROCESS PERFORMED BY A BUNCH OF PEOPLE WHO ARE DISCIPLINED IN ADHERING TO THE PROCESS?

I WOULD ARGUE THAT A CRAFTSMAN IS SOMEONE WHO REMEMBERED HOW TO DO IT EVERY TIME AND STICKS TO THEIR PROCESS.

WELL, THAT'’’S WHAT WE DO AT MOTAWI.

GUZZARDO: BULB GLAZING IS THE METHOD WE USE TO APPLY THE GLAZE TO THE SURFACE OF THE CERAMIC TILE.

IT'’’S POOLING THE GLAZE IN BETWEEN VERY SHALLOW RAISED LINES.

SO THIS IS GONNA BE OUR HOLIDAY TILE.

YOU JUST APPLY GENTLE PRESSURE, AND THERE'’’S DIFFERENT SIZE TIPS TO CONTROL THE FLOW OF THE GLAZE.

MOTAWI: ONE OF THE THINGS I'’’M LOOKING AT IN THE CARDINAL TILE IS, WHERE DO I WANT TO TAKE THAT BACKGROUND?

IS IT A WARM-TONE WINTER SKY?

IS IT A COOL, COLD-FEELING SKY?

IS IT A DEEP-BLUE DAY?

WHAT'’’S GONNA MAKE THE CARDINAL SING?

THE FINESSE ON THAT ONE IS GOING TO COME FROM GETTING THE SHADE OF BLUE JUST RIGHT.

WE'’’RE MAKING A CERTAIN KIND OF TILE, AND WE FEEL THAT WE CAN MAKE THE WORLD A BETTER PLACE WITH OUR BEAUTIFUL THINGS.

YOU KNOW, FEELING THAT SENSE OF BEAUTY IS AN IMPORTANT THING FOR PEOPLE.

IT CAN--IT JUST ELEVATES YOUR BEING.

CHAN: PEOPLE FROM CHINA, FROM THE SOUTHERN PART OF CHINA, THEY CAME TO AMERICA DURING THE MID 1800s.

OF COURSE, PEOPLE KNOW THAT THE CHINESE HELPED TO BUILD THE RAILROAD FROM THIS COAST TO THE MIDDLE OF THE COUNTRY.

SAN FRANCISCO CHINESE NEW YEAR PARADE STARTED AS A WAY FOR PEOPLE TO KEEP CONNECTED WITH THEIR CULTURE BACK IN CHINA.

WHEN THEY CAME OVER HERE, THERE WAS NO CHINESE CULTURE YET, SO ONE OF THE THINGS THAT THEY DID WAS TO START THIS PARADE, WHICH HAS GROWN AND GROWN AND GROWN, AND NOW IT'’’S NOT JUST LION DANCING AND DRAGON DANCING ANYMORE.

THOMAS: YOU KNOW, THE WAY I GOT STARTED IN THIS BUSINESS WAS, I WAS A MARTIAL ARTS INSTRUCTOR.

I WANTED TO BE IN CHINESE NEW YEAR'’’S PARADE.

THEY WOULDN'’’T LET ME IN BECAUSE I WASN'’’T CHINESE OR FROM CHINATOWN.

SO WE USED TO SNEAK INTO THE PARADE.

SO WE WOULDN'’’T BE RECOGNIZED, WE TOOK A GOLD MASK, AND WE WOULD WEAR THESE GOLD CHINESE MASKS, DO OUR KUNG FU IN THE STREET, AND AT THE END OF THE PARADE, WE'’’D PULL THE MASK OFF AND YELL, "IT'’’S THE WHITE GUYS," AND RUN AWAY, AND WE GOT AWAY WITH THAT FOR ABOUT 3 OR 4 YEARS, AND THEN THE PARADE COMMITTEE STARTED COMING DOWN AND SAYING, "WE WANT TO TALK TO YOU," I THOUGHT TO KICK ME OUT, AND WHEN THEY STARTED TALKING, THEY SAID, "WELL, WE'’’RE LOOKING FOR REALLY GOOD TALENT WE CAN NURTURE," AND AFTER A WHILE, IT SUDDENLY DAWNED ON ME, "ARE YOU GUYS OFFERING ME A JOB?"

AND THEY SAID, "YES.

WE WANT YOU TO KEEP DOING WHAT YOU'’’RE DOING.

WE'’’RE GONNA PAY YOU.

YOU DON'’’T NEED THE MASK ANYMORE."

LEARNING THE CULTURE OF THE CHINESE NEW YEAR, ESPECIALLY SYMBOLISM--THAT IS A FULL-TIME JOB, AND THAT'’’S WHAT I DID.

IN OUR EARLY DAYS, THEY GAVE US ONE FLOAT.

THEN THE NEXT YEAR, THEY GAVE US 3.

THE YEAR AFTER THAT, THEY GAVE US 5, AND AFTER THAT, WE'’’VE BEEN BUILDING EVERYONE'’’S SINCE.

BUT AS THE COMPANY GREW AND EXPANDED, I MAYBE COULD DO 2 OR 3 FLOATS BY MYSELF.

I COULD NOT DO 25.

THIS TIME NEXT FRIDAY, WE SHOULD ALL BE GOING HOME, WITH A MAJOR PARADE THE NEXT DAY.

OVER ONE MILLION PEOPLE ARE GONNA COME AND GRIDLOCK THIS CITY, AND YOU'’’RE RESPONSIBLE FOR IT.

WOMAN: HA HA HA!

THOMAS: I DO REMEMBER STEPHANIE DIDN'’’T LIKE ME.

I WAS TOO DEMANDING.

I GUESS THE MOON GETS MOUNTED.

CAN WE GET THAT UP?

BUT SHE HAS TREMENDOUS CAPABILITIES.

MUFSON: MY FIRST DAY ON THE JOB, HE SAID, "WHAT DO YOU DO?"

I SAID, "I'’’M A PAINTER."

HE SAID OK, AND HE PUT A SCREW GUN IN MY HAND AND TOLD ME TO GO SCREW SOMETHING TO SOMETHING ELSE, AND I WENT OVER, AND I WAS STRUGGLING WITH IT BECAUSE IT WAS NOT MY AREA OF EXPERIENCE, AND HE YELLED AT ME AND MADE ME FEEL REALLY STUPID.

AND THEN HE SAID, "WELL, WHAT DO YOU DO?"

AND I SAID, "I'’’M A PAINTER," AND THEN HE SAID, "FINE.

GO PAINT THAT THING," AND I GOT TO KEEP MY JOB BECAUSE IT TURNS OUT I ACTUALLY COULD PAINT.

SO, THIS IS GOING TO BE A MULTILAYERED VERSION OF THIS GUY.

IT'’’S FOR THE LIONS CLUB INTERNATIONAL FLOAT.

I GRADUATED FROM ART SCHOOL, AND I WAS DETERMINED THAT HOWEVER I WAS GOING TO MAKE MY MONEY, IT WAS GOING TO BE THROUGH CREATIVE WORK, AND I REMEMBER THINKING, "OH, I'’’M NOT GONNA DO THIS FOR VERY LONG.

THIS IS JUST A STOP ON THE ROAD."

BUT I ENDED UP REALLY GETTING INTO IT AND REALLY ENJOYING IT, AND THEN I LEARNED HOW TO USE THE POWER DRILLS AND LEARNED HOW TO DO EVERYTHING ELSE, AND NOW I RUN THE WHOLE THING.

THOMAS: OK, STEPHANIE, THIS IS THE OVERLAYMENT OF THE PARADE AS I SEE IT TODAY.

I KNOW YOU HAVE TO INTERPRET THIS ONE.

THIS IS GOING TO BE OUR BEST CUSTOMER, AND I CALL IT "AN EXPLOSION OF NEW YEAR'’’S."

IT'’’S A VERY COMPLICATED FLOAT, SO IT JUST OVERWHELMS YOU.

IT'’’S LIKE WALKING DOWN CHINATOWN ON ITS MOST CROWDED DAY.

DOES THAT WORK FOR YOU?

MUFSON: THAT SOUNDS GOOD.

THOMAS: OK. AND THEN I SAW THIS ONE.

WHEN I THINK ABOUT A FLOAT, MANY TIMES, I'’’LL WALK THROUGH CHINATOWN OR TOY STORES, AND I'’’LL LOOK AT LITTLE TINY THINGS IN A GREAT BIG WAY, AND, YOU KNOW, I'’’LL LOOK AT A ROBOT AND GO, "GOOD GOSH, WHAT IF THAT ROBOT WERE 9 FEET TALL?

WHAT IF THE HEAD WAS JUST 9 FEET TALL AND IT TALKED TO YOU OR BLEW SOAP BUBBLES AT YOU OR SOMETHING?"

MUFSON: YOU KNOW, WE TRY TO TIE IN ELEMENTS OF TRADITIONAL CHINESE CULTURE THAT ALSO SOMEHOW RELATES TO EACH SPONSOR.

FOR A SUPERMARKET, WE USE THE KITCHEN GOD.

FOR A BANK, WE'’’LL DO THE MONEY TREES.

THOMAS: SO YOU'’’VE GOT TO TAKE THAT CHICKEN SCRATCH THAT I DO AND MAKE IT REAL ART, LIKE YOU DO NOW.

I'’’M SORRY ABOUT IT.

THAT'’’S THE WAY I DRAW.

YOU KNOW IT.

AT LEAST IT WASN'’’T ON A NAPKIN THIS TIME.

MUFSON: YES.

THANK YOU.

WE'’’RE GONNA GET A BUNCH OF THE STATUES THAT ARE BACK THERE, SO WHAT WE NEED TO DO IS START UNLOADING ALL OF IT SO WE CAN GET TO THE ONES THAT WE NEED.

OK. STOP.

PUSH.

THOMAS: FLOATS ARE JUST MOVING STAGES.

YOU KNOW, WHAT CAN WE DO HERE TO REALLY GET THE EMOTIONS THAT I WANT ON THE STREET?

YOU KNOW, THE OOHs AND THE AHHs, AND MAKE IT AN ENTERTAINING AND ILLUSTRIOUS THING.

WE'’’RE GONNA MOVE THIS BIG RAM'’’S HEAD AND TRY TO GET IT UP ON THE FLOAT.

OH, WE'’’VE GOT IT.

LET'’’S JUST GO.

>> LET'’’S ROCK AND ROLL.

>> WHOA!

HO!

>> HOLD IT, HOLD IT.

MUFSON: THE PARADE IS ALWAYS CELEBRATING WHATEVER THE UPCOMING YEAR IS FOR THE ZODIAC ANIMAL.

OF COURSE, THIS YEAR IS YEAR OF THE RAM.

YOU'’’RE GOING TO SEE ALL DIFFERENT STYLES OF RAM.

THERE'’’S ALWAYS A LOT OF POP CULTURE REFERENCES THAT WE PULL FROM MODERN CHINA, REFERENCES TO CHINESE PAPERCUTS.

ONE OF OUR MOST IMPORTANT PEOPLE HERE IS YUMEI.

SHE CAME FROM CHINA, AND SHE WAS A WELL-KNOWN PAPERCUT ARTIST IN CHINA.

THOMAS: A FRIEND OF MINE INTRODUCED ME TO YUMEI AND SAID, "CAN YOU GIVE HER A SHOT?"

SHE DIDN'’’T SPEAK A WORD OF ENGLISH, BUT WE LEARNED WE HAD A COMMON LANGUAGE, AND THAT WAS ART.

[HOU SPEAKING NATIVE LANGUAGE] THOMAS: WE'’’RE GONNA CARVE THESE SHEEP.

NOW, HERE'’’S FRONT, SIDE, REAR.

HOU: YES.

THOMAS: I NEED IT DONE IN 2 DAYS.

HOU: NO PROBLEM.

THOMAS: ARE YOU SURE?

HOU: YEAH.

I CAN MAKE.

THOMAS: OK. ALL RIGHT.

SO WE'’’RE GONNA TURN YOU LOOSE ON IT, ALL RIGHT?

HOU: OK. THOMAS: GOOD.

MAKE THEM BEAUTIFUL.

HOU: DON'’’T WORRY.

MUFSON: I'’’VE NEVER SEEN ANYBODY WORK LIKE HER.

SHE'’’LL TAKE A BLOCK OF FOAM AND, BY THE END OF THE DAY, HAVE CREATED A MASTERPIECE, AND IT REALLY IS JUST AMAZING TO WATCH.

I KNOW A LOT OF SCULPTORS, AND SHE IS DEFINITELY SOMETHING ELSE.

[HOU SPEAKING NATIVE LANGUAGE] THOMAS: I TAUGHT HER HOW TO CARVE STYROFOAM, BUT I NEVER TOLD HER THE BIGGEST SECRET-- THAT SHE IS 15 TIMES BETTER THAN I WILL EVER BE ON MY BEST DAY.

DON'’’T TELL HER.

HOW ARE WE DOING ON THIS?

HOU: HI, BOSS.

HI, STEPHANIE.

MUFSON: HELLO, YUMEI.

THOMAS: OK.

I SEE THE EARS.

I LIKE THOSE.

AND YOU DID A GOOD, TIGHT GLUE JOB.

I'’’M GLAD TO SEE THAT.

HOU: THANK YOU.

THOMAS: AND YOU'’’VE GOT TO GET DOWN HERE AND LOOK UP AT IT AND SEE WHAT WE THINK.

MUFSON: HOW DOES IT LOOK?

THOMAS: UM...IT'’’S A LITTLE CHOPPY HERE.

AND THEN WHAT ABOUT...SO NOBODY IS GONNA KNOW IF IT'’’S A BOY OR A GIRL.

THAT'’’S GOOD.

MUFSON: THAT'’’S GOOD.

HOU: THAT'’’S A GIRL?

THOMAS: NO.

WE DON'’’T CARE.

OK?

[LAUGHTER] GREAT JOB.

WE ARE JUGGLING SO MANY THINGS, SO, IN ORDER TO MAKE OUR SCHEDULE, EVERY SECOND IS ACCOUNTED FOR.

YOU KNOW?

THERE IS NO WASTE IN THE SHOP.

MUFSON: WELL, MY FAMILY HAS GOTTEN VERY USED TO NOT HEARING FROM ME MUCH THE CLOSER AND CLOSER THE PARADE GETS.

AS WE'’’RE WRAPPING UP ALL THE ARTWORK AND WE'’’VE KIND OF FINISHED THE PAINTING PROCESS AND WE'’’RE GETTING, YOU KNOW, EVERYTHING INSTALLED AND EVERYTHING IS GETTING PUT TOGETHER, THEN IT BECOMES A FRANTIC PARTY WHERE EVERYONE IS JUST WIRING AND LIGHTING AND, YOU KNOW, JUST MAKING SURE THAT EVERYTHING IS READY TO GO.

>> WE'’’RE CLEAR.

JUST KEEP GOING STRAIGHT.

THOMAS: THE DAY OF THE PARADE, WE START MOVING OUR FLOATS EARLY IN THE MORNING.

MUFSON: SO WE END UP LINING UP ALL OF THE PARADE FLOATS ALONG THE PIER, JUST ONE AFTER ANOTHER.

HEY, SLOW DOWN.

THOMAS: THESE FLOATS WEIGH 2,000 POUNDS.

THIS IS A PROPER FLOAT.

MUFSON: OK. GUYS, I HAVE TO MAKE A 3-POINT TURN.

PLEASE COME HERE.

THOMAS: SLOW!

CUT.

GO ALL THE WAY INTO THE YARD.

OK. EASY.

GOD, THAT WAS A SQUEAKER.

THIS FLOAT, I JUST WANTED TO GO, "WOW!

IT'’’S CHINESE NEW YEAR'’’S."

TO ME, IT'’’S AN EXPLOSION.

THERE'’’S SO MUCH, FROM ALL THE HAPPY GREETING CARDS TO THE ANIMALS TO THE YEAR.

YOU KNOW, YUMEI, I WANT TO GIVE YOU A LITTLE SURPRISE HERE.

I GOT INTO SOME OF THE OLD STORAGE, AND LOOK AT THE LITTLE BOY I FOUND.

YOU REMEMBER THIS ONE?

HOU: YEAH.

THOMAS: WE MADE THIS IN MY GARAGE.

HOU: HA HA!

YEAH, YOUR GARAGE.

THOMAS: SO WE GOT, YOU KNOW, A STATUE FROM ABOUT 10 YEARS AGO AND THEN ONE OF YOUR LATEST STATUES.

IT'’’S JUST WONDERFUL BOOKENDS.

I LOVE THAT FLOAT.

MUFSON: SO, EVERYBODY NEEDS TO BE WITH YOUR FLOAT AT AROUND 4:45.

YOU'’’RE MAKING SURE EVERYTHING IS OK WITH IT.

YOU'’’RE THE PERSON THAT THEY'’’RE GONNA COME TO IF YOUR LIGHTS SUDDENLY DIDN'’’T TURN ON, EVEN THOUGH THEY TURNED ON AN HOUR AGO.

THIS IS ACTUAL WORK.

IF SOMETHING HAPPENS ON THAT FLOAT, YOU NEED TO BE ABLE TO FIX IT.

THOMAS: YOU STAY INVISIBLE.

WHEN WE GET IN THE TELECAST ZONE, I DON'’’T WANT TO SEE ANY OF OUR FLOAT-BUILDERS GOING, "HI, MOM!"

LIKE THAT.

LOVE YOU ALL.

THIS IS SHOWTIME.

YOU'’’VE PRACTICED THE GAME.

NOW WE'’’RE GONNA PLAY IT.

THE PARADE STARTS AT 6:00, AND AS THE DAY PROGRESSES, BANDS ARE PRACTICING-- YOU KNOW, A HUNDRED-PIECE BAND.

THE LITTLE KIDS ARE SINGING THEIR SONGS.

THE DRAGON DANCERS, THEY'’’RE READY.

YOU CAN SMELL THE ADRENALINE IN THE AIR.

[CROWD CHEERING] AND THEN THE FIRST FLOAT MOVES, AND IT'’’S ELECTRIC.

WOMAN: BYE, BABY.

HAVE A GOOD TIME!

MUFSON: CHINESE NEW YEAR IS ONE OF THE ONLY NIGHT PARADES LEFT IN THE UNITED STATES.

ONCE IT'’’S REALLY ROLLING AND ALL THE LIGHTS ARE ON AND THE FIRECRACKERS ARE GOING, AND THERE'’’S THOUSANDS AND THOUSANDS OF PEOPLE LINING THE STREETS OF SAN FRANCISCO, AND, YOU KNOW, THERE'’’S THE DRAGON DANCERS AND THE LION DANCERS...

THERE'’’S JUST MUSIC AND SOUND AND THE FLOATS AND THE FLASHING LIGHTS, AND IT'’’S REALLY-- IT'’’S SPECTACULAR.

THOMAS: I NEVER THOUGHT I WOULD BE BUILDING THOUSANDS OF FLOATS--EVER.

NEVER SAW THAT COMING, BUT THAT'’’S WHAT HAPPENED, AND IT'’’S BEEN A WONDERFUL TRIP.

[CROWD CHEERING] NOW I WOULD LIKE TO LEAVE A CAREER FOR SOMEBODY THAT REALLY WANTS IT.

STEPHANIE HAS IT.

MUFSON: DAVE'’’S BEEN VERY GRACIOUS IN LETTING ME MAKE IT MY OWN.

HE'’’S GIVING THE PARADE COMPANY TO ME.

HE SAID, "WELL, DO YOU WANT IT?"

HA HA HA HA!

I SAID, "YEAH, ABSOLUTELY."

MAN: HEY!

MUFSON: I DEFINITELY FEEL LIKE I WAS IN THE RIGHT TIME AT THE RIGHT PLACE, OR RIGHT PLACE AT THE RIGHT TIME.

[FIREWORKS EXPLODE] MAN: HAPPY NEW YEAR!

GUNG HAY FAT CHOY!

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