Last year, 4 Hands' City Wide release was celebrated with an Opening Day pub crawl through a number of bars around Busch Stadium, after having been sampled by many at the Lupulin Carnival a week earlier. Both the beer and the events signaled 4 Hands' commitment not only to the St. Louis region's beer-lovers but also to the broader community of St. Louis. With each purchase of a case of City Wide's tallboy cans -- the only way to get the beer -- the brewery donates one dollar to a non-profit changing quarterly throughout the year. 

Kevin Lemp, founder, owner and native St. Louisan, has described the City Wide commitment as a civic duty: "I want it to be a better place tomorrow than it is today, and the only way we're going to make that happen is if we're focusing on our people and our community." Indeed, 4 Hands chooses non-profits sometimes an actual stones throw from where they operate, starting with Love Bank Park on Cherokee Street, where 4 Hands has its Think Tank sales and marketing office. Currently, purchases of City Wide support the LaSalle Park Neighborhood Association, but last quarter KDHX had the privilege of being the beneficiary of 4 Hands' determination to make their mark on St. Louis.

Many who tilt back a City Wide are likely unaware of the arrangement, since there is no messaging on the distinctive paper wrapper to indicate the donations. Many may have also missed the hands and fingers artfully designed into 4 Hands' hop logo, but the impact of charitable initiatives like City Wide are impossible to miss. This is especially so when you're part of an organization that has benefited from their charitable donations and new partnerships between 4 Hands and KDHX around events like Lupulin.

Other past beneficiaries have included Grace Hill, The International Institute, Great Rivers Greenway, and Big Brothers and Sisters. If one detects a pattern, it's because each year's selections include two civic, one environmental and one neighborhood organization. Within the list one also senses where 4 Hands' heart lies and the kinds of changes it supports in the community, from improved public spaces to community outreach organizations to the cultural growth of the city. For 4 Hands employees Lauren Schurk and Liz Swyers, both St. Louis natives, along with the majority of the 4 Hands family, the satisfaction they derive from the City Wide mission is as clear as their love of the city. 

As Lauren (once an intern at KDHX) put it, the wonderful thing about St. Louis is the changes it welcomes: "It's been really cool to see it grow. When you go to school, everyone says you gotta get out of here, but when I returned after school, I saw so many community projects and all these people coming together around them." Lauren now sees a wave of recognition for St. Louis's food and music scenes rippling out from the city, and took satisfaction knowing that City Wide was part of that coming together. 

As I chatted with Liz and Lauren around a wood table in the Tasting Room at the LaSalle Park brewery with its distinctive 4 Hands wallpaper, I couldn't help but think of the origin of the word "pub" in "public house" -- a place where all would be welcome -- and that didn't seem a coincidence. For Liz, great beer is a bond: "Our mission is about doing really great things in the community -- we're just doing that with beer, but beer connects people and organizations and events in so many positive ways." The charity initiative represented by City Wide certainly speaks to that role. Indeed, KDHX is proud to be rooted in the community alongside 4 Hands.

 

Artscope has called the historical building known as the South Gate Lodge in Tower Grove Park home since the organization's founding as The Saint Louis City Open Studio and Gallery (SCOSaG). This "tiny castle," as Executive Director Jennifer Bradford describes the Romanesque revival style lodge, was once home to the park's gatekeeper and his family. Artscope inherited the rich history of the lodge. "There is a real tradition and a real continuity here," said Bradford. As a place where kids can explore their imagination freely, the 15-year-old organization has been creating its own history as well. Bradford recalled the songs children sing year after year during the summer camps: "Every year the songs seem to change just a little bit. Each new class of kids adds their own thing." The songs may slowly evolve, but one part of the tradition that Artscope has built seems to remain constant: the names of the trees right outside of the Lodge.

For safety reasons, teachers set a physical boundary to limit kids when they are playing in the yard. "The kids have names for the trees and they know they are not supposed to go beyond certain trees," Bradford said. She then introduced Twin Trees, Arm Tree, Door Tree and Ms. Magnolia and explained how classes past had named them based on their distinct features. 

Twin Trees

Twin Trees are two very tall and straight trees standing closely together and looking almost the same. Arm Tree has two main branches pointing two directions resembling two arms stretching out for a hug. The "doorknob" on the trunk of Door Tree looks like there is some hidden space in it.

Ms. Magnolia, on the other hand, is kind of special. She is shorter and not as thick, but she has many lower branches so kids can easily climb on her. A group of kids were convinced that she is hurt and they were worried. In order to help Ms. Magnolia, they founded a club and put up a hand-drawing sign titled "Protect Ms. Magnolia," which reads, "1. Don't pick anything off her tree; 2. Join our team; 3. Don't kick balls at her (tree)." 

Teachers sometimes take the kids to places further in the park away from the Lodge and their "territory." The Trees' Knees is usually where they end up.

        Trees' Knees

On the way from the cottage to the Trees' Knees, you will see kids stand in line and walk one by one across the Golden Bridge (better known as one of the many yellow speed bumps throughout the park), because if they are not careful, the "lava" on either side will burn them alive.

Physically located in the Tower Grove Park, Artscope takes the advantage of natural environment and advocates the "forest school" pedagogy. Artscope incorporated this idea by actively involving outdoors in the curriculum as a place where children can "unplug." "We feel like kids have enough time in front of computer screens or sitting at desks," Bradford explained. With the park as a backdrop, teachers try their best not to limit their students' minds. Unlike traditional art institutions, Artscope focuses less on specific art skills but more on "inner creativity." In Bradford's words, "The activities are based around a theme, instead of around a specific artistic discipline."  

Themes could be a common well-known fairy tale or an upcoming holiday on the calendar. Instead of teaching children how to play a flute or asking them to observe a bee, for example, the four-day Art of Noise camp -- which begins May 30 -- invites students to make their own instruments and figure out what to do with them, only providing guidance when necessary. In short, Artscope believes that the process is more important than the product. "Inner creativity is more about encouraging the child to follow a process wherever it leads them, and we feel like that will stand them in good stead in the future whatever path they pursue. We feel like encouraging children to follow that path of inner processing and inner problem solving. That creative path is what is important," Bradford explained. She also believes everybody has inner creativity, without a doubt. "I don't think that creativity has anything to do with being able to produce an art product. I think creativity has everything to do with how you approach the world around you." 

Artscope consists of two administrative staff and about ten teaching staff. More contribute as volunteers. Notably, most of the staff are professional working artists from a variety of artistic disciplines including painting, playwriting, sculpture, and fiber making. Bradford said she believes this is what makes Artscope stand out. 

Traditional summer programs, including Artscope's Create camps and School Daze, are based in the Lodge at Tower Grove Park. Artscope also tries to enlarge its serving population by providing art access to schools in the community. Schools partner with Artscope to bring in some of their teachers part-time. The cooperation with schools also includes extended care programs before and after school. Artscope also actively participates in community festivals and builds partnership programs with other social service organizations. "We really try as much as possible to make a creative practice available to all children in St. Louis," Bradford said. 

After all the efforts made, Bradford is thrilled to notice the progress the camp's individual students make. Artscope gathers feedback from the young participants before and after they attend a program and communicates constantly with their parents for feedback on creativity, team building, problem-solving and more. Bradford shared one moment she remembered clearly about Little W. She recalled that W. struggled a lot with his shyness when he first came in. One day, suffering from allergies, Bradford barely squeaked out a hello. What Little W. did was a pure delight. "My shy little guy, who a year ago would just sit on the couch and cry because he wanted his mom, ran over and gave me a big hug and patted my hand and said, 'You shouldn't try to talk. It sounds like it hurts, and maybe you should drink a lot of warm water also.' Then, to help her feel better, Little W. gave her a drawing he'd done of a superhero. Bradford still keeps the drawing close, taped up on a wall of her office.

 

On the evening of Sunday, March 26, environmentalist-minded community members gathered at The Stage at KDHX for "The Invasive Species Follies: Bush Honeysuckle, Mosquitos, Us," an educational variety show with a you-can-do spin. Hosted by Jean Ponzi of KDHX's Earthorms podcast, the show featured live music, drama, and education, all centered on two of St. Louis's biggest invasive species: the bush honeysuckle and the mosquito. 

Despite the subject matter, the mood during The Invasive Species Follies multifarious acts was anything but doom and gloom. There was laughter abound during the "Honeysuckle Cabaret," a marionette show created by Christine Torlina and Gary Schimmelpfenig in which Ponzi and Dale Dufer, her husband and Follies co-producer, play characters who fight evil honeysuckle bushes and encounter levitating tables. The audience was charmed with the "Honeysuckle Table Fable" starring Ruby and Eli Ackerman, a fantastical skit in which girl and the spirit of bush honeysuckle learn to coexist. 

The evening show also featured a (sort of) 'adult-oriented' act, in which 'Sarah the Honeysuckle Stripper' (Sarah Bundy) lasciviously stripped the bark off of a honeysuckle bough in a dress handmade entirely out -- you guessed it -- honeysuckle fibers and wood. The show's lighthearted atmosphere was complemented by music from St. Louis's own Augusta Bottoms Consort, whose setlist included "Time to Kill the Rooster" off 2000's Bottomland and some Follies-exclusive songs including Gloria Attoun's true-experience "Diggin' Up That Honeysuckle." 

Sunday evening's show also included some serious moments for learning and reflection. Ponzi provided information about bush honeysuckle and mosquitos (specifically, the three types of mosquito that transmit diseases to humans), as well as things people can do in their lives to counter these pesky species. Dale Dufer of Think About Tables gave a short demonstration on how to turn honeysuckle into beautiful, organic-looking tables, thereby giving uprooted plants a second life. The show also featured Jenn DeRose of the Green Dining Alliance, who gave a presentation on the organization's mission of promoting sustainable practices within local restaurants. 

The show closed on an optimistic note with a cover of Bing Crosby's "Accentuate the Positive," sung by Ponzi and backed by the Augusta Bottoms Consort. The song encapsulated the forward-looking essence of the show. "We want the audience to come away with a positive feeling and motivation to do something," Ponzi said in a phone interview the day before, acknowledging that it's common for environmentalists to fall into the doomsday mentality. "Sometimes, it's not all that easy to make this stuff funny," Ponzi said. "But it's a worthwhile effort." 

Keep watch for the next Follies and in the meantime subscribe to the Earthworms podcasts including related episodes such as "Fight the Bite," "Beyond the War on Invasive Species," "Bush Honeysuckle: Sweep It!

 

We live in an age where relationships are often initiated and ended via text or a swipe and where we all know at least one person who refuses to answer a call but is constantly posting on social media. We communicate via emojis and 140 characters, but can we really connect in such short interactions? Campfire, a relatively new organization in St. Louis, aims to reconnect people through in-person experiences and community building on a personal basis. 

Campfire brings storytelling back to the intimate, immediate, and immersive performance it once was. Through workshops, regular people are supported and encouraged to find their unique stories. At monthly storytelling events, a single speaker is given the platform to bring their story to life in ways that engender a genuine response from the audience. That response is typically active, rather than passive, and given on a strictly voluntary basis. 

Though the event is open to the public, the stories told during the monthly sessions are meant to stay at the Campfire, creating a sense of inclusion and safety. So, you won't be getting a summary of Kim Kreitner-Riegerix's storytelling debut in this article (although you can get a feel for the event through the Campfire At Home podcast). But I do want to tell you about the nature of the experience; about Kreitner-Riegerix's warm and generous approach and the themes she touched upon; and about the important sense of empathy and engagement that attending Campfire can inspire. Because those elements in this format are what make the experience memorable and exciting to anyone that enjoys a good story. 

Using humor and personal revelation, Kreitner-Riegerix guides the audience through her story of personal identity, perception, and her love of roller coasters. Interrupting her story to periodically invite the audience in, we are asked to say hello to the strangers around us and later to share a way in which we feel misperceived by others. There is an opportunity for audience members who want to express themselves to the group, but the majority of the interactions are self-directed, intended to spark thought and reflection. Though the focus is clearly on the story, this interaction feels a natural part of the telling. 

As Kreitner-Riegerix continues, her light touch and self-deprecating but positive voice shines through her adventures. She conveys her story by touching upon common insecurities and fears in a relatable, personable way. You may not have had her specific experience, but her tone and style let's you know that it's more than ok to fill in your own blanks and to laugh along. The entire evening implies acceptance and acknowledgement that we're all human, teeming with various strengths and insecurities, and doing our best to find happiness. Though not explicitly stated, finding and embracing your true nature are important themes that hit home.

Storytelling is essential human behavior, enabling us to share common, practical knowledge while encouraging imagination and the ability to comprehend the abstract. What makes Campfire stand out as a storytelling event is the communal and interactive nature of its structure and format. The evening is intentionally engaging, as you enter the performance space you are asked to create a name tag that includes the answer to a simple question pertinent to the storyteller's theme. The stories presented at Campfire can be quite personal, but we're introduced to the topic through seemingly innocuous bits of information. The effect is subtle but immediate, as audience members take their seats they are already thinking of the themes they're about to witness.

Campfire bills itself as being like "TED without the data, The Moth but interactive, and Church without the religion." My understanding of Campfire is based on my attendance at a few sessions and conversations I've had with Steven Harowitz, other staff, and audience members. What I see is a group of creative performers and artists committed to the principles of storytelling and community building. There's a healthy, positive vibe to the group and a focus on developing people with interesting, varied perspectives and experiences into engaging, compelling storytellers.

Sharing is encouraged at Campfire, but in smaller gestures and introspective actions. Campfire is not, after all, a storytelling slam; it is intended to reignite ages old traditions in a way that resonates with modern audiences. Campfire aims to slow moments down and encourage reflection. Participants, whether storyteller or audience members, are encouraged to really listen and connect with each story told. They are then encouraged to listen to and connect with those around them.

According to the Campfire website, the organization "wants to share everything we've learned after years of storytelling through public speaking, improv, journalism, marketing, and podcasting." What they're building in St. Louis is a welcoming space for a less theatrical, more personally immersive form of storytelling. You can check out the unique Campfire experience for yourself by joining storyteller Cambrie Nelson at The Stage at KDHX on Wednesday, April 19, 2017. Admission is free, doors open at 7:30pm, and Nelson takes the stage at 8pm. 

 

Click below to see Tim Farmer's photos of Kim Kreitner-Riegerix Campfire appearance March 15, 2017.

Campfire with Kim Kreitner-Riegerix at the Stage, March 15, 2017

  

Gina Alvarez is the Executive Director at Living Arts Studio, a non-profit organization based in Maplewood that gives artists with disabilities a place to explore their passion for art. "We aren't approaching art as a rehabilitation or therapeutic tool," Alvarez explains -- nonetheless adding, "art does change lives." Given the freedom to express themselves and adapt to positive feedback, artists develop a unique confidence in their abilities: "They can initially walk in and think 'I don't know,' and then a year later say 'I am an artist.'"

Valentine' Day celebrations.

When I visited the studio just before Valentine's Day, everyone was getting ready to show their love. Colorful heart-shaped balloons made the environment even homier, while fellow artists collaborated on a project in which they drew hearts in their own unique styles. 

Aided by Alvarez, Living Arts not only facilitates art-making but also introduces artists with disabilities to a wider community beyond the studio. Member artists have exhibited their work at venues such as the Sheldon Art Gallery and the University City Library. For Alvarez, this represents the community-building promise of art: "The level of exhibition opportunities they are participating in is notable. I think that's huge. The sense of accomplishment anybody would experience with opportunities like that is tremendous." She also believes in the potential of her artists: "Pursuing exhibitions at high-calibre venues shows that people with disabilities can participate on that level, and should, and will."  

Since joining Living Arts Studio in May of 2012, Alvarez has witnessed the progress her artists have made in their art careers. But more importantly, she is thrilled to see them gain community and friendship in the studio as they build trust between each other and with facilitators. "I don't think it's easy walking into any studio and agreeing to be part of something that you are not entirely sure what it is."

Living Arts Studio is always actively seeking methods to improve their programs and increase accessibility. "We work with cultural institutions through workshops, and see what accessibility looks like in programing, in art tools, and how you adapt tools to meet the needs of people with disabilities," Alvarez explained. The studio also uses the help of other institutions to "mould the programs into a more universal design." As Alvarez put it, "Through universality, there is inclusion."  

        Larry Eisenberg at work.

Artist Larry Eisenberg has been part of the community at Living Arts Studio for over a year now. Seeing his father work on architecture design growing up, Eisenberg has taken to drawing houses and making art that shows a sense of space. "I am always looking for something that reminds me of landscape beauty," he pointed out. For Eisenberg, the freedom of creativity is expansive: "You never make mistakes because it doesn't matter if it it's art." Laughing, he added, "Nobody knows."

Melelani Perry, another artist, found belonging at Living Arts. When I asked Perry what the studio means to her, without hesitation she said, "Safe. Everyone is friendly and keeps us laughing." 

Melelani Perry with her work.

Perry came to the studio two years ago wanting something different. She learned to sew and alter her own clothes. A recurring theme in Perry's work has been images of women. Using self-portraits or pictures from magazines or self-portraits, she bedazzles her women with colorful tapes, glitter and stickers. Inspired by Buddhism and the mandala, Perry often gives her women a third eye, a symbol of spiritual enlightenment. She also uses markers for exaggerated makeup, which adds a postmodern quality to her work. "I put myself in my art a lot. It's my signature," Perry explained. Alvarez added, "Because you are the one thing you know the best, right?" 

The fulfillment Alvarez gets from her work goes beyond seeing the positive change art-making can bring to others -- it has also made her a better artist. "They work totally intuitively without criticism of their own personal process, often with reckless abandon. The freedom they have is extremely inspiring to me."

Producing sculptural objects and installations using ceramics, glass, fiber and print techniques, Alvarez has exhibited her own work in solo and group exhibitions at many venues, including the Contemporary Art Museum St. Louis, Gallery 210, Boots Contemporary Art, the Center for Creative Arts, Craft Alliance, the Des Lee Gallery, Pele Prints and fort gondo. She has received abundant recognition from both local and national organizations and has also curated many shows at these same spaces. 

Besides her careers as an artist and director of Living Arts, Alvarez teaches at St. Louis Community College, Forest Park and serves as Executive Director of VSA Missouri, which promotes arts resources for people with disabilities. 

Her path to Living Arts began when she was Gallery Director at the St. Louis Artists' Guild. While working there, she and the former Executive Director of Living Arts Studio and VSA Missouri curated an exhibition in the Sight and Vision series called Speaking Volumes, for artists Susan Shie, who is visually-impaired, and Richard Meyers, who is hearing-impaired. Through that experience Alvarez decided to come work at Living Art Studio.

Alvarez recalled how, with no background in social services, she went through a learning curve as she transitioned from a working artist to something of a community organizer, aided in part by her experience in the Regional Arts Commission's Community Arts Training Institute. But being an artist rather than a social worker has meant that she makes sure to treat members as artists first and foremost. Alvarez explains, "It has changed my personal practice to be less individual and more community-based. It has had an impact on me personally in ways I never anticipated as a working artist." 

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