>>> COMING UP, WE'RE CONNECTING YOU WITH THE CREATIVITY AND CULTURE IN YOUR COMMUNITY, INCLUDING A NATURE CONSERVATORY WITH WINGS!

>> IT'S ALWAYS SUMMER HERE.

SO WE ALWAYS SAY INSTEAD OF GOING SOUTH, GO TO SOUTH DEERFIELD.

>>> THE BODY ADORNED, RARE WORKS FROM THE ANCIENT AMERICAS ON DISPLAY IN A NEW EXHIBITION.

>> WHEN AN INDIVIDUAL DONNED THAT PENAND, THEY -- PENDANT, THEY MIGHT TAKE ON THE ATTRIBUTES OF THE JAGUAR.

>>> AND WE'LL EXPLORE THE HISTORY OF THE CAPE COD CANAL.

>> THERE WERE BETWEEN 3,000 AND 4,000 SHIPWRECKS.

>> JOIN US FOR THOSE STORIES AND MORE AS WE EXPLORE THE CREATIVE, CULTURE, AND IMHIEWNLT THAT MAKE US WESTERN NEW ENGLAND, UP NEXT ON "CONNECTING POINT."

>>> CORP FOR "CONNECTING POINT" IS PROVIDED BY OUR CONTRIBUTING VIEWERS.

¶ ¶ ¶ ¶ >>> WELCOME AND THANKS FOR JOINING US FOR "CONNECTING POINT," YOUR SOURCE FOR CREATIVITY, CULTURE, AND COMMUNITY.

I'M ZYDALIS BAUER.

>>> WHEN GEORGE MILLER WAS CONTRACTED TO BUILD A BUTTERFLY CONSERVATORY IN SOUTH DEERFIELD IN 1998, HE HAD NO IDEA HE WAS CONSTRUCTING IT FOR HIMSELF.

SOON AFTER ITS OPENING, MILLER TOOK SOLE OWNERSHIP OF MAGIC WINGS AND CREATED ONE OF THE MOST UNIQUE DESTINATIONS IN WESTERN MASSACHUSETTS.

AFTER HIS PASSING IN 2017, GEORGE'S CHILDREN TOOK OVER THE OPERATION AND HAVE SUCCESSFULLY CONTINUED HIS LEGACY.

"CONNECTING POINT'S" BRIAN SULLIVAN TRAVELED TO FRANKLIN COUNTY TO VISIT THIS MAGICAL BUTTERFLY SANCTUARY AND BRINGS US THE STORY.

>> THERE'S A LITTLE STRETCH OF ROAD ALONG ROUTE 5 IN SOUTH DEERFIELD.

THIS ROADSIDE FARM STAND WAS SHUTTERED ALMOST AS QUICKLY AS THE FIRST FROST'S ARRIVAL.

MANY TREES HAVE BEEN STRIPPED BARE OF THEIR FALL FOLIAGE.

A TRACTOR RESTS IN SEEMING SUSPENDED ANIMATION WITH NOTHING LEFT TO HARVEST.

BY ALL INDICATIONS, IT'S LATE FALL IN SOUTH DEERFIELD WITH WINTER FAST APPROACHING.

UNLESS, OF COURSE, WE'RE INSIDE THIS BUILDING ONLY A FEW HUNDRED YARDS AWAY.

IN HERE IT'S ONE TEMPERATURE YEAR ROUND AND THE COUNTLESS -- BUTTERFLIES AS US REGULAR FOLKS KNOW THEM, ARE LIVING AND THRIVING IN IT.

SEEM TOO MAGIC TO BE TRUE?

WELL, IT'S IN THE NAME FOR A REASON.

>> IT'S ALWAYS SUMMER HERE.

WE ALWAYS SAY INSTEAD OF GOING SOUTH, GO TO SOUTH DEERFIELD.

RAIN OR SHY, WE HAVE TEMPERATURE CONTROLLED, SO NO MATTER WHAT THE WEATHER IS OUTSIDE, IT'S ALWAYS FLUTTER -- BUTTERFLIES FLYING ALL TAY LONG.

WE PRETTY MUCH MIMIC THE PEPSI CENTER IN THE -- MIMIC THE TEMPERATURES IN THE TROPICAL RAIN FORESTS.

IN THE DAYTIME WE SHOOT FOR MIDDLE TO UPPER 70S.

IF THE SUN COMES OUT, IT WILL BE WARMER IN THERE.

IT'S ALWAYS ABOUT FIVE TO 10 DEGREES COOLER IN THE SUMMERTIME BECAUSE WE HAVE A SHADE CLOTH TO REDUCE THE TEMPERATURE.

BUT IN THE WINTER TIME WE TRY TO MAINTAIN AROUND 75 WHO 78 DEGREES.

>> THE FLUTTER FLIES FEAST ON THESE -- BUTTERFLIES FEES IT ON THE FEEDERS AND THAT'S BECAUSE MOST OF THE PLANTS ARE NOT HOST PLANTS.

THE REASON IS THEY'RE NOT ALLOWED TO HAVE THE BUTTERFLIES BREEDING OUT HERE.

AND THAT'S A GOOD THING BINGES KANTER PILLARS WOULD DESTROY THE PLANT LIFE.

THERE ARE ALREADY ENOUGH BUTTERFLIES IN THIS ROOM.

HOW MANY?

THE ANSWER IS A BIT COMPLEX.

>> WE RAISE ABOUT 70% OF THE POPULATION.

BUT WE IMPORT ABOUT 70% OF THE DIVERSITY.

MEANING THAT SOME OF THE BUTTERFLIES WE HAVE WE DON'T HAVE THE HOST PLANTS FOR OR WE CAN'T BREED.

SO WE'LL GET FIVE OR TEN OR 20 IN A SHIPMENT AND WE HELP SUPPORT FARMERS AND FARMS IN OTHER COUNTRIES THAT FARM BUTTERFLIES AND HELP SAVE THE RAIN FOREST BECAUSE YOU NEED THE RAIN FOREST TO GROW BUTTERFLIES.

WE PROBABLY HAVE 50 TO 60 DIFFERENT SPECIES AND PROBABLY ABOUT THREE TO 4,000 BUTTERFLIES FLYING.

>> THEY MAY RECEIVE THE LION'S SHARE OF THE ATTENTION BUT VISITORS ARE ALSO WELCOME TO TAKE A LOOK AT SOME NEAT RIP TIMES AND SOME -- REP TILLS AND CREEPY CRAWLIES.

FOR SOME THESE ARE THE MOST INTERESTING CREEPERS ON EARTH.

THIS ONE LEADS DIRECTLY TO THE BUTTERFLY CONSERVATORY, AND FOR ANYONE PASSING THROUGH THESE DOORS FOR THE FIRST TIME, THE EXPERIENCE IS A BIT SURREAL.

I CAN ADD THIS TO THE LIST OF THINGS I'VE SEVERE NEN BEFORE.

NOT -- I'VE NEVER SEEN BEFORE.

I DON'T THINK I'VE EVER HAD A BUTTERFLY ACTUALLY LAND ON ME.

AND JUST A FEW MINUTES AGO, I THINK I HAD ABOUT 10 ALL OVER ME.

IT'S REALLY PRETTY FASCINATION.

THIS 8,000-SQUARE-FOOT BUILDING WASN'T ALWAYS THIS BIG.

IT WAS HALF THIS SIZE WHEN IT FIRST OPENED.

IT'S ENTIRELY POSSIBLE THAT NONE OF THIS COULD BE HERE AT ALL IF GEORGE MILLS HAD NOT TAKEN THIS ON AS A CONSTRUCTION PROJECT BACK IN 1998 BEFORE BEING TALKED INTO PARTNERING IN THIS BUSINESS.

>> IT STARTED OUT WITH TWO PEOPLE AND SOME THINGS WENT AWRY A LITTLE BIT IN THE BEGINNING.

AND HE KIND OF STEPPED IN AND HE PRETTY MUCH THREW A LOT OF HIS SAVINGS AND EVERYTHING INTO IT AND HE BELIEVED IT WAS GONNA BECOME SOMETHING.

AND I BET THE FAMILY PROBABLY THOUGHT HE WAS PRETTY SILLY FOR -- FOR WANTING TO GO INTO A BUTTERFLY BUSINESS.

BUT IT TOOK OFF LIKE A ROCKET.

IT DID REALLY WELL AND THANKS TO THE FAMILY THEY GOT IT MOVING.

¶ ¶ ¶ ¶ >>> EVERY WEEK "CONNECTING POINT" EXPLORES THE CREATIVE, CULTURE, AND COMMUNITY THAT MAKE US WESTERN NEW ENGLAND, BUT IT DOESN'T STOP THERE.

YOU CAN FIND US ONLINE ANYTIME FOR EXCLUSIVE FEATURES AND CONTENT.

MAGIC WINGS IS BEST KNOWN AS A BUTTERFLY SANCTUARY, BUT IN THIS WEEK'S DIGITAL EXCLUSIVE, CURATE FRED GAGNON SHOWS "CONNECTING POINT" PRODUCE BRIAN SULLIVAN SOME OF THE OTHER INTERESTING CREATURES AT THE FACILITY THAT DON'T RECEIVE THE SAME FAMFARE AS THE BUTTER NICE.

>> WE TRY TO GET SOME CREATURES OF PRETTY COLORS AND SOMETHING HAD A STANDS OUT AND THINGS THAT ARE ASTONISHING, EITHER REALLY WELL CAMOUFLAGED OR SOMETHING THAT'S BRIGHT COLORS YOU WOULDN'T NORMALLY SEE IN NATURE.

>> YOU CAN FIND THAT DIGITAL EXCLUSIVE ONLINE RIGHT NOW AT NEPM.ORG/CONNECTINGPOINT.

>>> THE SPRINGFIELD MUSEUMS IS CURRENTLY PRESENTING A NEW BILINGUAL EXHIBIT ENTITLED, "THE BODY ADORNED, ARTISTRY AND LEGACY OF THE ANCIENT AMERICAS J.

THE EXHIBITION, WHICH IS PRESENTED IN ENGLISH AND SPANISH, WILL BE ON DISPLAY THROUGH FEBRUARY 27TH AT THE DA MORE MUSEUM OF FINE ARTS AND FEATURES RARE ADORNMENTS AND TEXTILES MADE BY ART DRIFTS WORKING DURING THE PREHISPANIC PERIOD.

SOME OF THE OCTOBERS ON DISPLAY WERE CRAFTED BETWEEN 400 AND 1500 C.E.

AND REPRESENT THE ANG CHET CULTURES OF COLOMBIA, COSTA RICA, PANAMA, PERU, AND MEXICO.

I SPOKE WITH MAGGIE NORTH, CURATOR OF ART AT THE SPRINGFIELD MUSEUMS, TO LEARN MORE.

>> THIS IS A REALLY SPECIAL EXHIBITION BECAUSE IT FEATURES ARTWORKS FROM THE MUSEUM OF FINE ARTS BOSTON.

SO THERE ARE PIECES THAT WE WOULDN'T BE OTHERWISE ABLE TO SHARE WITH OUR AUDIENCES.

AND THE EXHIBITION WAS BORN OUT OF A PARTNERSHIP BETWEEN THE MUSEUMS AND THE MUSEUM OF FINE ARTS BOSTON WHICH IS FUNDED BY ART BRIDGES.

AND THROUGH THAT PARTNERSHIP, THE GOAL WAS REALLY TO SHARE ARTWORK AND SHARE COLLECTIONS SO BY BRINGING THESE WORKS OF ARTS TO SPRINGFIELD, WE'RE ACHIEVING THAT AND PUTTING THEM IN AN EXCITING NEW CONTEXT.

AND IT WAS SO MUCH FUN TO COME TOGETHER AND TO THINK ABOUT HOW TRADITIONS OF BODY ADORNMENT IN ANCIENT AMERICAS RESULTED IN THE EXQUISITE OBJECTS THAT ARE ON VIEW.

>> THIS EXHIBITION EXPLORES THE ARTISTRY AND LEGACY OF THE ANCIENT AMERICAS AS YOU WERE SAYING.

BUT ONE QUESTION THAT I HAD WAS HOW IS ANCIENT AMERICA ACTUALLY DEFINED?

>> THIS CONTEXT, AND IN ART HISTORY, WHEN WE REFER TO THE ARTS OF THE ANCIENT AMERICAS, TYPICALLY WE MEAN ART THAT WAS CREATED BEFORE THE TURN OF THE 16TH CENTURY IN MESOAMERICA, CENTRAL AMERICA, AND SOUTH AMERICA.

SO BEFORE ANY EUROPEAN CONTACT.

AND REALLY EXPLORING AND CELEBRATING THE INDIGENOUS HARTWORKS -- ARTWORKS THAT WERE BEING CREATED DURING THAT TIME.

CERTAINLY THE WORD PRESPANG CAN BE USED TO DEFINE -- PREHISPANIC CAN BE USED AND HIS -- VISITORS WILL FIND WORKS OF ART THAT WERE CREATED INCLUDING NOSE RINGS, PECTORALS, OBJECTS THAT WERE MADE OF TEXTILES OR FABRICS THAT WERE HANDWOVEN AND WERE INCREDIBLY VALUABLE TO THE CULTURES WHO CREATED THEM.

OF THIS TIME PERIOD, WHICH IS QUITE LONG RON ON -- CHRON CLINICICALLY.

WE HAVE WORKS THAT ARE OVER A THOUSAND YEARS OLD AND CREATED IN THE 1500s.

>> I UNDERSTAND THERE ARE 16 WORKS OF ABBOTT AND THEY PROVIDE A GLIMPSE INTO THAT PRE -- OF ART AND THEY PROVIDE A GLIMPSE OF THAT ERA.

WHAT HAVE WE LEARNED ABOUT THESE PEOPLE THAT LIVED IN THOSE TIMES?

>> ONE OF THE WONDERFUL PARTS OF THIS EXHIBITION IS THAT WE LEARN HOW THESE WORKS OF ART WERE NOT JUST DECORATIVE.

THEY WEREN'T JUST JURY AS WE MIGHT THINK OF JEWELRY TODAY.

OUR CLOTHING AS WE MIGHT THINK OF CLOTHING TODAY.

IN FACT, THEY OFTEN SERVED A CULTURAL OR SEECIAL OR SPIRITUAL -- SOCIAL OR SPIRITUAL PURPOSE.

WE KNOW, FOR EXAMPLE, THAT SOME OF THE TEXTILES THAT ARE IN THE EXHIBITION, A WARRIOR HAT, WOULD HAVE BEEN WORN BOTH IN LIFE AND IN DEATH.

SO IT MAY HAVE ALLOWED SOMEBODY TO EXPRESS THEIR CULTURE BOTH WITHIN THEIR DAILY LIFE AND IN THE WORLD BEYOND OR TO THE GODS.

OFTEN WITHIN THE ADORNMENTS WE ALSO SEE REPRESENTATIONS OF ZOOO MORPHIC OR ANIMAL-LIKE FORMS.

AND WE HAVE LEARN A LOT ABOUT HOW THE CULTURES THAT ARE REPRESENTED VALUED THESE ANIMALS.

FOR EXAMPLE, WE HAVE A WONDERFUL JAGUAR PENDANT WHICH WAS MADE IN COAST TARIKA.

AND WE KNOW THAT THE -- COSTA RICA.

AND WE KNOW THE JAGUARS WAS AN IMPORTANT ANIMAL THOUGHT TO BE AN EXCELLENT HUNTER, A POWERFUL AND GEARS ANIMAL.

SO WHEN AN INDIVIDUAL DONNED THAT PENDANT, THEY MIGHT TAKE ON THE ATTRIBUTES OF A JAGUAR.

>> WHEN I WAS WALKING THROUGH THE EXHIBIT, THE FIRST THING THAT IMMEDIATELY STRUCK ME WAS HOW OLD AND HOW WELL PRESERVED THESE ARTIFACTS WERE.

AND ONE OF MY FAVORITE PIECES WAS A NEARLY 1500-YEAR-OLD PERUVIAN TUNIC MADE OUT OF THESE VIBRANT COLORFUL FEATHERS.

I WAS AMAZED HOW RICH THE COLOR STILL WAS AFTER SO MUCH TIME.

YOU WERE TALKING ABOUT THE JAGUAR BUT WHAT ARE SOME OF YOUR OTHER PIECES?

>> ONE OF MY FAVORITE PIECES IN THE EXHIBITION, I MENTIONED BRIEFLY EARLIER, IS IN THAT SAME GALLERY.

IT'S A HAT THAT WAS CREATED BY 700 AND 900 C.E.

AND IT WAS ALSO PRESERVED IN THE ARID DESERT CLIMATES OF PERU.

REPRESENTED ON THE HAT ARE ANIMAL-LIKE FIGURES THAT ARE REMINISCENT OF LLAMAS OR AL PACK AS -- ALPACAS AND THE HAT WOULD HAVE BEEN MADE FROM HAPPENED-SPUN WOOL SOURCED FROM THEM AND I THINK IT'S A GREAT EXAMPLE OF THE WAY IN WHICH THE EXHIBITION SPEAKS TO THE ARTISTRY, THE INCREDIBLE TALENT AND STILL OF THESE MAKERS, NOT ONLY HAS IT SURVIVED BUT IT'S JUST IN PRISTINE CONDITION.

AND THE DESIGN WOULD HAVE BEEN THOROUGHLY PLANNED BEFORE IT WAS EXECUTED.

>> WHAT QUESTIONS, FEELINGS, AND/OR EVEN CONNECTIONS DO YOU HOPE THAT THIS EXHIBIT WILL SPARK INSIDE VISITORS?

>> ONE OF THE PIECES THAT WE DECIDED TO INCLUDE FROM AN INTERPRETATION STANDPOINT IN THIS EXHIBITION IS A MAP THAT SHOWS THE MODERN LOCATIONS OF WHERE THE ANCIENT PIECES WOULD HAVE COME FROM.

SO CONNECTING SOME OF OUR PERUVIAN TEXTILES TO THE PLACES IN WHICH THEY WOULD HAVE BEEN MADE.

AND I HOPE THAT VISITORS COME IN AND THEY CAN COME AWAY WITH A BETTER SENSE OF THE AMAZING WORKS OF ART THAT WERE BEING CREATED IN THESE LOCATIONS, IN THE AMERICAS.

SO OFTEN WHEN WE TALK ABOUT MESH ART OR WE TALK ABOUT ART OF THE AMERICAS, I THINK THAT WE THINK OF THE UNITED STATES.

BUT THE STORY IS SO MUCH BROADER.

AND SO I'M EXCITED TO BRING IN THAT EXPANDED LOOK AT THE ARTS OF THE AMERICAS.

AND TO THINK ABOUT THE WAY IN WHICH THOSE ARTISTIC TRADITIONS DO ENDURE AND HAVE BECOME AN INTEGRAL PART OF THE STORY OF OUR HISTORY.

¶ ¶ ¶ ¶ >>> EACH YEAR HUNDREDS OF THOUSANDS OF PEOPLE HEADING TO VACATION CROSS OVER THE CAPE COD CANAL USING ONE OF THREE BRIDGES.

FOR DECADES, THESE STEEL STRUCTURES HAVE BEEN A SPHAIP OF -- STAPLE OF DAILY LIFE FOR BOTH CAPE CODERS AND VISITORS ALIKE.

BUT THEY'RE NOT THE ORIGINAL BRIDGES.

AND IN FACT THE CANAL THAT PEOPLE CROSS TODAY IS MUCH DIFFERENT FROM THE ONE THAT FIRST OPENED BACK IN 1914.

PRODUCER DAVE FRASER TAKES US ON A JOURNEY TO EXPLORE THE HISTORY OF THE CAPE COD CANAL.

¶ ¶ ¶ .

>> FOR MANY OF US WHO TRAVEL TO THE CAPE, WE FEEL AS THOUGH WE HAVE NOT MADE IT UNTIL WE CROSS THE BRIDGE.

THEY HAVE BECOME THE UNOFFICIAL GATEWAY TO CAPE COD.

BUT DID YOU EVER WONDER ABOUT THE CANAL THAT THOSE BRIDGES TRAVERSE?

TODAY IT IS AN IMPORTANT WATERWAY FOR NAVIGATORS AND A RECREATIONAL RESOURCE FOR MANY.

BUT THE IDEA FOR THE CANAL DATES BACK TO THE 16 20S.

>> THERE WERE TWO RIVERS HERE BEFORE.

THE DISCUSSET AND THE MANIMET THAT BOTH WENT INLAND BUT IN DIFFERENT DIRECTIONS.

AND IT HAD BEEN A PLACE WHERE THE INDIANS WOULD CARRY THEIR CA INTOS A -- CANOES INTO ONE RIVER TO ANOTHER.

1623 YOU HAD MILE STANDISH SAYING WE SHOULD PUT A CANAL THROUGH HERE.

>> THE TREACHEROUS OUTER SHORES OF CAPE COD STRANDED MANY SHIPS, CLAIMING NEARLY A WRECK-A-WEEK ACCORD TO HISTORIANS.

GIVING THE RIVER THE GRAVE-YARD OF THE ATLANTIC.

>> THIS WAS BASICALLY AN AVENUE OF COMMERCE.

SHIPS HAD TO GO AROUND HERE BETWEEN BOSTON AND NEW YORK.

IT WAS ESTIMATED THAT BETWEEN 1626 AND THE MID 20TH CENTURY, THERE WERE BETWEEN 3,000 AND 4,000 SHIPWRECKS ALONE CAPE COD'S OUTER BEACH.

>> ATTEMPTS TO BUILD A CANAL HAD BEEN UNSUCCESSFUL UNTIL IN 1904 A WEALTHY FINANCE YEAR MOVED AHEAD WITH THE PLAN TO CONNECT THE RIVERS.

ALONG WITH CIVIL ENGINEER WILLIAM BARKLEY PARSONS, BELMONT WAS CONFIDENT THEY COULD SUCCEED WHERE OTHERS HAD FAILED.

¶ ¶ ¶ ¶ >> IN JUNE OF 1909, CONSTRUCTION STARTED ON THE CANAL.

DREDGES OF VARIOUS SIZES DUG FROM EACH BAY TOWARD THE MIDDLE.

BAD WEATHER, CLAY, AND LARGE BOULDERS SLOWED THE PROGRESS.

A NARROW GAUGE RAILROAD WAS INSTALLED TO MOVE DIRT AND EQUIPMENT BACK AND FORTH.

>> THEY FINALLY COME TO THE CENTER POINT THAT THEY'VE SET UP, FOLEY'S DIKE, AND THAT'S THE PLACE WHERE THEY HAVE THE CEREMONY OF THE JOINING OF THE WATERS AND THEY CUT THROUGH AND SUDDENLY CAPE CAD -- CAPE COD BAY AND BUZZARD'S BAY ARE CONNECTED.

>> A PASSENGER FERRY ALLOWED PEOPLE TO CROSS THE CANAL.

BELMONT'S CANAL NEVER ACHIEVED THE LEVEL OF TRAFFIC OR REVENUE ITS INVESTORS HAD ENVISIONED AND IN THE END IT WAS DEEMED A FINANCIAL FAILURE.

>> HE DID IT ENTIRELY WITH HIS OWN FUNDING AND FUNDING THAT HE WAS ABLE TO GET TOGETHER WITH THE IDEA THAT HE WOULD BE ABLE TO PAY IT OFF AND MAKE A PROFIT FROM THE TOLLS.

WELL, THAT NEVER REALLY HAPPENED FOR A NUMBER OF REASONS.

AND I THINK THAT PROBABLY BOWL MONT END -- BELMONT ENDED UP LOSING MONEY ON THE CANAL.

>> SEEING VALLEY, THE STUFF.

GOVERNMENT PURCHASED THE CANAL IN 1928 AND BEGAN CONSTRUCTION TO WIDE AND DEEPEN IT AS WELL AS BUILD THREE NEW BRIDGES.

>> NOW, ALL THREE BRIDGES THAT WERE CONSTRUCTED ALONE THE CAPE COD CANAL WERE FINANCED UNDERNEATH THE NATIONAL INDUSTRIAL RECOVERY ACT OF 1933.

AND THAT'S THE NEW DEAL PROGRAM.

ABOUT 4.6 MILLION DOLLARS WAS ALLOCATED TO THE CANAL AND PUT MANY LOCAL PEOPLE TO WORK DURING THE CONSTRUCTION.

>> TODAY THE CAPE COD CANAL IS NOT ONLY A NAVIGABLE WATERWAY SNAKING BETWEEN CAPE COD BAY AND BUZZARDS BAY, IT'S A RECREATIONAL RESOURCE FOR FISH, BIKING, AND SIGHT SEEING.

>> WE SEE ROUGHLY ABOUT 15,000 VESSELS THAT GO THROUGH THE CAPE COD CANAL EVERY YEAR.

THE U.S. ARMY CORPS OF ENGINEERS OPERATES A MARINE TRAFFIC CONTROL CENTER THAT ALLOW US TO COMMUNICATE WITH AND TRACK ALL VESSELS.

THERE'S A LITTLE BIT MORE THAN 1100 ACRES OF FEDERAL LANDS THAT SURROUND THE CANAL.

WE'RE VISITED BY ABOUT 3 MILLION PEOPLE ANNUALLY.

>> IT'S A REALLY IMPORTANT ENGINEERING MARVEL.

IT'S STILL THE WIDEST SEA LEVEL CANAL IN THE WORLD.

AND YOU KNOW, IT MADE -- CAPE COD AN ISLAND.

WASN'T A PENINSULA ANYMORE.

>>> THIS PAST SUMMER MARKED 60 YEARS OF THE CAPE COD NATIONAL SEASHORE, AS ESTABLISHED ON AUGUST 7TH, 1961, BY PRESIDENT JOHN F. KENNEDY.

AND IF YOU'RE DREAMING OF SUMMERTIME SANDS, SEA, AND SUNSHINE DURING THIS FRIGID WEEK, AND WEREN'T ABLE TO MAKE IT TO THE CAPE YOURSELF THIS YEAR, HAVE NO FEAR.

PRODUCER DAVE FRASER TAKES US THERE IN A WARM AND SUNNY DIGITAL EXTRA.

¶ ¶ ¶ ¶ >> DON'T MISS THIS DIGITAL EXTRA ONLINE RIGHT NOW AT NEPM.ORG/CONNECTINGPOINT.

>>> INITIALLY BEGINNING AS A LIMITED SERIES OF THEATER WORKSHOPS AT THE HAM SHIRE JAIL AND HOUSE OF CORRECTIONS, THE PERFORMANCE PROJECT IS STILL AROUND MORE THAN 20 YEARS LATER, STRENGTHENING YOUTH LEADERSHIP IN OUR COMMUNITIES.

THROUGH VARIOUS PERFORMANCES, PROJECTS, AND VISUAL ARTS CREATED AND INSPIRED BY THE YOUNG PARTICIPANTS, THE PERFORMANCE PROJECT IS ENGAGING ITS MEMBERS AND AUDIENCES BY BRINGING AWARENESS TO SOCIAL JUSTICE ISSUES AND COMMUNITY ENGAGEMENT.

I SPOKE WITH THE CO-DIRECTORS FROM THE PERFORMANCE PROJECT TO HEAR MORE ABOUT THEIR WORK.

>> I WAS INVITED BY THE HAMPSHIRE COUNTY JAIL TO CO-LEAD A WORKSHOP.

IT WAS A DANCE AND THEATER WORKSHOP FOR MEN WHO ARE INCARCERATED AT THE JAIL.

AND IT WAS INITIALLY SUPPOSED TO BE A 14-WEEK WORKSHOP, CUL ANYONATING IN -- CULMINATING IN A PERFORMANCE.

AND THE AUDIENCE WAS BOTH THE INSIDE AUDIENCE OF THE JAIL AND THE GENERAL PUBLIC.

AND IT WAS SO IMPACTFUL BOTH IN THE PARTICIPATES' LIVES -- PARTICIPANTS LIVES AND THE AUDIENCE EXPERIENCE THAT WE WERE INVITED TO REPEAT THAT AND THE NEXT TIME WE DID IT, IT WAS SIX MONTHS TO CREATE THE PERFORMANCE.

AND BUILD UP THE PERFORMING ENSEMBLE.

THAT'S HOW IT BEGAN.

>> THIS WAS SUPPOSED TO BE A VERY LIMITED PROJECT, BUT NOW IT HAS GROWN 20 YEARS PAST THE FACT.

WHO DO YOU ENCOURAGE TO BE PART OF THIS PROJECT NOW, TODAY?

>> SO THE OVERARCHING ANSWER IS THAT WE ENCOURAGE EVERYBODY TO PARTICIPATE.

WE HOLD YOUTH AT THE CORE OF THE WORK THAT WE'RE DOING IN THE FIRST GENERATION AND THE COMMUNITY.

BUT ULTIMATELY WE HAVE FAMILY AND COMMUNITY CELEBRATIONS.

WE WANT ARTISTS TO COME.

WE WANT THE GENERAL PUBLIC TO COME.

WE WANT SCHOLARS TO PARTICIPATE, ACTIVISTS TO PARTICIPATE, TEACHERS TO PARTICIPATE, AND WHEN WE HAVE OUR PERFORMANCES, WE'RE REALLY -- YOU KNOW, WE'RE INVITING THE GENERAL PUBLIC AS WELL.

SO HOLDING OUR FIRST GENERATION AT THE CENTER, WE HOPE THAT IT IS A COMMUNITY-BASED INITIATIVE.

>> YOU MENTIONED FIRST-GENERATION -- WHICH ARE COMPONENTS OF THE PERFORMANCE PROJECT.

TALK TO ME ABOUT THOSE PROGRAMS.

HOW DO THEY COME ABOUT AND WHO ARE THEY FOR AND WHERE DO THE NAMES COME FROM?

>> THE NAME OF THE COMMUNITY IS MEANT TO ENCOMPASS ALL IDENTITIES.

SO INITIALLY, WE THOUGHT FIRST GENERATION AS BEING THE FIRST IN ONE'S FAMILY TO BE GROWING UP IN THE UNITED STATES AND SPEAKING ENGLISH.

THE IDENTITY IS EXPANDED TO A YOUNG PERSON WHO CAN IDENTIFY ANY FIRST IN THEIR LIFE.

SO IT MIGHT BE THE FIRST ACTIVIST, IT MIGHT BE THE FIRST IN THEIR FAMILY TO BE GRADUATING FROM HIGH SCHOOL OR GOING TO COLLEGE.

THAT'S FIRST GENERATION.

>> NAMED AFTER THE SOUTH AFRICAN PHILOSOPHY OF -- [INAUDIBLE] WHICH REALLY SPEAKS TO THE INTERCONNECTEDNESS OF HUMAN BEINGS AND HOW WE CANNOT EXIST IN ISOLATION.

IT'S SOMETIMES GETS TRANSLATED TO I AM BECAUSE YOU ARE.

OR HOW EACH ONE BENEFITING FROM LIKE US COMING TOGETHER REALLY MAKES US ALL THRIVE.

SO THAT'S VERY INTENTIONALLY IN HOW WE COME TOGETHER IN OUR MENTORING, IN OUR BEING AND EXISTING WITH EACH OTHER.

>> TALK TO ME ABOUT SOME OF THE CREATIVE AND ARTISTIC WORKS THAT YOU DO WITH THE PERFORMANCE PROJECT AND HOW THAT HAS BEEN REALLY HELPFUL AND BENEFICIAL TO THE MEMBERS.

>> WHAT AUDIENCES SEE WHEN THEY COME TO SEE THE PERFORMANCES ARE THE FINAL PRODUCT OF STORIES THAT ARE BEING TOLD, BASED ON THE PERSONAL EXPERIENCES OF ENSEMBLE MEMBERS OF THE YOUTH.

>> WE'RE -- [INAUDIBLE] ALL THE WAY HOME.

AND ANDERSON, I LOVE HER.

>> THE ONE THING THAT THEY HAVEN'T YET UNDERSTOOD UNTIL THEY'VE PERFORMED THEIR STORIES IS HOW PEOPLE ARE GONNA APPRECIATE RECEIVING THEM AND HOW THE AUDIENCE SEES THEMSELVES.

IN THE PERFORMANCES.

AND IT'S VERY POWERFUL FOR THEM AFTER PERFORMING WHEN AUDIENCE MEMBERS STAND UP AND SAY, YOU JUST TOLD MY STORY, OR, I HAVE NEVER BEEN THROUGH THAT, YOU KNOW.

I'M NOT FROM BHUTAN.

I'M NOT FROM NEPAL OR -- OR EITHERIOP WITH A -- ETHIOPIA, BUT I'VE HAD A SIMILAR EXPERIENCE.

SO THERE'S KIND OF A COMMON HUMANITY.

>> YOU MENTIONED A LOT OF THESE PERFORMANCES ARE BASED ON THEIR PERSONAL AND TRUE STORIES.

SO THEY REALLY CLAIMED FULL AUTHORSHIP OVER THEIR PERFORMANCES.

HOW IMPORTANT IS IT TO OFFER PEOPLE THIS CREATIVE FREEDOM?

>> I THINK THE OPPORTUNITY FOR YOUNG PEOPLE TO -- TO EXPERIENCE BEING WITNESS IS WHAT WE PROVIDE, BECAUSE IN THEIR DAILY LIVES, YOU KNOW, THEY ARE PART OF JUST THE BACKGROUND, EVEN WHEN THEY WERE IN SCHOOL OR AT HOME, THEY'RE NOT AT THE FOCAL POINT AND WHEN THEY COME TO US, THE SPACE FOR THEM IS -- IS THERE FOR THEM TO BE SEEN, HEARD, AND INVITED IN A WAY THAT GETS THEM TO SUDDENLY, OOH, THEY'RE REALLY INTERESTED IN ME OR WHO I AM AND WHAT I HAVE TO SAY.

>> YEAH.

AND I THINK PART OF THAT ENVIRONMENT THAT YOU ALL CREATE IS INCORPORATED IN ANOTHER ONE OF YOUR VALUES, WHICH IS THAT YOU ALL LEARN FROM EACH OTHER.

SO IN WHAT HAVE BEEN SOME OF THE THINGS THAT YOU ALL HAVE LEARNED FROM THE MEMBERS AND FROM THESE YOUNG PEOPLE PART OF THE PERFORMANCE PROJECT?

>> YOUNG PEOPLE AND EVERYONE WILL GROW WHEN WE ARE CONSISTENT.

WHEN WE HOLD THEM ACCOUNTABLE, HOLD THEM IN HIGH REGARD, WHEN WE HAVE HIGH EXPECTATIONS THAT MAGIC HAPPENS.

SO WE LEARN THAT THE MORE THAT WE INVEST, THE MORE THAT WE BRING IN AN EXPOSED -- AND EXPOS EVERYONE TO IDEAS, THOUGHTS, AND FEELINGS THAT EVERYONE BENEFITS FROM IT.

>> WHAT IS IT ABOUT THE CREATIVE ARTS DO YOU THINK THAT PROVIDES THIS AVENUE FOR RELATIONSHIP AND COMMUNITY BUILDING AND WHAT CONVERSATIONS DO YOU HOPE PEOPLE BEGIN HAVING AFTER THEY WITNESS ONE OF THE PERFORMANCES?

>> WITHHOPE THAT THE AUDIENCE EXPERIENCES YOUNG PEOPLE AS TEACHERS.

WHEN THEY'RE IN THE AUDIENCE.

AND SO THE POWER DYNAMIC IS FLIPPED IN THAT MOMENT.

AND THE AUDIENCES HAVE THE OPPORTUNITY TO SEE THE POWER AND POTENTIAL OF YOUTH.

>> WHEN WE CREATE A SPACE THROUGH CONSISTENCY, THROUGH NURTURING WITH CARING WORDS AND PHRASES AND -- AND JUST MAKING THE SPACE FOR CONNECTION TO HAPPEN, THEN OUR WHOLE SOCIETY BENEFITS.

¶ ¶ ¶ ¶ >>> AND THAT DOES IT FOR THIS EDITION OF "CONNECTING POINT."

REMEMBER, YOU CAN ALL THE FIND ALL OF THE STORIES THAT YOU SAW IN THIS EPISODE, AS WELL AS EXCLUSIVE FEATURES, DIGITAL-ONLY CONTENT, AND SO MUCH MORE ONLINE ANYTIME AT NEPM.ORG/CONNECTINGPOINT.

AND PLEASE BE SURE TO JOIN US AGAIN EVERY THURSDAY AND SATURDAY AT 7 POINT P.M.

RIGHT HERE ON NEW ENGLAND PUBLIC MEDIA FOR MORE STORIES OF THE CREATIVITY, CULTURE, AND COMMUNITY IN A MAKE US WESTERN NEW ENGLAND.

I'M ZYDALIS BAUER.

THANKS FOR WATCHING AND HAVE A GOOD NIGHT!

>>> SUPPORT FOR "CONNECTING POINT" IS PROVIDED BY OUR CONTRIBUTING VIEWERS.