- [Ben] My uncle Doug originally started the pottery shop.

(mumbles) The pottery shop used to be right behind us here, probably about a half-a-mile from here.

And I was probably about 12 or 14, and I used to go over and hang out with him and watch him do his thing.

He'd let me try it every once in a while and, you know, young kid that I was, I didn't really get interested in it.

Then later on, when I turned probably 17, 18, my brothers used to throw pots, and they got me into it.

So then, there you have it.

- [Joyce] Uncle Doug, he made it so interesting that you wanted to learn.

My entire family, I have four older siblings, four younger siblings, so there's nine of us, and every one of us worked at the pottery shop.

My mother was a designer from, I think she started working there in maybe '74.

It was almost like that was the only job on the reservation, and I more or less went to work there to earn money, but found out that I loved it.

It's such a calming feeling that you get.

You're in your own realm, and you can, it's like nothing bothers you.

And I always say, if people need therapy, start pottery.

Because it just, your inner being is just so focused that, life's good.

My son, who is the recreation director, wanted to do an after school project for the kids.

So we started the after school program, which is going into its fourth year.

We have kids from kindergarten through 12th.

It varies on a weekly basis how many children are there.

I've had anywhere from one child to 27.

And I think that we have some budding potters now, even at their young age.

When I'm designing, it's kinda like, the pots tell you, it's almost like they tell you what, you know, I'll start with a basic lining.

I only do the geometrics, I'm not like the more experienced artists where they'll make eagles and bears, but I've only done the geometrics and that's what I was taught, that's what my mother's done.

I start with the simple baseline, and once I see that part, then I can continue and complete the pot.

I think that, when you're making pottery, or I believe that when you're making pottery, that you're putting a part of yourself into it.

And when you give it to a person, you're giving a part of yourself to them.

And people enjoy it.

It's beautiful, it's a great memory.

Especially if you know that person.

And I know every time somebody purchases a pot they wanna know who the designer was, who threw it.

They want the history of the pot, not just the pot.

They wanna know the actual person behind it.

And that's how I feel, as far as pottery.

It's part of me.

Culturally, the symbols that we put on the pots, if you've ever been to the petroglyphs and looked at the rock formations out there, you'll see different symbols that we use on our pots.

And when they have them on there, there's the meaning, and you know that that symbol came from thousands of years ago.

It wasn't something that just came off the top of your head.

The symbols mean something and they meant something thousands of years ago too.

It's not just today.

This is something my great-great-great-great grandmother used.

And they use those symbols in beadwork, quillwork.

So the symbols aren't just on the pots, they're in all of our artforms.

Because it's our history.

Right now, with our apprentice work, we have sold pots at Upper Sioux gift shop, our gift shop, and out at the site, at the historical site.

Our tribal council, they're encouraging it, so we're hoping to see it up and running again.

I would like to see it like it was in the '70s and '80s.

I would like to see a part of Lower Sioux history all over the United States and countries again.

To me it would be beautiful.

We have a beautiful, beautiful community, and we have so many artists that live here that, you know, should be showcased.

- There's a lot of artists on this reservation, I mean, nobody even really recognizes.

I'm not the only one that can throw pots.

I'm not the only one that can design a pot, which I welcome.

I'd like to see this grow.

It's gonna be a journey, but, you know, you don't know unless you try.

- [Joyce] There's a lot of satisfaction in teaching how to throw pottery, because, with the older people, I always tell them, you know, wait until you're sure of yourself when you're throwing, then comes the calm.

Because you know what you're doing and you're not worried about, oh, am I doing this right?

Am I doing that right?

All of that goes out the window and you're just, you're throwing and you're just relaxed.

I like teaching because you see, when they first start, I can't do this, no I can't, yes you can.

You just keep trying, keep trying.

And pretty soon they're throwing a pot and look what I did, I'm saving it for my mom!

Once they've accomplished the throwing of a pot, the amazement and wonder in their eyes, it's like, wow, I did that.

Yes, you did that.

- [Announcer] Postcards is made possible by the Minnesota Arts and Cultural Heritage Fund, and the citizens of Minnesota.

Addition support provided by Margaret A. Cargill Philanthropies.

Mark and Margaret Yackel-Juleen, on behalf of Shalom Hill Farms, a retreat and conference center in a prairie setting near Windham, Minnesota.

On the web at shalomhillfarm.org.

Alexandria, Minnesota, a year-round destination with hundreds of lakes, trails, and attractions for memorable vacations and events.

More information at explorealex.com.

The Lake Region Arts Council's arts calendar, an arts and cultural heritage funded digital calendar showcasing upcoming art events and opportunities for artists in West Central Minnesota.

On the web at lrac4calendar.org.