From May 21 through September 6, the Hunter will present the stunning exhibition “Power, Passion & Pose: Photographs by Ken Browar and Deborah Ory” featuring nearly 50 photographs capturing the exquisite athleticism of ballet and modern dancers posed in mid-air wearing couture fashion. The exhibit is a joint collaboration among the photographers, dancers, and choreographers who all came together to showcase the blending of fashion and dance. In the interview below, Browar and Ory give Mirror readers an exclusive behind-the-scenes glimpse into their work.

Q: These photographs are choreographed much like other dance performances. Could you describe your process?
Our process usually begins with meeting the dancers informally and spending some time getting to know them. It’s important for us to find out a bit more of who they are and what they individually would like to achieve with the photographs. We’ve also always done our homework before the photo session; whether by having seen the dancer perform live or having watched videos of him/her dancing.

During the photography session, we spend a lot of time experimenting with what type of imagery we feel is working best. In this initial session, we aren’t worried about achieving a perfect image.  After the first photography session, we review the images with the dancer.  We focus on choosing just a few positions that are working - or maybe elements of them.  Then we will spend time refining the image. For example, we might adjust the lighting, or change things within the pose - perhaps a different arm position, angle or other changes - that will help us achieve the best possible image. It’s important for us to leave the photo session with just a few images we all love, rather than have many that are perhaps just average. We are looking for those really special moments, and when they happen, everyone on the set knows right away.

Q: How do you pair the dancers and the poses? Do you match the dress or clothing to the dancer and then choose the pose? How does that part work?
Every piece of clothing we work with has its own character, mood and way of moving, independent of the dancer. While it is often easier for us to work with basic dance clothing, we love the element fashion brings to the photographs. We wanted to be sure the dancer and the clothing were well matched and that the clothing would complement and work well with the way the dancer looked and moved. It was often hard to control the way the clothes moved, so it could take some time to learn to manipulate the fabric and find the right positions that allowed the clothing to move and would also best express its style.  It was like adding a partner for the dancer, and with any partner you have to practice working together.

Q: How much input do the dancers give to the process? Does their style of dancing inform the style of the shoot?
The dancers absolutely have a lot of input into the process: It is a collaboration between us and the dancer. We always chose dancers that we felt would be creative and would enjoy the collaboration process. Their style of dancing, as well as the unique way each dancer moves, informs every photograph we make.  We also wanted to capture their personality, one that comes through when they perform.

Q: Some of these gowns were difficult to dance and jump in – were there any workarounds to accommodate the dance positions and jumps?
We tried to find clothes that moved well, and the majority of the pieces we used actually allowed for quite a full range of movement. However, this was not always the case. For example, there is a stunning dress that will be at the museum by Marchesa, worn by Gillian Murphy. We could not resist using this amazing dress, but it is tight around the legs, so Gillian focused on upper body movements. Occasionally we encountered these challenges, but mostly we chose clothing that would allow for movement.

Q: What kind of camera or special equipment do you have to use to capture such visual detail in such quick bursts?
We use a Hasselblad, which is a medium format camera. It does not have autofocus or a motor drive and it’s a very basic camera - one that has beautiful lenses. We work very slowly and just work on capturing the moment. For example, when a dancer does a jump, we try to just capture it with one frame at exactly the right time. Working slowly and methodically works best for us, especially as it is a collaboration between several artists.

Q: What’s been the most exciting/unique/challenging shoot you’ve worked on thus far? Or, is there a behind the scenes detail that we haven’t thought to ask about?
There have been many unique and challenging shoots we’ve worked on. The Degas series with Misty Copeland was quite a challenge - we had to recreate famous paintings. It was complicated in both creating the sets for these images, as well as making the images that would have the feeling of a painting. Another photo that was challenging for us was the one of Meaghan Grace Hinkis wearing a dress made of flowers. Meaghan’s mother is a costume designer, and we have a friend who is a creative director with a flower company. Together we all made the dress on Meaghan, which took several hours. The flowers were dying as we were making the dress on her! We really were not certain if the dress would come together until the moment we finally took the photo.  The dress was so heavy that once it was finished on her, Meaghan had a difficult time dancing, and with the flowers dying on us, we only had a few seconds to actually capture the image.

Visit the Hunter to see the amazing photographs discussed above as well as many more in “Power, Passion & Pose: Photographs by Ken Browar and Deborah Ory,” opening May 21, 2021, at the Hunter Museum of American Art.
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by Cara McGowan

In the past, I would not preview an exploratory outing for Off The Beaten Track. This month, however, I cheated. I started to lustfully look forward to doing something actually out of the house and fun. Breaking my own rules, I escaped the here and now and delved into the world of equine therapy. In the doldrums of cold and grey February days, watching children and adults on the autism spectrum interact with horses was not to be postponed. Through its videos and Facebook posts, Tri-State Therapeutic Riding Center had me hooked. Tri-State offers that hope and belief.

My exposure to horses has been embarrassingly limited: I have watched my daughter comb through the shimmery lavender purple and violet nylon mane of her Little Pony toy, Twilight Sparkle, but that’s about the extent of it. Never did I take the time to consider how horses enrich peoples’ lives. Ashley Pujol, the director of Tri-State, shared her experiences and the work of the Center with vibrancy and passion.

Tri-State works primarily to transform the lives of those with physical, emotional and/or mental health needs, but does work with all abilities. This might include people on the autism spectrum, with Down syndrome, cerebral palsy, anxiety, depression and ADHD.

As a transition to delving into how Tri-State operates locally, I offer some significant findings about equine therapy.

Horses offer a physical connection (riding, brushing, patting) for those with autism who often have difficulty communicating feelings and making eye contact.

Horses can foster language skills because they allow the rider to be in charge and give directions without any threat of judgment.

Horses foster healthier bodies: muscular strength, balance, co-ordination. For example, riders with multiple sclerosis find that sitting on the horse can stretch hip joints and reduce pain and spasticity in leg muscles. Furthermore, the movement of the rider’s hips can increase limberness and muscle tone in the legs.

Horses mirror people and react authentically to emotional states. For example, if a person seems tense, a horse might pin back its ears and bare its teeth. Horses are non-judgmental and will accept anyone for who they are. If someone approaches and has a genuine sense of security/calmness, the horse will remain calm and express its interest in the person, maybe lightly nudging them to engage or licking their hand. 

Horses don’t rely on vocalization because they are prey animals; sound would betray their location. Instead, they rely upon a sophisticated silent method of communication.

Horses provide emotional comfort and opportunities for growth and responsibilities, not only from riding but also from their basic needs for grooming and care. Horsemanship extends far beyond a mere rental for a recreational ride.

Tri-State, with its knowledge of equine therapy, takes this science and turns it into a positive, proactive learning and joyful experience for those ages 3-70. Ashley is infectiously passionate about her field. Having grown up as an army brat, she lived in over 10 places during childhood; her horse, Sandy, a dark gold Palomino, was the one friend she knew would always be with her. Sandy offered constancy and loyalty. When feeling left out of the crowd, figuring out who she was or adjusting to a new residency, Ashley always had Sandy. Significantly, when Ashley spoke about her own history, she expressed an uncanny wisdom about how horses could reach people of all ages. Clearly not a young enthusiast with the potential to burn out, Ashley is a lifer. If you are seeking advice from an empathetic professional with extensive experience, she is the one. 

Initially, touring TriState felt akin to visiting a preschool. Photos of each horse line the wall. These horses, cleverly coined, “Reinbow” Riders, have an assigned color to allow riders to practice their colors. Lottie is red, Prim is teal, Farley is orange, LB is white, Chappy is pink, Buddy is green and Poppy is purple. In the grooming area, buckets with matching combs allow for color matching. While to an untrained observer these small choices might seem coincidental, each connects to a larger learning plan. And also, the colors add fun!
Beyond the entry, the indoor arena offers various “toys” that reinforce motor skills, comprehension and coordination. Pool noodles, barrels, basketball hoops, a fishing pole and ring toss offer all sorts of challenges. The toys and games seem reflective of a small, involved imaginative staff. 

With the weather cold, dank and in the low thirties, Ashley did not take me on a tour of the sensory trails, which include obstacles meant to engage the senses. For example, one trail emphasizes sound with large wind chimes and a wooden bridge to highlight the horses clip clops. There is a colorful pool-noodle forest that resembles a car wash so riders can see colors and feel the texture as they ride through. Visitors can see these trails, as well as two other larger indoor arenas that are used for horse shows, rodeos, dog shows, monster truck shows and other community events.

The staff all seems to have a genuine commitment and belief in promoting positive outcomes. Staff member Caroline Duncan explained, “People come in and they can’t walk or they are not looked at like a normal person ...[but here] they can be anyone they want to be.”

Talking of one breakthrough experience, Ashley’s eyes started to well up with tears. She was riding on a horse supporting a young girl with severe disabilities who lacked the strength and coordination to sit on her own. Ashley hugged this little girl, and the girl squeezed her hand, which was the most communication she had made in months. Ashley went on to recount how a low functioning male in his ’30s blurted out a horse’s name; it was the only time he had ever spoken. 

While these experiences have been game changers, every small task/activity at Tri-State is directed toward growth. In grooming, learners need to differentiate between bristle sizes and textures. They must practice making various shapes and stroking at various angles. Some brushes need to be moved in a circular motion, while others require horizontal strokes, and others need to be bushed softly up and down. Furthermore, each brush is suited to a specific part of the horse.  

To an outsider, the amount of thought put into a successful therapy program boggles the mind. Incontestable, Tri-State has many followers impressed by its transformative work. In addition to the staff, a strong core of volunteers helps with the care of the horses and lessons and work on grants. Volunteers are accepted whether experienced or not. Training is available and can range from cleaning stalls to handling horses.

Donors provide horses, sponsor riders, pass along saddles and give generously. It is through this support that Tri -State is able to offer a low- to no- cost program that can involve optional payments and scholarships.

Currently, it would be an understatement to say we are at a time when much seems discouraging. Thanks to Tri-State, I have a reason to smile. A visit lifts the spirits and stretches the imagination. Never again, when I see a tiny plastic Little Pony, will I think a horse’s engaging quality is limited to a young child’s toy. For a feel-great experience, visit Tri-State. See the magic.
by Robin Howe

Ever noticed a bent tree in the woods, the one that looks like a person all hunched over and in need of a cane? These odd, misshapen trees often make for a great photo, but ever wondered why they look the way they do? They may look like something from nature’s rejects department, but these bent trees actually have quite an interesting story to tell. To appreciate this story, a trip to the past is warranted, to a time when Native Americans freely roamed the North American continent.

Imagine for a moment what America was like before the days of the Eisenhower Interstate system. How was this vast uncharted and untamed land mass navigated before the invention of paved roads and signs leading the traveler from point A to point B? Cartography may have been around since pre-historic times, but it was a unique technique of bending trees developed by the Native Americans that marked the way over the river and through the woods, long before the first European settlers arrived on the North American continent.

Nature is no stranger to being manipulated by humans to meet their needs, and one fascinating example of this manipulation is that of Native American tree bending. The goal of tree bending was to create a series of reliable landmarks known as “trail trees” that would guide a traveler along safe, efficient trails through the wilderness, show the best place to cross a body of water, lead to important places such as an Indian burial mound or indicate the location of a vital resource such as water, lodging or food. As a result of this trail tree system, Native Americans could explore the land without fear of getting lost in the woods. As settlers arrived, this trail tree system proved essential for many as they navigated their new world. In fact, researchers know that Daniel Boone used Cherokee trail trees to explore deep into the wilderness. In essence, this Native American Trail Tree system was the preliminary infrastructure upon which our country’s current system of roads, highways and interstates was built.

Nothing at all in the way of a first hand written account of the history and locations of trail tree exists, understandably so. Native Americans considered trees sacred and were dubious of white people. The system’s creators were convinced that if the trail tree system was discovered by the European settlers, it would be damaged, destroyed or altered in the name of the white people’s progress to form their new country. To guard against an assault on the trail trees, a most sacred property, Native Americans never wrote about the system nor talked with white people about them.

Due to the efforts of some dedicated trail tree enthusiasts with a knack for historical research, the story of bent trees has been arduously “mapped” out, starting in the 20th century, and continuing to this day. Any written information regarding trail trees appears to come from conversations with tribal elders who had extensive knowledge of the system. This information was subsequently recorded by white people, often in the form of newspaper or magazine articles, some dating back to the late 1800’s.

Through trial and error, Native Americans discovered that if a young tree were bent in an unnatural position without breaking and was securely fastened, the tree would continue to grow, maintaining the unnaturally bent position. Armed with this knowledge, the Native Americans could deliberately manipulate trees to be easily recognizable from other trees and serve as guideposts with the bend of the tree indicating the direction of the route to be followed.

Various methods that were highly dependent on available materials and the creativity and ingenuity of the person performing the task were used in this calculated manipulation of trees. Hardwood saplings, usually oak or maple, would most often be used, owing to their flexibility when young and their ability to maintain the altered shape. Typically, a young tree was bent in the desired direction, forming an arch so the trunk was essentially oriented horizontally to the ground. It was secured in place by leather straps or vines tied to a stake in the ground, or weighed down with a rock or piled up dirt. A branch was allowed to grow skyward from the original trunk to become a “new trunk.” Once a sapling had been molded, it retained its unique shape, growing in the direction it was first bent and increasing in diameter. This deformed positioned was maintained for about a year before the young tree was released from its bondage. Eventually, the original trunk was removed, leaving a   directional “knob,” a distinctive feature of a trail tree.

This art of bending trees by Native Americans for navigational purposes is not without controversy. Naysayers claim it is impossible to determine if a tree growing at an odd angle in nature is due to manipulation by human hands or simply a freak of nature. It is important to note, however, that many of the naysayers trying to discredit the existence of Native American Trail Trees, a living link to the country’s history, have been in the lumber business or keen on developing pristine wooded land for industry, commerce and residence. This opposition, appearing to be a pre-emptive strike against efforts to legally protect and preserve a tree thought to be a trail tree, ultimately is unnecessary. There is not, nor has there been, a federal law prohibiting the removal of a tree thought to be a Native American Trail Tree, but thankfully, some of these magnificent relics are protected by local laws.

Across the country, efforts by trail tree enthusiast groups work to keep the history of the trees alive for future generations. One group located close to home in North Georgia, known as Mountain Stewards (https://mountainstewards.org/trail-tree-project), has started The Trail Tree Project, which finds, confirms and catalogs trail trees. To date, this project has 2,450 trees across 44 states in its database.

Locations of some of the 2,450 trail trees include Deadpost State Park near Moab, Utah; White County, Indiana; Blue Mound State Park, Wisconsin; Kalenski State Forest, Ohio; and Florissant Fossil Bend National Monument near Pikes Peak Colorado. (Road trip as soon as the pandemic is over? Anyone, anyone?)

Finding a bent tree in the woods can be thrilling, as one might wonder if the odd shape happened naturally or if someone from a past century purposely manipulated it. Keeping in mind not every oddly shaped tree in the woods is a Native American Trail Tree, here are some things to consider when trying to identify one:

• Is the tree (oak or maple) old enough
• to have been alive when Native
• Americans inhabited the area?
• Does the tree have a “knob” that seems
• to be indicating the way or pointing
• to something of importance like water?
• Are there other trees in the area bent
• in the same way?
• Is the bend close to the ground (i.e.
• not much higher than eye level)?
• Is there visible scarring on the
• horizontal part of the tree in the shape
• of a leather strap or vine tether?

Any of these features may indicate human intervention, and indicate a Native American Trail Tree. Of course, when all else fails, and if so motivated, call the experts. No doubt the Mountain Stewards group would love the chance to check out a possible trail tree.

At 150 to 200 plus years of age, these living pieces of history are being lost quickly either to a natural death or falling victim to modern man’s follies, so finding one nestled in the woods is akin to finding the proverbial pot of gold at the end of the rainbow. Seeing an oddly shaped tree, one oriented horizontally to the ground in a world of vertical trees, is a true treasure for the seeker to behold. And even if a bent tree in the woods isn’t a legitimate trail tree, it’s still fun to imagine that it is, giving pause to reflect on the unique and industrious practice of Native Americans and to remember that people have long been walking these woods.

​So hurry up, put on those hiking boots and hit the trails in search of a Native American Trail Tree before it’s too late!

Have a trail tree on your property, know where one is located or have some photos of these quirky living relics from the past? Reach out at jd-harper.com to share any photos and/or stories.

by JD Harper
*JD Harper is a local author. “GLINT,” her debut novel, is set in Chattanooga amid its rich Civil War history and rock climbing culture. Visit jd-harper.com.

Next month, March 11 to be exact, marks the one-year anniversary of the World Health Organization’s announcement of the COVID-19 Pandemic. Yes, it really has been almost 365 days of adjusting, acclimating, and accepting a new way of life. Despite the fact that some good things will have come out of this pandemic, it doesn’t make it any less daunting to greet each day with an optimism that one day things will return to some sort of normalcy.

Technology, already a titan of the world, pushed boundaries again, giving even the most technologically challenged individuals easy-to-use “the future is now” platforms to stay connected via a “pseudo” in-person feel. Zoom Happy Hour, anyone? Working from home, Telehealth, toilet paper shortages … this pandemic has seen it all, but as the proverbial light at the end of the tunnel is getting nearer and brighter with the roll-out of effective vaccines, many of these pandemic inspired “techno-distractions” are undoubtedly starting to wear thin. Experts are imploring individuals to hang on to the shelter at home, stay six feet away from others, and wear a mask in hopes we will continue this altered way of life just a bit longer until a majority of the population has been vaccinated.

With Zoom fatigue, cabin fever and stuck-in-rut feelings abounding, what “new” to do until the days of gathering with others, free of masks, return? Perhaps revisiting an “old” staple of life that requires no cell service, wi-fi or special equipment (except maybe some comfy footwear) is the answer. If the prospect of going for a walk to help stave off some of the craziness of the pandemic way of life isn’t appealing, consider a few facts about the positive impact walking can have for the immune system, in addition to the known mental heath benefits.

Walking, even at a snail’s pace, is most definitely a form of exercise, and exercise in any form is good for the body. It gets the body up and moving against gravity, an act that provides a whole host of positives for the body’s structure and physiology. But why in particular is exercise good for virus abatement?

Some proven theories on why any form of exercise is good for immunity:

• Physical activity helps flush bacteria out of the lungs and airways.
  
• Exercise causes changes in antibodies, making them circulate faster, which may help the white blood cells detect infections sooner.
• The brief rise in body temperature may prevent bacteria from growing, similar to what happens with a fever.
• Exercise slows the release of stress hormones.

Not shy about its belief in how powerfully good walking can be for a body, the Scenic City has built in a surefire way to encourage the activity. Take advantage of over 16 miles of paved path along the southern banks of the Tennessee River on Chattanooga’s Riverwalk. Multiple points of entry allow for ease of access starting at the northern terminus of the Riverwalk at the Chickamauga Dam to its southern terminus on Broad Street, just shy of the St. Elmo district.

Just 20-30 minutes a day of walking activity is all it takes to activate an antidote of sorts in dealing with the pandemic, and a walk along any section of the Riverwalk provides for a lesson in nature, culture and history. Undoubtedly, the most common point of entry to the Riverwalk is on Broad Street at the Tennessee Aquarium; travel north to capture the art district or south to experience a more industrial environment.

Still not sold on the idea of a walk along the Riverwalk for an immunity boost or to dispel some of the pent up energy of keeping it close to home during the pandemic? Try this history lesson on for size, as it may be just the spark needed to get those feet pounding the pavement.

Nestled on Broad Street, amid the brick facade of one of the buildings on the block known as Hunt Row, is a quaint, quirky little shop full of sweetness known as The MoonPie Store. How can a story about walking for an immunity boost land at a confectionery delight for the taste buds? Stay tuned.

Picture it: The year was 1917, and a traveling salesman with Chattanooga Bakery by the name of Earl Mitchell was visiting with coal miners in Kentucky when one asked him for a snack as “big as the moon.” Not wanting to disappoint a customer, Mr. Mitchell reported the request to his employer. Chattanooga Bakery responded with the aptly named MoonPie, a tasty trio of graham cracker, marshmallow and chocolate. Legend has it that the coal miners loved the newly created MoonPie not only for its tasty, filling qualities but because it also fit perfectly in their lunch pails.

At the time the MoonPie was developed, Chattanooga Bakery was producing over 100 items, but the company soon realized it had something special with the new treat. At only 5 cents each, MoonPies flew off the shelves, and by 1929, it was the only product that the bakery produced, a model that continues to this day. Originally made with chocolate, the MoonPie has evolved to include other flavors such as vanilla, strawberry, lemon, orange, banana and salted caramel, along with double decker and mini versions. Chattanooga Bakery makes about 1 million MoonPies a day, so grab one on the way to the Riverwalk for an immunity-boosting walk. And that’s how a story on walking collides with some pretty cool Chattanooga history!

Lace up, mask up and get up and out for a walk with or without the MoonPie. It might be just what the doctor should order.

by JD Harper
JD Harper is a local author. “Glint,” her debut novel, is set in Chattanooga amid its rich Civil War history and rock climbing culture. Visit jd-harper.com.

Rob Headrick is a warrior. As chief of thoracic surgery at CHI Memorial Chest and Lung Cancer Center, he deals with lung cancer on a daily basis. Tennessee, being a coal miming state, has more than its share of cases. Here, in this hotbed, someone dies from lung cancer every two hours.
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Rob stays up to date on all of the latest information. He has always known that early detection of problems is the answer. So, being a warrior, he made it his mission to prove that lung cancer does not have to be a death sentence. Even people who are most at risk, such as longtime tobacco users and those with family history of cancer, can complete treatment and go on to lead healthy lives. The secret is early detection.

Realizing how difficult it is for most people to go to a hospital for a lung screening, both time wise and expense wise, he set out on his quest to find a solution: Take the screening to the people. Relying on the slogan “If you build it, they will come,” Rob Headrick believed that taking technology to the masses, especially those most at risk, would be an important educational experience and lives would be saved. Dr. Headrick wants to find the cancers before they spread and are much harder to cure. “It seemed so easy – just go scan everybody,” he said.

Dr. Headrick and his colleagues began designing and building a lung screening program that was based on a built-from-scratch bus with a portable CT scanner that can quickly detect cancer. The project soon became known as “Breathe Easy.”

In the beginning, they encountered a lot of people who thought it would be impossible to take the expensive medical equipment (which is cumbersome, sensitive to heat and humidity and designed to stay in one place) and transport it on a bus over rough roads and hills of rural Tennessee. The list of “cannots” was long, but our warrior team proved them false. The Breathe Easy Bus officially began operations early in 2018.

This technology is the first of its kind in the Chattanooga area and the only fully independent unit in the nation. Results published in the July 2020 “Annals of Thoracic Surgery” were so positive that other health officials became intrigued, as well as Gov. Bill Lee. The next goal is to roll out additional Breathe Easy buses across the state, bringing potentially life saving screenings and lung cancer information to all Tennesseans.

“It may have been my idea,” Rob says, “but so many people were needed to challenge the idea and cheer it on.”

Dr. Rob Headrick received the 2020 Champions of Health Care Innovation in the Individual Innovation category, which brings him national recognition for his forward thinking and approach to lung health.

We are so proud of him. He really is a hometown boy, the son of Jan Headrick and the late Dr. Jim Headrick (also a well-known thoracic surgeon). A Bright School and Baylor School student, he grew up on the lake and was a Tennessee state water skiing champion.

Completing his undergraduate degree at Vanderbilt, Rob attended medical school at the University of Tennessee in Memphis. He completed a general surgery residency at the University of Tennessee College of Medicine, Chattanooga, and a fellowship in thoracic and cardiovascular surgery at the Mayo Graduate School of Medicine in Rochester, Minn. He is board certified in both general and thoracic surgery and also holds an MBA from UT-Knoxville.

Make your New Year’s resolution for 2021 to have a lung screening in the Breathe Easy bus! It will be the easiest resolution you will every keep. It’s quick (10 minutes), non-invasive, painless and comes with no out-of-pocket expense. If you are over 50, a smoker or a former smoker, or have a history of cancer in your family, this test can be invaluable to your future health. Tests can also show coronary disease and other problems. A doctor is present to read the scan, discuss findings and map out the next steps if necessary. If no problems are found, the patient can truly “breathe easy.”

Call (423) 495-LUNG (5864) for an appointment or to schedule the bus to come to a workplace or group function for multiple screenings.

Dr. Headrick realized, as a very young man still in his residency at Mayo, that early detection of lung cancer could lead to a cure. Dr. Rob Headrick is a warrior in the fight to erase the stigma surrounding lung cancer and change the survival rates. Visit the bus and “breathe easy!”

by Judy Rowland