How do you fit 301 men, women, and children into 400 square feet of space? Very easily, if you are Rob Evans.

Rob Evans is the nationally and internationally known artist and muralist who was commissioned to paint the Double Ditch Village cyclorama^[1], the focal point of the new Innovation Gallery: Early Peoples at the North Dakota Heritage Center & State Museum.

Mr. Evans and the concept team from the SHSND’s Archaeology & Historic Preservation Division spent months in preparation, researching and providing the documentation that would ensure an historically accurate depiction of a 16^th-century Mandan village.

The village that was chosen for the mural is the Double Ditch Indian Village State Historic Site located 9.9 miles (as the eagle flies) northwest of the Heritage Center.

The hand-painted mural, crafted one small brushstroke at a time, shows one time in the life of the Mandan Indians. The date chosen was September of AD 1550. That very specific date was chosen by the concept team for a variety of reasons. Autumn would have been a bustling time in the thriving community, with the fall harvest and preparations for winter in full swing. The year AD 1550 would be historically accurate for the depiction of both the recognizable round earthlodge home of the Mandans in addition to its lesser known predecessor, the long, rectangular dwelling. The myriad of activities depicted include gardening, arrow-making, lodge and palisade repair, children playing, pottery making, and the preparation of corn, squash, and meat for winter storage.

The cyclorama wall, 50 feet wide and 8 feet tall, provided Mr. Evans with 400 square feet of canvas for his original artwork. He didn’t paint on canvas, though. The cyclorama is a curved wall of sheetrock fastened to upright metal beams with many screws. The face of the sheetrock was covered with a coat of gesso, an artistic plaster medium, to provide a smooth, curved surface on which he could apply his depiction of the Mandan village.

Three hundred (and one) acrylic men, women and children appeared over the three months Rob spent on the project. In addition, numerous bison skulls, earth lodge homes, herds of bison, and all of the fall activities of the village were carefully crafted. The images followed the prototype drawings and paintings that Rob had prepared in advance of the actual project.

The concept team, as well as the Native American consultants to the project, deemed it very important to include the sounds of the village in the finished painting. Historical recordings were appraised and the sounds and conversations appropriate to the time and place were chosen to be included in the project. When no appropriate archived file was available, contemporary Mandan speakers and singers from Fort Berthold were recorded, along with the sounds of children playing, dogs barking, birds singing and other sounds. The audio is heard on eight individual speakers mounted above the cyclorama. Each of the eight sound files is specific to the scenes in the corresponding segment of the painting. The speakers provide a multi-channel soundscape that brings the original painting to life.

Lit from below by 96 feet of LED lights, adjustable for color and intensity, the cyclorama comes alive before the eyes of the Heritage Center visitor.

The SHSND, in partnership with the North Dakota Archaeological Association, will present a series of six lectures titled, “A Vision of the Village: The Making of the Double Ditch Cyclorama” on the second Saturday of each month at 2 p.m. The series began on Saturday, January 9 and will continue on the second Saturday of each month through the month of June. (Note: The one exception is May, when it will be held on the third Saturday.) All lectures will be held in the Russell Reid Auditorium at the North Dakota Heritage Center & State Museum.

The lectures are free and open to the public. If you would like to hear more about Rob Evans’ painting, the research that went into the 400 square feet of art and the many details of a 16^th-century Mandan village, we encourage you to attend.

Oh, and we won’t confine you to 400 square feet of space.

If, perchance, you walk past my desk one day, you might wonder: Does she work here? Not much sign of labor. Just a woman stretched out in a chair, staring at a computer screen.

Dr. Barbara Handy-Marchello works very hard at writing for North Dakota Studies. Rockeman photo.

I must say my work does not raise a sweat on my brow or pound callouses onto my fingers. If I go home with a bruised thumb, it could be because I shut a drawer on my thumb, not because a hammer fell on it.

Nevertheless, I work.* Much of my work depends on thinking, leaving little in the way of a visible trail until some sort of product is finished. Writing curriculum is different from any other educational work I have ever done. There are no tests or papers to grade, no lectures to write, no lessons to develop, no students lined up at the door. Just a blank computer screen. It may be days before any sort of work product appears.

Starting with an idea about a project or a publication, I think about it, maybe read what someone else has written, and think some more. My fundamental question is always: “How do we make this idea (or subject or event) make sense and become meaningful to North Dakota’s young students?” 

On the other hand, I might start out to tackle a project with no idea at all. Take, for instance, articles in the North Dakota Studies newsletter. There is no formula or master plan to determine the next topic. I look for areas that we have not covered thoroughly in other publications. Or, I think about what might be a topic of current interest. In the next two years, the nation will be marking the 100^th anniversary of World War I. I expect to publish at least two articles about the role North Dakotans played in that war in North Dakota Studies newsletter. It will take a great deal of thinking to figure out how to write a historically accurate, student-friendly, and remarkably brief article on that big topic.

Another project on the horizon is the re-writing of Early Peoples of North Dakota by C. L. Dill. The thinking questions ahead of me involve how to make archaeology interesting and relevant to students and the general public. And how do I, trained in history, interpret archaeological evidence in a way that does no harm to either profession? That project will take a great deal of staring off into space, stretching back into my chair, and, the hardest work of all, making it look like work.

*Of course, I don’t work entirely alone. I get a lot of help from the Coordinator of North Dakota Studies, Neil Howe, and our techie-geekie, enormously talented new media specialist, Jess Rockeman. In addition, there are dozens of very knowledgeable people in every division who support the work of North Dakota Studies.