The New Kansas

Posted on February 23, 2022 by Katie Schmidt

Compared to the average human lifespan, Kansas is old. 160 years old to be exact. But before it was a state, it was just one unbounded part of a vast Great Plains grassland landscape. It was home to millions of bison, nomadic and agrarian Indigenous people, and lots of grass. Before European settlement in this area, Kansas was dominated by grasses. Woody species had little chance of surviving the dry weather patterns and frequent fires. But times have changed. Cities, towns and homesteads come with lots of tree planting and a cessation of the much needed fires that keep the grasslands grassy. Our modern neighborhoods don’t resemble these ancient landscapes. So how can we truly plant native species if much of our garden space doesn’t have prairie conditions anymore?

*View from the observation tower at Maxwell Wildlife Refuge.*

Understand Your Microclimate

Microclimate is all about the conditions in a very specific area. A microclimate might include your entire yard, or just that one spot on the side of your house. Factors like windbreaks, ambient heat from foundations, or compacted soil from foot traffic mean that your garden spot is completely unique. You may have built-in irrigation, or get extra run-off from your neighbor’s roof, or have a leaky water faucet that saturates the soil around your garden. All this adds up to a very different set of conditions from the historically treeless, windy, dry prairies of early Kansas. Your ‘prairie garden’ might not be right for all true prairie plants.

This graphic is from the great guide, The Tallgrass Restoration Handbook available from Island Press. In the book it is used to show the prairie continuum as it moves from prairie to oak savannah habitats. I like to use it as an artistic illustration of time as well. Each box can represent our state at a different time period: at the top is a relatively treeless Kansas with mostly open grassland. In the middle we see early settlement and homesteading with trees planted and less fires, and at the bottom is a depiction of our state today with much more tree cover in our cities, towns, and cleared pasturelands.

Native vs Near Native

Hearing your yard isn’t compatible with plants native to your county or region is a real bummer. But perhaps your garden is just perfect for, say, Ozark native plants. In a medium-to-dry shaded yard with root competition from mature trees, the forest flowers of the Ozarks will perform much better than prairie plants, even though they are not native to your county. Considering how species have shifted to and fro over millennia, these neighboring species are still water-wise and beneficial for wildlife. Maybe your yard is sandy/rockier than expected. Try far western Kansas or Colorado species. Plants in that region love extremely fast drainage and dry conditions. Unless you are a professional conservationist intentionally restoring wild area as closely as possible to its original species population, it doesn’t pay to be too pedantic in the garden.

*Packera obovata is native to eastern Kansas, but is more commonly found in the open woods of Missouri and Arkansas.*

Crank up the Chainsaw

If you want to plant prairie species, you need open space and sun. Cutting down trees can make this a reality! It sounds scary, but removing trees from your yard is okay. We have been led to believe, via international tree planting campaigns, that all trees are sacred. But that’s not the case in our area. We should absolutely preserve heavily forested ecosystems that host wildlife dependent on trees. Think: Congo Basin, Amazon, Taiga, etc. But the Great Plains grass-dominated ecosystem functions best with fewer trees.

Our wildlife thrives in a relatively tree-less environment. If you have non-native, unnecessary trees in your yard, consider removing them to create more sunny space for your prairie perennials. Down with invasive ornamental pears and Siberian elms. Yes, even some native Eastern red cedars should be ousted. Unchecked, they are a huge problem for prairies. If this seems too extreme, you can simply limb up your trees to allow more light through.

*Good land stewardship sometimes means taking down trees. If those trees are invasive species, diseased, or taking up space where native prairie plants could be thriving, then down they go!*

The Right Plants for the Right Place

Folks often ask why we don’t only offer Kansas natives. They also ask why we sell plants with special horticultural varieties as well as the straight native species. Because most of our customers are homeowners aiming to feed birds and provide pollinator habitat, we offer options that will perform well in the reality of residential environments. This might mean their yard isn’t right for what is truly native to a 50 mile radius. Or perhaps the space is better suited to less aggressive, taller/shorter, or seedless horticultural variety that fits their garden dimensions.

We hope to help everyone, regardless of their garden situation, to find beneficial plants that create habitat and bring joy. Offering plants to the whole plant-loving spectrum, from the newcomer planting their first wildflower to the experienced native plant purist looking for local eco-types, we are here to educate and assist.

Beyond Milkweed: More Plants for Monarchs

Posted on February 16, 2022 by Scott Vogt

I recently read an interesting article about monarch butterflies and their migration needs. The foundation of any successful monarch migration rests on a sufficient supply of native milkweeds, as these are the only plants monarch caterpillars can eat. However, there is ongoing research that suggests nectar plants besides milkweeds should receive more attention, since many milkweeds are done blooming when monarchs return to Mexico in the fall.

Adult monarchs are generalist feeders, and they need varied nectar sources. This is why succession of bloom within your garden is so important. A variety of beautiful wildflowers provide food for monarchs throughout the year, but also support many other butterflies, bees, birds and other wildlife. Yes, milkweeds are still critical to include in your design since they are both a host plant and a nectar source. But here are some other plants that will assist monarchs as they migrate:

Trees and Shrubs

Ceanothus americanus/herbaceous (New Jersey Tea) – Attractive clusters of white flowers in spring and early summer.
Cephalanthus occidentalis (buttonbush) – Interesting white flowers May-September and beautiful fall color. Likes moisture and is great for heavy clay soils.
Prunus serotina (Black Cherry) – Long clusters of fragrant white flowers in spring. Large tree with fruit for birds later in the season.
Rhus spp. (sumac) – Shrubs or small trees with useful flowers for pollinators, fruit for other wildlife and good fall color.
Heptacodium miconioides (Seven-son Flower) – Small ornamental tree with flowers in September. Monarchs have flocked to our trees while in bloom.
Sambucus canadensis (Elderberry) – Creamy white flowers in the summer atop this large wetland shrub.
Lindera benzoin (Spicebush) – Yellow-green flowers in the early spring. Shrub with fragrant foliage and nice yellow fall color.
Ribes odoratum (Clove Currant) – Bright yellow spicy scented flowers in April-May, followed by delicious black berries. It makes a nice understory shrub.

*Monarchs on Seven Son Flower by Gerry Epp*

Perennials other than Milkweeds

Symphyotrichum novae-angliae (New England Aster) – Purple, pink and lavender blooms September and October are extremely important nectar sources for adult monarchs.
Other Aster species: Aromatic Aster, Sky blue Aster, and Heath Aster
Solidago sp. (Goldenrod sp.) – Bright yellow blooms in the late summer through early fall.
Vernonia lettermanii ‘Iron Butterfly’ (Ironweed) – Deep purple blooms in August and September.
Liatris sp. (Blazing Star) – Purple blooms on these diverse native perennials are a favorite of pollinators.
Echinacea sp. (Coneflowers) – These summer blooming wildflowers provide a perfect landing pad for monarchs and pollinators of all sorts. The seeds are eaten by birds through the winter.
Pycnanthemum sp. Mountain Mint – These spreading wildflowers are usually covered with pollinators of all kinds when they bloom in the summer. Give them room in the garden because they do roam.
Monarda sp. (Beebalm) – Fragrant foliage and bright pinkish blooms attract a host of pollinators.

*Monarch on late blooming Swamp Milkweed*. *Photo by Barbara Beesley*

Fuel for the Flight

Again, monarchs need milkweeds. These plants are vital to their reproductive processes. However, they need other nectar-rich wildflowers too. This is one of the weak points in their return migration journey. As they migrate south in the fall, they are not reproductive. Their goal during this part of the migratory cycle is to fuel up on late season nectar plants and build up their body fat so they can make it to Mexico and survive the winter. There, in early March of the following spring, they will leave their mountain roosts to mate, lay eggs on milkweed, and start the cycle all over again.

It is so important to provide fuel and sustenance for Monarchs and other pollinators. Available milkweeds, nectar plants, along with water, trees or other protection at night for roosting and connected habitats will help them all along the way – south to north and back again.

Linking the continental migratory cycle of the monarch butterfly to understand its population decline.

Tribute to Miner Seymour

Posted on February 8, 2022 by Brad Guhr

Miner Seymour was a cheerful and creative soul. When he died in July of 2021, he left a huge legacy for the musical arts in South Central Kansas. He was an inspiration to me on a number of fronts and an important mentor for the Prairie Window Concert Series.

A Tinkerer Rooted in Sustainability

I first met Miner as a classmate at Bethel College in the early 1990s where he was a non-traditional student in a class called Appropriate Technology. Miner was interested in sustainable forms of architecture and construction. His main project for the class was to design and build a mud and tire hut on campus. I was interested in the same issues. It was a small, tight-knit class and I remember all of us helping a bit with hut construction.

I soon graduated with a degree in environmental studies and moved away for nine years, but reconnected with Miner after moving back to Kansas in 2001. He was into designing and building energy efficient homes and was passionate about sustainable land use. He grew apples in an organic orchard outside the front door of his rural Moundridge home, and grazed bison on restored prairie. I was intrigued by all of this and attracted to his enthusiasm for and practice in various forms of sustainability.

Old Settlers Inn is Born

OSI logo

I was also intrigued by what I thought was one of Miner’s coolest projects of all…creation of the Old Settlers Inn (OSI) music venue on Main Street of my hometown, Moundridge, KS. I actually learned of this project while helping Miner haul a fridge up the stairs during a chance encounter on Main Street while home for Christmas. Creating a music venue in a small town of 1,500 people? It sounded to me like a far out if not somewhat far-fetched idea at the time!

*Valetta and Miner Seymour on stage at the Old Settler’s Inn*

However, with an abundance of passion and creativity, Miner and his wife Valetta turned a beautiful dream into an epic reality. OSI shows came to be a hot ticket and a beloved tradition for Kansans with a hunger for live music. The OSI gained the support of radio station KMUW 89.1 in Wichita and the sound engineering services of Jon Cyphers. For 17 seasons from 1993 to 2009, Miner attracted OSI patrons from all over the state by booking professional artists that toured across the country. And many of those shows are still aired today on KMUW’s Saturday evening New Settlers Radio Hour.

*OSI Photo Collage of 17 Years of Artists*

The OSI Venue in Moundridge

I attended a number of OSI shows from 2001 to 2009 and seem to have distinct memories from each one. I came to love the great music and artistry of the OSI. And you always knew when Miner was feeling the groove of the music during a show when he would let out a loud “YO!” from the rear corner of the audience. The long, row house, 150-seat venue was buzzing when filled with a capacity crowd packed in like sardines. Until I eventually got season tickets, I always felt lucky to get one or two seats for what were often sold-out shows. OSI monogrammed foam seat cushions looked nice but did nothing to slow the numbing of rears on small wooden folding chairs.

*Downstairs OSI venue from 2001 to 2009*

*Guy Davis performing on downstairs OSI stage*

At intermission, crowds would snake through the line with great anticipation to pick up homemade soup, fresh bread, pie and hot coffee. Then, you had to figure out how to perform an acrobatic balancing act while stepping over dozens of knees to dine at reserved seats from whence you came. The shows ended with a raucous invitation for a curtain call. And Miner would flip on the disco ball to the audible delight of everybody in the room.

OSI to the PWCS

The last OSI show in Moundridge with the artist with Kelly Hunt was a 60^th birthday party for Miner in February of 2009. Miner and Valetta were ready to pass along the logistical efforts of a concert series and saw the Dyck Arboretum with excellent facilities as a good suitor. Arboretum director at the time, Julie Irish Torseth, embraced the idea as well and the Prairie Window Concert Series (PWCS) at Dyck Arboretum was born.

Miner agreed to support the PWCS for a short time as artistic director booking artists while Julie took over ticket sales and marketing. But Miner and Julie were both heeding the call of retirement which left music at the Arb somewhat in question. I was developing a deeper interest in acoustic music shaped by years of going to Winfield and had gained some project management background through a previous job. Add in the opportunity to still work under the tutelage of Miner, and my decision to take on coordination of the PWCS was a fairly easy one. I was in the right place at the right time.

There was so much to learn. What people may not have realized while enjoying a great OSI show was all the effort and preparation that Miner and Valetta put into the production of each series and show. Their success was based on attention to so many levels of detail including…

selecting artists playing high quality music from from a diversity of genres,
the phone calls and emails with agents,
contract negotiations,
marketing,
ticket sales and reserved seating,
stage construction and tear down,
chair setup and take down,
coordination of volunteers,
coordination with catering,
sound and lighting details,
etc.

For 17 years, they repeated and perfected this routine over 250 shows.

The Legacy Lives on in the PWCS Today

The shift from Miner and Valetta’s OSI to Dyck Arboretum’s PWCS has instilled some upgrades. These include a prairie garden setting to explore before and after shows, a larger venue with windows and sliding doors, padded chairs, a bigger stage and a separate eating area, essential underwriting support, a website presence, electronic data management (spreadsheets!), email communication, a paperless ticketing system, social media promotion, and the oversight of full-time staff.

*Barnaby Bright performing on the the PWCS stage*

But for so many important reasons, the series has kept to its OSI roots. Miner and Valetta were gifted at shaping the beautiful brand of the OSI and doing so with flare. They took a big city idea and made it thrive in a small town. My mantra in coordinating the PWCS over the last 11 years has simply been…”don’t screw it up.” They perfected so many aspects of running a music series that stand the test of time. The success of the PWCS has largely been due to continuing their concert series features too brilliant not to continue. They include…

feature artists producing original music from a diversity of acoustic styles with strong instrumentals, vocals, and stage presence,
focus on attracting a strong season ticket base that guarantees a core crowd for every show,
scheduling Sundays at 4:00 – conducive to block booking with nearby venues that hold bigger shows and provide an artist with anchor fees on prime time nights,
delicious, easy-to-serve food at intermission (we are grateful for Crust & Crumb!),
maintaining connection with a great radio station (we love 89.1 KMUW!),
get a great sound engineer, lighting manager, and technology supervisor (the services of Adam Akers are priceless), and
lean on dedicated volunteers that are passionate about the cause.

Miner, thank you for all of your inspiring efforts to make the world a better place. May your bright spirit live on in all of us. YO!

“Miner was a playful, quirky, mischievous genius.”
Julie Irish Torseth

For a timeline of events and accompanying photos of the OSI and PWCS along with a complete list of all the shows and dates, go to https://dyckarboretum.org/prairie-window-concert-series-history/.

Site Analysis to Guide Planting Decisions

Posted on February 2, 2022 by Scott Vogt

While preparing for my “Site Analysis to Guide Planting Decisions” class last week, I came across the snippet below. I believe it is worth sharing because it helped me visualize the details needed to create a good design. As I was reading it through, I could see this landscape and my own landscape before me. They were laid out as a blank canvas to be explored and understood at a deep level. I hope it helps you like it helped me.

In our present power-happy and schedule-conscious era, this vitally important aspect of developing a simpatico feeling for the land and the total project site is too often overlooked. And too often our completed work gives tragic evidence of our haste and neglect.
In Japan, historically, this keen awareness of the site has been of great significance in landscape planning. Each structure has seemed a natural outgrowth of its site, preserving and accentuating its best features.
Studying in Japan, the author was struck by this consistent quality and once asked an architect how he achieved it in his work. “Quite simply,” said the architect. “If designing, say, a residence, I go each day to the piece of land on which it is to be constructed. Sometimes for long hours with a mat and tea. Sometimes in the quiet of evening when the shadows are long. Sometimes in the busy part of the day when the streets are abustle and the sun is clear and bright. Sometimes in the snow and even in the rain, for much can be learned of a piece of ground by watching the rainfall play across it and the runoff take its course in rivulets along the natural drainageways.
“Landscape Architecture: The Shaping of Man’s Natural Environment” by John Ormsbee Simonds

Illustrations from Landscape Architecture: The Shaping of Man’s Natural Environment by John Ormsbee Simonds.

The Poetry of Site Analysis — Seattle's Favorite Garden Store Since 1924 - Swansons Nursery

I go to the land, and stay, until I have come to know it. I learn to know its bad features—the jangling friction of the passing street, the awkward angles of a windblown pine, an unpleasant sector of the mountain view, the lack of moisture in the soil, the nearness of a neighbor’s house to an angle of the property.
I learn to know its good features—a glorious clump of maple trees, a broad ledge perching high in space above a gushing waterfall that spills into the deep ravine below. I come to know the cool and pleasant summer airs that rise from the falls and move across an open draw of the land. I sense perhaps the deliciously pungent fragrance of the deeply layered cedar fronds as the warm sun plays across them. This patch I know must be left undisturbed.
I know where the sun will appear in the early morning, when its warmth will be most welcome. I have learned which areas will be struck by its harshly blinding light as it burns hot and penetrating in the late afternoon, and from which spots the sunset seems to glow the richest in the dusky peace of evening. I have marveled at the changing dappled light and soft, fresh colors of the bamboo thicket and watched for hours the lemon-crested warblers that have built their nests and feed there.
I come to sense with great pleasure the subtle relationship of a jutting granite boulder to the jutting granite profile of the mountainside across the way. Little things, one may think, but they tell one, ‘Here is the essence of this fragment of land; here is its very spirit. Preserve this spirit, and it will pervade your gardens, your home, and your every day.
And so I come to understand this bit of land, its moods, its limitations, its possibilities. Only now can I take my ink and brush in hand and start to draw my plans. But in my mind the structure by now is fully visualized. It has taken its form and character from the site and the passing street and the fragment of rock and the wafting breeze and the arching sun and the sound of the falls and the distant view.
Knowing the owner and his family and the things they like, I have found for them here a living environment that brings them into the best relationship with the landscape that surrounds them. This structure, this house that I have conceived, is no more than an arrangement of spaces, open and closed, accommodating and expressing in stone, timber, tile, and rice paper a delightful, fulfilling way of life. How else can one come to design the best home for this site?
There can be no other way! This, in Japan as elsewhere, is in simplest terms the planning process—for the home, the community, the city, the highway, or the national park.”
“Landscape Architecture: The Shaping of Man’s Natural Environment” by John Ormsbee Simonds

These few paragraphs resonated with me. I know we don’t have many waterfalls or granite mountains, but the idea is to identify elements worth keeping. What views do you want to frame or create? Although much has changed in landscaping over the decades since this was first published in 1961, the basic principles are the same. And there are consequences of a careless design. Landscapes that you appreciate the most don’t just happen by accident. Connecting with the land, “your piece of land”, is invaluable toward creating a sensitive, seamless design.