in the United States. Ned Sublette’s book, The World The Wisdom and Truth of Langston That Made New Orleans, beautifully delineates how the Haitian revolution, fomented by a series of success- Hughes (1902–1967) ful slave rebellions, led to the creation of the first Black Jean-Pierre Bruneau independent nation in the Western Hemisphere. Mass emigration from what was then the island of Saint- This tribute album sheds a light on a prolific Domingue to the territory of Louisiana doubled the American poet, novelist, playwright, columnist, territory’s population. It also led to the Louisiana Pur- and social activist, best known for his work chase, when Napoleon Bonaparte was forced to sell during the Harlem Renaissance—a literary and the territory of Louisiana—which comprised a third of artistic movement that fostered a new Black cul- the size of what is now the United States—to the then tural identity in the 1920s and 1930s. Hughes’ burgeoning nation. The thought of an independent African American race consciousness and cultural Black nation created a sense of fear and insecurity in nationalism would also influence foreign Black the colonial powers of the time and created a cycle of writers such as Nicolás Guillén, Léopold Sédar violence that continues its attempts to uphold the status Senghor, and Aimé Césaire, and helped to inspire quo and maintain a concentration of power among the the “négritude” movement in France and in the wealthy and elite. This is surely something that touched French colonies. Hughes created jazz poetry; one Langston Hughes and resulted in a powerful expansion of his favorite pastimes was sitting in the clubs of his perspective of the Black world. listening to blues and jazz and writing poetry. The collision of Hughes’ inspiration and my deep- A new rhythm emerged in his writing, as in this ening knowledge of Haitian history helped me feel that poem, “The Weary Blues,” published in 1923: I was in the right place in New Orleans, a city that has nurtured my creativity and deepened my perspective Langston Hughes photos by on blackness, politics, and social dynamics for the last Rowland Scherman ten years. Shortly after settling in New Orleans, I found an album called Haitian Folk Songs, released on Folkways in 1953 by Frantz Casséus and Lolita Cuevas. I was amazed that I had never heard this music before, and I C felt that I needed to hear more. Had Langston Hughes LEYLA M CALLA heard these songs in Cap-Haïtien in the 1930s? We’ll never know for sure, but the thought certainly kept my VARI-COLORED SONGS mind turning. These traditional Haitian songs offer us the oppor- tunity to tap into the nuances of Haitian-Kreyòl and to deepen our understanding of Haitian culture. Similarly, Hughes’ work aimed to legitimize Black vernacular by celebrating its nuances and expressions, taking it from the fringes of society to the heart of academia and the literary expression of Black culture. Finding Langston Hughes Hughes’ poetry, and Hughes himself was drawn to music. The confluence of all of these artistic influences Leyla McCalla In addition to the accolades he received for his writing, gave me the idea to pair my Hughes compositions with Hughes became known as the inventor of jazz poetry, Haitian folk songs and my own original words. While I’ve always had the feeling that the classical music notably collaborating with the great Charles Mingus on these elements are seemingly disparate, I also came to career track wasn’t for me. The idea that, as a first- an album called Weary Blues, released in 1958. embrace that, in fact, placing them side by side wasn’t generation Haitian American, I would compete to play The musicality of Hughes’ work shifted my per- a “stretch.” All of these songs are manifestos of my life music in environments that championed a Western spective on how I could and should be making music. experiences as a Black, Haitian American woman and European perspective never sat well with me. After I started to hear melodies and harmonies to certain the daughter of Haitian immigrants, and an homage to graduating from college, living in Brooklyn, NY, I poems and felt that adding music to these poems gave the humanity and creative spirit of Langston Hughes— found myself juggling a life of bartending, freelance them new life. I also felt that the socio-political power an influence that continues to guide my creative work. cello gigs, and involvement with a number of projects and heartbreaking humanity of Hughes’ words had Fast forward from the original release of this album exploring improvisation and arranging. I started to ex- only increased over time. A sense of urgency in setting in 2014, and I have released several albums, traveled amine my musical motives more deeply. One question the poems to music overtook my imagination. I formed the world singing these songs, and given birth to three persisted: What do I really want to do with music? The Langston Hughes Project, a small collective of beautiful children. My understanding of my own hu- My father had gifted me a book of Langton Hughes’ musicians and friends, to help me experiment with manity has expanded and so has my vision and sense of poetry when I was 16 years old. The Selected Poems fleshing out musical ideas. urgency as an artist. I will always champion marginal- of Langston Hughes felt like an ally, and I knew that I This burgeoning collection of songs helped shift ized people and share stories that I feel need to be told would hold these poems close to me for the rest of my what I saw in myself musically and pushed me to explore and remembered. I am deeply committed to using music life. I continued to question my musical path for years, my physical voice. I had always shied away from iden- to remind us of our collective humanity, our need for and then one day at a flea market in Brooklyn, I came tifying as a singer—mostly out of fear and the feeling of love, our sense of belonging and comfort. Armed with across the anthology The Collected Poems of Langston vulnerability that always surfaced—but I felt a new and that self-knowledge and spiritual groundedness, we can Hughes. There was no way to know at the time, but this deep sense of purpose singing Hughes’ words. demand what we need not only to survive, but to thrive. collection would set into motion my next steps, and Meanwhile, I became hungry for more information Re-releasing these songs at such an uncertain time offer some resolve to the introspection about my music about Hughes’ life. I read both of his autobiographies, in our global history brings to mind all that has come and intention. and through them I saw a Langston Hughes jaded by the before us. The wisdom and truth that Langston Hughes One afternoon, I opened the book to a poem called sudden fall of the Harlem Renaissance, finding himself continues to provide us through his prolific output “Vari-Colored Song.” This poem asked me to pick up journeying beyond the borders of the United States. inspire us to celebrate the assumedly mundane and my guitar and imagine what the words might sound I Wonder as I Wander begins in Haiti, the country of my stigmatized parts of our society. The future has always like in a melody. I remember the feeling of excitement ancestral origin. Though steeped in aspects of Haitian been uncertain, and it has always been up to us to push and discovery as I tried out this setting-poem-to-music culture through my upbringing and early life travels to for the changes that we want to see in the world. Let on other poems. Though this felt like a novel discovery, Haiti, it wasn’t until I moved to New Orleans in 2010 these words and poems serve as a guiding light to a more I later learned musicians have always been drawn to that I started to grasp the impact of Haitian culture just, more light-filled, and more humane world. (...) With his ebony hands on each ivory key Track Notes But when I can see the valley She went one summer morning 7. Manman Mwen And so I told him he was handsome 2. Love Again Blues He made that poor piano moan with melody. I’ll begin my search for you Where the flowers spread the plain (Arrangement: L. McCalla/MAKALA Music, ASCAP) A real handsome boy (Words: L. Hughes/Copyright © 1994 The Estate of O Blues! Side A She told everybody Leyla McCalla, tenor banjo, vocals; Rhiannon Giddens, I said, “Dear sir, Langston Hughes–Music: L. McCalla/MAKALA Music, ASCAP) She’d be coming back again shaker, vocals Give me a pair of crawfish. Leyla McCalla, guitar, vocals; Luke Winslow-King, guitar; Swaying to and fro on his rickety stool 1. Heart of Gold 3. Mèsi Bondye God will return [your kindness].” Cassidy Holden, bass; Matt Rhody, fiddle He played that sad raggy tune like a musical (Words: L. Hughes/Copyright © 1994 The Estate of (Arrangement: L. McCalla/MAKALA Music, ASCAP) For sure there grew flowers Chorus: fool. Langston Hughes–Music: L. McCalla/MAKALA Music, ASCAP) Leyla McCalla, tenor banjo, cello, vocals; Tom Pryor, And tall young trees Manman m voye m nan dlo [Chorus] My life ain’t nothin’ but a lot of God knows what Sweet Blues! Leyla McCalla, cello, vocals; Tom Pryor, pedal steel; pedal steel Sturdy tweeds and grasses [Pou] m al kenbe kribich… ooooooo My life ain’t nothin’ but a lot of God knows what Coming from a black man’s soul. Joseph Dejarnette, bass They said “Mmmmmmmmmmm,” Just one thing after another Mèsi Bondye To sway in the breeze Mwen di, chè manman O Blues! (...) I keep guessing Added to the troubles I’ve got If I had a heart of gold Gade kouman lamizè fini pou nou Se ti fi mwen ye If Langston Hughes’ poetry deeply influenced And sure she lived in growing things with no pain They said “Mmmmmmmmm,” As some folks I know Mwen pa sa kenbe kribich When I had you I thought I had me an angel child Leyla McCalla during her youth, it’s worth noting Mèsi Bondye That dance in sunshine and laugh in rain. I keep guessing I’d up and sell my heart of gold When I had you I thought I had an angel child that Hughes, a world traveler (he visited several Gade tout sa lanati pote pou nou (x2) [repeat Chorus] And head north with the dough Who got me into this? You turned out to be the devil African countries and also Italy, France, Russia, Alò mwen di l bèl, My mother, my mother But I don’t have a heart of gold Mèsi Bondye 5. Kamèn sa w fè? You mighty nigh drove me wild and Spain), spent about three months in Haiti in Bèl bèl ti gason It shouldn’t have happened this way My heart’s not even lead Gade kouman lamizè fini pou nou (Words and arrangement: Ago Fixè–Additional arrangement: the early 1930s. Taking copious notes and gaining L. McCalla/MAKALA Music, ASCAP) Mwen di, chè mesye My mother, my mother Tell me, Tell me what makes love such an ache and a pain It’s made of plain old Georgia clay access to aspects of Haitian culture usually closed Lapli tonbe, mayi pouse Leyla McCalla, tenor banjo, vocals Fè m kado de ti kribich Tell me what makes love such an ache and a pain to foreigners, he had come back outraged at the And that’s why, my heart is red You’re the one who got me into this Well it takes you and it breaks you Tout timoun ki grangou prale manje Based on lyrics and arrangement by Ago Fixé from the Bondye va remèt ou sa nation’s poverty but profoundly interested in the My mother, my mother But you got to love again. I wonder why red clay’s so red Annou danse Kongo Alan Lomax recording of Ago’s Bal Band, December rich political and cultural heritage of the world’s [Chorus] Why did it get to this? And Georgia skies so blue Annou danse Petwo 25, 1937, Port-au-Prince. Lyrics transcribed by Gage 4. Latibonit “first Black Republic.” As he wrote in his auto- My mother, my mother I wonder why it’s yes to me Averill and Louis Carl Saint Jean and reprinted from Yo di mwen mmmmmmmmmmmmmm (Arrangement: L. McCalla/MAKALA Music, ASCAP) biography, I Wonder as I Wander (1956): But yes sir, sir, to you Papa Bondye di nan syèl la mizè fini Alan Lomax in Haiti: 1936–1937, courtesy of The Devine m ap devine Leyla McCalla, cello, vocals; Hubby Jenkins, bones; (...) Haiti, land of blue sea and green hills (…) Papa Bondye di nan syèl la mizè fini pou nou Association for Cultural Equity and Harte Recordings. Yo di mwen mmmmmmmmmmmmmm Cassidy Holden, bass; Don Vappie, tenor banjo Nights full of stars, throbbing with Congo I wonder why the sky’s so blue Side B Devine m ap devine Latibonit o drums. At the capital lovely ladies ambergold, And why the clay’s so red Mèsi Bondye Ou fèk gentan leve 1. Song for a Dark Girl Yo voye pale mwen mulatto politicians, warehouses full of cham- Why down south is always down Gade tout sa lanati pote pou nou Ou konprann ou pare Ki moun ki mete m nan sa? And never up instead. Manman mwen, manman mwen (Words: L. Hughes/Copyright © 1994 The Estate of Yo di m solèy malad pagne, banks full of money. A surge of black Mèsi Bondye Ou konprann ou fè la maryaj Langston Hughes–Music: L. McCalla/MAKALA Music, ASCAP) Sa pa janm fèt konsa peasants who live on the land, and the foam of Gade kouman lamizè fini pou nou (x2) Ala yon fanm ki deraye! Leyla McCalla, guitar, vocals Chorus: the cultured elite in Port-au-Prince who live on Manman mwen, manman mwen Ale w kite sou ray Solèy malad li kouche the peasants. (...) Mèsi Bondye Way down south in Dixie, Ou al kore sou teras Se ou ki mete m nan sa Latibonit o Having briefly met Jacques Roumain, Haiti’s Gade tout sa lanati pote pou nou Break the heart of me, Ou konprann ou fè la maryaj Manman mwen, manman mwen Yo voye pale mwen best novelist, Hughes later translated his Masters They hung my black young lover, Lapli tonbe, mayi pouse Ala yon fanm ki deraye! Sa k fè sa rive la Yo di m solèy malad of the Dew. He and fellow writer Arna Bontemps Tout timoun ki grangou prale manje To a crossroads tree. Manman mwen, manman mwen Lè m te rive from Louisiana also initiated a classic children’s Jennonm nan di Way down south in Dixie, Annou danse Kongo Chorus: Mwen jwenn solèy kouche novel, Popo and Fifina: Children of Haiti. Later, Li revoke Bruised body high in the air, Annou danse Petwo Mother sent me to the river Lè m te rive Hughes wrote the play The Emperor of Haiti, and Li pa t voye w Kwadebouke I asked the white Lord Jesus, To get crawfish… ohhhh Mwen jwenn solèy kouche during the 1950s the libretto for Troubled Island, Papa Bondye di nan syèl la mizè fini Ala w ale w men yon kote What was the use of prayer. I said, “Dear mother, an opera about the Haitian revolution. Papa Bondye di nan syèl la mizè fini pou nou Kekeleke fè ou lote. Sa fè m lapèn o Hughes, like many Black writers and artists of I’m just a little girl. Way down south in Dixie, You’ve only just grown up Pou m antere solèy his time, was drawn to the promise of communism Mizè nou fini (x4) I can’t catch crawfish.” Break the heart of me, 3. Rose Marie You understand you’re ready Se regretan sa as an alternative to a segregated America. When Love is a naked shadow, (Arrangement: L. McCalla/MAKALA Music, ASCAP) Thank you, Lord You understand you’ve married Pou m antere solèy asked why he never joined the Communist Party, On a gnarled and naked tree. Leyla McCalla, tenor banjo, vocals; Rhiannon Giddens, See how our misery has ended Look at a woman who’s off track! shaker, vocals; Hubby Jenkins, guitar he wrote, “It was based on strict discipline and [Chorus] the acceptance of directives that I, as a writer, did Thank you, Lord So you go off [the rails] Pa gen manman Lè m te rive not wish to accept.” In 1953, he was called before See all that nature has brought us You embrace on the porch Pa gen papa woh! Mwen jwenn solèy mouri Li san zanmi the Senate Subcommittee on Investigations led by The rain is falling, the corn is growing You understand that you’ve married Lè m te rive Li san fanmi woh! Joseph McCarthy. Following his testimony, Hughes 2. When I Can See the Valley All the hungry children will eat Look at a woman who’s talking nonsense! Mwen jwenn solèy mouri distanced himself from communism. (L. McCalla/MAKALA Music, ASCAP) The young man says [repeat] One Black writer observed of Hughes, Let’s dance Congo Sa fè m lapèn o Leyla McCalla, cello, vocals He’s breaking up “Langston set a tone, a standard of brotherhood Let’s dance Petro Rose-Marie se ou ki mennen Dodo sou Pòtay Pou m antere solèy Well I’m praying He did not send you to Croix-des-Bouquets Chèche mwayen pou viv avè l o Se regretan sa and friendship and cooperation, for all of us to Our Father in heaven says the misery is over Because I’m scared So you take yourself back to where Wi manman Pou m antere solèy follow. You never got from him, ‘I am the Negro Our Father in heaven says the misery is over for us. That my time Love had turned your head. writer,’ but only ‘I am a Negro writer.’ He never Mizisyen se dra blan wo o Sa fè mwen mal o Is coming soon stopped thinking about the rest of us.” Pou m antere solèy And I pray [repeat all of the above] 4. Girl 6. Too Blue Se malere sa Because I fear (Words: L. Hughes/Copyright © 1994 The Estate of Jean-Pierre Bruneau is a French filmmaker and (Words: L. Hughes/Copyright © 1994 The Estate of Abiye w Langston Hughes–Music: L. McCalla/MAKALA Music, ASCAP) Pou m antere solèy journalist based in Paris. His two acclaimed doc- That I’ve got too much to lose Langston Hughes–Music: L. McCalla/MAKALA Music, ASCAP) Abiye w Leyla McCalla, cello, tenor banjo, vocals; Tom Pryor, Leyla McCalla, tenor banjo, vocals; Luke Winslow King, Artibonite oh umentaries, Dedans le Sud de la Louisiana and When your savior pedal steel guitar; Cassidy Holden, bass [He] doesn’t have a mother They sent me word Louisiana Blues, celebrate and explore the rich- Came a knocking She lived in sinful happiness [He] doesn’t have a father! The sun* is ill ness of the musical culture of Southwest Louisiana. Were you ready I’ve got the sad and old weary blues And she died in pain He has no friends To be free I don’t know where to go Chorus: She danced in sunshine He has no family I don’t know where to turn The sun is ill, it’s lying still And would you ask her And laughed in rain Nobody cares about you when you sink so low [repeat] Artibonite oh Up in Heaven She went one summer morning They sent me word To save a place for me What shall I do Rose-Marie, you brought Dodo to Portail [Léogâne] The sun is ill Where the flowers spread the plain What shall I say Find a way to live with him I’m not asking for salvation She told everybody Shall I take a gun and just put myself away? Yeah, Mama When I arrived But I am afraid to fly She’d be coming back again Musicians are an open book (they keep no secrets). I found the sun lying still We all want to I wonder if one bullet would do Folks built her a coffin When I arrived Go to heaven As hard as my head is [repeat all of the above] And they hid her deep in the earth I found the sun lying still But no one wants to die It would probably take two Seems like she said, Get dressed It saddened me And I’m choosing to be faithful “My body brings new birth” But I ain’t got neither bullet nor gun Get dressed To have to bury the sun To have something to hold onto And I’m too blue, to look for one. It’s a pity 6. Lonely House Credits To have to bury the sun (Words: L. Hughes/Copyright © 1994 The Estate of Produced by Leyla McCalla and Joseph Dejarnette Langston Hughes–Music: K. Weill/Chappell & Co., ASCAP– [Chorus] Hampshire House Publishing, ASCAP) Recorded by Joseph Dejarnette at Studio 808a, Leyla McCalla, tenor banjo, cello, vocals Floyd, VA, and Earl Sciouneaux at Piety Studios, When I arrived New Orleans, LA I found that the sun had died At night when everything is quiet Mixed by Joseph Dejarnette When I arrived This old house seems to breathe a sigh Mastered by Bruce Barielle I found that the sun had died Sometimes I hear a neighbor snoring Photos by Timothy Duffy; Haiti photos by Sometimes I hear a baby cry It saddened me Leyla McCalla To have to bury the sun Sometimes I hear a staircase creaking Annotated by Leyla McCalla and Jean-Pierre Bruneau It’s a pity Sometimes a distant telephone Smithsonian Folkways executive producers: To have to bury the sun And then the quiet settles down again Huib Schippers and John Smith The house and I are all alone. Production manager: Mary Monseur It hurt me Production assistant: Kate Harrington To have to bury the sun Lonely house, Editorial assistance by Carla Borden and It’s sad Lonely me, Rebecca Dirksen Funny with so many neighbors, To have to bury the sun. Art direction, design, and layout by Visual Dialogue How lonely it can be. To have to bury the sun. Leyla McCalla is managed by Left Bank Artists: Lonely street, lonely town. *I was told by my dad that this song is about a bad Carissa Stolting, [email protected] & Funny, you can be so lonely, harvest in the Artibonite valley. Some say it is actually Noelle Panepento, [email protected] With all these folks around. Thank you Nikhil Yerawadekar for encouraging me about a woman named Sole who is dying. As it is an old This recording is part of the African American Legacy folk song, there are likely many interpretations. I guess, there must be something, to record my Langston Hughes Project demos before series co-produced with the Smithsonian National moving to New Orleans. I didn’t know it then, but these I can’t comprehend. Museum of African American History and Culture. Sparrows have companions, recordings were the key to the rest of my career. 5. Search Even stray dogs find a friend. Supported in part by a grant from the Special thanks to Tim Duffy and the entire Music (Words: L. Hughes/Copyright © 1994 The Estate of Louisiana Division of the Arts, Office of Cultural Langston Hughes–Music: L. McCalla/MAKALA Music, ASCAP) That night for me is not romantic, Maker family for finding me in the street and helping to Development, Department of Culture, Recreation & Leyla McCalla, guitar, vocals; Rhiannon Giddens, vocals Unhook the stars and bring them down, bring these songs to light. Thank you all of the inspiring I’m lonely, in this lonely house, Tourism, in cooperation with the Louisiana State Arts musicians who participated in the creation of these All life is but the climbing of a hill In this lonely town. Council and the National Endowment for the Arts, recordings for your creative input and support. To seek the sun that ranges far beyond a Federal agency. Confused with stars and lesser lights anon Last, but not least, a HUGE THANK YOU to all of my 7. Changing Tide And planets where the darkness reigneth still. Smithsonian Folkways is: Cecille Chen, director wonderful Kickstarter supporters for trusting me and (L. McCalla/MAKALA Music, ASCAP) of business affairs and royalties; Logan Clark, exec- making this all possible! To those who went above and All life is but the seeking for that sun Leyla McCalla, tenor banjo, vocals; Tom Pryor, pedal steel utive assistant; Toby Dodds, director of web and IT; beyond in their generosity, I am forever grateful: That never lets one living atom die, Daniel McCalla, Edwidge Danticat, Patrick Ata, Changing tide, river rise, Beshou Gedamu, marketing specialist; Will Griffin, That flames beyond the circles of the eye, David Gwin, Adam D. Morris, Rick Teller, Paul Kyte, The water’s high licensing manager; Kate Harrington, production Where never and forever are as one. Constance Brinkley, Jocelyne Lecorps, Liz Petty, Leave it all behind assistant; Madison Hart, royalty assistant; Fred Edward Helms and Chris Koos. And seeking always, through this human span, Let it float by Knittel, marketing specialist; Seth Langer, licensing That spreads its drift of years beneath the sky, The flood can’t wash away these roots that grow for you. and marketing assistant; Helen Lindsay, customer Confused with living, goeth simple man, Fear won’t blind me from the truth I can see through. service; Mary Monseur, production manager; Jeff About Smithsonian Folkways Unknowing and unknown into the Why. Place, curator and senior archivist; Huib Schippers, Smithsonian Folkways Recordings is the non- Rushing wave, levee break, emeritus curator and director; Sayem Sharif, director profit record label of the Smithsonian Institution, The Why that flings itself beyond the sun, Submerged again, of financial operations; Ronnie Simpkins, audio the national museum of the United States. And back in space to where, Too deep to forsake, specialist; John Smith, associate director; Jonathan Our mission is the legacy of Moses Asch, who Time was begun. What we began. Williger, marketing manager; Brian Zimmerman, sales founded Folkways Records in 1948 to document My heart it sinks reflecting on your muddy banks. representative and fulfillment. music, spoken word, instruction, and sounds Overwhelmed, accepting how much work it takes. from around the world. The Smithsonian acquired The river will flow, release these waters to the sea. Folkways from the Asch estate in 1987, and Time will tell and wash your river over me. Acknowledgements Smithsonian Folkways Recordings has continued Thank you to all of my friends for your generous love the Folkways tradition by supporting the work of and encouragement. traditional artists and expressing a commitment to Thank you to my parents for listening to me talk cultural diversity, education, and increased under- and play over the years, dragging me around to cello standing among peoples through the documenta- lessons, and putting up with me in general. tion, preservation, and dissemination of sound. Smithsonian Folkways Recordings, Arhoolie, Thank you Daniel for the partnership, friendship, and A.R.C.E., Blue Ridge Institute, Bobby Susser love and for our amazingly beautiful children Delilah, Songs for Children, Cook, Dyer-Bennet, Fast Folk, Zade, and Zaya. You are all such a big part of me imag- Folk-Legacy, Mickey Hart Collection, Monitor, ining and growing. M.O.R.E., Paredon, UNESCO, and Western Thank you to Smithsonian Folkways, Huib Schippers Jubilee recordings are all available through: and John Smith. To my managers Carissa Stolting Smithsonian Folkways Recordings Mail Order and Noelle Panepento, thank you for your vision Washington, DC 20560-0520 and your guidance. Thank you Aaron Johnson for Phone: (800) 410-9815 or 888-FOLKWAYS the support over the years. To the camaraderie of (orders only) the Carolina Chocolate Drops and the sisterhood of Fax: (800) 853-9511 (orders only) Our Native Daughters, I am forever grateful for your To purchase online, or for further information impact. Thank you to the Langston Hughes Estate for about Smithsonian Folkways Recordings, permission in interpreting these poems. Thank you to go to: folkways.si.edu. Please send comments, the Louisiana State Arts Council for your contribution questions, and catalogue requests to to the making of this record. [email protected].