FSGW Midwinter Festival
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COLOR FRONT COVER COLOR PAGE 2: Festival1 COLOR PAGE: Festival2/CGOTT COLOR DEER CREEK
COLOR FRONT COVER COLOR PAGE 2: Festival1 COLOR PAGE: Festival2/CGOTT COLOR DEER CREEK WELCOME TO OUR 22ND YEAR! In this catalog you will find a year's worth of events and activities that will enrich your life. Common Ground on the Hill is a traditional, roots-based music, arts and humanities organization founded in 1994, offering quality learning experiences with master musicians, artists, dancers, writers, filmmakers and educators while exploring cultural diversity in search of common ground among ethnic, gender, age, and racial groups. The Baltimore Sun has compared Common Ground on the Hill to the Chautauqua and Lyceum movements, precursors to this now venerable program. Our world is one of immense diversity. As we explore and celebrate this diversity, we find that what we have in common with one another far outweighs our differences. Our common ground is our humanity, often best expressed by artistic traditions that have enriched human experience through the ages. We invite you to join us in searching for common ground as we assemble around the understanding that we can improve ourselves and our world by searching for the common ground in one another, through the lens of our artistic traditions. In a world filled with divisive, negative news, we seek to discover, create and celebrate good news. Walt Michael, Founder & Executive Director “You owe it to yourself to attend one of the sessions… Common Ground on the Hill is a cornucopia of artistic expression.” ~ The Baltimore Sun Welcome 1 CONTENTS 22nd Annual Common Ground on the Hill Overview .................................................................................................. 3 Traditions Week 1(List of Classes and Events by Category ) ........................................................................................ -
Ethnic and Racial Formation on the Concert Stage: a Comparative Analysis of Tap Dance and Appalachian Step Dance
Ethnic and Racial Formation on the Concert Stage: A Comparative Analysis of Tap Dance and Appalachian Step Dance Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Janet Kathleen Schroeder, MFA Graduate Program in Dance Studies The Ohio State University 2018 Dissertation Committee: Harmony Bench, Advisor Melanye White Dixon Kwaku Larbi Korang Hannah Kosstrin Copyright by Janet Kathleen Schroeder 2018 Abstract “Ethnic and Racial Formation on the Concert Stage: A Comparative Analysis of Tap Dance and Appalachian Step Dance” is a revisionist project that explores the shared aesthetics and historical trajectories of these two percussive dance practices, which have ultimately developed into two distinct forms of dance. This dissertation investigates the choreographic and representational strategies choreographers use to transfer the histories and legacies of tap dance and Appalachian step dance to the stage, namely through a process I call concertization. In each analysis, I pay particular attention to representations of the complex ethnic and racial identities affiliated with each form and ways concertization highlights or obscures such affiliations. Additionally, I aim to understand the relationship between the practices of tap dance and Appalachian step dance and what I see as a contested idea of “America” as it is represented through choreography. My analyses suggest the migration of rhythm tap dance and Appalachian step dance from vernacular and social contexts to the concert stage is in tension with the ways these dance forms, as vernacular practices, also engage in the consolidation of ethnic and racial identities. -
View the Latest Issue
Letter from the Executive Director The year 2020 brought us COVID-19 and around Confederate monuments and the pandemic. communities means there are more questions we Gismondi, Diana Williams, and Charlie Shelton- a nationwide racial reckoning we haven’t seen the And despite the challenges of working remotely, our must ask, issues we must examine, and stories we Ormond. We also said farewell to Lilia Fuquen, likes of since the civil rights movement of the 1960s. With Good Reason staff continued producing weekly must amplify. These include the disproportionate who led the Food & Community project for the last These events exposed divisions and inequities we radio shows addressing vital questions raised by harm the coronavirus has had on people of color, the two years. In August, we gathered in a virtual send- long knew were there. But our resilience in the antiracist demonstrations, the ways COVID-19 has gender inequality of caregiving labor and its impact off to celebrate Jon Lohman, our state folklorist face of the coronavirus and the more deep-seated affected schools, and how to combat burnout among on women, what it means to memorialize, and the who served as the director of the Virginia Folklife virus of racism have also revealed and underscored doctors and nurses caring for victims of the virus. importance of Indigenous voices as we reckon with Program for nineteen years. His work in building something that gives me a reason to hope: the the history of racism in the United States. Such that program, supporting artists and artisans, importance of community. With the passage of the Coronavirus Aid, Relief, explorations of the human experience are at the and documenting and preserving folk traditions, is and Economic Security (CARES) Act by Congress, heart of our work, and the work we support. -
Ken Koldner, Elke Baker Brad Kolodner
FSGW Special Event WES Auditorium, DC The Ken Koldner, Folklore Society of Elke Baker Greater Washington and Brad Kolodner in Concert Friday, January 7 · 8 pm You probably know Ken Kolodner as a hammered dulcimer virtuoso and member of the trio Helicon and other collabora- tions. He plays old-time, Celtic and other ethnic traditions, dance tunes, classical and chamber music, and just about everything in between. While teaching regularly in Baltimore and at far-flung festivals and music camps, Ken continues to perform and play for dances. He’s been heard on NPR, German National Radio, the CBC and Voice of America. His ten recordings (featuring both his hammered dulcimer and fiddle work) have earned significant recognition, as have his five instructional CDs. Elke Baker has been a regional presence since before she won the 1995 U.S. National Scottish Fiddle Championship. Since then, she has been a competition judge, plays for danc- es, teaches the history and performance of Celtic music at the Washington Conservatory of Music, and gives concerts across this country and around the world. She too is an active collab- orator in duos, trios, a sextet even – performing traditional and in-the-traditions music from old time to the classic Scottish composers, and dance tunes from contras to tangos. Her four recordings have also been well received. Brad Kolodner took up clawhammer banjo in summer 2007, inspired by a beginners’ class at a music camp. Before long, he’d developed his own style, combining old-time technique with melodic style. Of course, he’s been absorbing his father’s music through the years, and has already begun writing in old-time style. -
Spring 2018 in PDF Format
Out of the Red After the NFL, Brandon Williams ’16 faced a new opponent: bankruptcy. Page 22 Vision Can we have class outside today? Environmen- tal science students enjoy the environment on a spring day in 2017. Science Hall houses the Nelson Institute for Environmental Studies — when it’s not outdoors. Photo by Jeff Miller On Wisconsin 3 AWAY HOME? The choice is yours. For those who left Wisconsin, you took with you the high standards of excellence instilled by UW. But you left behind even more—a state with unmatched educational outcomes, superior healthcare, abundant career opportunities that improve the world, a low cost of living and the very same state spirit that inspired you to begin with. Isn’t it time to come home again to all that? Wisconsin. It’s more you. THINK MAKE HAPPEN IN WISCONSIN InWisconsin.com Contents Volume 119, Number 1 Steve Miller conducts Fifth Quarter in 2017. See page 26. BRYCE RICHTER BRYCE DEPARTMENTS 2 Vision 6 Communications 9 First Person OnCampus 11 News 13 Bygone Eloise Gerry 14 Calculation End of DARE 17 Conversation Erik Iverson 18 Exhibition Hoopes Sisters Illustrations 20 Contender Jo Ann Heckroth Jansen FEATURES OnAlumni 22 A Big Bounce Back An NFL career left Brandon Williams ’16 bankrupt. But he’s 48 News reinvented himself and found success in multiple fields. 49 Conversation Ladee Hubbard By Doug Moe ’79 JEPSEN ERIK 50 Tradition Becoming Bucky 51 Class Notes 26 Keep on a-Rock’n Us, Baby 58 Diversions Steve Miller x’67 reflects on how his time on campus, being 59 Honor Roll Alice Evans an English major, and growing up with a famous godfather 66 Destination Chazen Museum affected his music career. -
SINGING, SONGWRITING Pg
COLOR FRONT COVER COLOR PAGE 2: Festival COLOR PAGE 3: ??? COLOR CONCERTS Welcome iv WELCOME TO OUR 26TH YEAR! When we began our work in 1994, President Bob Chambers asked how many years I could give to this proposed traditional arts “camp.” I ventured that such an endeavor might last for fifteen years. Little did I imagine that we would create a legacy arts organization that has thrived for a quarter of a century and that now looks to the future with what we are calling “2020 Vision.” We hope you will join us in this journey, making the traditional arts more relevant than ever. In this catalog you will find a year's worth of events and activities that will enrich your life. Common Ground on the Hill is a traditional, roots-based music, arts and humanities organization, offering quality learning experiences with master musicians, artists, dancers, writers, filmmakers and educators while exploring cultural diversity in search of common ground among ethnic, gender, age, and racial groups. The Baltimore Sun has compared Common Ground on the Hill to the Chautauqua and Lyceum movements, precursors to this now venerable program. Our world is one of immense diversity. As we explore and celebrate this diversity, we find that what we have in common with one another far outweighs our differences. Our common ground is our humanity, often best expressed by artistic traditions that have enriched human experience through the ages. We invite you to join us in searching for common ground as we assemble around the understanding that we can improve both ourselves and our world by searching for the common ground in one another, through the lens of our artistic traditions. -
Jesse Smith and Ryan Mcgiver Traditional, Heart-Felt Irish Fiddling Drawings for Dinner and Champagne Tuesday, February 14 • 7:30 Pm
Volume 48, Number 6 NEWSLETTERwww.fsgw.org February 2012 On Valentine’s Day…We’re Celebrating!! Jesse Smith and Ryan McGiver Traditional, Heart-Felt Irish Fiddling Drawings for Dinner and Champagne Tuesday, February 14 • 7:30 pm Jesse Smith plays to the heart and from the heart. He was born to music. His father, John, is a singer and guitarist and his mother, Donna Long, is a noted pianist and fiddler who learned from her father. And Jesse’s fiddle teacher was Brendan Mulvihill. Yes, he grew up in the thriving Baltimore-D.C. Irish scene and moved to Ireland in 1998 to immerse himself further in the music. Now he performs, records and teaches on both sides of the Atlantic. He has a special fondness for the old tunes of the 78-rpm era, particularly those of Sligo fiddlers James Morrison, Paddy Killoran and Michael Coleman. His own recordings and those he made as a member of the band Danu have been enthusiastically received. Critics praise his playing for its sensitivity and tastefulness, admiring both his bowing and his fingerwork. For our concert, Jesse is joined by New York-based guitarist and vocalist Ryan McGiver, who also performs and teaches widely. His work has been showcased on Irish radio, he tours with award-winning singer Susan McKeown, and he has accompanied uilleann piper Cillian Vallely (Lunasa), fiddlersLiz and Yvonne Kane, and young concertina phenom Edel Fox, among others. His debut album features reinterpretations of Appalachian ballads and an all-star lineup of musicians. When not touring or working as a stonemason, he can be found at NYC music sessions. -
BEAR Tips / STAFF SELECTIONS . 114 DEUTSCHE OLDIES
1 COUNTRY .......................2 BEAT, 60s/70s ..................136 AMERICANA/ROOTS/ALT. .............54 SURF .............................140 TEXAS MUSIC SPECIAL ................60 CLASSIC ROCK/BIKER/SOUTHERN... .....141 OUTLAWS/SINGER-SONGWRITER .......60 WESTERN .......................74 REVIVAL/NEO ROCKABILLY .....142 WESTERN SWING....................78 PSYCHOBILLY ......................146 TRUCKS & TRAINS ...................80 BRITISH R&R ........................146 C&W SOUNDTRACKS.................81 SKIFFLE ...........................147 C&W SPECIAL COLLECTIONS...........83 AUSTRALIAN R&R ....................148 COUNTRY CANADA..................84 INSTRUMENTAL R&R/BEAT .............148 COUNTRY AUSTRALIA/NEW ZEALAND....85 COUNTRY DEUTSCHLAND/EUROPE......87 BLUEGRASS.....................89 POP VOCAL .....................148 NEWGRASS ........................97 POP INSTRUMENTAL .................154 INSTRUMENTAL .....................99 POP COMEDY & SPECIAL INTEREST ......157 OLDTIME ..........................102 LATIN ............................157 HAWAII ...........................106 JAZZ .............................158 CAJUN/ZYDECO ....................106 SOUNDTRACKS .....................159 TEX-MEX ..........................108 FOLK .............................108 WORLD ...........................112 BEAR TIPs / STAFF SELECTIONS . 114 DEUTSCHE OLDIES ..............159 KLEINKUNST / KABARETT ..............161 ROCK & ROLL ...................116 DEUTSCHLAND - SPECIAL INTEREST .....161 REGIONAL R&R .....................122 OPER/OPERETTE/MUSICAL.............162 -
FSGW Midwinter Festival Silver Spring, MD
Volume 52, Number 6 NEWSLETTERfsgw.org February 2016 FSGW Midwinter Festival Silver Spring, MD Saturday, February 6 noon - 10:30 pm Come out and play (and dance and sing)! It’s time for the FSGW Mini-Fest. The annual celebration of all things FSGW – Chanteys and shape note singing, doo wop and duets, English dance and Irish laments, banjos and bodhrans and ballads. Dance all day, or try some of the 40+ workshops and concerts at 7 different venues throughout the school (plus unscheduled hallway shenanigans, usually involving morris dancers, bells, sticks and hankies). It’s a sure-fire cure for the winter blues!! We’ll be at our usual location – Takoma Park Middle School, 7611 Piney Branch Road – on Saturday, February 6, from noon until 10:30 pm. In the Cafetorium, six hours of fabulous concerts programmed by Charlie Baum. We begin with Balkanto, exploring intricate Central and Eastern European music; next, traditional and contemporary Irish instrumental music from Dennis Botzer and Marc Glickman, followed by the women of Slaveya, with unusual Eastern European and Caucasian a cappella harmonies. ThenBlue Panamuse, an acoustic blues and swing ensemble recalling vintage favorites from the mid 20th century; Moch Pryderi’s enchanting traditional Welsh and Breton music; and Shenandoah Run, a group that captures the 60s collegiate folk style and applies it to all sorts of songs. We end the daytime track with the rollicking energy of The Bog Band, a group of young adults with a passion for Irish music and dance. The “American Roots” room (104), programmed by Martha Burns, begins with hard-driving bluegrass from Newgrass FSGW Inside: Effect with Tom Gray of the Seldom Scene, followed Advance Notices ...........................................13 Board Members/Meetings ...........................22 by old-time songs and tunes from Bill Schmidt and Calendar ...................................................12-13 Ann Porcella. -
October 2019
The Folk Club of Reston/Herndon Preserving the traditions of Folk Music, Folk Lore, and Gentle Folk Ways www.RestonHerndonFolkClub.com Volume 35, Issue 10 October 2019 October 15 – An Evening With Cathy Fink & Marcy Marxer Enjoy their favorite original/traditional folk, old time country, and swing tunes as they inspire you to join in. See page 2 October 8 Showcase – Jack & Bev Osburn by Jack Bev and Jack met in Defiance Ohio in 1969, as college freshmen both singing and playing nylon stringed folk guitars. Bev’s repertoire was sprinkled with Joni Mitchell, Peter, Paul, & Mary, and Simon & Garfunkel. Jack’s was mostly Kingston Trio, Mamas & Papas, and Neil Diamond. He also played a few tunes on the banjo. They married in college and after graduation moved to Toledo, Ohio, where they discovered “The Buckeye Cut-Ups” playing Bluegrass music at the “Old Fashion Bar and Grill.” They fell in love with the music. Jack says “Our folkie orbit was perturbed (in the best sense of the word) by the gravity of Bluegrass Music.” At a Toledo pawn shop they photo by Jessica DeLaski traded in Bev’s folk guitar and bought a steel string. Jack began exploring Bluegrass style banjo. After moving to Northern Virginia, Jack met Rose Haskell at work, where they shared their mutual interest in folk-style music. Rose, her husband John, and their two daughters moved to England for a two-year tour. They invited Bev and Jack to visit – providing an inspiring tour of English Folk Pubs. When the Haskells returned to the U.S. -
COLOR FRONT COVER COLOR PAGE 2: Festival COLOR PAGE 3: CG on the Town COLOR DEER CREEK
COLOR FRONT COVER COLOR PAGE 2: Festival COLOR PAGE 3: CG on the Town COLOR DEER CREEK Welcome iv WELCOME TO OUR 24TH YEAR! In this catalog you will find a year's worth of events and activities that will enrich your life. Common Ground on the Hill is a traditional, roots-based music, arts and humanities organization founded in 1994, offering quality learning experiences with master musicians, artists, dancers, writers, filmmakers and educators while exploring cultural diversity in search of common ground among ethnic, gender, age, and racial groups. The Baltimore Sun has compared Common Ground on the Hill to the Chautauqua and Lyceum movements, precursors to this now venerable program. Our world is one of immense diversity. As we explore and celebrate this diversity, we find that what we have in common with one another far outweighs our differences. Our common ground is our humanity, often best expressed by artistic traditions that have enriched human experience through the ages. We invite you to join us in searching for common ground as we assemble around the understanding that we can improve both ourselves and our world by searching for the common ground in one another, through the lens of our artistic traditions. In a world filled with divisive, negative news, we seek to discover, create and celebrate good news. Walt Michael, Founder & Executive Director L to R: Executive Director Walt Michael, artist Carol Siegel, 2017 Robert H. Chambers Award winner Guy Davis, artist Robin Tillery “You owe it to yourself to attend one of the sessions… Common Ground on the Hill is a cornucopia of artistic expression.” ~ The Baltimore Sun Cover: The Kruger Brothers, recipients of the 2018 Robert H. -
Ridesharing at the Sunday Night FSGW Contra Dance
Volume 49, Number 3 NEWSLETTERwww.fsgw.org November 2012 FSGW MONTHLY PROGRAM: FREE TO MemBERS! Scottish Folksinger EdReturns Miller for Concert, Workshop Concert: Saturday, November 24 • 8 pm Perpetual Falls Church, VA eMotion Workshop: Sunday, November 25, 1 – 4 pm, Glen Echo, MD More than 30 years ago, a young Scottish singer and folklore Ph.D. student living in Austin somewhat reluctantly accepted an invitation to perform for FSGW’s March 1981 monthly program at the Ethical Society. Ed Miller wasn’t a full-time performer then, just a wonderful singer who knew loads of terrific traditional Scots songs and ballads—and the Scots singing traditions from which the songs came. Program chair Kathy Westra, who had heard Ed sing at an informal late-night gathering at a folklore conference, convinced him that the FSGW audience would love to hear his music. That FSGW program was Ed’s very first full-length concert as a solo performer on the East coast. And what a concert it was! Interesting versions of traditional Scots ballads. Bothy songs from Scotland’s agricultural past. Funny songs. Splendid new songs from Scotland’s best songwriters. And choruses. LOTS of choruses! The FSGW audience was enchanted, and Ed has returned to these parts many times since then to sing for Burns suppers, the Celtic festival, and FSGW. He has a particular genius for making the old songs fully present, transporting his audi- ence into times, places and feelings long past. Fast-forward three decades, and Ed is still singing—better than ever! He has been hailed as “one of the finest singers to come out of the Scottish Folksong Revival” and as “one of Scotland’s best singing exports.” He’s a Continued on page 2.