1 Sotholms Och Svartlösa Härader

Total Page:16

File Type:pdf, Size:1020Kb

1 Sotholms Och Svartlösa Härader 1 SOTHOLMS OCH SVARTLÖSA HÄRADER INNEHÅLL 2 SVARTLÖSA HÄRAD 26 ÖSMODRÄKTEN 3 PÅ BANAN 28 POLONESSEBOKEN 4 SPELMÄN 30 VEM ÄR SOM EJ... )0 DANSEN PÅ SÖDERTÖRN 32 SKIVSPALTEN 18 JAG MINNS 34 HARPOLEK 20 SÄGNER OCH MINNEN 36 SORUNDAVISAN 22 HANDLAREVISAN Omdagsbild: Byspelmannen, målad av den tyske 23 DRÄKTEN PÅ SÖDERTÖRN konstmren Hans Thoma, 1839- 1924. 24 SORUNDADRÄKTEN " '. .h %5z"f*:%:?Z? ' ""'= " " """' "É=..,, ~ "') L' . """ " ', ~j1K q' . , ,, ',. U · " "r"^ pgc. " ,\,\ b - h1· a»,' X' " am v""' ! °""'"'""" r, "=: " " - ' "::0 T' "": ±%v"4 '&" m ""' "' SY . ·:%, ·- -' ' " '" ·x"f;" '"3' " "L. .7yj|::c"^X+"m "" " ·P :k -'e ., ==9"2" ;6 ¢. ' "" , "t?:,:k ' ' "' 'l" ,'" " " W r' " QL"+:S\ja, " :" l V ,/i ,b ,, "¶%1 p -J' l" · t, · l. tk. "", ' n rtarNm. .,~ b- " 0 bm mb n g . · · K ' 0m· vf . V h~~m~' .·· 2?'' b « "brgib, 4 . .~,._+.:' " "" "".. cl Rm"m "' :__ T " " r ' . 0ybW +· M0~ f , 0m. : Q SÖRMLAN%LÅTEN dktribue ra8 till medlemmarna l Södermanland8 SpelmanMörbund och Sörmländska Ungdommngen. Utomstående kan prenumerera på Spelman8förbundet8 cirkulär (Inkl. SÖRMLANDS- LÄTEN) för ett år genom att 8åtta in kr IS: -- på postgiro 12 24 74 - O, adrem Södermanland8 Spelmam- förbund. Skriv "Cfrkulårprenumeration" på Ullongen! Upplaga: I. 750 ex Utkommer 2 gånger per år 2 GIOVANNA BASSI - PREMIÄRDANSÖS OCH SVARTLÖSA HÄRAD SÖRMLÄNDSK GODSÄGARINNA Marianne Strandberg Giovanna var dotter till den italienska hovstdhnästa- ren Stefano Bassi och hans franska hustru Angelique. Svartlösa hdrod har fött sitt namn efter tingsstCMet Hon föddes troligen 13 juni 1762 i Paris. Hon kom till SvartakSt (SvartalC$CSt) eller SvanlCSten (löt, Im troli- Sverige 1783 tilkammans med sin bror och omtalldes gen äng) där ting med Övm Tör (norra Södertöm) Nils som ballerina vid teatern samma år. Enligt Johan under medeltiden. Svanalöt var ängen vid Eriksberg i Henrik Kjdlgren var hon "den ostridigt hAIkomligaste Botkyrka dldeles i nörheten där vägen tar av från E4 dansCSs som svenska teatern haft". Malla Silfverstolpe mot Alby. Första gången platsen omnämns som tingxtal- skriver: '°Hon var skön, ehuiv storkt bmnett. De regel- le var 1442. bundna, vackm drogen, hennes adla fysionomi, hennes svartlockiga hår och hennes dldeles utmärkta växt, li- (Ur Salemsboken) ka smidig och ledig som stolt och fdlkomlig, gjorde henne till en av de väck raste kvinnor. Härtill förenade hon ovanligt behag med mycken nobless i hela sitt va- sen att vam. " * Hon blev firad men också omskvallmd, icke utan skuld. Hon inledde en förbindelse med Gustav III :s gunstling Ur ett kåseri i Aftonblodet 1902 med titeln: och hovstdhnästare och fcsddc tre barn. Enligt många "RSnninge villammhälk. Några interiörer från en ty- rykten var det dottern Jeanette som stod modell till pisk egnahemskoloni. Tintomam i Almqvists "D rottningens juvekmycke" . E n tid vistades Giovonna i Italien dit hon flytt efter bar- . .Förliden söndag var jag en ibland de lyckliga som nens far, men hon återvände till Sverige 1793 och efter en timmes fUnd i en kvav kupé, genom svarta engagerades åter vid teatern SOm dansös. Hennes sista tunnlar och bolmande $tenko|$ruk äntligen fingo stiga föreställning på scenen var 23 juni 1794, dö man upp- av i RZSnninge och lustvandra på dess idyllkka vägar förde "De två Sovoyarderna". och stigar mellan sdglittmnde vatten och doftande skogsbackar. Mitt goda öde förde mig på vägen som Samma sommar ingick hon äktenskap med grosshandla- leder till Skolberga, där just vid min ankomst en festlig ren Peter Hinric SchiSn tillhörande den s k skeppsbro- tilktällning med folkdanser, auktion, sång, tal, dekla- adeln. Vid det laget var Giovanna ingalunda barskra- pad och elaka tungor ville göm gällande att SchCSn mation och kaffe med mera (icke avec - det var en gjort ett "gott parti". Andra däremot ansåg att efter- mycket nykter fest) som allra livligast gick ov stapeln. som '°hon är l:mo arg och het som ett indianskt peppar- Men då man upplyste mig om att festen pögått i tvenne korn, 2:do så fgrträffeligen snål och oeconome, dr att dagar - lördags- och söndags e .m. - samt att musiken förmoda att Herr S. på intet vis lärer kunna åtkomma av Tumba mdsUngssextett, föredmgen ov docenten hennes små murklor". Giovanna var också mycket rik- Hallenborg om Karl XII och av reservkSjtnant Lillieskdd tigt uhvstod med äktenskapsförord och gjorde själv si- om Gustaf Il Adolf, sången och deklamationen redan voro överstökade pmgmmnummer, så tyckte jag mig ha na gårdsaffärer. kommit något post festum, men fick trösta mig med de 1797 inköpte hon huvudgården Högtorp (sedermera ännu återstående numren "nationaldans i det gröna", HiSgantorp) med hemmanen Lodvik, Lideby, Ormsättra, utförd av en bukett unga gossar och flickor, och auk- Kaggcbol, Hjdmsätra och Bockhdmssattra samt torpen tion å skänkta saker", vilket jämte kaffe med dopp än- BrcdOng, Andersboda och Kålvreten för 36 000 riksda- nu gav en festlig prugel åt den av en talrik publik be- ler. Under hennes tid Som gÖrdsfm klingade både tyska, sökta tilktdlningen. Och när den sö hurtiga, energiska franska och italienska språk innanför husets väggar. fnj Bolin, festens anondnarinna, som sjalv tjamtgjort Giovanna avled 16 juni 1834 och ligger troligen be- som auktionsutmpare, även sprang i spetsen för en liv- gravd i familjegraven vid Salems kyrka. lig över Skolbergas kupérede terräng ormande långdans, vilken ofta gick isar men ändå rt$rde sig så länge solen var uppe - dö grepos alla av en smittande munterhet. .. (Ur Sörmlandsbygden 1965) Ur Salemsboken Vid itämn l VåstefhåAM0 finnes tjl!gmtia pmmierado hiNMwma Ni blir sijuk att onvöndo krympt yllo E;'; ,?"'" " ' Zuleiman K0|0qop¢McKm0 kr 4 för vmnblodin gton. pr öL scmmrmchN kr 4· SO pr ,0 dl~ kr och "P - Mr W 0. Imperator HlUbm (7br cohk8 owrlrkor {'AO) ('1Mrucko krympt ylk $uu~die. för noNvcmka och nor8kA ston. Tid: morgon kl. halv 7 och Af- W1Uät4. J. ton k]. hUv 8. ._ __ SpMWavXift 215 kr. StallavUft l kr. 3 På gårdarna i trakten förekom logdanser bl a på sjö- ängen i ämo. Sommarens hUffpunkt var utedansbanan På banan vid Nicksta i Nynäshamn. Dit cngagerodes olika or- NÅGOT Om NÖJESLIVET l NYNÄS PÅ 20-TALET kestrar även från andra orter bl a Stockholm, En Ny- näsorkester kallade sig "Black and White" med satt- Sune Höglind ni% piano, saxofon, banjo, trummor och trumpet. Pianisten, som var mycket duktig hette Emolf. Musik- De unga på 20-talet saknade de flesta av nutidens nö- stilen var modern. Dansbanan låg i anslutning till Nya jen. Radion var nästan Okänd och TV skulle dntsja fle- idrottsplatsen. Där anordnades varje år stora idrotts- ra decennier. Musiken i hemmen bestod i basta fall av tävlingar "Nynas-spelcn" med deltagare från hela en grammofon, en enastående tingest, eller av att nå- Stockholmstrakten. Det var riktiga folkfester, som gon Familjemedlem kunde traktera ett instrument van- drog mycket publik. ligen fiol eller dragspel. Nynäshamn hade två biografer, Gamla Folkets Hus och Dans ordnades oftast på en loge eller i ett hem. Har i Viktoriabiografen som visade stumfilmer, I anslutning Nynäshamn dansades det i den s k " Ladan", som lOg till dessa spelade lokala musiker och de R$Mkte an- intill Gamla Folkets Hus. Huset var på sommaren en passa musiken till filmens handling. Kända namn ar öppen paviljong och på vintern sattes luckor för och Trio Ljusberg (piano, klarinett och fiol) och Georg RSrvardlade det till en inbyggd bana. Dur spelade of- Fredriksson (Fiol-Fredrik). ta Nynäshamns Blåsorkester, som kallcdes för "Bom- berdittan". Den bestod av 12 man. Blandad musik Så- Biolokalen i Folkets Hus, som hade plant golv, använ- som foxtrot, tango, vals, hambo, schottis, polka och des ofta till föreningsfester ov olika slag t ex maskem- den nya modedansen charleston spelades. Entré beta- der, revyer och teater. lades ej, men dambiljetterna kostode 1925 IS öre dan- På sommma anordnades föreningMflykter, ofta med sen. Dans ordnades onsdagar, lördagar och sBndagor. båt till närbelägna tSar t ex Yxlcs och Sandskar. BeWkama placerade sig pO herr- och damsida. Her- Nynäshamns Förelämingsförening engagerade populdm rarna bjöd upp till dans. Enda undantaget var "Damer- föreläsare till Folkets Hus, bl a Sten Bergman, som vi- nas dans" en per kväll efter orkesterns påannons. sade skioptikonbilder och betuttade om sina resor. Det Långt till degens demokmtiska danser. På fredagar var ett uppskattat nöje som kostade 25 öre. ordnades någon gång basar med uppträdande av artis- ter, ofta någon bondkomiker. l anslutning till "Ladan" Då ungdomen hade ont om pengar var det angeläget fanns på sommaren en utescrvering. att roa sig till billigt pris. Bjudningdamer, ordnade av ungdomama själva i någon lämplig lokal, förekom Under vintersäsongem lördagar var Ösmo Paviljo"g också med lekar och upptåg. mycket valbesökt och Omtyckt. Entrén var där l kr men istdllet var det fri dans, För musiken svarade lokala Julgranspbndringar i hemmen var uppskattode, och då förmågor frön trakten. Vanligaste instrumenten var dansade både gammal och ung, kanske till musik från dragspel och fiol ibland förstärkta med banjo eller ett en trottgmmmofon. Danslekarna var de samma som i- blhinstrument. Gammeldans dominerade . Ett valkant dag och även andra lekar såsom blindbock, gömma namn var drogspelaren Helge Hammarsson även kallad nyckeln, ryska posten och olika pantlekar dr i stort SpeI-Helge. Musiken Från hans marmor var uppskattad. sett oförändrade . 4 Spelmän Arne Blomberg SVARTLÖSA HÄRAD Det bevarode folkmwikahska materialet från Slider- törn hämtas från flera olika källor. I Rickard Dybecks Materialet från SvartkSsa härad dr betydligt mindre samlingar finns ett flertal melodier med ursprunget an Sotholmsmateridet. "StSdertörn". Uppteckningarna Ur i många fall gjorda av Rosa Wretman och insända till Dybeck. Närmare Olof Andersson besökte 1936 R$ljande spelmän: uppgifter om ursprunget saknas oftast. Mekanikernjohan Arvid Petersson, född 1896 i Åma. Han började spela vid tolv års ålder SiSrmkndsdelen av Svenska Låtar innehåller ett antal och kom då i kontakt med fiolspelmannen A Lindgren melodier från Öster- och Vdsterhaninge. Uppteckna- i Österhaninge.
Recommended publications
  • Beethoven and Banjos - an Annual Musical Celebration for the UP
    Beethoven and Banjos - An Annual Musical Celebration for the UP Beethoven and Banjos 2018 festival is bringing Nordic folk music and some very unique instruments to the Finnish American Heritage Center in Hancock, Michigan. Along with the musicians from Decoda (Carnegie Hall’s resident chamber group) we are presenting Norwegian Hardanger fiddler Guro Kvifte Nesheim and Swedish Nyckelharpist Anna Gustavsson. Guro Kvifte Nesheim grew up in Oslo, Norway, and started playing the Hardanger fiddle when she was seven years old. She has learned to play the traditional music of Norway from many great Hardanger fiddle players and has received prizes for her playing in national competitions for folk music. In 2013 she began her folk music education in Sweden at the Academy of Music and Drama in Gothenburg. Guro is composing a lot of music, and has a great interest and love for the old music traditions of Norway and Sweden. In 2011 she went to the world music camp Ethno and was bit by the “Ethno-bug”. Since then she has attended many Ethno Camps as a participant and leader, and setup Ethno Norway with a team of fellow musicians. In spring 2015 she worked at the Opera House of Gothenburg with the dance piece “Shadowland”. The Hardanger fiddle is a traditional instrument from Norway. It is called the Hardanger Fiddle because the oldest known Hardanger Fiddle, made in 1651, was found in the area Hardanger. The instrument has beautiful decorations, traditional rose painting, mother-of-pearl inlays and often a lion’s head. The main characteristic of the Hardanger Fiddle is the sympathetic strings that makes the sound very special – it’s like an old version of a speaker that amplifies the sound.
    [Show full text]
  • The Dissemination of the Nyckelharpa
    The Dissemination of the Nyckelharpa The Ethnic and the non-Ethnic Ways Gunnar Ternhag & Mathias Boström, Dalarnas Forskningsråd, Falun, Sweden The Ethnic and the non-ethnic Many traditional instruments are strongly linked to ethnic concepts. These connotations are often well known to musicians and listeners both inside and outside ethnic communities, although they are valued and interpreted differently. Some instruments are regarded as typical of certain cultures; you could even call them emblematic. This is evident when it comes to national cultures. The Finnish kantele and the Norwegian hardanger fiddle are typical examples of this (cf. Torp 1998). Other instruments have ethnic connotations without being symbols for specific cultures. The djembe drum, for instance, is mostly considered as simply “African” in the Western world. These and many similar instruments are more or less accessible to everyone today. The same goes for music and playing styles. Record stores, festivals, workshops and the Internet can easily provide everyone interested with inspiring products. A musician who wants to pick up a traditional musical instrument from a different culture than his or her own has to choose. He or she may try to learn the original music and playing style associated with the instrument; the so-called “tradition.” We will call this the ethnic way of approaching the instrument. The beginner wants to learn the instrument and its music in the same way as if he or she were living in the original community of the instrument. In this way many musicians in Sweden and other similar countries have learned how to play high- land-pipes or bouzouki—and have become Scots or Greeks in their musicianship.
    [Show full text]
  • TOCN0004DIGIBKLT.Pdf
    NORTHERN DANCES: FOLK MUSIC FROM SCANDINAVIA AND ESTONIA Gunnar Idenstam You are now entering our world of epic folk music from around the Baltic Sea, played on a large church organ and the nyckelharpa, the keyed Swedish fiddle, in a recording made in tribute to the new organ in the Domkirke (Cathedral) in Kristiansand in Norway. The organ was constructed in 2013 by the German company Klais, which has created an impressive and colourful instrument with a large palette of different sounds, from the most delicate and poetic to the most majestic and festive – a palette that adds space, character, volume and atmosphere to the original folk tunes. The nyckelharpa, a traditional folk instrument, has its origins in the sixteenth century, and its fragile, Baroque-like sound is happily embraced by the delicate solo stops – for example, the ‘woodwind’, or the bells, of the organ – or it can be carried, like an eagle flying over a majestic landscape, with deep forests and high mountains, by a powerful northern wind. The realm of folk dance is a fascinating soundscape of irregular pulse, ostinato- like melodic figures and improvised sections. The melodic and rhythmic variations they show are equally rich, both in the musical tradition itself and in the traditions of the hundreds of different types of dances that make it up. We have chosen folk tunes that are, in a more profound sense, majestic, epic, sacred, elegant, wild, delightful or meditative. The arrangements are not written down, but are more or less improvised, according to these characters. Gunnar Idenstam/Erik Rydvall 1 Northern Dances This is music created in the moment, introducing the mighty bells of the organ.
    [Show full text]
  • Dance in Copenhagen, C. 1750-1840
    Dance in Copenhagen Dance in Copenhagen, c. 1750-1840 By Henning Urup The subject of this article is dance forms in Denmark, and especially in Copenhagen, in the period c. 1750-1840. The account is based on the preseryed source material, and this involves an important methodological problem. Dance is a transitory phenomenon in the form of motion in the present. The written sources are descriptions of something seen and experienced, or instructions on how the dance/music is to be executed. It has always been diffiCldt to write dan ces down, and for that reason many dan ces have never been recorded on paper. In the European musical tradition, the notation of mus ic plays a central role, and the concept ofthe work is ofte n tied to the notation. By analog)' with this, incomplete or inadequate dance notation poses a problem. Musical notation gives us information about pitch and durations as well as dynamics and phrasing. The notation of dance requires similar infor­ mation, but also indications of body movemen ts, orien tations of arms and legs and progressions of movement through space. Dance notation therefore becomes complicated, and the various systems of notation are usually associated with specific dance forms and styles where. because of certain shared assumptions, one does not need to write down too much. Elements that are self-evident in the tra­ dition in question are usually omitted. Many important details have thus never been written down, and this poses an important problem for later researchers. The relationship of the author to dance and music is of great importance in interpreting the source material.
    [Show full text]
  • Trollfågeln the Magic Bird
    EMILIA AMPER Trollfågeln The Magic Bird BIS-2013 2013_f-b.indd 1 2012-10-02 11.28 Trollfågeln 1. Till Maria 5'00 2. G-mollpolska efter Anders Gustaf Jernberg 3'25 3. Ut i mörka natten 4'55 4. Isadoras land 3'50 5. Trollfuglen 2'25 6. Polska fra Hoffsmyran 4'02 7. Herr Lager och skön fager 3'08 8. Brännvinslåt från Torsås 2'40 9. Pigopolskan / Den glömda polskan 5'08 10. När som flickorna de gifta sig 4'05 11. Kapad 4'44 12. Bredals Näckapolska 3'01 13. Galatea Creek 3'19 14. Vals från Valsebo 8'56 TT: 59'42 Emilia Amper nyckelharpa, sång Johan Hedin nyckelharpa Anders Löfberg cello Dan Svensson slagverk, gitarr, sång Olle Linder slagverk, gitarr Helge Andreas Norbakken slagverk Stråkar ur TrondheimSolistene: Johannes Rusten och Daniel Turcina violin Frøydis Tøsse viola, Marit Aspaas cello Rolf Hoff Baltzersen kontrabas 2 Trollfågeln innehåller 14 spår som på många sätt illustrerar mig som person och mitt liv som musiker och kompositör. Här är musiken som jag brinner för, en brokig skara låtar där traditionella svenska polskor möter nykomponerad musik inspirerad av andra länders folk- musik, och av pop, rock och kammarmusik. Jag spelar och sjunger solo eller tillsammans med goda vänner från både folkmusik och klassiskt. Som 10-åring förälskade jag mig i nyckelharpan vid första ögonkastet! Barndomens direkta glädje av instrument och melodier övergick efterhand i ett växande intresse för folkmusiken som genre. Jag mötte musik och människor från hela världen, och för mig var det liksom samma språk vi alla talade, ett språk där kopplingen mellan musik och dans är direkt och självklar.
    [Show full text]
  • T of À1 Radio
    ism JOEL L.R.PHELPS EVERCLEAR ,•• ,."., !, •• P1 NEW MUSIC REPORT M Q AND NOT U CIRCLE December 25, 2000 I www.cmj.com 138.0 ******* **** ** * *ALL FOR ADC 90198 24498 Frederick Gier KUOR -REDLANDS 5319 HONDA AVE APT G ATASCADERO, CA 93422-3428 ON BEING NO. 1, TOURING WITH U2 & WHY WILL OLDHAM AND RAYMOND CARVER KICK ASS tof à1 Radio HOW PERFORMANCE ROYALTIES WILL AFFECT COLLEGE RADIO WHAT IT'S DOING TO INDIE RETAIL INCLUDING THE BLAZING HIT SINGLE "OH NO" ALBUM IN STORES NOW EF •TARIM INEWELII KUM. G RAP at MOP«, DEAD PREZ PHARCIAHE MUNCH •GHOST FACE NOTORIOUS J11" MONEY PASTOR TROY Et MASTER HUM BIG NUMB e PRODIGY•COCOA BROVAZ HATE DOME t.Q-TIIP Et WORDS e!' le.‘111,-ZéRVIAIMPUIMTPIeliElrÓ Issue 696 • Vol 65 • No 2 Campus VVebcasting: thriving. But passion alone isn't enough 11 The Beginning Of The End? when facing the likes of Best Buy and Earlier this month, the U.S. Copyright Office other monster chains, whose predatory ruled that FCC-licensed radio stations tactics are pricing many mom-and-pops offering their programming online are not out of business. exempt from license fees, which could open the door for record companies looking to 12 PJ Harvey: Tales From collect millions of dollars from broadcasters. The Gypsy Heart Colleges may be among the hardest hit. As she prepares to hit the road in support of her sixth and perhaps best album to date, 10 Sticker Shock Polly Jean Harvey chats with CMJ about A passion for music has kept indie music being No.
    [Show full text]
  • Music Media Multiculture. Changing Musicscapes. by Dan Lundberg, Krister Malm & Owe Ronström
    Online version of Music Media Multiculture. Changing Musicscapes. by Dan Lundberg, Krister Malm & Owe Ronström Stockholm, Svenskt visarkiv, 2003 Publications issued by Svenskt visarkiv 18 Translated by Kristina Radford & Andrew Coultard Illustrations: Ann Ahlbom Sundqvist For additional material, go to http://old.visarkiv.se/online/online_mmm.html Contents Preface.................................................................................................. 9 AIMS, THEMES AND TERMS Aims, emes and Terms...................................................................... 13 Music as Objective and Means— Expression and Cause, · Assumptions and Questions, e Production of Difference ............................................................... 20 Class and Ethnicity, · From Similarity to Difference, · Expressive Forms and Aesthet- icisation, Visibility .............................................................................................. 27 Cultural Brand-naming, · Representative Symbols, Diversity and Multiculture ................................................................... 33 A Tradition of Liberal ought, · e Anthropological Concept of Culture and Post- modern Politics of Identity, · Confusion, Individuals, Groupings, Institutions ..................................................... 44 Individuals, · Groupings, · Institutions, Doers, Knowers, Makers ...................................................................... 50 Arenas .................................................................................................
    [Show full text]
  • 5EHC 2020 Awards Recipients
    July 16, 2020 FOR IMMEDIATE RELEASE Contact: Rosanne Royer, Awards Chair (503) 871-1023 cell [email protected] Ethnic Heritage Council announces Recipients of the 2020 Annual EHC Awards to Ethnic Community Leaders and Artists The Ethnic Heritage Council (EHC) is proud to announce this year’s award recipients, to be honored at EHC’s 40th Anniversary celebration. The special event is rescheduled to Spring 2021, due to the COVID-19 pandemic, date to be determined. The awards program with annual meeting is EHC’s major annual event. The award recipients represent extraordinary achievements and contributions to the region’s cultural and community life. We invite you to read their biographies below. The 2020 EHC Award Recipients Rita Zawaideh Bart Brashers Spirit of Liberty Award Aspasia Phoutrides Pulakis Memorial Award Randal Bays Emiko Nakamura Bud Bard Co-Recipient Co-Recipient EHC Leadership Gordon Ekvall Tracie Gordon Ekvall Tracie & Service Award Memorial Award Memorial Award Rita Zawaideh 2020 “Spirit of Liberty” Award Eestablished in 1986 and given to a naturalized citizen who has made a significant contribution to his or her ethnic community and ethnic heritage, as well as to the community at large. For decades Rita Zawaideh has been an advocate and change-maker on behalf of Middle Eastern and North African communities in the United States and around the world. She is a “one-person community information center for the Arab community,” according to the thousands who have benefited from her activism and philanthropy. “The door to Rita’s Fremont office is always open,” says Huda Giddens of Seattle’s Palestinian community, adding that Rita's strength is her ability to see a need and answer it.
    [Show full text]
  • Arts Council Grants City List
    Attachment to media release SOUTH DAKOTA ARTS COUNCIL FISCAL YEAR 2020 GRANT AWARDS At its spring meeting, the South Dakota Arts Council announced initiative and special project funding as well as grant awards totaling nearly $1.36 million to non-profit organizations, schools, and individual artists for arts projects during Fiscal Year 2020, beginning July 1, 2019, and ending June 30, 2020. Grants were awarded in the following categories: Artist Fellowships: The Council awarded Artist Fellowships to four South Dakota artists of exceptional talent to recognize past artistic achievement, encourage future artistic growth, and fund specific activities. Artist Career Development Grants: The Council awarded 10 Artist Career Development Grants to provide financial support to emerging artists committed to advancing their work and careers as artists. Artist Collaboration Grants: The Council awarded two Artist Collaboration Grants, which provide funds for collaborations between at least two artists to advance their work and careers and benefit the state of South Dakota. Arts Challenge Grants: The Council awarded 33 Arts Challenge Grants to support the yearly activities of the state’s major arts institutions and community arts organizations. Artist in Schools & Communities Grants: The Council approved funding for approximately 204 weeks of Artists in Schools & Communities residencies, conducted by professional artists at schools and other nonprofit institutions throughout the state. Additional residency sites and sponsors will be added to this list while funds remain. Importation of Musicians Grants: The Council awarded two Importation of Musicians Grants, which provide matching funds to support importing musicians to enhance an orchestra’s performance season. Project Grants: The Council awarded 39 Project Grants, which provide matching funds to organizations and individual artists to support community-based arts activities.
    [Show full text]
  • Scandinavian Studies Friends Ofds Friends Of
    16.3, Spring 2007 Contents... FriendS oFdS Fossegrimen 1 Scandinavian StudieS Simon Helton 1 N E W S L E T T E R From the President’s Desk 2 Fundraising Update 2 Published fall, winter & spring for the Friends of Scandinavian Studies Looking for.... 2 Graduate Instructors 3 Fossegrimen SCAN Courses 3 SCAN Events Insert Reappears for the 2007 Midsummer Picnic Mid Summer Picnic! According to Norwegian folk lore, fossegrimen are fiddle-playing Sunday, June 24, 2007 supernatural beings that dwell noon-4 pm beneath waterfalls. The members Shelter 1, of the group Fossegrimen, Alton Baker Park, however, are members of a Eugene dans orkester that is dedicated to performing folk dance music from Norway and Sweden. The group plays for monthly dances in Salem and occasionally in the Portland and Seattle areas. Fossegrimen was Dancing founded by David and Claire Elliker-Vågsberg. David directs the group and performs on fiddle, the NorwegianHardanger fiddle and Swedish Families nyckelharpa. Claire plays fiddle, viola and nyckelharpa. The other members are: Kurt Elliker, fiddle; Brian Wood, guitar andnyckelharpa ; Potluck and John Blunt, bass. On special occasions Fossegrimen members wear, regional costumes from Norway, knowns as bunader. Fun The hardingfele (Hardanger fiddle) andnyckelharpa are the national Music folk instruments of Norway and Sweden, respectively. The feature that most distinguishes the Norwegian Hardanger fiddle from the regular fiddle or violin is the set of four or five sympathetic strings that run Join us! beneath the fingerboard and add droning overtones to the sound. A Hardanger fiddle is typically decorated with mother-of-pearl inlay, and (Continued on page 3) Simon Helton: Continuing on after graduation! Eugene native Simon Helton will depart for the University of California-Berkeley in the fall to continue his education as a graduate student in the Department of Scandinavian.
    [Show full text]
  • Folk Music 1 Folk Music
    Folk music 1 Folk music Folk music Béla Bartók recording Slovak peasant singers in 1908 Traditions List of folk music traditions Musicians List of folk musicians Instruments Folk instruments Folk music is an English term encompassing both traditional folk music and contemporary folk music. The term originated in the 19th century. Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers. It has been contrasted with commercial and classical styles. This music is also referred to as traditional music and, in US, as "roots music". Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. The most common name for this new form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.[1] This type of folk music also includes fusion genres such as folk rock, electric folk, and others. While contemporary folk music is a genre generally distinct from traditional folk music, it often shares the same English name, performers and venues as traditional folk music; even individual songs may be a blend of the two. Traditional folk music Definitions A consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions. They are extensions of the term folk lore, which was coined
    [Show full text]
  • Lexiko Ido-Angla Ido-English Vocabulary
    LEXIKO IDO-ANGLA IDO-ENGLISH VOCABULARY If a word is an adverb (not derived), conjunction, interjection or preposition, this is shown by {adv.}, {konj.}, {interj.} or {prep.}. Similarly, a prefix is indicated with {pref.}, and a suffix with {suf.}. Verbs: {tr} = transitive; {ntr} = intransitive; {tr/ntr} = both transitive and intransitive; {imp} = impersonal (needing no subject). The abbreviation "Ant:" precedes an antonym. An obsolete word has a bracket before it, and is followed by "(obs.)", a chevron and the word by which it was replaced. A list of abbreviations is given at the end of the vocabulary. Se vorto esas adverbo (ne derivita), interjeciono, konjunciono o prepoziciono, to esas indikata da {adv.}, {interj.}, {konj.} o {prep.}. Simile, prefixo indikesas da {pref.}, e sufixo da {suf.}. Verbi: {tr} = transitiva; {ntr} = netransitiva; {tr/ntr} = transitiva e netransitiva; {imp} = nepersonala (sen subjekto). Vorti inter kramponi, pos verbo, esas vorti qui normale esas uzata pos ta verbo. La abreviuro "Ant:" sequesas da antonimo. Obsoleta vorto havas krampono avan ol, ed esas sequata da "(obs.)", chevrono e la nuna vorto qua remplasis ol. Listo di abreviuri esas ye la fino di la lexiko. Sslonik /www.twirpx.com/ Sslonik 1 A -a (gram.) (adjectival ending) a (= ad) {prep.} (prep.) to (indicating that to which there is movement, tendency or position, with or without arrival) -ab- (gram.) (suffix for shorter versions of the perfect tenses: am-ab-as = esas aminta; am-ab-is = esis aminta; am-ab-os = esos aminta; am-ab-us = esus aminta)
    [Show full text]