49TH NATIONAL FOLK FESTIVAL Juts 24 - 26, 1987 MESSAGE FROM THE WELCOME PARK SUPERINTENDENT CONTENTS SCHEDULE FRIDAY JULY 24, 1987

Among lhe several million ways ol_cate~orizing W elcome to Lowell! Lowell National Park Is pleased to be co-host lor the ~~st0rlcai all people inlo 1wo groups is by lheir altitude 4 Schedule: Friday, July 24 .. 5 5:30 PM JFK PlAl.AOANCEPARTY wllhWa'Jf)eToupsand National Folk Festival during Us first vi about whal lhey know. Here goes. One group 1 Schedul Zydecajun New England. For the past nneen yea s ~to e: Salurday, July 25 6 ieels they know almosl everything w~rth know­ 7:00 PM New Orleam Street Parade from Jf'K Plaza &o North National Park Service Schedule: Sunday, July 26 7 ing and Is not inclined lo s~end any ume,or has worked wit~\~ e Common led byOoc Paulin's Olx~ land Jazz Band. National Council Performers )ofn energy seeing or hearing lhmgs lhey don I !or the Traditional Art e Comt !he SttOnd fine'!! Ing to present America's finesl folk art s In help. Cora Bardwell . 8 already know aboul. 7:30 PM EVENING CONCERT ATNOlmi COMMON And ol course lhose people are nol.h ere. By tlons and this year's roster ol performe~n~ tradi. La Famille Beaudoin 8 La Famll1e Beaudoin exciting and varied coming lhis leslival you have 1den11fied wllh as lans or the "Nat'10 sis ~s Calabria Bella . . . . 8 Chosen Sisters 10 have come to expecl. nal Los Campesinos de Mlchoacan group iwo. Thank you. You're going lo have a Los Campesinos de Michoacan . 9 Lowell ls a natural location lor the . Masters of Cape Breton Music and Dance 1 11 Creole Se'Xfel and Cape Verdean American Folkk>ric very good lime. because of its rich cultural and ethn/; ~al Masters of Cape Breton Music Those ol us who come to you lrom o\her . and Dance ...... 9 Dance Troupe Over 50 different elhnic groups live in thent~ge. Sun Rhythm Sedion parts ol lhe nalion have enjoyed preparing this The Chosen Sislers . II festival and our many visits to Lowell. It 1s a many having come originally to work i ~hcity, The wonderful ethnic city. Our festival has pre­ textile mills. As the nation's first large n le Creole Sextet and the Cape Verdean . -sea e American Folkloric Dance Troupe 11 sented the art ol ethnic working cl~ss people center for t h e mechanized produclion ol cloth Lowell was a model lor 19th cenlu 12 since it was rounded in 1934. So 111s great to be 1 COiion Ellis Island Irish Band . dustnal development. The Lowell Natio ~ IO· 13 here 10 merge some ol our work with the eflorts nd Ernie Fanning ...... State Parks commemorate Lowell's un·i na al ofth~ Greater Lowell Regalia Festival Commit­ h · que eg- llias Kementidzes and tee and the Lowell National Historical Park and acy ~s t e m_ost important planned industrial Panayiotis Vassiliades 14 all the many others who have helped. city 1~ America and pay tribute to the nation's Khmer Traditional Arts Ensemble . 14 Most 1mm1grant workers. The music, dance a d of those who prepared this festival are Djimo Kouyate . . . . . 15 volunteers who share a deep interest in tradi­ craRmaking traditions of many of Lowel~ Laotian American Organization lional arts. Many are from Lowell but others people will be celebrated here during thes t ofLowell 16 came here al their own expense from all parts three days. nex ...... of the nation. They include some ol the best The _city's current revitalization signifies lhe Lowell Angkor Dance Troupe and doers and managers I know. Thanks gang. potential lor renewal ol their cultural heritag Traditional Music Ensemble . . 16 You're the best ol group two. and the cooperation between local, state anJ Missouri Old Time Fiddlers: And thanks especially to Pal Mogan for think­ federal governments and the private seclor Th Pete McMahan and Charlie Walden 17 ing there should be a National Park in Lowell. 49th National Folk Festival would not have ·bee~ Doc Paulin's Dixieland Jazz Band 18 He's a hero of group two. possible without this same spirit and the sup. Los Pleneros de la 21 18 port a~d participation of numerous government Polka Cuzzins . . 19 Joe Wilson agencies, businesses, community groups, and Sun Rhythm Section . 19 Executive Director, volunteer orgamzallons, all of whom I would Ta Pethia .. National Council for the like to thank. Though all deserve mention I . 20 Traditional Arts would like to acknowledge just a few here': the Wayne Toups and Zydecajun . 20 City of Lowell, for providing technical, logistical Paul Van Arsdale . . 2 1 and mainlenance services; the Greater Lowell Ron E. West . . 21 Regalia Festival Committee, whose devoted Crafts Demonstrators members never fail to volunteer lor even the Chanthachone Chomthakham . 22 most mundane tasks and who are providing lhe Sally Palmer Field culinary delights at the feslival; the University of . 22 Frank Lowell, for providing housing lor 250 perform• Greenhalgh . 23 ers and volunteers; our sister agency, the Lowell Chia Yang Khang . 23 Historic Preservation Commission, and our Hieplam ... . 24 sisler park, the Lowell Heritage State Park; lhe George Martell . . 24 Lowell Plan; the Northern Middlesex Chambers Lundy Meas .. . 24 ol Commerce; and of course our sponsors, Yang Fang Nhu . 25 C listed elsewhere in the program book. Richard Family· William, Rodney, Sr , = ~ For those ol you visiting Lowell for the firsl Rodney, Jr...... o E time, stop by the National and State Parks . 26 Z 0 JoaoSilva .. CJ Visitor Center at Market Mills 10 make reserva­ . 26 tions lor the free Mill and Canal Tour or view Manuel lnacia da Silva . 27 the award-winning multi-image slide show, Stone Workers: Ivan Thunberg and "Lowell: The Industrial Revelation." Herman Roberts, Sr...... 27 Enjoy the festival, enjoy Lowell, and please Newton Washburn ...... 28 come again! Nallonal Folk Festival Acknowledgements . 29 National Folk Festival Staff ...... 30 Chrysandra l . Walter, Superintendent 4 National Council for the Traditional Arts . 31 Lowell National Historical Park Folk Music on Records and Tapes . . . . . 3t 5 SCHEDULE SCHEDULE SATURDAYJULY25, 1987 SUNDAY JULY 26, 1987

MARKET MAR.KET SHArrucK JFK LUCY MILLS STREET JFK LUCY MARKET MARKET SHATTUCK LARCOM STREET PLAZA PARK COURTYARD CRAFrs PLAZA LARCOM STREET MILLS STREET PARK AREA PARK PARK COURTYARD CRAFTS · Fiddling l2:00 ~nch•Conadion 12:00 Missoun 12:00 On-going AREA Pete McMahan & 12:00 Wnt ,'Jricon oa~Musk 10 demonstra!ions and 12:00 Polka TIJnrs 510MSondSon8 Charlle Walden 12:00 Greelt Dance 12:00 Gospel Music 12:00 Irish Musk cl 12:00 Yo/JU'eDu/cimer 12:00 On-going Polka CUulns La Famllle Beaudoin 5:00 vlsils with makers or DjimoKOU)-ate Music Cho~n Sislers Stepdondng &Fiddle lo demonstrations and lradlllonaJ crans 12:30 Ponric Greek Music Ta Pdhla Elllslsland RonWes1and 5:00 vtslts with makers or including: Slone 12:30 LootianMusk Illas Kementzides Irish Band Paul Van Arsdale traditional cralb andDo~ 12:45 Tradirionsol carving, qulltmaklns including: mask & Panaylotis 12:30 Mi'ssoun· Fiddling I 2 :◄S Ua,can Stril'tB LA.0 . ol Lowell Ca~\'t'fdt basketmaking, ' 12:JO Traditions of making, stone Vassiliades 12:45 MexkonSrring 12:45 UJOlianFollt Pel~ McMahan and Band Musk Creole Sexlet & Cape WOodcarving, Southern Italy catving, weavins, Band Music Bella Dance Chatlie Walden Los Campeiinos Verde an American instrument making, Calabria quill making, I :00 Yankee Dulcimer Los Campesinos LAO. of Lowell de Michoacan 1:00 GospdMusk Folkloric Dance &Fiddle blacksmithing, btadtsmilhing de Michoacan I :00 Pontic Greek Qx>stn Sisters weaving, mask­ wood ca,vlng, Troupe Paul Van Arsdale Fiddle andSong making, costume Cambodianfollt MastersofCope 1:15 MemphisRodfobilly lnstnunenl making &Ron West 1:15 1:15 llia.s Kementzides & making Breton Music and Sun Rhythm Section costume Music and Dance Panayiotis Vassiliades and making. 1:30 Cambodian Follt I :30 Fiddlt Styles Lowell Ansk01 Dance Dance I: 30 Traditions of 1:30/t#asirrso/C~ Wo,kshop Troupe and Tradilion- I :30 Accordion Wc:dshop I Ntw Orteans Slrttl Soothcn Italy MusicondDona :30 Bmol!Musk&Dana Pete McMahan, al Music Enstmble James Keane, parade with Doc C.labria~lla Lowell Anskor Dance Troupe and Ron West, Willie Angelo De Caro, Paulin's Dixieland Traditional Music Beaudoin& Wayne Toups, Bob Jazz Band-Join lhe Ensemble TenyHuval fierty and Roger SKOnd line! Begins Beaudoin on Shattuck Strttt 2:00 Recitations from East and West 2:00 COM Vercleon 2:00 West African 2:00 Puerto Rican 2:00 Recitations from 2.1S FwrtoRKanBomba 2: 15 Irish Donel! Tunes 2:15 Mtmphis Cora Bardwell & Music and Dance Griol Bomba and Plena EastandWt"St Ellis Island Irish Band Rockabilly andPltna Creole Sutet and Djimo Kouyale Los Pl~n~ros d~ la 21 Cora Bardwell & withstepdaneers Sun Rhythm Section Ernie Fannins Los PlenttOS de la 21 CapeVerdean Ernie Fanning Dierd~ CioJlding & 2:30 AlricanStory-Telling American Folkloric Liam Hamey Djimo Kouyate Dance Troupe 2:30 Fnnch-Canodian 2:30 Addi~ Styles 2:30 Vietnamese Dragon Dance Music Irish, Mexican, Dance Patade begins Guitar-Types 2:45 Louisiana Caj un Cambodian 3:00 Cambodian Music 3:00 F'Olltk Grttlt 3:00 Fnnch-Canadian 3:00 3:00 New Orleans street I.a Famille Beaudoin 2:45 Greek & Cap,e Breton on Shattuck Street Wayne Toups and and Dance Fiddfe andSong F1ddfe Tun~ Wo,1,shop parade with Doc Classical and Zydecajun Khmer Traditional lliasKementzides La Famille Beaudoin Joao Sitva, Manuel Paulin's Dixieland 3:00 MusicofGrttce FolltMs 3:00 Gospel Trio M s Ensemble andPanayiOlis lnaciodaSitva, Jazz Band-Join the TaPethia Khmer Tradilional Cho.sen Sislers Vauiliades Francesco DeCaro, second line! Begins at Arts Ensemble & Edgardo Miranda crafts slage on 3:30 Traditional Music 3:30 Northmstem Dance 3:30 Traditional Music Shattuck Street 3:30 Missouri Fiddling and Dance ofJraty Tunes o/Mexko Pete McMahan and 3:30 PmnoSryfts 3:30 Traditional Musk Calabria Bella Ron West and Los Campesinos Charlie Walden 3:45 Louisiana Ca;un ofMexico 3:45 Yankee Dance Music Paul Van Arsdale de Michoacan ,_Wa-yr,eToupsand Maybelle MacQueen. Los Campesinos Paul Van Arsdale Lillianw- Beaudoin, de Michoacan &Ron West 4:00 Trodirionol Jazz 4:00 Ponti<: Grttk 4:00 Traditional 4:00 Parade with Los Smoochy Smith, & Doc Paulin's Fiddle & Vocals 4:15 MusiclromtheC~ Recitations Plenerosde la21 Helen Kisiel OUCieland Jazz Band llias Kementrides & Vfflll' lslands COfaBardwtll& begins on Shattuck Panayiotis Vassiliades Creole Satet Ernie Fanning Street 4:15 MiSsoorifiddlif18 ◄ : I S CJospelTrio ◄ : I S C-OwboyPoetry& Pde McMahan and Olosen Sisters New £nslond Verse 4:30 Masters olC~ ◄ :30 ~VerdeonMus,c 4:30 West African Charlie Waklen Breton Music cl and Dance Ernie Fanning & 4:45 Memphis Rocltobilty 4:45 Louisiana Cajun Stories and SOl'IB Dance Cteole Sex!d and Cora Bardwell Sun Rhythm SecUon Wayne Toups and Oji mo Kouyate Cape Verdun 4:45 Pol/ta Music 4:45 MastersofCape 4:45 Vocal Styles Zydecajun American Folkloric Polka Cuzzins Breton Music cl Dance Dance Troupe Workshop

5:30 PM JFK P1AZA DANCE PARTY with The Sun Rhythm Section 5:30 PM JFK PLAZA DANCE PARlY with The Polka CUuins 7:00 PM Vietnamese Dragon Dance Parade from JFK Plaza to North Common 7:30 PM EVENING CONCERT AT NORTH COMMON Ellis Island Irish Band [)iimo Kouratt Khmer Traditional Alb U'lstmble Calabria Bella Doc Paulin's Dixieland.Jazz Band Los Plene,os dt la 21 Wa)ne Toups and Z~un 6 7 Calabria Bella photo by 49TH NATIONAL FOLK FESTIVAL Martin Koenig PERFORMERS C'!m Bardwell Photo b Nicholas Hawes :Y

past twenty years, Calabrians have settled in CORA BARDWELL closely knit communities in New Jersey, New Cora Bardwell was born in 1913 t!,fe~I ~~~~;• York, and Rhode Island. Traditional music and Vermont, one of a familyoflen c 11 re . dance has remained an active part of commun­ a~c of 25 Corn married and moved 10 I ity life for the Calabrians in the United States as llernard.slon. Massachusells. where sh·~e;f:n, it was in the rugged mountains of Southern Italy lived ever since. Mrs. Bardwell is ~n ex . e- where older styles have been preserved for cen­ reciler or poems, delivering them 111 an c,:e'g d turies. lie and dramatic New England slylr. She ea~1e The name "Calabria Bella" is derived from a mos! of her poel,y from her mother, ~vho ha_ ( "villanelle" or a cappella choral song written learned !hem originally as a schoolg,rl. M~~I 0 about emigration at the turn of the centu,y. The !he poems dale from the lale I 9Ih/early 20 group performs these songs in addition to centurv.....;i period when !he trad1tIon of narra• "tarantellas," "cantastorie" (ballads), serenades tive recitation flourished in school and social and lullabyes. The performers at the National sellings. Twicallv. lhese are rhymed rec1tat1ons Folk Festival this year are from Serricella, with humorous as well as sentimental subIecls. Commune di Acri, Consenza Province, and Others have themes that range from the pro­ have lived in Westerly, Rhode Island since the found to the tragic, including poems such as 1960s. The group includes: Angelo de Caro, "John Hardhack." "TI1e Jealous Lover," ·:Mary, organetto (push-button diatonic accordion); the Guilty Child" and "The Leller Edged 111 Francesco De Caro, chita"a battente (a sIx­ Black," once a popular song. teenth-centu,y ancestor of the modern guitar) ; Giuseppe De Caro, organetto; Antonio De LA FAMILLE BEAUDOIN Giacomo, tambourine and vocal; Carmine Ferraro, guitar and vocal; Angelo Luzzi, dancer L1 Famille Beaudoin is a family band and vocal; Bambina Luzzi, dancer and vocal; commilled 10 a repertoire of old-lime and Assunta Luzzi, vocal. I Quebecois music. The leader of the band, Biographical and cultural information: Annal. Willie Beaudoin, and his wife Lillian were born Chairelakis and /he Elhnic Folk Arts Center in Lowell. Massachusells and Willie's earliest memories of h earing Quebecois music are of • ! , • • his father pla,ing fiddle at home and at parties Los CAMPESINOS .·LOS t(i \ . and . w c ed ·· dings t• in the French community , of DE MICHOACAN CAMl'ESINOS / Lowell. l l>Ii French Canadian immigrants like Willie's L os Campesinos de Michoacan is a five­ ,, 1_: grandparents left their farms in the Laurentian member string band playing in a musical style i'\.IIC:H0/1C:/1~ region of Canada around the turn of the centu,y representative of the state of Michoacan, to find work in the facto,y towns of New Mexico. Their repertoire includes many sones England. Th ey brought !heir music with them and rancheras, popular musical forms of this and in th e Beaudoin family this tradition con­ region. The fast-tempo and often raucous son , tinued through the generations. Willie and his considered by some to be the heart and soul of late broth string guitar), Antonio Valencia on thejarana Los Campesinos de er Louis learned to play the fiddle and Mexico, grew out of the wealth of 18th centu,y other instruments with (type of guitar), and violinists Jose Gonzalez Michoacan photo by Chris the guidance of their secular Spanish dance music and spread Strachwitz father. The famil and Gomicindo Saucedo. Salvador Baldovinos' y moved to Burlington, Ver­ throughout the country, taking on a local mont wife, Elisa, is a strong, expressive vocalist and when Willie was 12 and Willie and Louis character in each region. The instrumentation developed most of their will also appear with the group. performing skills there. and style of this music is ve,y similar to the The family reputa tion for music spread and more well known mariachi, before the piano; Willie's brother Robert on harmonica; la Famille Beaudoin trumpets Willie and Louis performed throughout the were added. MAsTERS OF CAPE BRETON region. During the 1970s, invitations to perform and their neighbor, Val Dion, on spoons. Los Campesinos de Michoacan are settled in elsewhere began arriving. La Famille Beau doin the Redwood City, California area where many MUSIC AND DANCE has performed at two e arlier National Folk Festi­ Mexicans from the state of Michoacan have vals. al the Smithsonian Festival of American CALABRIA BELLA Cape Breton Island, located in the northeastern made their home. The band regularly provides Folklife, at the Frontier Folklife Festival in St. corner of the province of Nova Scotia in Canada, Calabria lies in the "toe" of Italy pointing music at local cantinas where they are often Louis, at a presidential inauguration and originally inhabited by Micmac Indians, and on a toward Sicily to the South paid by the hour or lour of Franco-American arts. . Originally peopled charge $5 a song. They are became a stronghold of Scottish Gaelic culture by the Ancient Greeks, Calabria has, over the also called upon to perform at house parties Following Louis' death in 1981, !he band was with the arrival of approximately 30,000 Scots centuries, become home to m and festivities. The leader, harpist, and vocal­ reorganized and continues lo perform al local any peoples­ between 1800 and 1850. Though some aspects Romans, Byzan ist for the group is Salvador Baldovinos, wh and national events. The group features Willie tines, Swabians, Normans, o of Gaelic culture have diminished over the Angevins, Aragonese moved to California from Apatzingan, on fiddle; his wife Lillian on piano and vocals; and Bourbons-each years, the tradition of fiddling which has its who Michoacan. He is joined by Emiliano Preciado their son Roger on guitar, bullon accordion and lefl influences on the traditions that are roots in the "golden age" of fiddling in late 18th found amongst Calabrians today. During the on the uihuela (a small, round backed, five- and early 19th centu,y Scotland is flourishing. 8 9 first tried his hand at n:iusic making at age three word Acadian became Cajun. Joe grew up in a or four when he was gIv~n a Im fiddle and at musical and dancing family. His father played iven his father's fiddle. Budd age 11 or 12 was g fiddle, as did his older broth_er Paul. Stepdanc­ played his first dance at age 15 and has kept Y . He busy ever smce. ing and jigging came from his grandmother also grew up listening to the Scottish music of Maybelle Chisholm MacQueen was born int 0 Angus Chisolm and Winston "Scotty" Fitzgerald a very musical family i~ Margaree Forks, Cape and eventually joined up with Winston Breton. She began playing !he piano very early Fitzgerald to work dances around the Island. In and by age 11 was performing at dances, back­ 1962 Joe moved to Waltham, Massachusetts, ing up the fiddle music of her siblings, Cameron whe;e a large Acadian community _exists. He and Margaret and later accompanying her fa­ can be heard playing for the quadrilles at the mous fiddling uncle, Angus Chisolm. Maybelle French-American Victory Club where he has is frequently heard providing piano backup for been playing regularly for many years. In 1983, Buddy MacMaster as well as other fine Cape Joe was the recipient of a Nallonal Heritage Breton fiddlers. She was a pioneer in creating a trio when their brother and sister left South The Chosen Sisters photo Cape Breton perfonners Joe Fellowship from the National Endowment for by Gary Stanton Cormier. John Campbell, dynamic style of accompaniment that goes the Arts in recognition of his expressive per­ Carolina. The Chosen Sisters perform spirituals in an £dmond Boudreau phOlo beyond basic syncopated bass lines and formance of traditional music. by James Higgins unaccompanied trio or quartet style that grew chordal backup lo include a doubling of the Edmond Boudreau was also born in . . out of the merging of black and Western Euro­ fiddle melody ornamented with runs and fills. Cheticamp and grew up with Joe Comuer. His. pean forms. These disparate influences are John Campbell was born in Mabou, Cape knowledge of Cape Breton music is vast.and his the Maybelle MacQueen Breton, in 1929. He learned to play by watching chirping mandolin is often heard following the heard in almost every song. You'll hear leader's voice soar or "call" followed by the and listening to his father, Dan J. Campbell, a melody line of the fiddle. He is also a rock-sohd call well-respected fiddler in the area. John plays guitarist, fiddler, and excellent stepdancer. He "response," almost always in harmony. The and response or leader-chorus structure is used with extraordinary power and control and has moved to Waltham, Massachusetts, in 1961 to throughout West Africa and was brought here become recognized as one of the Island's great­ work for an electrical supply company. After by prisoners on slave ships. The harmonies of also well-known as a five years of playing with various country/west­ est master fiddlers. He is the response were strongly influenced by Euro­ composer of traditional tunes-his most widely ern bands, Edmond became a regular member of the band at the French-American Victory pean-derived harmonies introduced after the known composition is probably "Sandy Mac­ Civil War by such touring groups as the Fisk In 1963, Mr. Campbell Club in Waltham with Joe Connier. Joe and lntyre's Trip to Boston." University Jubilee Singers. In addition to large emigrated to the United States and settled in the Edmond have carried Cape Breton music far from North America. In 1982, they toured choirs, the Fisk Jubilee Singers developed four­ Boston area where he runs his own oil business part arrangements of spirituals for smaller quar­ and works for a contractor. Each summer he Taiwan, Hong Kong, Thailand, Indonesia, the Philippines and Korea, perfonning to enthusias­ tets. These quartets became known as jubilee returns to Cape Breton to play for square dances quartets and by the late 20s the style had been and other events. He has recorded 6 LPs. tic audiences. Harvey Beaton was born in Port Hastings, adopted by church, school and community Carl MacKenzie came from a musical family groups as well as family ensembles. The in Washabuck, Cape Breton; he began to learn Cape Breton. He learned to stepdance from his mother and others in the community. He has Chosen Sisters provide excellent examples of the fiddle by ear at age 12. By age 15 his fiddling the evolution of this "jubilee" tradition. was in demand for local dances and he is now danced for more than IO years and is now pass­ considered one of the finest Cape Breton ing on the art to students in the area. He has fiddlers. He has performed on Canadian radio danced throughout the Maritime Provinces and THE CREOLE SEXTET AND the United States. Buddy MacMaster While it has virtually disappeared in Scotland, and television and has released 6 albums of on the east and west coasts of British Columbia THE CAPE VERDEAN AMERICAN Cape Breton fiddlers maintain this tradition of Cape Breton violin music. Carl lives in Sydney Harvey recently returned from to his native Nova Scotia where he teaches high extraordinary technical virtuosity through an Forks, Cape Breton, and works as an e~gmeer school English. FOLKLORIC DANCE TROUPE enonnous repertoire of strathespys, jigs, reels but is often called upon to travel to national and airs. This music can be heard practically T he Creole Sextet is a group of five musicians Carl MacKenzie and international festivals to share his music. every evening of the summer months in Cape He devotes his spare time to teaching Cape THE CHOSEN SISTERS known for their performance of the older forms of traditional music and dance from the Cape Breton and at weekend dances held throughout Breton fiddling. . . mourna, an expres­ the winter. Joe Cormier was born in the tiny fishing vil­ The Chosen Sisters- Rosa Mae Tucker (alto Verde Islands, including the , and sive ballad or love song sung in the Creole lan­ The Cape Breton ensemble brings together lage of Cheticamp, on the north shore_ of Cape and bass), Alberteen Tucker (tenor) Albertha Walker (lead)-really are sisters who guage; the mazurka, a couple dance brought to some of the finest perfonners from Cape Breton, Breton Island. Even today Chellcamp Is a blend their voices in harmonies as only sisters the islands by the French and adapted to local Nova Scotia and Massachusetts: French-speaking town, although most of Cape Buddy MacMaster is one of the favorite can. This fall they will celebrate their 29th instrumentation and music style; the chut,ce, a Breton is English-speaking. Chetica~p was anniversary of singing a cappelfa gospel folk dance with Polish and other European ori­ fiddlers for dances in Cape Breton; his impecca­ by fourteen Acad1an French settled in the 1780s together at the Bethel Methodist Church in gins similar to the polka; and the coladeira , an ble liming and lilting melodies keep the dancers families victims of the British expulsion of the on their feet and asking for more. Buddy was Georgetown County, South Carolina. The sisters up-tempo popular music form of the Y?unger French f~om what is now Nova Scotia. The same originally sang as part of community quartets . immigrants, with lyrics that are often nsque and born in Timmons, Ontario, and in 1929 moved expulsion sent thousands of Acadian French to a farm in Cape Breton with his family. Here and then later, with the encouragement of their suggestive. families to what is now the United States-to brother, formed their own family group with The Cape Verde Islands are located ap~roxi­ he was exposed to a wide variety of fiddle Maine, Philadelphia, Charleston and especially music, but mainly the fiddling of his father. He four sisters and a brother. The group became a mately 300 miles off the coast of West Africa. where, in time, the JO to southwest Louisiana, I/ Liam llarney photo by Tom Kelchner

tional connection to its native homeland. Social gatherings and celebrations in the Cape York. He gave up the pipes for awhile (a good set could not be found here) Verdean community were not complete wilhouJ but in 1970, lo­ the "kitchen dance" where traditional music caled a good instrumenl and returned to piping in earnest. In 1980 he won the all-Ireland could be heard on into the morning hours. Arter Cham- World War II these kitchen dances moved to pionship. . Jack Coen is a flute player with an uncanny dance halls and social clubs and the music has undergone changes. ability to recall a vast repertoire of old and un­ common tunes. In 1960, he was a winner in the Members or the Creole Sextet Include: Ceasar All-Ireland Championships as "Junior" Gonzalves on lead guitar; Feliciano a member or a trio. A resident or the United States since "Flash" Viera Tavares on vocals and rhythm 1949, Jack learned much or his music from his rather guitar; John Duarte on violin; David Moe Garcia who played the concertina in East County Gal­ on bass guitar; and Dennis Silva on maracas. way. Through sessions in farmhouses and vil­ The islands have roots not only in African and Members of the Cape Verdean American Dance Creole Sextet photo by lages, Jack absorbed the very special music or Deirdre Goulding Portuguese cullures (Cape Verde was a Por­ Troupe are: Lillian Ramos, Theresa Almeida Rita Duarte that area, notable for its slower and steady tem­ tugu ese colony until 1975) b~I due lo ,ts. loca­ John Duarte, Rita Duarte, Anton Cruz, Adelai'de pos and a restrained use of ornamentation. tion in the middle or intemat,onal sh1ppmg Cardoza, Thomas Pina, Valentina Almeida James Keane showed a certain rebellious James Keane photo by routes. the residents were introduced to . Joaquin Livramento, Florence Almeida, ' nature at age 11 when he took up the accordion Lynn Martin Spanish, French , Polish, Dutch and Arabic cul­ Stephanie Correia and Joanna Andrade. in a family of highly respected fiddlers. His tures, elements of which can be recognized m parents were rural fiddlers in the traditional the music, language and other aspects or Cape ELLIS ISLAND IRISH BAND style who had brought their music to Dublin Verdean culture. The first Cape Verdeans to where James was born. His brother Sean was arrive in the Uniled States were crews brought Seamus Connolly moved to the Boston area in dutiful and took up the fiddle; he has performed for American whaling vessels; another large 1974 from his home in Kilaloe, County Clare, with the Chieftains for many years . James per­ migration or Cape Verdeans took place between Ireland and has since become known as one or formed with the Castle Ceili Band and has stuck the mid-19th century and World War II. There the finest Irish fiddlers in the United States. He with the accordion long enough to become an are approximately 300,000 Cape Verdeans in first started playing the fiddle at age twelve, All-Ireland Champion three times. the U.S. today. mainly living along the New inspired by the recordings of James Morrison, Bodhran player Jesse Winch was born in the England coast in former whaling ports. The Michael Coleman and Paddy Kiloran and later Bronx to Irish immigrant parents. His rather New Bedford, Massachusetts area, where mem­ learning from piper Willie Clancy, Bobby Casey, played tenor banjo and encouraged Jesse's bers or the Creole Sextet and Cape Verdean Tommy Potts, and Paddy Canny. Seamus per­ interest in Irish music. At age 10, Jesse began Dance Troupe reside, is the largest Cape formed with the late Sean O'Riada's group taking drum lessions. and two years later started Verdean community in the United States. Ceoltoiri Culainn (now known as the Chieftains) playing for the local parish dances, accompany­ The members or the Sextet are some or the and also with the Kilfenora Ceili Band and the ing his rather and button-accordion player P.J. last musicians who learned this style or music Leitrim Ceili Band, led by accordionist Joe Conway. In 1966, Jesse moved to Washington, directly from the Cape Verdeans who first im­ Burke. His excellent technique and great feeling D.C. , and has been instrumental in creating a migrated to the U .S. during the late 19th century. for the music has brought Seamus the Irish thriving Irish music scene in the nation's capi­ Cape Verdean American Music and dance has always provided this com­ National Championship for traditional fiddle tal. He Folkloric Dance Troupe is often heard playing with Cellic Thun­ munity with an important spiritual and emo- ten times and he was the youngest individual to der, a popular Irish group in the area. win the Senior championship. Seamus recently Stepdancers Deirdre Goulding and Liam Jo ck Coen Seamus Connolly recorded a solo fiddle album that will soon be Harney will join the Ellis Island Irish Band at issued on the Green Linnet label. this year's National Folk Festival. Deirdre has Helen Kiesel provides piano backup for been dancing since the age or five and is pre­ sently studying Seamus Connolly in performances in the New at the Scoil Rince Na N'Og Jesse Winch photo by England area and appears on his forthcoming school or dance in Boston. Recently she re­ Terence Winch Helen Kisiel .oa o.la album. She was inspired to learn Irish piano ceived the 1987 Overseas Award or the All .. backup style after a visit to Ireland and has World Dancing Championship in Galway, Ire­ Q\·· since participated in sessions with some of the land. Liam Harney was born in Boston and finest Irish traditional musicians. studied locally and with Ron Plummer in San ·., · Mal/hew Connelly was born in New York, but Diego. He was named a Presidential Scholar in moved back to Ireland with his family when he the Arts in I 984 after winning his first World was six years old. Mattie's mother, Helena, is a Championship Irish stepdancing title. Liam fiddler and music was part of family life from won that title again this year in Galway. He is n early childhood. Though the fiddle was the ow with th e Central Pennsylvania Youth Ballet. leading instrument at home and in County Monaghan, Mattie was drawn to the sound of ERNIE f ANNING the uilleann pipes. He was most influenced by Crazy as it may seem , cowboys have a passion lhe great County Fermanagh piper Sean ror poetry. In fact, cowboys appear to be the 12 McAloon. At age 19, Mattie returned to New 13 Khmer Traditional Arts Ensemble photo by Daphne Shullleworth llias KememzirlPs /Jhotu courtesy of Etlmic Folk Art Center 5

and intellectuals were singled out for especially harsh treatment; few of them survived the rigors imposed by the Pol Pot regime. Remarkably, a small number of accom­ plished musicians and dancers escaped the country and formed a troupe in the refugee camps in Thailand. The Khmer Traditional Arts Ensemble served as an inspiration for the thousands of refugees who were caught in I camps which lay between enemy troops and I hostile neighbors. In 1981 , soon after their for­ mation, the group was resettled in the United I States with the help of the National Council for the Traditional Arts and the U.S. Department of reneat) , Reth Kong (take/zither) , and Ho Chiem Ny Sin and Chamroeun Yin, (gong circle and srolai/oboe). The dancers are Khmer Traditional Arts State. In an extraordinary burst of artistic energy Ensemble the group performed for over SO audiences in Ny Sin, Neang Srey, Lin Po, Yin Chamroeun, more than a dozen states across the United Soreun Monira, and Thuon Van. l.apresse Sieng States as part of two national tours sponsored is the company's manager, Khatna Peou, the by the National Endowment for the Arts. Sub­ artistic director and Sek Channy, the costumer. Ernie Fanning photo by only occupational group in the United States Kuban, U.S.S.R. His mother came from Kars in sequently, an award-winning documentary, Kevin Fuller with a high percentage of members who write the Caucusus, and his father came from Pontos. "Dance of Tears," was made about their lives. DJIMO KOUYATE and recite poetry. Cowboy poetry has been com­ llias began studying the lyra with his uncle at Although Khmer court traditions find some of mon in the West for at least a century; cowboys the age of eight. He immigrated to Greece at the their inspiration in Indian and Javanese Ojimo Kouyate is agriot (poet/storyteller), born hold to a traditional occupation and a part of age of 14 and settled in Thessaloniki in the sources, the sinuous movements of the dance in Senegal, West Africa. He is a descendant of their lifestyle is imbedded in the last century north where he farmed and played the lyra for are unique to mainland Southeast Asia and the Kouyate family which can trace its origins when many people wrote and recited poetry to community festivities. In 1974, he immigrated have served as a cultural focal point for the to a griot who served in the court of Sunjata, a celebrate life's triumphs and passages and even to the United States with his family where he entire region. The arts have flourished in the thirteenth-century emperor of Mali. Djimo's its day-to-day. worked in an electronics factory until his retire­ courts of Cambodia and Thailand for nearly grandfather was a griot to the religious reformer, Ernie Fanning of Reno, Nevada, currently ment. 1,200 years, maintained by the rigorous oral Fode Kaba Dumbia, and commemorated the runs the I 02 Ranch east of Sparks and raises Although today the Pontic lyra, a long, narrow traditions of the dance and music masters. The leader with a song that became the national show mules. He was raised on a ranch in three-stringed bowed instrument is often joined troupe is fortunate to have as its artistic director anthem of The Gambia. Before colonization, Arizona where he says his idols as a school kid by a small ensemble of Western instruments, Ms. Khatna Peou who worked with the Royal griots held a very important position as con­ were the poetry reciting cowboys who were Mr. Kementzides upholds the vigorous solo Ballet in Phnom Penh since the 1920s, travelling servators of a kingdom's customs, genealogy also fond of bare-knuckle fighting. Ernie re­ tradition that he has known and studied since with the Ballet to Paris, London, Moscow and and constitution. Since the social upheavals members scores of the old poems, and has also early childhood. He is joined at the National New York before its destruction in 1975. and colonization of these kingdoms, the griots written a goodly number himself, including Folk Festival this year by singer Panayiotis Madame Peou was recently awarded a National have had to perform and work within different Panayiotis Vassiliades Heritage Fellowship by the National Endow­ structures. However, they still maintain the art photo by Pannos "The Vanishing Valley," a poem about the Vassiliades, who lives in Astoria, New York. Mr. Papanicolaou changes he has seen in the Reno Valley. Vassiliades immigrated from Drama in northern ment for the Arts. of transmitting oral histories through vocals, Greece to the United States in 1980 and now The musicians of this troupe are the premier accompanied by the kora, a 21-stringed bridged ensemble of Southeast Asian musicians in the harp. Djimo Kouyate has maintained this family Djimo Kouyate photo by works as a carpenter. ILIAS KEMENTZIDES AND country. In addition to the pin peat (court) in­ tradition along with his brother, Mamadou Janet Stephens cultural information: Ethnic Biographical and struments which will be used to accompany the Kouyate, in contexts far away from his native PANAYI OTIS VASSILIADES Folk Arts Center classical dancers, the musicians will also play homeland. The Pontic Greeks lived for centuries on the the instruments used at village functions Shortly after the independence of Senegal, at southeastern coast of the Black Sea in what is KHMER TRADITIONAL ARTS (mohor,) and marriages (pleng kar) to provide the invitation of President Senghor, Djimo now northern Turkey. The community resettled a glimpse of the extraordinary diversity of helped establish the Ballet National de Senegal in Greece as part of the compulsory exchange ENSEMBLE Khmer music. where he served for over twenty years. He has The musicians in the ensemble are Ra Klay travelled around the world performing in of populations between Greece and Turkey in In the early 1970s the war in Southeast Asia (sampoltwo headed drum), Vanna U. Yan Van Europe, North and South America, the Middle 1923. Their musical tradition is represented by spilled into Cambodia, causing the dislocation and Sara Say (vocalists), Ngek Chum (reneatl East, the Far East and Australia. He now resides /yra player, llias Kementzides, who comes to of hundreds of thousands of Khmers and the wood xylophone and khimlhammered dul­ in Washington, D.C. where he directs the per­ the festival from Norwalk, Connecticut. eventual death of one-third of lhe country's Mr. Kementzides was born in Nikolinka in cimer), Pok Van (/,op/two-stringed fiddle and forming company "Memory of African Culture." 14 population. During that tragic decade artists 15 Seoun Tim of lhe Lowell Pete McMahon Angkor Traditional Music photo courtesy of the Ensemble photo by James Missouri Cultural Heritage Higgins Center

Angkor Dance Troupe and Traditional Music Ensemble is a product or Lowell's ever-growing community which attracts new arrivals from across the country. With dance masters Sameth Chea from Long Beach, California, who also performs Cambodian comedy and drama and >--~.., Thoeun Thou, whose family was part or the --.__~ original Royal Ballet Troupe or Prince Sihanouk, . ... the Angkor Dance Troupe has been able to di­ versify its repertoire to include regional folk ,r, dances like the Monkey Dance while refining their renditions or the better known Coconut and Handkerchief Dances. Laos-American Organiza­ Other members or the troupe include Pon • tion phOlo by Ja mes Hig­ LAOTIAN-AMERICAN Doeuk, Thida Vann, Sophea Sou, Ly Chan, gins ORGANIZATION (L.A.0.) OF Chanthy Duong Chigas, Sopha! Cheap, '/ \ :;~ Sochedath Vann, Houng Kim Eang, Pak Chek, LOWELL Sokha Im, Vuthy Chrek, Sovannara So, and Phann Lang. The musicians include Chorb The Laotian-American Organization or Lowell Chan (tro sao/2-stringed fiddle), Sorn Veuk hundreds or dances. Charlie Wolden photo by was formed in 1986 to support the arts and lan­ (singer) , Soeun Tin (trosao), Sokhom Bun, (tro Rural dancing has been declining ror the past Amy Skillman guage or Laos for the 3,200 Laotian refugees u/2-stringed fiddle), Sopha! Cheap (singer), 30 years, but contests have been increasing in now living in Lowell. With the assistance or the and Nhak Chann (take/zither). Lowell Historic Preservation Commission, the Missouri. These are not the same as the Western organization has brought together students contest style events; Missouri fiddlers have interested in learning Laotian dance, music and MISSOURI OLD-TIME their own ideas and rules. Pete was Missouri literature. Khamsone Silavong who came to State Champion in 1980, 1981 , I 982 and Mis­ camps in Thailand. Phosy and Saenphet will be Lowell more than six years ago has been active FIDDLERS: PETE MCMAHAN souri State Senior Fiddler in 1985. He has also joined by their sisters Vanphen and in the formation of the L.A.O. and will play the won various regional and national first places. Nonanlaong, Khaoun Chanh and Kim and AND CHARLIE WALDEN with the group. The khaen is a free-reed But what Pete likes best is sitting with two or khaen Khamphonphen Phachansiri. mouth organ made or 16-18 tubes or bamboo The traditional fiddle music or every place is three other fiddlers, passing fiddles and guitars cut to various lengths. He will accompany solo special; tunes and techniques are passed from back and forth until the coffeepot is dry and the dancer Ms. Kongkeo Chittarath. Ms. Savong Fa LOWELL ANGKOR DANCE one generation to the next through careful lis­ wee hours have come. has organized a group or high school students tening and watching and imitation. Style is Charlie Walden's lire was changed when he to perform folk dances primarily from the Lao TROUPE AND TRADITIONAL shaped by this process as it echoes master was in his early teens and walked past the grand lowlands. Phosy and Saenphet Sesangsyri who players. A master fiddler's stylistic influence opening or a service station in Columbia, Mis­ MUSIC ENSEMBLE may extend in time through several generations souri. Among the musicians performing ror this Lowell Angkor Dance studied dance in Viangchan (Vientiane) have Troupe photo by James taught the group. Most or these girls came to In April, 1985 the Cambodian Community or and to players who were not yet born when the auspicious occasion was Taylor McBain, a bril­ Higgins the United States in I 986 after years in refugee Lowell gathered on the steps or City Hall to master was playing. liant player in a central Missouri style. Charlie raise their country's flag in official recognition No schools teach traditional fiddler's skills. round out where he lived and went visiting. or the Cambodian New Year. The Cambodian Those who would become skilled at this com­ There was no formal organization o(fiddlers in Mutual Assistance Association worked with the plex art must have discerning ears, an enor­ Columbia then, but everyone who played knew Buddhist Association (regarded respectively as mous recall ror melodies, good finger and hand everyone else and soon Charlie was a full­ the "body" and "soul" of the community) to dexterity, and a yen to practice ror a couple or fledged member or the firm. Pete McMahan organize the day's festivities which included a hours every day. But or course the couple or lives nearby too, and Charlie figured out the religious blessing offered by the monks, tradi­ hours is not enough for the beginner; they need way to his house. tional games for the children and folk and clas­ to spend full days and full weeks in practice! Now age 30, Charlie is pres ident or the Mis­ sical dancing performed by Lowell's Angkor Among those places with a very special fiddle souri Old-Time Fiddlers Association, surely the Dance Troupe and Traditional Music Ensemble. sound is the central part or Missouri. Two or the most active and dedicated group or its kind. He a The New Year's celebration was an especially finest traditional fiddlers in a wonderful "Show is also one or the most respected fiddlers in ­ exciting and emotional event for the many Me" state style are at this festival. state notable among collectors and musicolo gists for its amazing variety or styles and ror the people who had not celebrated their native Born in 1918, Preston "Pete" McMahan grew ri culture since the 1975 Communist take-over or up i~ rural Montgomery County where he heard sheer numbers or fine players ii has. Missou Ozarks master fiddler Bob Walsh has said or Cambodia when all religious celebrations were r,ddhng at dances. He was much influenced by e prohibited. the playing or a local farmer, Clark Atterbury. Walden, "I 've never seen anyone pick up a tun was an excellent dance player, and as rast as Charlie." Charlie has some or the qual­ . At the time or the City Hall celebration, the Atterbury rhythms needed for dance were ities the older fiddlers admire most, he ac­ City or Lowell was on its way to becoming the the steady by Pete at a very young age. Like most quired them in the same process that they did, home or one or the largest and most active Cam­ learned onal fiddlers, Pete has played at and he is carrying them lo another generation. bodian communities in the United States. The other traditi 17 Los P/eneros de la 21 photo by Mar/is Momber

the balls, parades, jazz funerals and drinking lead p/ena and bomba vocals, maracas , and and dancing spots. Paulin's repertoire includes guiro; Benjamin Flores, pandereta and bomba; traditional march lunes, spirituals and old pop Alberto Cepeda, pandereta, bomba and vocals; standards, with a strong boogle-woogie blues Edgardo Miranda, cuatro (ten-string guitar-type feeling. He has recorded for Folkways and per­ instrument); Donald Nicks, bass guitar; Jaime formed for a presidential inauguration. Doc's Flores, guira; and Jose Rivera, bomba and band has made recordings al the Preservation pandereta. Hall and is one of the most respected traditional jazz bands in New Orleans. This is his second appearance at a National Folk Festival. POLKA CUZZINS Polka music and dance, which originated in Los PLENEROS DE LA 21 Central Europe in the first half of the 19th cen­ tury, have been enthusiastically embraced by a Los Pleneros de la 21 are twelve New York City startling array of Americans. Down on the musicians and dancers who perform the Afri­ Southwestern border, from Brownsville to Mexi­ can-derived music and dance forms of Puerto cali, Mexican-Americans perform in amazingly Rico known as bomba and plena. loud electric polka bands. The Indians there P/ena developed in the early 1900s in the have learned polkas too; it is a favorite tribal barrios of Ponce, Puerto Rico in neighborhoods music of the Papago and Pima along the . . largely made up of immigrants from St. Kitts, Arizona-Mexico border. The longest-running ~ the Virgin Islands, Jamaica and other West In­ local TV show in the nation is Cleveland's dian islands. This form quickly spread through­ "Polka Varieties" where a Polish polka band out the island and could be heard in cabarets will be followed by one that is Slovak or German and upper class casinos. The plena features or --- "Polka Varieties" is full of surprises. vocals with improvised or composed lyrics, re­ But we're in Lowell and here the main source flecting the singer's beliefs, feelings and their for the happy sound is the Polka Cuzzins. The accounts of important daily events in their com­ Polka Cuzzins was formed 16 years ago when munity and beyond. The vocals are performed Ed Bozek and his brother Henry joined a group in a "call and response" style with the lead started by their cousin, Jane Rosinski. Although singer introducing a verse and the group repeat­ Mrs. Rosinski and her brother left the group in ing it. Instrumental accompaniment is usually 1979, the Bozeks continue to uphold this family provided by the pandereta (hand-held drum), tradition. The Bozeks are natives of the Lowell guiro (gourd) , guitar, harmonica, and the cuatro area where their parents played in Lowell polka Doc Paulin's Traditional (IO-stringed guitar). bands and ran their own band, The Polkateers, Joz:: Band photo by Doc PAULIN'S DIXIELAND Bomba developed in the coastal region of for 30 years. Allison Koslow JAZZ BAND Puerto Rico during the Spanish colonial period The Cuzzins play a mixture of their parents' where African slaves worked in the sugar mills. Eastern style, or "Chelsea hop," and the slower The Doc Paulin Band has been active in the Bomba dances took place outdoors for enter­ Chicago "honky" style. They have a strong local New Orleans music scene for the past fifty tainment or to celebrate sugar cane harvest, following and solid sense of family tradition. years, performing at the Storyville Night Club, baptisms, weddings, and wakes. The rhythms The group consists of Edwin Bozek on drums carnival balls, parades and jazz funerals. Ernest of bombas (barrel-shaped drums), maracas, and vocals; John Bozek on clarinet, saxophone, "Doc" Paulin leads the band on trumpet, and of and sticks are combined with "call and re­ trumpet and vocals; Bob Fierly on piano and the other eight players, six are his sons: Phillip sponse" vocals, and couple dancing in this accordion; Michael Martin on bass guitar and on trumpet; Scott on trombone; Aaron and form. In the bomba, the dancers and drummers vocals; and David Zielinski on trumpet. Ricky on drums; Dwayne on bass tuba; and inspire and react to each others' movements Roderick performs on saxophone. Non-family and rhythms making each performance original. SUN RHYTHM SECTION members Julius Lewis and Edward Reed also The name of this group, Los Pleneros de la Sun Records and leader of The Pacers, one of Polka Cuzzins play saxophone in the band. 21, refers to the place of origin of its members, Members of the Sun Rhythm Section are from the most respected rockabilly bands of the 50s. Like many other traditional jazzmen of his Parada 21 (Bus Stop No. 2 I), a predominately Tennessee where blues, country and gospel Smoochy Smith is the pianist and a vocalist generation, Doc Paulin is of Creole ancestry black neighborhood in the Santurce secion of music were combined in the S0s to create a for the band. He was one of the first Memphis and from a family of musicians. His grandfather San Juan that produced many of the most ac­ new sound that came to be known as "rocka­ rockabilly piano players, instrumental in creat­ played the diatonic French accordion and he is complished interpreters of bomba and p/ena. billy." The Sun Rhythm Section presents rocka­ ing the Memphis "pumpin' piano" sound. a nephew of the 1920s brass band leader, Edgar Members of the group are: Juan Gutierrez, pan­ billy performed by the people who originated it Smoochy played on numerous recording ses­ (Kid Peter) Peter. His career began on the dereta, bomba, fua (wood box), and vocals; in the 50s: musicians who worked with Jerry sions at Sun and other studios in Memphis and streets as a teenager during the 1920s and con­ Pablo Ortiz, lead plena vocals, pandereta, and Lee Lewis, Carl Perkins, Roy Orbison, Warren was an original member of the Mar-keys. tinued in clubs in the 1930s. During World War maracas; Eugenia Ramos, guiro, vocals and Smith, Elvis Presley and other artists to create DJ. Fontana was Elvis Presley's drummer, II he entertained troops as a Special Services dance; Francisco Rivera, lead bomba vocals, this sound. providing that strong beat for those famous artist. Since then he has been an independent pandereta and dance; David Rosario, pan­ Sonny Burgess plays lead guitar and sings twisting hips too risque to be shown on tele­ fixture of New Orleans traditional jazz, working dereta, bomba, fua and dance; Sam C. Tanco, with the group. He was a recording artist for vision. D.J. remained with the Presley band 18 19 Quilt made by Sally Palmer 49TH NATIONAL FOLK FESTIVAL Field photo by Winnie Lambrecht CRAITS DEMONSTRATORS Chanthachone Chamthakham photo by lnphasouk lnthasomsack . CHANTHACHONE I I FRANK GREENHALGH I' I' CHOMTHAKHAM Frank Greenhalgh 's fa mil)'. are members ?f the ) I t I Abnaki tribe which wa_s ongmally settled m the Chanthachone Chomthakham is a Laotian I St Lawrence River region. His grandparents weaver who came to Dorchester, Massachusetts c;me to the Lowell area in the early pa_rt of this in 1984 with her family from the refugee camps ' century to work in the mills. Although 11 _was of Thailand. She has been a weaver all her life, difficult to retain some of the craft trad1t1ons of relying on the income from her work to put_ the St. Lawrence, his family did preserve the art herself through school and to help her family ofbasketmaking. Many of the_reeds _and grasses while in the refugee camp. of northern Maine are not available m eastern Chanthachone first learned "old style" weav­ Massachusetts, but Frank has continued to ing from a friend while livi~g in Pakse, a com­ make an endless array of container_s out of mercial center about 60 miles from Khong . . birch. The simplicity of these functional baskets Sedone . This distinct style of Laotian weaving 1s belies a remarkable Oexibility and beauty. done on a large Ooor loom and involves the use Frank is a member of the Greater Lowell In­ of an extra set of long string heddles (at least 4 dian Cultural Association which has organized feet long) to create a pattern of supplementary, the Native Americans of the Lowell area for the weft threads. In particular, the Laotian womans past 25 years. They are act!ve in educating their traditional skirt (woven from cotton for every own families and the public at large about the day wear or local raw silk for ceremonial wear) traditions of America's first settlers. Frank will consisted of at least two separately woven be joined by other craftspeople from the pieces-a large piece of straight weaving (black Association. warp and a different-colored weft) for the body of the skirt and a narrower piece of pattern weaving for the border. CHIA YANG KHANG Chanthachone later learned "new style" weav­ ing in the refugee camps. New yams (synthetic Chia Yang Khang is a Hmongpaj ntaub artist and imported Italian silk) are used in the new now living with her family in Brockton, style and the traditional pattern weaving for Massachusetts. Her family, along with many of skirt borders was adapted for new uses such as the Hmong, a tribal people from highland Laos, bags and wallets for Thai and Western markets. were forced to nee across the Mekong River to In new style weaving the patterns are also incor­ seek refuge in Thailand during the late 1970s. porated into the main body of the skirt. Com­ Chia and her family spent 3- 1/2 years in the mon patterns in Laotian weaving are animal refugee camps before coming to the United figures such as chickens, ducks, horses, and States in 1980. elephants, as well as butterOies and Oowers. One of the traditions that has been main­ Traditional colors for weaving are either a black Sally Palmer Field photo tained in the United States by the Hmong is an warp with red, maroon, or green patterns; or a by Winnie Lambrecht intricate textile tradition called paj ntaub (pro­ blue weft for the body of the piece with gold, nounced pan dow) or "Oower cloth." Paj ntaub silver, or multi-colored patterns. that Sally would be a fine quilter because as a often incorporates needlework skills such as little girl she would arrange all the squares her cross-stitching, applique and reverse applique Additional reading: "Pattern weaving, Laotian mother cut out in to different patterns. Many of as well as batik. Paj ntaub is traditionally used style ," by Dora may Keas bey in Handwoven , the tools and techniques used in sewing quilts as ornamentation for clothing such as May 1981. skirts have been passed along to Sally from her and belts. The Hmong are divided into two prin­ mother and grandmothers; her Scotch grand­ cipal groups-White Hmong and Blue or Green SALLY PALMER FIELD mother showing her one way and her Yorkshire Hmong-and their traditional clothing helps grandmother another. Last June she completed serve to identify the two groups Sally Palmer Field was born in Lowell in 1922 . The focus of a quilt that took two years to make and which is the White Hmong woman's where her father was a power plant engineer on clothing is the intri­ composed of 176 classic patterns done in mini­ cately stitched the Jocks and canals. Her father's descendants belt using a reverse applique ature as a sampler and is composed of 5000 technique. go back to two Palmers who came from Raleigh, The Blue Hmong woman's main pieces total. Although the patterns are tradi­ allure is England as weavers in 1638 and established the the pleated batik skirt made with six tional, Sally inserts personal touches that renect yards of indigo-dyed cloth with a border. first textile industry in New England in Raleigh, Chia Yang personal history. She hand sews the majority of Chia Khang is a Green Hmong and started to Frank Greenhalgh photo Khang phoro Massachusetts. b her quilts using family patterns and working learn to make an by Winnie Lambrecht y Sarah Magruder Sally's interest in quilting developed during applique border for her skirt at with fabnc and thread that originate from the the age annual summer trips with her family to her aunt of6 or 7. She also learned how to pre­ mills of he~ home town. For ten years Sally has and uncle's farm in Maine where her aunt P'.1re hemp for weaving cloth. Chia Khang com­ would run a qmltmg store out of her home in South put up the quilting frame and have quilting bines the White Hmong reverse applique Chelmsford where she sells materials, offers bees. Sally's mother, a quilter also, predicted techniques with the applique and embroidery classes and holds quilting bees. 23 22 skills she learned as a child. George Martell photo by Winnie Lambrecht

1 200 years and, in recent years, fashioned eiaborate costumes of gold and jewels to clothe these symbols of Khmer culture. The dancers resented the mythic stories of goddes ses, ~onkeys, demons and bird kin_gs fo~ the court. Lundy has been able to improvise with mater­ ials available here and in Southeast Asia and although the thread is not gold and_the jewels, paste, the effect is breathtak!ng. This very spe­ cialized art will have an audience m the numer­ ous dance troupes that are reviving Khmer arts J in cities across the country. Lundy sometimes spends 34 months on each costume and they HiepLom photo by Nancy hung from houses along the street, bringing are a work of art. Lundy also dances with these Swec:y people luck and happiness. costumes, taking the role of the monkey or her­ mits and leaving the other roles to his family or GEORGE MARTELL students. As long as George Martell can remember, he YANG FANG NHU Vietnamese Dragon Mask has been interested in blacksmithing and work­ Yang Fang Nhu is 75 years old. As a young by Hiep l am photo b\' HIEPLAM ing with metal. He grew up on a small farm in child of 5 or 6, she stood by her mother's lo Nancy Su./f!t'=)' om Hiep Lam's family lived in Longxuyen, south of Easton, Massachusetts, and there was able to and watched her push the sword shuttle carry­ Saigon. Vietnam. He left Vietnam in 1981 by study local blacksmiths at work. At the age of ing the bobbin of weft thread back and forth boat along with two brothers and after being 25, George was taken on as an apprentice by through the warp. Fang Nhu watched intently, turned around once by a hurricane, eventually master blacksmith Bob McCarthy of Metfield, memorizing the movement and the structure of arrived safely on one of the Philippine islands. Massachusetts, where he worked for four years the loom. By 15 years Fang Nhu learned all the The three brothers were sponsored by an Amer­ along with another apprentice. intricacies of making cloth. She knew how to ican family and nine months later were resettled After this apprenticeship, George set up his grow the hemp, harvest it, break it down into in Cedar Rapids, Iowa. He now lives in own shop in his garage in Attleboro and four fibers, soak it, spin it, set up the loom, and Lawrence with his mother and brothers and years ago moved his operation to Seekonk weave the hemp into fine white cloth that would attends Sylvania Technical School in Waltham. where he now works. A good percentage of his accept indigo dyeing, batiking, embroidery, The dragon dance is an integral part of Viet­ work is making tools for the jewelry indusby applique, and pleating. A good memory and namese celebrations, especially the festivities nation-wide. He also supplies refiners with patience are required to understand the whole surrounding Tel , the New Year, and Hiep Lam tools such as tongs and lifters. George makes process and to carefully manage the threads has made possible the appearance of the dra­ most of his own tools and uses coal with an without losing control of them. Fang Nhu be­ gon in celebrations in Massachusetts. Hiep electric flow of air as his main heat source. His came recognized by the other women in her makes his dragon masks out of bamboo, reed , wife handles the sales part of the business and village as one who has this special mind and paper and paint. He learned how to make the brings him "down to earth" about what's possi­ temperament. dragon by watching a group of older boys make ble to do in their growing business. George She lived in a small village of ten households one when he was a member of the Boy Scouts would like to do more forging work and is start­ in Northern Laos. All the women wove but if in a Philippine refugee camp. He remembered ing to work with architects in doing more orna­ any of them had difficulty setting up their looms the construction in detail; he makes the head mental and restoration work. or untangling their threads, they came to Fang frame of a bendable reed and bamboo, builds Nhu. If they were not able to weave cloth that up the head shape over a light woven frame LUNDYMEAS year, they asked to trade for her cloth. At 16 with paper bits glued on top of one another. Fang Nhu married and, as was the custom, When it is dry he paints it and adds the eyes, Lundy Meas was born in Phnom Penh in 1935. moved to her husband's village-a larger one the movable eyelids, the ears , the horn in the He came to Rhode Island in I 979 after fleeing of 50 households. She raised a family of 7 chil­ back, the hinged mouth with beard and then Cambodia. Lundy has remained in Providence dren, worked the fields, carried the water, culti­ adds shiny decorative elements in various for the past 8 years , teaching Cambodian dance vated and harvested the hemp and wove. Every areas . On top of the head is a mirror, necessary and raising his family. He studied at the Royal year she would weave three skirts-one as a to every dragon-"That's some kind of magic of Palace dance school for one year and learned special skirt to be worn on New Years and two Buddha." The body is made of bright flowing dance and costume making with his aunt who for everyday use. Cloth was also woven to make cloth pieced together and in the dance is held had been attached to the Royal Ballet in Phnom shirts and pants for the men. Lundy Meas photo by up by several children. Win nie Lambrecht Penh. In 1978, Fang Nhu and her husband, Nouyi In Vietnam, the dragon would dance down Lundy makes costumes that are used in the Yang , left Laos. Because of the war they had the street to the sounds of a drum, cymbals and classical dance tradition of the Khmer court. been hvmg for several years in the Laotian capi­ gong, scanng and entertaining children along The court had preserved and developed a tal, Vientiane. They fled from there by boat the way. The dragon eats money that has been troupe of hundreds of women dancers for over across the Mekong River to Thailand. Since her 24 25 Yang FanR Nhu photo by H,.mnie lamb,rcht R?<1ney Richard, Jr., Willia, Richard, and Rodney n Richard, Sr. photo by Peggy Yocum

Siluo intrigued by the sound and construction of this basses, guitars, mandolins and violas and per­ Manuel Inacio da husband was trained by the French military in Canadian in the 30s while being temporarily photo by Winnie Lambrecht instrument. He decided to try his hand at mak­ formed music for events in New York, Rhode 1943. they were able to immigrate to France. housed in a jailhouse for bootlegging. His son, ing his own mandolin and picked up informa­ Island and Massachusetts with a friend. She has children in the U.S., France, and Rodney Richard, Sr., has spent his entire life tion on instrument making from other luthiers Manuel is now retired and living in Somer­ Australia. Her youngest son lives in Providence, working as a logger in the Maine woods. One of and through books written about the subject. ville, Massachusetts, maintaining a complete R.I. The Hmong prefer to stay with their the subjects he carves are miniature figures of a Joao enjoyed this work and has been making woodworking shop in his basement where he youngest son, so in 1984 Fang Nhu and Nouyi woodsman, with each logger in his series hold­ mandolins for himself and friends for about makes by hand all the inlay pieces, bone Yang moved to Providence, R.I. With the assis­ ing hand tools that would have been used in seven years. He also repairs instruments and bridges, some of the metal pieces and wooden tance ofa grant from National Endowment for the 30s, such as a peavy, pulphook, pickeroon, builds cases for his instruments at his home in bodies for his instruments. His instruments are the Arts and Rhode Island State Council on the cross cut saw and spud. Massachusetts. He does not make created from raw slabs of wood, mainly from has built a loom and woven Rodney and his son Rodney, Jr. also make Peabody, Arts, Fang Nhu not want Vermont, that are then cut, planed and forms out of pine using a instruments for sale because he does cloth again for the first time in 20 years. She has finely sculpted animal smoothed down to the proper thickness. appeared in to turn his hobby into a business. also demonstrated how to batik and dye with chain saw. These figures have Manuel designs his own inlay patterns and uses sonian Institu­ indigo the cloth she has woven. This informa­ exhibits produced by the Smith both dyed colors and natural wood colors as . tion is now being passed on to la Moua Yang, tion in a U.S.I.A. exhibit in Eastern Europe part of the design. He does not sell his instru­ and MANuEL INACIO DA SILVA her daughter-in-law thanks to the NEA appren­ Rodney, Jr. whittles balls in cages, chains ments through stores but makes them for jackknife but he ticeship program. other traditional forms with a Portuguese musician and instrument maker friends and for special orders. also makes balls in cages and chains using a Manuel Inacio da Silva was born on the island chain saw as well as bears, ducks, rabbits, of Faial in the Azores. His father was an instru­ RICHARD FAMILY squirrels and penguins. ment maker and woodworker, as well as a STONE WORKERS: and encouraged Manuel to William Richard, his son, Rodney Sr., and skilled musician IvAN THUNBERG AND learn the arts of music and woodworking. grandson Rodney, Jr. are three generations of also JOAOSILVA l was introduced to the violin when he , SR. woodcarvers. All have made their living as Manue HERMAN ROBERTS was seven and later learned to play the trumpet woodsmen at one time or another in their home Musician and instrument maker Joao Silva was and Herman Roberts, Sr. both and other wind and string instruments. After Ivan Thunberg state of Maine, but they also have in common born on the island of Graziosa in the Azores at the Fletcher Granite Company in West several years of military service on the island of work the hobby of woodcarving. and came to the United States with his family at ford, Massachusetts. The Fletcher quarry Terceira, Manuel returned to Faial where he Chelms Their work with wood ranges from the quiet the age of three. He grew up in a family that 81and was owned by the same worked with his father making furniture and opened in 18 wh1tthng of small pieces with a sharp jackknife valued music and encouraged the perpetuation o years ago when 11was s?ld lo a musical instruments. In 1966, he moved to Cam­ family until tw to the louder and heavier chain saw carving of of Azorean traditions. Joao's original musical rship. The company produces building bridge, Massachusetts, where he worked at a partne larger sculptures by the two younger genera­ training was on the violin, acquiring a large s (The War College in Newport, R.I. and hospital and for a carpentry shop where he stone tions. One of the specialties of William Richard portion of this musical repertoire from his the U.S. Mini were both built with granite_s tones made furniture and cabinets. Manuel continued the oldest of the generations, is the carving of ' Azorean mother. Later he learned the mandolin from this quarry) and duri ng the Depression the e musical instruments including violins, 27 fans out of white cedar-a skill learned from a and after a number ofy ears of playing, became to mak 26 loon Thunberg phoro by Nancy Sweezy ACKNOWLEDGEMENTS

Newton Washbum photo by Tirik Borg is _co-sponsored by the e National Folk Festival The Bo_ard or Directors and starr or the NCTA Th _ 1Co uncil for the Trad1I1onal Arts and the I would hke to especially thank the following Nat °na Park Service with generous support from Nat1 ona I tri'b t . persons and groups for their fine support: con u ors. the rollawinl! Chrysandra L. Waller, Superintendent or Lowell National H1stoncal Park and her entire starr, all ·or Sponsors ($10,000 or more) or whom have contributed directly to the suc­ ~~ore Edson Parker Foundation cess of this festival. New England Telephone Members or the Folk Festival committees in Bank of New England . ated and carried through Lowell National H1stoncal Park . . LNAI, F<>I.K FESTIVAL 11~~I,, - -~ JULY 24 - 26, 1987 ' ( ' : .~

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