t if sh D L 1 A1 0 2 N V9 I-1 3 T 1 U Y SL U EJ O a c F t. if S h s D N U O CONCERT S . WORKSHOP w + GUIDE w

w your communities. your stories. Yo your team. CBC News Here & Now

Ryan Snoddon Jonathan Crowe

Debbie Cooper

Ryan Snoddon

Jonathan Crowe Debbie Cooper

Weekdays at 5:30 & 6-7 pm Weekdaysand Late at Night5:30 Edition & 6-7 following pm The National and Late Night following The National The SOUNDshift Festival takes place in St. John’s, NL, July 13–19, 2011. It is associated with the 41st World Conference of the International Council for Traditional Music, an academic event that has attracted over 500 delegates from 50+ countries to our province.

Non-ICTM members may register as delegates for the world conference ($320/$240 for students or seniors; day registration $60/40). Conference registration includes access to workshops and afternoon concerts, but not evening concerts.

Two sessions from the academic conference are being made available, free of charge, to the public:

• Keynote Address: Michelle Bigenho (USA). “The Intimate Distance of Indigenous Modernities.” Monday, July 18, 1:30 – 3:00 pm Arts & Culture Centre, Main Stage. • PLENARY: “Safeguarding Living Culture. The State of Affairs as Regards the 2003 UNESCO Convention.” Wim van Zanten (Netherlands) (Chair); Frank Proschan (Chief, Programme and Evaluation Unit, Intangible Cultural Heritage Section, UNESCO); Samuel Araújo (Brazil); Egil Bakka (Norway); Susanne Fürniss-Yacoubi (France); Inna Naroditskaya (USA); Zhanna Pärtlas (Estonia); Sheen Dae-Cheol (Republic of Korea). Sunday, July 17, 1:30 – 3:00 p.m. Arts & Culture Centre, Main Stage. 2 AT A GLANCE AT A GLANCE 3 AT A GLANCE: AT A GLANCE: SOUNDshift CONCERTS WORKSHOPS\ Tickets are available at the Arts & Culture Centre Box Office. All workshops take place in the Arts & Culture Centre

July 14, 5:45–7:00 pm WEDNESDAY, JULY 13TH Saltwater Joys: Music of Newfoundland and Labrador ($15/10) 10:30 am–12:00 pm School of Music, D.F. Cook Hall • Fiddle and Identity I: Newfoundland Fiddle Styles – Charlie Cook, Christina Smith, Evelyn Osborne (Irwin’s Court) • Featuring Anita Best, Pamela Morgan;The Collins Family; The Flummies; and the • Bluegrass in Canada – Neil V. Rosenberg, Graham Blair, and Marc Finch (MMAP “Wicked Session” Players (Jean Hewson, Frank Maher, Allan Ricketts, Christina Gallery) Smith, Gerry Strong, Rick West). 3:30 pm–5:00 pm • Song Roots/Routes – Anita Best, Jim Payne, Marilyn Tucker, Paul Wilson (Irwin’s July 15, 8:00–10:00 pm Court) Atlantic Roots & Routes ($25/15) • Scottish Reels – Mats Melin (MMAP Gallery) Arts & Culture Centre, Main Stage THURSDAY, JULY 14 • Featuring Paddy Keenan; WREN Ensemble and Crowd of Bold Sharemen; Nathalie Pires; Típica Toronto. 10:30 am–12:00 pm • Sámi Vocal Styles I – Frode Fjellheim and Ulla Pirttijärvi (Irwin’s Court) July 17, 5:45–7:00 pm • Argentinian Chacarera Dance – Adriana Cerletti (MMAP Gallery) Feast of Asia: Dance Traditions of Chinese 1:30 pm–3:00 pm Opera / Thai Classical Music ($15/10) • Newfoundland Set Dancing and Music – Jane Rutherford with Christina Smith School of Music, D.F. Cook Hall (MMAP Gallery) • Native Contemporary Music – Dawn Avery (Irwin’s Court) • Featuring William Lau; Paphutsorn WONGRATANAPITAK and Absolutely Thai. FRIDAY, JULY 15th July 17, 8:00–10:00 pm Indigenous Now! ($25/15) 10:30 am–12:00 pm Arts & Culture Centre, Main Stage • South African Zulu Music and Dance – Ikusasa Lethu (MMAP Gallery) • The Charanga Orchestra and Cuban Music – Jorge Maza with Típica Toronto and • Featuring Six Nations Women Singers; Claude McKenzie; Frode Fjellheim and Brigido Galvan (Irwin’s Court) Ulla Pirttijärvi; Matou. 3:30 pm–5:00 pm • Newfoundland Song Traditions – Pat Byrne, Eleanor Dawson, Ellen Power July 18, 8:00–10:00 pm (MMAP Gallery) Canada’s Many Voices ($25/15) • Sounding Bamboo: Angklung – Paphutsorn Wongratanapitak with Absolutely Arts & Culture Centre, Main Stage Thai (Irwin’s Court)

• Featuring the Arabic Traditional Music Ensemble; Club Carrefour; Zari; Uzume SATURDAY, JULY 16TH Taiko. 3:30 pm–5:00 pm Festival passes are available from the A&CC for $120/75. Workshop tickets are sold at • Portuguese Fado Demonstration/Performance – Nathalie Pires (Irwin’s Court) the door for $10/8 or three for $20/15. • Aboriginal Hip Hop 101 – Scott Collegiate Hip Hop Group (MMAP Gallery) 4 AT A GLANCE SUNDAY, JULY 17TH

10:30 am–12:00 pm • Singing the West: Traditional Songs and Songs in the Tradition from the Prairies and British Columbia – E. David and Rosaleen Gregory, John Leeder (Irwin’s Court) • Haudenosaunee Social Dance and Music – Six Nations Women Singers (MMAP Gallery) • Tuvan Overtone Singing – Tran Quang Hai (Gallery East) 1:30 pm–3:00 pm • Taiko Drumming Techniques – Uzume Taiko (Irwin’s Court) • Georgian Polyphony – Zari (Gallery East) 3:30 pm–5:00 pm • Arabic Rhythms and Modes –The Traditional Arabic Music Ensemble (Irwin’s Court) Visit our table at ICTM • Tango – Adriana Cerletti, Silvia Citro (MMAP Gallery) • Australian Indigenous Songs. Arts & Culture Centre, Gallery East to see these and ALL our new books! MONDAY, JULY 18TH

www.wesleyan.edu/wespress 10:30 am–12:00 pm Save 30% when you use discount code W301 • Dance Styles in Chinese Opera – William Lau (MMAP Gallery) • Sámi Vocal Styles II – Frode Fjellheim and Ulla Pirttijärvi (Gallery East) • The Music of Matou (Irwin’s Court) 3:30 pm–5:00 pm • Inuit Vocal Styles – Jennie Williams and Tama Fost (MMAP Gallery) • Newfoundland Ugly Stick Making – Grenfell Letto, with host Dale Jarvis Ethnomusicology (Irwin’s Court) Journals From Routledge

TUESDAY, JULY 19TH Ethnomusicology Forum www.tandf.co.uk/journals/remf 10:30am–12:00 pm Ethnomusicology Forum is the academic, refereed journal of the British • Newfoundland Accordion Styles – Aaron Collis, Art Stoyles and Bob Rutherford, Forum for Ethnomusicology. The journal seeks to provide a dynamic The Sweet Forget-Me-Nots (Irwin’s Court) forum for the presentation of new thinking in the field of ethnomusicology, defined broadly as the study of “people making music”, and encompasses • Sephardic Song – Judith Cohen (Gallery East) the study of all music, including Western art music and popular music. • Fiddle and Identity II – Colin Quigley, Kelly Russell, Pierre Schryer (MMAP Jazz Perspectives Gallery) www.tandf.co.uk/journals/rjaz 1:30 pm–3:00 pm Journal of Musical Arts in Africa • From Montmagny to St. John’s: Accordion Music of Québec and Newfoundland www.tandf.co.uk/journals/rmaa – Raynald Ouellet, Graham Wells (Irwin’s Court) Journal of the Royal Musical Association • Percussive Dance – Kristin Harris Walsh, Normand Legault, Mats Melin, Stan www.tandf.co.uk/journals/rrma Pickett (MMAP Gallery) Muziki: Journal of Music Research in Africa www.tandf.co.uk/journals/rmuz Journal of Musicological Research www.tandf.co.uk/journals/gmur 6 AT A GLANCE ARTISTS 7 AT A GLANCE: SOUNDshift CONCERTS: Film Schedule THE ARTISTS All film showings take place in the theatre of the Bruneau Centre, Room 2001. Saltwater Joys Wednesday, July 13, 5:45–7:00 pm PAMELA MORGAN & ANITA BEST • Stephen SHEARON (USA). “I’ll Keep On Singing”: The Southern Gospel Anita Best is Newfoundland’s foremost Convention Tradition. 55 minutes interpreter, collector, and presenter of • Aaron CARTER-COHN (USA). At Home with Music: Burundian Refugees in traditional song. With her rich voice and America. 20 minutes warm personality she builds a marvellous bridge between old-time and contempo- Friday, July 15, 5:45–7:00 pm rary Newfoundland song-making and storytelling traditions. Anita has received • LIU Guiteng (China). The Drum Language: Ominan Ritual Music of Daur Ethnic several honours for her work in collecting Minority Shaman. 60 minutes and disseminating Newfoundland folk- songs, including the Marius Barbeau Sunday, July 17, 10:30 am–12:00 noon Award from the Folklore Studies Associa- tion of Canada. For 19 years, Pamela Morgan fronted Canada’s pioneering folk/ • Charlotte VIGNAU (Netherlands). The Alphorn. 52 minutes. rock band Figgy Duff. Since then she has been writing, recording, producing, and • NGUYEN Thuy Tien (Vietnam). Vietnamese Hiphop in a Dialogue with the Past. spearheading her own record label, Amber Music (www.ambermusic.ca). In 20 minutes recent years, she has toured extensively in England, Canada, the U.S. and Europe, and overseen productions of two original scores for live theater, her own folk Monday, July 18, 8:30–10:00 am opera, The Nobleman’s Wedding, and Figgy Duff’s score for Shakespeare’s Tempest. Both women have received honorary doctorates from MUN for their • Enrique CÁMARA DE LANDA (Spain). Non morirà mai: el tango italiano en work with Newfoundland and Labrador traditional music. Together, they collabo- cuatro movimientos. 74 minutes rated on the University of Toronto Press songbook Come and I Will Sing You and Monday, July 18, 3:30–5:30 pm have produced “one of the most haunting and beautiful folk albums ever recorded,” The Colour of Amber. • Sandrine Loncke (France). Dance with the Wodaabes. 90 minutes Monday, July 18, 5:45–7:00 pm COLLINS FAMILY Vince Collins stems from St. Anne’s, • Timothy RICE (USA). May It Fill Your Soul. 55 minutes Placentia Bay, and has an extensive repertoire of singles, doubles, step tunes Tuesday, July 19, 8:30–10:00 am and waltzes as well as some of his own compositions. His parents were accordion • Ryan KOONS (USA). People of One Fire Continuing a Centuries-Old Tradition: players, and the love of music was nurtured Winter. 40 minutes in all their children. Vince’s son, Glen • Patrick ALCEDO (Canada). Panaad: A Promise To The Santo Niño. 18 minutes Collins, is one of the most sought after • Aaron CARTER-COHN (USA). Texas Celebrates the 50th Anniversary of Nigerian guitarists in Newfoundland. He has Independence. 20 minutes performed, recorded and toured with many of Newfoundland’s finest musical artists and has recently released an album entitled Superpickers! – Blues on the Ceiling, with two other well-known Newfound- 8 ARTISTS ARTISTS 9

land guitarists (Sandy Morris and Peter Narváez). As a young boy, he learned many accompanist of choice at local sessions and festivals. She developed her accompa- traditional tunes from his father. Glen’s daughter, Maeve Collins, is now the next niment style backing up such notable Newfoundland fiddlers as Emile Benoit and generation and is quite busy learning the repertoire that her father and grandfa- Rufus Guinchard. For 25 years, she has recorded and performed nationally and ther know so well. internationally with Christina Smith.

Christina Smith is recognized in North America and Britain as one of the foremost THE FLUMMIES exponents of traditional Newfoundland fiddling. Since 1982, she has been collect- Multi-award winning recording artists The ing, researching, performing, teaching, and publishing on Newfoundland tradition- Flummies have been performing as a group al music. Her articles on Newfoundland dance tunes and fiddle styles can be found in this province for more than 30 years. The in the Newfoundland Quarterly and the Journal of Newfoundland and Labrador Stud- music of The Flummies has become ies. She is the author of The Easiest Dance Tunes from Newfoundland and Labrador synonymous with the culture and diversity (2006) and Inshore Fiddling (2008), an audio fiddle method. She teaches with the of the province and also represents the Suzuki Talent Education Program of St. John’s, and instructs a course in Traditional Inuit culture of Labrador. The band consists Newfoundland Fiddling at Memorial University’s School of Music. Christina tours of Alton Best (vocals/acoustic guitar), internationally and records with the award-winning groups, Jean Hewson and Richard Dyson (accordion), Tunker Camp- Christina Smith, and Frank Maher and the Mahers Bahers. She is the founder and bell (vocals/electric guitars), Leander Baikie director of the STEP Fiddlers, a group of young musicians who have been perform- (vocals/acoustic guitar), Sim Asivak (bass), ing and recording Newfoundland tunes since 1982. and Rod Temple (percussion). Over the past three decades from their home base of Happy Valley-Goose Bay, Labrador, The Flummies have performed in many Frank Maher: A stalwart of the Newfound- provinces and territories of Canada and have also played in Germany. On the heels land music scene, Frank Maher is a master of their national television release documentary, LAB—Originals, the group of the button accordion. Frank grew up in recently gave their fans twelve brand new songs on their eighth studio album, The The Battery, a community hugging the east River. Their songs, known as “happy music,” are inspired by the Labradorian way of end of St. John’s Harbour. He acquired a life, and are a combination of accordion-flavoured folk and contemporary country four-stop single row accordion during his rock. The group has been honoured as Aboriginal Artist of the Year by both the late teens and learned many tunes from his Music Industry of Newfoundland and Labrador and the East Coast Music Associa- mother, Bridget Maher, and local player tion and has been inducted into the Newfoundland and Labrador Arts Council’s Frank Stamp, who studied the playing of Hall of Honour. John Kimmel. In 1958, he became the manager of the Harbour Inn, a lively downtown watering hole, renowned for its sessions. There he played music with the great Newfoundland musicians of the THE WICKED SESSION PLAYERS time, including Emile Benoit, Rufus Guinchard, John White, and international stars Jean Hewson & Christina Smith: Jean like Dolores Keane and Jackie Daly. When the Harbour Inn burned down in 1986 Hewson is one of the most talented Frank had already been playing with Figgy Duff for three years. Figgy Duff broke balladeers singing and playing in New- up in 1993 and Frank then played with the Plankerdown Band and the Planks for foundland today. Known first for her work an additional year. Currently, Frank plays regularly at local concerts and events, with the now defunct folk group Barkin and occasionally appears with Mahers Bahers at mainland festivals. He is in Kettle, Jean has been involved with a demand as a studio musician and has been recorded on over 35 albums. In variety of diverse bands, including the trad recognition of his contributions to Canadian culture, Frank received the 2002 groups Tuckamore, the Sub-Sisters, and Tradition Bearer Award from the Celtic Roots Festival in Goderich, ON, the 2003 St. Strings Attached, a country trio Saddle John’s Folk Arts Council Lifetime Achievement Award, and the 2007 Stompin’ Tom Sorority, and rockers This Side Up. She was a member of Sweet Absalone, a Connors Award from the ECMAs. His solo album, Mahervelous!, was nominated for Newfoundland traditional group including Christina Smith, Fergus O’Byrne, and two Canadian Folk Music Awards in 2006. Jim Payne. She is known for her unique rhythm guitar arrangements and is the 10 ARTISTS ARTISTS 11

Allan Ricketts: A native of Torbay, New- tin whistle. Upon his return to this province, Gerry foundland, Allan Ricketts is a 23-year-old became part of the renewal of interest in the folk traditional musician and visual artist. A and traditional music of Newfoundland and Labra- singer and multi-instrumentalist, his primary dor, becoming a founding member of the award- instruments are the octave mandolin, banjo, winning group, Tickle Harbour. As well as being accordion, and pedal steel guitar. Allan has the province’s foremost tin whistle player, he was performed widely. In 2005, Allan was one of also introduced to the wooden flute through four artists to represent Newfoundland and Tickle Harbour alumnus Rob Murphy, and has Labrador during the 2005 Canada Summer since become the province’s leading musician on Games, and the following year he accompanied the Potluck Singers to Ireland. both these instruments. Gerry travelled through- During this trip he was given the opportunity to record with other young musicians out Canada and the U.S. while playing with Tickle at the Liam Clancy Recording Studio in An Rinn, Ireland. Allan has also performed at Harbour, and through Ireland and Australia with the Newfoundland and Labrador Folk Festival, 2009 Stan Rogers Folk Festival, as well his most recent musical ensemble, A Crowd of Bold Sharemen. He has recorded as a as the Festival of the Sea in South East Ireland in 2009 and 2010. With the assistance sideman with an astonishing array of musical groups, all while holding down a job as of MusicNL, Allan has released two CDs, Allan Ricketts (2006) and Rivers (2009). X-ray technologist at the Carbonear General Hospital. In 2010 Gerry released his first Rivers has received four nominations through the Newfoundland and Labrador Arts solo CD, Velvet in the Wind. Council, East Coast Music Awards and MusicNL. In 2010, Allan formed The Allan Ricketts Band. KE YNOTE ADDRESS: Rick West: It started innocently enough. Living in “The Intimate Distance of Newfoundland for over a decade as an entomolo- Indigenous Modernities” gist with the Canadian Forest Service had given Monday, July 18, 1:30 – 3:00 pm Rick West an appreciation for traditional instru- Arts & Culture Centre. Main Stage mental music. He bought a bodhran, and shortly thereafter he and some forestry co-workers Michelle Bigenho holds a B.A. from the University formed a folk group called Snotty Var. Eventually of California at Los Angeles in political science and they recorded a CD with a fine crowd of local Latin American studies, a “Magister” in musicians including Frank Maher. Unfortunately anthropology from the Pontificia Universidad for Rick, the CD was nominated for an East Coast Católica del Perú, and a Ph.D. in anthropology Music Award, and the ensuing accolades cement- from Cornell University. Her work examines the ed the addiction; he left forestry behind in 1998. cultural politics of Bolivian music performances as Besides Mahervelous!, Rick has played on several they relate to nationalism, discourses of other albums including those by All-Ireland ulliean piper, Eamonn Dillon; flautist, Erin authenticity, indigeneity, folklorization, cultural Cassidy; Atlantic Union; The Step Fiddlers; Dave Penny; and Jean Hewson and Christina property, and globalization. She has received Smith. With Frank Maher and usually with Jean Hewson and Christina Smith, he has Fulbright IIE, Fulbright-Hays, and Whiting appeared on various televisual feasts including those broadcast by RTE TV (Ireland), Foundation grants as well as fellowships from the Vision TV (Steeplechasing) and BRAVO (Celtic Roots Festival). Radio appearances University of Cambridge’s Centre of Latin American Studies and the University of include those on CBC Radio (Canada Live, Performance Hour, Musicraft, The Music Connecticut’s Humanities Institute. She is the author of Sounding Indigenous: Room and Sounds Like Canada) and RTE Radio (Fleadh Fleadh Cheoil na hEirean). Authenticity in Bolivian Music Performance (Palgrave 2002), and is wrapping up her second monograph, Intimate Distance: Andean Music in Japan (Duke, forthcoming). Music performance on the violin has formed a significant part of her research Gerry Strong: Gerry Strong is originally from Little Bay Islands, Notre Dame Bay, New- approach in Peru, Bolivia, and Japan, and she has participated in twelve recordings foundland. His parents moved to Ireland just before he finished high school, which with the Bolivian ensemble, Música de Maestros. As an Associate Professor of marked the beginning of his immersion in traditional music and his introduction to the Anthropology, she teaches at Hampshire College’s School of Critical Social Inquiry. 12 ARTISTS ARTISTS 13 WREN MUSIC COMBINE (DEVON) Atlantic Roots/ Routes Drawn from the array of professional musicians that make up the Wren Music team, Combine consists of both vocal and instrumental dexterity from interna- PADDY KEENAN tionally recognised artists. Marilyn Tucker and Paul Wilson are renowned for their strong vocal harmonies and instrumental variety. They are skilled exponents of folk Paddy Keenan was born in Trim, Co. Meath to a Travelling song in all its forms from Devon and the south of England. David Faulkner is at family steeped in traditional music; both Paddy’s father the forefront of the English bagpipe pipe tradition, and has won multiple awards and grandfather were uilleann pipers. Paddy played his for his playing. His work has included tours and performances across Europe and first major concert at the Gaiety Theatre, Dublin, when he U.S. Becki Driscoll is one of the leading lights of the new generation of Devon- was 14, and later played with his family in a group called based folk artists, specializing in traditional and contemporary English music on The Pavees. At 17, Paddy left Ireland for England and fiddle and voice, with a particular emphasis on tunes from the South West. Europe, where he played blues and rock. Returning to Ireland after a few years, he began playing around Dublin with Seachtar (“seven”), which, after a couple of person- A CROWD OF BOLD SHAREMEN nel changes, became The Bothy Band, one of the most This band is widely regarded as the finest in influential bands of the 1970s. Paddy‘s virtuosity on the Newfoundland traditional song and instrumental pipes combined with the ferocity of his playing made him music. Jim Payne has been long known as a its driving force. Bothy Band-mate Donal Lunny once leading performer on melodeon, and a collector described Paddy as “the Jimi Hendrix of the pipes”; more recently, due to his of Newfoundland traditional music. He is also genius for improvisation and counter-melody, he has been compared to jazz great one of the province’s most prolific songwriters, John Coltrane. Paddy’s flowing, open-fingered style of playing can be traced and has created soundtracks for theatre, plays directly from such great Travelling pipers as Johnny Doran. Since The Bothy Band’s and documentaries. Fergus O’Byrne is one of breakup, Paddy has pursued a solo career, playing at festivals and weekends, Newfoundland’s most renowned banjo players, including Gaelic Roots I and II at Boston College; the 1995 Eigse na Laoi at Univer- as well as a facilitator of programmes for young sity College, Cork; Green Linnet’s Irish Music Party of the Year; and twice at the folk and traditional musicians. Gerry Strong has a Washington Irish Folk Festival at Wolf Trap, as well as various concerts, benefits and vast knowledge of traditional tunes, and in tionals (piping festivals) around the U.S., in Canada and in Ireland. He even plays addition to playing a wide variety of flutes and whistles, is also a composer, arranger an occasional ceili (dance). and storyteller. Daniel Payne is a talented, young multi-instrumentalist and singer with a wealth of knowledge of the musical traditions in Newfoundland. BILLY SUTTON Paddy Keanon will be accompanied by Billy Sutton,a multi-instrumentalist/ NATHALIE PIRES producer/engineer from Harbour Grace, Newfoundland. Billy is a member of Nathalie Pires proudly represents what is arguably the the multi-award winning group The Fables, and has played professionally with oldest urban folk music in the world, and the soul of such groups as Ron Hynes, Shirley Montague, Shanneyganock and Ennis. On the Portugal—fado. Her intense voice and raw emotion have international scene he recorded with Seamus Creagh on the Island to Island CD garnered her recognition by the media and her interna- project, which also featured musicians Mick Daly, Aidan Coffey, Colin Carrigan, tional audiences as one of today’s leading “fadistas,” a huge Graham Wells, Jason Whelan, and Paddy Mackey. Billy has also worked as a studio honour considering she was born and raised in the U.S. The musician on some 30 recording projects, and appeared on various radio and TV success of her award-winning debut album in 2007, productions. Billy has also co-produced all three, multi award-winning albums by Corre-me o Fado Nas Veias, led her to stages all over the U.S. The Fables, and produced albums for Graham Wells, Ennis, Matthew Byrne and and Canada. Highlights of Nathalie’s career include a guest Chris Andrews. performance in world-famous saxophone player Tim Ries’s Rolling Stone Project concert in Austria, recording with the orchestra, Manhattan Camerata, as well as performances in some of the most prestigious fado houses in Lisbon 14 ARTISTS ARTISTS 15

alongside living legends of the genre and accompanied by some of the best guitarists in the history of fado. Nathalie is currently preparing her untitled sophomore album for a Feast of Asia year end release; she performs weekly in the Manhattan restaurant PAO! in addition to other venues. For information, visit www.nathaliepires.com. PAPHUTSORN WONGRATANAPITAK & ABSOLUTELY THAI Paphutsorn Wongratanapitak, aka “Koong” TÍPICA TORONTO is a graduate from Chulalongkorn University in Thailand (BA in Thai Classical Típica Toronto is a ten-piece Cuban dance Music) and the School of Oriental and orchestra assembled by veteran band leader/ African Studies, University of London arranger, Jorge Maza. This sophisticated band (MMus in Ethnomusicology). Koong is the combines two violins and a cello in a style director of Absolutely Thai which organizes known as charanga francesa including for the cultural activities and festivals throughout first time an innovation for this kind of Southeast Asia and as well as many countries around the world. (Visit the Absolutely ensemble, the Cuban tres guitar. Típica Thai website at www.absolutelythai.org or Facebook.) Ms. Wongratanapitak is also a Toronto performs a repertoire that reflects music and dance instructor/lecturer at universities in Thailand and Singapore. As a PhD the grand continuum of Cuban salsa music candidate, she is currently conducting research on the music and culture of the Orang from the late 1950s until today. Jorge Maza has performed and arranged for some of Ulu people in Sarawak, Malaysia. July 2011 marks the third time that Koong and her the biggest names in Cuban salsa music such as Charanga Habenera, Charanga Southeast Asian ensembles perform for an ICTM delegation. She expresses her Forever and Cubanisimo. Maza has created an orchestra with skilful musicians such as deepest gratitude to the musicians who will travel from Singapore to St. John’s to the former Cubanisimo band members Pablosky Rosales (tres) and Jorge “Papiosco” perform Thai classical music in the Feast of Asia concert and angklung workshop: Torres (congas). Along with these band members are other musical mainstays of Pattara Komkam, Disom Ruenprot, Bussakorn Binson and Roswita Amelinda. Toronto’s Latin music scene, such as Frank Durand (timbales), Cristian Saldivia (bass) and Monica Fedrigo (cello). Jorge Maza delivers high quality arrangements with that distinctive Cuban flair and showmanship. Full band line-up: Jorge Maza (flute, band WILLIAM LAU Born in Hong Kong and raised in Montreal, William Lau is a leader), Pablosky Rosales (tres guitar and lead vocals), Jorge “Papiosco” Torres (conga), graduate of York University’s Master of Fine Arts program Roberto Riveron (bass), Aleksandar Gajic (violin), Jorge Betancourt (piano), Frank in dance, and is trained in both Chinese traditional dance Durand (timbales), Onelvis Fernandez Riveron (lead vocals), Osvaldo Rodriguez (violin), and western classical ballet. Presently, he specializes in the Vladimir Morfis (violin), and Monica Fedrigo (cello). Beijing operatic art of nan dan (males playing female roles) and is the only Canadian artist who has specialized in all four major schools/styles of nan dan (Mei, Cheng, Xun, Shang) and presented them to Canadian audiences through public performance, pre- and post-show talks, videos, publications, costume exhibitions and lecture- demonstrations. William was the founder and Artistic Director of the Montreal Society of Chinese Performing Arts and the Little Pear Garden Collective. Under his leadership, he promoted the richness of Chinese dance and opera to audiences across Canada and mentored a new generation of cultural workers. He has performed internationally and collaborated with artists of diverse disciplines and cultural backgrounds—notably South Asian choreographer Menaka Thakkar in Land of Cards, and playwright Marty Chan, composer Robert Walsh and director Ron Jenkins in Forbidden Phoenix, among others. A performer, producer, scholar, and cultural advocate, William’s public service extends to the Canadian Commission for UNESCO, Department of Canadian Heritage, and the Arts Council of Great Britain. Currently, William is a Program Officer in Dance at the Canada Council for the Arts. ARTISTS 17 Indigenous Now! The Rooms. SIX NATIONS WOMEN SINGERS The Six Nations Women Singers is a Haudeno- It’s as unique as we are. saunee vocal ensemble that has been perform- ing for over thirty years. They are part of a larger singing society which is a “Mutual Aid Society” within their Six Nations community. The money they raise by performing is given back to the community to serve needy individuals or families. They have performed at the American Folklife Festival, the New Orleans Jazz Festival, on university campuses all across North America, and in many international venues. Their CD, We Will All Sing, was released in 1996, and they participated in the Smithsonian Institution’s production of Heartbeat: Voices of First Nations Women recordings (1995, 1998). Members of the Six Nations Women Singers are Sadie Buck (Director), Betsy Buck, Pat Hess, Darlene Hill, Bonnie NESTLED IN THE HEART OF DOWNTOWN ST. JOHN’S, Freeman, Mary Montour, and Alisa Myke. this state-of-the-art cultural facility houses the Province’s Archives, Art Gallery and Museum. It’s the place where it all comes together – our history, heritage and artistic CLAUDE McKENZIE Innu singer-song-writer Claude McKenzie was born expression. A place for people, The Rooms is a portal 1967 in Schefferville, Québec. He started to sing at to the many stories our province has to tell. Immerse the age of seven. In Maliotenam, the home of the yourself in our culture at Newfoundland and Labrador’s Innu Nikamu festival that brings Aboriginal musi- innovative public cultural space. cians from across Canada and beyond together each summer, he met Florent Vollant in 1984 and together they formed the folk music duo Kashtin, the most commercially successful musical group in Canadian First Nations history. Their music is a mix of rock and folk and they sing in Innu aimun, their native language. Ethnomusicologist Véronique Audet has written about their dramatic rise to fame: “In 1988, they were filmed by Radio-Canada during the Innu Nikamu festival (Morrison 1996), and they were then discovered by producer Guy Trépanier who recorded and produced their debut commercial album in 1989. It was at this point that their solo “E uassiuian” invaded Québécois radiowaves and they sold 150,000 albums (Kashtin 1989) in 4 months!” Their three albums Kashtin, Innu, and Akua Tuta sold over 500,000 copies and garnered both Felix and Juno awards. They toured internationally, wowing European crowds and critics; among their performances was one at La Cigale where they opened for Louis Chedid and www.therooms.ca another at the Bourges Festival where they performed together with Daniel Lanois. 757.8000 | 9 Bonaventure Ave. | St. John’s, NL More recently, they have each pursued solo careers. In 1997, Claude received a 18 ARTISTS ARTISTS 19

Juno nomination for Innu Town, his first solo album, and another in 2005 for in The Leaf People and was involved in the production of Pishimuss. His latest CD, Inniu, appeared in 2009. Bones at the Banff Cultural Center. Tiokasin Ghosthorse is a seventh generation Lakota flute maker and player. While working to preserve the cedar wood flute culture, ULLA PIRTTIJÄRVI & FRODE FJELLHEIM he has educated many in this ancient musical tradi- Frode Fjellheim is a classically tion. Ataahua Papa (Ata) is Maori (indigenous New Zea- trained Norwegian Sámi lander) and hails from the Central North Island, belonging joiker and musician (piano to the Waikato and Raukawa tribes. Ata has been singing and synthesizer). His Sámi and dancing since she was 4 years old and has been im- roots stem from Røros where mersed in Maori language, custom and tradition. Charley his family still works as Buckland, who carries an Indigenous perspective from reindeer herders. Frode’s his Mohegan heritage, is a bassist, singer/songwriter, discovery of Karl Tiren’s 1910 classically trained trumpet player and flutist. Donna Kelly joik collection inspired an is a drummer and percussionist who has played in some of New York’s well known electronic remake and a style venues with groups representing different genres, including jazz, rock, R&B and that combines joik with his cabaret. Ettie Luckey, cellist, is a graduate of the New England Conservatory. A native classical and jazz training in of North Carolina, resident in Connecticut, Ettie is a member of Elite Syncopation, a highly original arrangements. ragtime jazz quartet and Assistant Principal of the greater Bridgeport Symphony. To- Since 1997, he has composed film scores for Norwegian national radio and children’s gether, Matou combines Native American and Maori flutes with the powerful tradi- films. In the 1990s, he headed the Jazz Joik Ensemble (later Transjoik) and has tional chants of the Maori; acoustic guitar mixes with beautiful vocal harmonies, and recently undertaken cross-over projects such as the joik opera Skuvle Nejla (2006) funk grooves blend with Native American rattles and pow wow drum beats. and the Arctic Mass (Aejlies Gaaltije – The Sacred Source, 2004) for which he was awarded the Spellemannprisen. He has created a joik-based music curriculum now used in Scandinavian schools, served as composer, arranger and producer on over 30 CDs, and heads his own music company called Vuelie. Frode is a recipient (2002) of the prestigious Aiollas award, given to a distinguished Sámi culture bearer and NEWS educator. Ulla Pirttijärvi is regarded as one of the finest traditional artists from Sápmi (”Samiland”). She lives in a reindeer herding family in Utsjoki, Finland. Her career VISUALS began with the Finnish group Angelit (formerly Angelin Tytot), a trio of young Sámi women who put Sámi popular music (including joik arrangements) on the national ARTS charts. After their first two albums, she left the group to become a solo artist, signing NQ with Time Warner Finland to produce her debut CD in 1998. Subsequently she has $25/year worked with Fjellheim to produce two more, including Áibbašeabmi (Longing), a CULTURE beautiful combination of her joik-inspired songs, presented in an musical surround- ED 4002 ing influenced by pop, jazz and world music. She has played an important role as an Memorial University POLITICS HISTORY educational consultant, teaching traditional joik in the schools of northern Finland. St. John’s, NL A1C 5S7 She too was a recipient of the Aiollas award in 2007. FOLKLORE p 709.864.2426 POETRY FICTION MATOU f 709.864.4330 Matou (pronounced MAH–TOE) is a collaboration of Native American and Maori e [email protected] performers whose music celebrates cultural strength, perpetuation of tradition and a love for nature and the geographic areas that each hail from. Matou are: Soni More- & MORE no, a well known Native American singer who founded and has performed with the A Cultural Journal of Newfoundland and Labrador Women’s vocal group, Ulali, for a number of years. Soni has appeared on Broadway 20 ARTISTS ARTISTS 21

the vocal repertoire Canada’s Many Voices includes the Anda- lusian muwashshah, qad halabi, and ZARI folk and popular Zari is an exciting trio of singer/instrumentalists who songs of Egypt and specialize in the music of the Georgian Republic, a moun- Syria. The ensemble tainous country at the crossroads of Asia and Europe. In consists of George mid-2003, Shalva Makharashvili, Andrea Kuzmich, and Reid Sawa, master of Robins joined forces to concentrate their efforts on the the qanun (a type exquisite harmony and complex polyphony of this ancient of hammered dulcimer); scholar and musician Suzanne Mey- musical culture. By turns exotic, lyrical, and powerful, Zari ers Sawa; distinguished Lebanese traditional percussionist brings to the stage three accomplished artists who embody Michel Merhej Baklouk; and Nada El Masriya, a belly dancer the tradition and improvisational interplay of one of the born and trained in Cairo. The group has performed in world’s most beautiful musics in its most transparent venues across Canada, the U.S. and Europe, and has been re- form—the vocal trio. corded for broadcast by the CBC. They have two recordings: The Art of the Early Egyptian Qanun, volumes 1 and 2. Volume 1 was nominated for a Juno award in 2008. For more information, see http://www.georgedimitrisawa.com. UZUME TAIKO Uzume Taiko is known around the world for its West Coast Canadian taiko drumming—a CLUB CARREFOUR powerful synthesis of music, movement and The men of Club Carrefour are masters of theatre. Using a diverse collection of their instruments and musicians at the peak percussive and melodic instruments as well of their powers united by a passion for as taiko drums, Uzume Taiko has developed traditional music. They are: Raynald Ouellet its dynamic fusion of old and new styles of (diatonic accordion), Pierre Schryer (fiddle), drumming, bringing a vibrant, contempo- Normand Legault (percussion and step rary sensibility to an ancient art. With the dancing), Bruno Gendron (guitar and choreographed physicality of martial arts, the heart-stopping pulse of the o-daiko vocals) and Benoit Legault (piano). Be- and the rhythmic sensitivity of a jazz ensemble, the drummers of Uzume Taiko put tween them they have a wealth of experi- on an exhilarating performance. Their fearless musical collaborations offer a musical ence in ethnological research, teaching, instrument building, composition, experience unlike any other. Uzume Taiko, Canada’s premiere professional taiko arranging and event planning. Legendary musicians all, their list of accomplish- drumming group, is currently led by Artistic Director Bonnie Soon and Musical ments is too long to list here, but let their music speak for itself. It is a feast of virtu- Director Jason Overy. In St. John’s, they are joined by shakuhachi flute player, Alcvin osity, artistry, and synergy – plunging the listener into the irresistible world of Ramos. The name Uzume Taiko is derived from taiko, the Japanese word for “big Québécois traditional song and dance. Guitar, accordion, fiddle, voice, piano, drum” and from the goddess of laughter, Ame No Uzume No Mikoto—the Heavenly bones and step dance converge to create a joyful performance of rhythm and Alarming Female—who, according to legend, first began taiko drumming. For more dance for all ages. information, see http://www.uzume.com.

Chain Rock THE TRADITIONAL ARABIC MUSIC ENSEMBLE Graham Wells is part of the new generation of dynamic, young Newfoundland ac- Created in 1973 by George Sawa and the late Ebrahim Eleish, the Traditional Arabic cordion players. A former member of well known groups A Crowd of Bold Share- Music Ensemble is a group of accomplished scholars and musicians dedicated to the men and The Irish Descendants, Graham is now focusing on his solo career. He is performance of traditional Arabic music repertoire. The instrumental repertoire in- also a wonderful singer and tin whistle player and is the Artistic Director of Feile cludes the sama’i, bashraf (peshrev), longa, tahmila, taqsim, folk and classical dances; Seamus Creagh, a folk festival that takes place in July that celebrates Newfound- 22 ARTISTS WORKSHOPS 23

land and Irish traditional music. He is joined by his band Chain Rock, consisting of Billy Sutton, Jason Whelan and Paddy Mackay – some of the finest young players in WORKSHOP SCHEDULE Newfoundland and Labrador. All workshops are in the Arts & Culture Centre More than 25 years of experience have garnered Bill Brennan a solid WEDNESDAY, JULY 13 reputation as a player and composer of contemporary 10:30 am–12:00 pm classical, jazz, folk and world music – always exploring, always open to Fiddle and Identity I: Newfoundland Fiddle Styles – Charlie Cook, new ideas. He was musical Christina Smith, Evelyn Osborne (Irwin’s Court) director/composer for CBC’s Vinyl Café and The Nature of Things. For an island with fewer than half a million people, Newfoundland has a remarkable Brennan’s expertise can be heard diversity of fiddle styles. This workshop will explore the origins and evolution of fiddle on some 90 albums. His CD “Solo repertoires across the island, from the Scottish and French-Acadian tunes of the south- Piano 2” won the 2008 MusicNL Instrumental Album of the Year and garnered an west, to the unique driving dance tunes of the Northwest Coast and Labrador Straits, ECMA nomination. Brennan was named the Newfoundland and Labrador Arts to Irish/English-based square dance music of the English Shore, to the Irish music of Council Artist of the Year for 2006. He is the director of Memorial University Jazz the Southern Shore and St. Mary’s Bay, to Country and Downeast “radio tunes.” Three Ensemble. of Newfoundland’s knowledgeable performers will introduce you to the mystery of what is, exactly, ‘a Newfoundland tune.’

Christina Smith (fiddler and cellist) collects, performs, records, researches, publishes on, and teaches the traditional dance music of Newfoundland and Labrador. She tours internationally as a duo with singer/guitarist Jean Hewson, and with Newfoundland melodeon legend Frank Maher and his group, Maher’s Bahers.

With a love for new and experimental music, Evelyn Osborne enjoys improvising and composing for cross-genre artists. She is currently a PhD candidate in ethnomusicology at Memorial University where her research centers on instrumental traditions in Newfoundland and Labrador and how they interact with Irish and Celtic musics.

Charlie Cook is a composer, arranger and recording engineer who lives in Pouch Cove, Newfoundland. He currently plays with the Newfoundland bluegrass group, Crooked Stovepipe.

Bluegrass in Canada – Neil V. Rosenberg, Graham Blair, and Marc Finch (MMAP Gallery)

Is there such a thing as “Canadian bluegrass” or would it be more accurate to speak of “bluegrass in Canada”? A brief history of bluegrass will be offered before the group embarks on a tour of Canada’s many scenes. From Newfoundland to British Columbia, bluegrass can be found at festivals, in urban clubs, small town jam sessions and other venues, performed by people from many different cultural and linguistic backgrounds. What will develop is a picture of bluegrass in Canada as a microcosm of the country’s 24 WORKSHOPS WORKSHOPS 25

national identities: diverse, complex, and difficult to pin down. Throughout Neil, Scottish Reels – Mats Melin (MMAP Gallery) Graham, and Marc will draw on their personal experiences learning the music and perform a number of musical examples. Bring your dancing shoes and explore a number of different Scottish reels from Shetland, Orkney and the Hebridean isles and the connection to the Cape Breton Neil V. Rosenberg is Professor Emeritus at Memorial University, where he taught in the Scotch Four. Mats will also touch on the role this dance form once had in Scottish Department of Folklore from 1968 to 2004. His books include Bluegrass: A History (2005) communities and how that role has changed. and Transforming Tradition: Folk Music Revivals Examined (1993). He has been playing the banjo since 1959. Swedish born traditional dancer, choreographer and researcher Mats Melin is a Lecturer in Dance at the Irish World Academy of Music and Dance at the University of Limerick, Graham Blair is a PhD candidate in the ethnomusicology program at Memorial University. Ireland. Mats co-founded the dynamic Scottish performance group Dannsa in 1999, and he His research concerns the grassroots aspects of bluegrass and oldtime music in Western is currently conducting PhD research on Cape Breton Step Dancing. Canada.

Marc Finch is a PhD student in ethnomusicology at Memorial University. His current work is concerned with the history of bluegrass in Toronto and how performers make sense of THURSDAY, JULY 14 their urban lives through their musical activities. His spare time is dedicated to learning and practicing bluegrass guitar. 10:30 am–12:00 pm

Sámi Vocal Styles I – Frode Fjellheim and Ulla Pirttijärvi (Irwin’s 3:30 pm–5:00 pm Court)

Song Roots/Routes – Anita Best, Jim Payne, Marilyn Tucker, Paul From northern Scandinavia, the indigenous Sámi joik tradition specializes in the Wilson (Irwin’s Court) characterization of a person, place or thing. Pirttijärvi is a renowned tradition bearer who can demonstrate examples that convey the personality, age, movement style Newfoundland was the first colony of the British Empire. From 1565, its shores or lifeways of a person or animal. Using pitch, timbre, and rhythm, the joiker conveys were seasonally frequented by Devon and Dorset crews fishing inshore for cod. information about the individual or thing that is joiked. The vocal production does This workshop will explore the centuries-old cultural link that exists between not aim to be “beautiful” but to be evocative. For participants, this workshop will Newfoundland and England’s West Country, and will feature four singers of undoubtedly improve their powers of observation and stimulate their creative international standing: Jim Payne and Anita Best of Newfoundland and Paul Wilson imagination of sound as a mode of description. and Marilyn Tucker from Devon. Frode Fjellheim and Ulla Pirttijärvi – see performer bios Anita Best was born on Merasheen Island in Placentia Bay (since abandoned under the resettlement program of the 1960s). She has worked as an educator, archivist, folklorist, broadcaster and singer and has spent a lifetime exploring, cataloguing and celebrating Argentinian Chacarera Dance – Adriana Cerletti (MMAP Gallery) the rural Newfoundland lifestyle and culture. In the process she has become one of the province’s most prominent traditional singers. Chacarera is an Argentinian dance from Santiago del Estero province. Its name comes from chacarero (the man who works in the field). This dance is performed in groups Jim Payne is from Notre Dame Bay, Newfoundland and has been a performing artist by separate couples, and it is characterized by circular movements and turns, as well and writer for almost three decades. Known also as a collector and publisher, he founded as by its binary/ternary rhythms – a feature it shares with other Argentinian folkloric Singsong Music as a vehicle for disseminating traditional and contemporary Newfoundland dances. Workshop participants will learn the choreography of chacarera simple, with its song. Jim is also one of the province’s most prolific songwriters, working in several genres. avances (advances) and retrocesos (backward movements), giros (turns), vuelta entera (full turn), zapateo (tapping) y zarandeo, and media vuelta y giro final. Marilyn Tucker & Paul Wilson are renowned for their strong vocal harmonies and instrumental variety. They are skilled exponents of folk song in all its forms from Devon and Adriana Valeria Cerletti, Argentinian musicologist, teaches at the National University the south of England. of Buenos Aires and the University of Buenos Aires, as well as Popular Music Avellaneda WORKSHOPS 27

College of Music, where tango and folklore are program specialties. Adriana studied M I N F O R A T I O tango and chacarera informally in the traditional milongas of Buenos Aires – La Viruta, La E N O R V I M S I T Catedral del Tango, el Antiguo Salon Canning, la Academia Nacional del Tango. R O W F W

W

. Y O R 1:30 pm–3:00 pm K U . The Canadian C A / C Society for Traditional S T M Newfoundland Set Dancing and Music – Jane Rutherford with Music is dedicated to the Christina Smith (MMAP Gallery) study and promotion of musical traditions of all communities and The focus of this workshop will be on the traditional square set, a dance that is part cultures, in all their aspects. The scope of the Society’s activities is intended of the repertoire in many Newfoundland communities. Jane will teach you the basic to refl ect the interests both of members who are ethnomusicologists and of members who are interested in traditional music and its contemporary steps and structure of the dance and show you regional variations. Christina will counterparts in non-academic or performance contexts. talk about the structure of Newfoundland dance tunes and how and why they are unique. You’ll also hear stories about some of the dance “fiddlers” in the province, such as accordionist Mrs. Belle Fennelly from Port Kirwan on the Southern Shore.* Now in her 90s, Mrs. Fennelly started playing for dances – and especially the square set – when she was eight years old. (* in Newfoundland, anyone who played for dances was the Formed in 1956 as the Canadian Folk Music Society by the eminent ethnographer and “fiddler,” regardless of instrument.) folklorist Marius Barbeau, the Society provides a national focus for lovers of diverse musical traditions, with annual conferences held in all regions of the country, from St. John’s, Newfoundland, to Vancouver Island, British Columbia. From its initial focus upon Jane Rutherford has been a dance caller, teacher and performer for 20+ years and First Nations and rural French and English cultures, the Society has has performed across eastern North America. She is the principal author and dance broadened its horizons to encompass musical consultant for Traditional Dances of Newfoundland and Labrador: A Guide for Teachers expressions found throughout (2007). A keen collector of the province’s traditional dances, Jane has worked with several Canada and the world. communities to revive dances that were close to being lost.

Christina Smith (fiddler and cellist) collects, performs, records, researches, publishes on, and teaches the traditional dance music of Newfoundland and Labrador. She tours A one-year CSTM membership includes: MUSICULTURES internationally as a duo with singer/guitarist Jean Hewson, and with Newfoundland melodeon legend Frank Maher and his group, Maher’s Bahers. a subscription to CSTM’s annual peer-reviewed journal MUSICultures a subscription to Canadian Folk Music Bulletin access to the CSTM listserv journal de la société canadienne pour les traditions musicales discounts on CSTM Mail Order Services journal of the canadian society for traditional music a voice in the Society’s affairs Native Contemporary Music – Dawn Avery (Irwin’s Court)

VOLUME 34 2007/08 Experience contemporary Native music by Mohawk, Navajo, Mohican, and Cherokee composers in this lecture/demonstration through listening, dancing, and playing traditional instruments. Learn how these works relate to culture, language, revitalization and specific “native” sensibilities. This uplifting workshop focuses on Dawn’s particular experience with the Ohsweken Singers, commissioned works, and Native composition projects in a variety of genres of contemporary First Nations Music. 28 WORKSHOPS WORKSHOPS 29

earlier genres, including contradanza, danzón and chachachá. It will then illustrate how Grammy Award-winning Dawn Avery spent years working with such luminaries as the charanga instrumental textures have been adopted in contemporary salsa cubana Pavarotti and Sting, and collaborating with John Cage, John Cale, R. Carlos Nakai, and or timba and jazz music. Workshop participants may be invited to tap/clap rhythmic Joanne Shenandoah, among others. Along the way, she got degrees from the Manhattan patterns and to sing along during the call response section (the montuno). Though this School of Music and NYU. Of Mohawk descent, Dawn performs Native American music is not a dance workshop, participant may also learn basic steps. with her own ensemble, OKENTI, and as a soloist in the North American Indian Cello Project. Dawn’s most recent recording, Our Fire, features original songs with cello, on Jorge Maza and Típica Toronto – see performer bios contemporary native themes. Brigido Galvan is a singer-guitarist and ethnomusicologist in Toronto who performs regularly with many of the city’s Cuban musicians. His doctoral dissertation was published in 2010 and is entitled “Arranging Hybridity: Cuban-Canadian Musicians in Toronto” FRIDAY, JULY 15 (2010). 10:30 am–12:00 pm 3:30 pm–5:00 pm South African Zulu Music and Dance – Ikusasa Lethu (MMAP Gallery) Newfoundland Song Traditions – Pat Byrne, Eleanor Dawson, Ellen This workshop is in two Power (MMAP Gallery) parts: In the first half, participants will learn a Zulu The practice of singing unaccompanied is alive and well in Newfoundland and song in the isicathamiya takes place in both formal and casual settings. When referring to the region from tradition, featuring rich which a singer comes, it is common to mention the “bay” or body of water in which multi-part vocal harmonies. their community is located. This workshop will feature singers from two of the In the second half, major bays of the island: Placentia Bay, and Conception Bay. The repertoire will participants will learn some include locally composed songs as well as songs and ballads of British and Irish of the steps and movements origin. associated with ngoma. Both are forms of Zulu music and Pat Byrne is Professor in both the English and Folklore departments at Memorial dance that originated in the University. In addition to a long list of academic achievements, he is also a published male migrant labour poet and songwriter, and has performed at numerous folk festivals, as well as on radio experience of South Africa and television. during the Apartheid period. Men performed (and continue to perform) isicathamiya and ngoma in competition for coveted prizes, including money and goats. Ladysmith Eleanor Dawson hails from Bay Roberts, Conception Bay. One of the founders of Black Mambazo is the most internationally famous isicathamiya group. the Newfoundland and Labrador Folk Festival, she is Past President of both the Newfoundland and Labrador Folk Arts Society and the Newfoundland Historical Ikusasa Lethu is a young performance ensemble affiliated with the University of Kwazulu- Society. She is currently a host of the monthly ballad session at the Crow’s Nest, and is Natal, South Africa. The group’s Artistic Director is Dr. Patricia Achieng Opondo. Head of Arts in the Department of Tourism, Culture and Recreation in the Government of Newfoundland and Labrador.

The Charanga Orchestra and Cuban Music – Ellen Power, now 17, has performed at several folk festivals and concerts in Jorge Maza with Típica Toronto and Brigido Galvan (Irwin’s Court) Newfoundland. She is a member of the chamber and treble choirs at her school, St. Bonaventure’s College. Ellen’s father, Pius Power Jr., and her grandfather, Pius Power The charanga orchestra originated in Cuba around the late 19th century. What Sr., were well-known traditional singers from Placentia Bay. She hopes that someday distinguishes it from salsa orchestras are its use of a string section and flutes in place she will pass on her songs to her children and grandchildren. of a brass section. The workshop will begin by demonstrating elements of charanga’s 30 WORKSHOPS WORKSHOPS 31

Sounding Bamboo: Angklung – Paphutsorn (Ableton Live, Reason). In this workshop, Wongratanapitak with Absolutely Thai participants will be introduced to MPC (Irwin’s Court) technology; each person will learn how to create a beat using pre-recorded sampled Angklung is a hand-held bamboo instrument popular sounds and record their beat on the MPC. throughout Southeast Asia. Angklung are built in sets, and each person holds and rattles one to create a lovely, The Scott Collegiate Hip Hop Project – Ethan resonant pitch. Like a handbell choir, when each person Oliver is in grade 11 and Keena Aisaican- shakes their angklung at the right time, they can create Checkosis is in grade 12 at Scott Collegiate. melodies and harmonies together. The best thing about Ryan Anaskon is in his 2nd year in Arts at First angklung besides its beautifully earthy sound? Anybody can play it! This workshop is Nations University of Canada. Elizabeth Curry is in the MA program in Interdisciplinary good for adults and younger ones too. Studies in the Faculty of Fine Arts at the University of Regina. Charity Marsh is the Canada Research Chair in Interactive Media and Performance and Director of the IMP Labs at the Paphutsorn Wongratanapitak and Absolutely Thai – see performer bios University of Regina.

SATURDAY, JULY 16 SUNDAY, JULY 17 3:30 pm–5:00 pm 10:30 am–12:00 pm

Portuguese Fado Demonstration/Performance – Nathalie Pires Singing the West: Traditional Songs and Songs in the Tradition (Irwin’s Court) from the Prairies and British Columbia – E. David and Rosaleen Gregory, John Leeder (Irwin’s Court) At the heart of Portuguese fado is the idea of saudade. Saudade refers to an ardent yearning for something lost or unattainable; and although there is no single word This workshop will explore the occupational song traditions of British Columbia and in English that accurately conveys the meaning of this word, the themes of love, loss the Prairie provinces, drawing from the Phil Thomas Collection. Workshop leaders and life at sea will no doubt resonate with Newfoundland audiences. Nathalie Pires will try to cover the major occupations of early immigrants, as recorded in ballads is one of North America’s rising stars of Portugal’s most recognizable musical genre. and lyrics from the colonial era onwards. They will sing traditional songs about She will talk about, and demonstrate the themes of fado in this session. Nathalie is homesteading, logging, mining, fishing, transportation, etc., as well as provide accompanied by guitarists José Silva and Viriato Ferreira. historical context, explain technical terms, and elucidate the attitudes and values of the songwriters, whether the latter are anonymous or known by name. Nathalie Pires – see performer bios E. David Gregory is Professor of Humanities at Athabasca University, where he teaches European history and music history. His publications include The Athabasca Ryga (1990), Aboriginal Hip Hop 101 – Scott Collegiate Hip Hop Group (MMAP Victorian Songhunters: The Recovery and Editing of English Vernacular Ballads and Gallery) Folk Lyrics, 1820-1883 (2006), and The Late Victorian Folksong Revival: The Persistence of English Melody, 1878-1903 (2010). The Hip Hop Project consists of grade 10 students earning English and Arts Education credits while learning about Hip Hop culture. Along with classroom time, students Rosaleen M. Gregory is a retired lawyer, a potter, and a folk-singer. For eight years she spend three mornings a week in the Interactive Media and Performance (IMP) Labs at has served as co-editor of Canadian Folk Music, the quarterly publication of the CSTM, the University of Regina where they are mentored by local Hip Hop DJs, MCs, B-Boys/ to which she has also contributed a column, “Singing the Child Ballads.” She performs in B-Girls, and graffiti artists along with IMP Labs’ assistants. In one IMP studio with 8 Alberta and at the Princeton Festival of Traditional Music in British Columbia. turntables, students learn the art of scratch, beat juggling, and mixing records. In the other studio, they learn to use the MPC beat-making machine and computer software John Leeder is Honorary President of the CSTM, after having served the society in various 32 WORKSHOPS WORKSHOPS 33 capacities for over 30 years, including President (1985-86). Canadian traditional music is 1:30 pm–3:00 pm his first love, with British traditional and American old-time music following close behind, and he also writes songs in that vein. He plays “Leeder-style” five-string banjo and octave Taiko Drumming Techniques – Uzume Taiko (Irwin’s Court) mandolin, and has recorded one CD, Fresh Forest Breeze. Taiko drumming can express a dynamic range of emotion, from furious power to gentle grace. Through its martial arts links, this drumming style engages the spirit Haudenosaunee Social Dance and Music – Six Nations Women and motivates participants to work together through its practice. Participants will Singers (MMAP Gallery) explore hard and soft textures in movement and sound, and engage in warm-up drills. Uzume Taiko will also cover the proper grip on sticks, taiko stance and movements, Haudenosaunee (Iroquois) nations who reside in southern Ontario and New York basic drumming drills, vocal shouts, verbal notation and song playing. Experience State believe that performing social dance helps to thank and celebrate the gifts the respect and cooperation of group taiko drumming and develop listening and of creation. Non-Haudenosaunee are welcome to assist with this celebration by communication skills through the group process. learning the dances. Most of them accompanied by a small, pitched water drum and a group of cow horn shakers. The dances range from easy (Alligator, Robin, or Rabbit Uzume Taiko – see performer bios dances) to virtuosic (the best known of which is the Smoke dance, now a regular part of many northern powwows). Workshop leaders will teach some easier dances and demonstrate one or more of the difficult ones. Georgian Polyphony – Zari (Gallery East)

Six Nations Women Singers – see performer bios Declared by UNESCO as a “masterpiece of the oral and intangible heritage,” Georgia’s “polyphonic” music is known for its haunting, unusual harmonies. Singing the complex polyphony results in a buzzing physical sensation that metaphorically Tuvan Overtone Singing – Tran Quang Hai (Gallery East) represents friendship, love and deep spirituality. In this workshop, songs varying in complexity and ranging from drinking and horse riding songs to meditative chants, In Mongolia and Tuva, the word khoomei means will be taught according to the skills and interest of workshop participants. They will pharynx, throat, and khoomeilakh is the technique of be taught by rote and/or by lead-sheet and further contextualized in terms of the producing vocal harmonics. This unusual technique, country’s regional styles, song types, and historical circumstances. which takes the human voice to its limits, entails the production of two sounds simultaneously: a drone or Zari – see performer bios fundamental that is rich in overtones. Producing melodies on the overtones of the drone initially seems like an impossible task. Tran Quang Hai will convince you that it is possible to learn techniques that singers in 3:30 pm–5:00 pm the Republic of Tuva and elsewhere in the world have cultivated for centuries. Digital technology now enables Arabic Rhythms and Modes – The Traditional Arabic Music Ensemble us to see our voices in action and perfect our technique. (Irwin’s Court) In this workshop, the facilitator’s method of learning khoomei overtone singing will be explained and demonstrated. The workshop will include description and demonstration of musical instruments (qanun = psaltery, darabukka = drum, riqq, duff and mazhar = tambourines); Tran Quang Hai descends from an important family of Vietnamese traditional tone system; rhythmic system; forms and genres; notation systems; performance musicians that stretches back five generations. He is known around the world as the practice; lyrics themes. And for the dancer: basic steps of classical and folkloric virtuoso of overtone singing (Tuvan, Siberian, among others). He has made these dances. techniques a performance specialization as well as an object of research. He worked as an ethnomusicologist for the National Center for Scientific Research in France since 1968, The Traditional Arabic Music Ensemble – see performer bios attached to the Department of Ethnomusicology of the Musee de l’Homme. He retired in May 2009. 34 WORKSHOPS WORKSHOPS 35 Tango – Adriana Cerletti, Silvia Citro (MMAP Gallery) MONDAY, JULY 18 Tango is a Río de la Plata musical and dance expression which embodies a game of 10:30 am–12:00 pm seduction between a man and a woman. It was born in the late 19th century in Buenos Aires – a result of the union of several immigrant cultures. Its music and dance were Dance Styles in Chinese Opera – William Lau (MMAP Gallery) enriched by multiple influences: fandango, habanera cubana; the candome, and the milonga campera. This workshop will present the basic steps, including the abrazo Beijing opera and other regional types of Chinese opera are highly stylized forms (embrace), ochos (eights), pivotes (pivots) and giros (turns) and will give participants of theatre with distinct character types. This workshop will address some of the a feel for the “essence” of tango. “El tango es una pena que se baila” (Tango is a sorrow complex make-up and dress styles, and demonstrate the essential elements of singing, that is danced). recitation, acting and dancing required of its actors. William Lau will also include a brief history of Chinese opera and will give an overview of traditional and contemporary Adriana Valeria Cerletti, Argentinian musicologist, teaches at the National University repertoires. of Buenos Aires, the University of Buenos Aires, as well as Avellaneda College of Music, where tango and folklore are program specialties. Adriana studied tango and chacarera William Lau – see performer bios informally in the traditional milongas of Buenos Aires – La Viruta, La Catedral del Tango, el Antiguo Salon Canning, la Academia Nacional del Tango. Sámi Vocal Styles II – Frode Fjellheim and Ulla Pirttijärvi (Gallery At the University of Buenos Aires, where she is Associate Professor, Silvia Citro has East) created a research team on Anthropology of the Body and Performance. She is also Associate Researcher at the National Council of Scientific and Technical Research. Her From northern Scandinavia, the indigenous Sámi joik tradition specializes in research focuses on intercultural perspectives on dance, music and rituals; theoretical the characterization of a person, place or thing. One of the workshop leaders and methodological approaches to body; history of body representations; and aboriginal is a renowned tradition bearer who can demonstrate examples that convey the groups of the Argentine Chaco. personality, age, movement style or lifeways of a person or animal. Using pitch, timbre, and rhythm, the joiker conveys detailed information about the individual or thing that is joiked. The vocal production does not aim to be “beautiful” but Australian Indigenous Songs - Steve Patrick JAMPIJINPA and DOI to be evocative. For participants, this workshop will improve their powers of Yukihiro (Gallery East) observation and stimulate their creative imagination of sound as a mode of description. There are only about 150 Australian languages – much diminished from those known to exist in earlier centuries – in daily use in contemporary communities today and Frode Fjellheim and Ulla Pirttijärvi – see performer bios many of those are endangered. The Warlpiri language (Central Australia) is one of the strongest languages and song is one of the means of vitalizing it. Australian indigenous songs carry knowledge of the land and the relationships among Aboriginal The Music of Matou (Irwin’s Court) clans. Doi and Jampijinpa will demonstrate a number of the song traditions that have been sustained through the biennial Milpirri festival. Milpirri brings together youth The music of Matou is a fusion of powwow drum beats, Native American shakers, and elders utilising traditional song and dance, contemporary western dance forms, koauau (Māori flute), Lakota cedar wood flutes and haunting vocals supported by and a fusion of both. The festival has also led to a revival of the Warlpiri didjeridoo, guitar and percussion. In this workshop, the members of Matou will demonstrate how called the kurlumpurrngu. they combine their influences to create a new musical genre that honours the beauty and uniqueness of their respective traditions. Steve Patrick Jampijinpa is a Warlpiri man who has long worked at Lajamanu Community Education Centre (CEC), and who has led Milpirri, a festival held biannually Matou – see performer bios since 2005. Doi Yukihiro is an ethnomusicology PhD student who has spent time at Lajamanu and also been involved in several Milpirri. 36 WORKSHOPS WORKSHOPS 37 3:30 pm–5:00 pm TUESDAY, JULY 19

Inuit Vocal Styles – Jennie Williams and Tama Fost (MMAP Gallery) 10:30am–12:00pm

Inuit “throat singing” is a two-part vocal “game” in which a Newfoundland Accordion Styles – Aaron Collis, Art Stoyles and pair of women use guttural sounds, pitched tones, and Bob Rutherford, The Sweet Forget-Me-Nots (Irwin’s Court) audible breath rhythms to create patterns that often imitate natural sounds (e.g., a goose, a river, a whimpering puppy, or If Newfoundland had a national instrument it would probably be the accordion; the act of polishing the ice on sled runners). Workshop the province is known for both the quality and quantity of its players. In fact, leaders from two regions of the Arctic will demonstrate Newfoundland holds the Guinness World Record for the largest accordion ensemble. regional differences. In the workshop, participants will learn a 989 people assembled at The Newfoundland and Labrador Folk Festival in August basic vocabulary of sounds for a few games and will be 2005 and performed the well known tune, “Mussels in the Corner.” This workshop will shown how to combine the two parts. While throat songs are highlight a variety of local players including a young hot shot, some lovely ladies, and traditionally performed by two individuals, workshop leaders two venerable veterans of the instrument. This workshop is sponsored by O’Brien’s Music will teach the whole group to perform together. Store, 278 Water St., St. John’s.

Jennie Williams and Tama Fost work together to preserve and promote Inuit culture Aaron Collis is a third year English student from Appleton who has collected many of his through captivating performances of throat-singing, ajaja singing, drum-dancing, story- tunes from older players. He performs with Newfoundland folk band The Dardanelles and telling and Inuit games. They are both descendants of the Labrador Inuit and are very is this year’s recipient of the Dermot O’Reilly Legacy Award. proud to share their culture with people of all ages while educating and engaging their audience in traditional practices from many generations ago. The Sweet Forget-Me-Nots are Marina Hoskins, Debbie Dunne, Anita Williams, Harryetta Collett, Vicki Larkin and Doreen Reardigan. They have performed on Out of the Fog, The Newfoundland Ugly Stick Making – Grenfell Letto, with host Dale Bell Island Accordion Festival and Memorial University’s CHMR radio. They volunteer to play Jarvis (Irwin’s Court) at seniors’ homes, retirement centers as well as other venues in and around St. John’s.

The ugly stick is a traditional Newfoundland percussion instrument made out of Growing up in St. John’s in the 1940s and 50s, Art Stoyles acquired an unique repertoire household and garage items. The main body of the stick is typically an old mop, by interacting with foreign sailors that visited the city, most notably the Portuguese of the decorated with noisemakers, i.e., beer bottle caps. It is played rhythmically with a White Fleet. In the 70s he toured the world with Newfoundland’s famous folk band, Figgy notched stick which creates a sound similar to a tambourine. Some ugly sticks are Duff, and lists playing with the Chieftains as one of the highlights of his career. Art often elaborately decorated and are regarded as pieces of folk art. The workshop facilitator performs with his friend Bob Rutherford, who regards Art as a teacher and mentor. will demonstrate how to make and decorate an ugly stick, as well as how to use it to accompany traditional tunes and songs. This workshop is sponsored by the Intangible Cultural Heritage office of the Province of Newfoundland and Labrador. Sephardic Song – Judith Cohen (Gallery East)

Grenfell Letto is a retired police officer who started making ugly sticks four years ago as This workshop is an overview of Sephardic songs, demystifying the medieval and the a hobby. His unique designs have become so popular that O’Brien’s Music Store (St. John’s’ flamenco myths, and covering the main song genres and multi-site areas, older and premier store for all things folk) has difficulty keeping his ugly sticks in stock. newer styles, and examples of the main genres: narrative ballads, wedding songs, calendar cycle songs, and the “modern” (i.e., late 19th century on) repertoire of lyrical Dale Jarvis is a performer, researcher, writer and storyteller living and working in St. and topical songs. John’s. He holds a B.Sc. (Honours) in anthropology from Trent University and an MA in folklore from Memorial University. He currently works for the Heritage Foundation of Judith Cohen is Past President and Past Francophone Vice-President of CSTM. An Newfoundland and Labrador as the province’s Intangible Cultural Heritage Development ethnomusicologist and performer, she is currently the first Alan Lomax Fellow of the Kluge Officer. Center at the Library of Congress. Her research focuses on Sephardic music and music of the Portuguese Crypto-Jews. Judith did both her PhD and MA at the Université de Montréal, and teaches in York University’s Music Department. 38 WORKSHOPS WORKSHOPS 39

Fiddle and Identity II – Colin Quigley, Kelly Russell, Pierre Schryer Graham Wells is part of the new generation of dynamic, young Newfoundland accordion (MMAP Gallery) players. A former member of well known groups, A Crowd of Bold Sharemen and The Irish Descendants, Graham now focusses on his solo career. He is also a fine singer and The musical traditions of fiddling play an important role in the expression of cultural tin whistle player and is Artistic Director of Feile Seamus Creagh, a July folk festival that identity. The three facilitators for this session will demonstrate the multiple styles in celebrates Newfoundland and Irish traditional music. which they are so well-versed, including those of Newfoundland, Ireland, America, Transylvania, Scotland and Québec. Colin, Kelly and Pierre are not only wonderful performers with great skill and extensive repertoires; they are also extremely Percussive Dance – Kristin Harris Walsh, Normand Legault, Mats knowledgeable about the social context of fiddling in various cultures. Melin, Stan Pickett (MMAP Gallery)

Colin Quigley is Senior Lecturer in ethnomusicology at University of Limerick. He In this workshop the facilitators will demonstrate their respective styles to the lively researches European and European-American traditions of music and dance and the tunes of accordionist Stan Pickett. Afterwards, they will teach participants a step or inter-ethnicity of dance and dance music in Transylvania. He is General [founding] Editor two. Kristin will focus on Irish-Newfoundland and Irish step dance, Mats will explore of Ethnomusicology Ireland. A fiddler and banjo player, he offers masterclasses and the connection between Scottish and Cape Breton percussive step-dance steps and workshops in the fiddling and dancing of Newfoundland and the American South-East. Normand will demonstrate the Québec improvisational approach to percussive dance. A great way to get shake out the cobwebs and burn off your lunch! Kelly Russell has been a member of landmark Newfoundland groups like Figgy Duff and The Wonderful Grand Band. Working closely with legendary fiddlers Rufus Guinchard Kristin Harris Walsh is a dance scholar and dancer whose work has recently focused on and Emile Benoit, he has inherited status as one of Newfoundland’s leading traditional Irish and Newfoundland step dance. Kristin is currently President of DanceNL, the province’s performers, appearing on countless national and international stages. Kelly is the first ever sectoral dance organization. recipient of the provincial government’s Tradition Bearer Award. Normand Legault is one of the finest and most knowledgeable dancers of his generation. Pierre Schryer is part of the vibrant Franco-Ontarian culture of Canada. As a solo He is a dance caller and a master of the art of la gigue, a distinctively Québécois form performer he has received numerous titles and awards including Canadian Open Fiddle of solo step dancing. As former administrator of the folk art agency Arts & Patrimoine/ Champion, Canadian Grand Masters Fiddle Champion, Violoneux Championnat, and Québec, Normand has promoted and produced a variety of cultural events and as a North American Irish Fiddle Champion. Pierre tours internationally and has released six performer; he has traveled throughout Canada, the U.S. and Europe. recordings. Swedish born traditional dancer, choreographer and researcher Mats Melin is a Lecturer in Dance at the Irish World Academy of Music and Dance at the University of Limerick, 1:30 pm–3:00 pm Ireland. Mats co-founded the dynamic Scottish performance group Dannsa in 1999, and he is currently conducting PhD research on Cape Breton step dancing. From Montmagny to St. John’s: Accordion Music of Québec and Newfoundland – Raynald Ouellet, Graham Wells (Irwin’s Court) Stan Pickett started playing for square dances and step dances on Fair Island, Bonavista Bay at age twelve, and continued after resettling to Centreville. In the early 1990s, he This session features two of Canada’s resumed playing for dances with the St. John’s Folk Arts Council for callers such as Jim accordion masters. Come. Sit. Enjoy and be Payne and Ford Elms, and with Jane Rutherford in attempts to revive square dancing in St. amazed! This workshop is sponsored by John’s. He has played for Kristin Harris Walsh’s step dancing classes on many occasions. O’Brien’s Music Store, 278 Water St., St. John’s.

Raynald Ouellet has been one of the leading figures in Québec traditional music since his days with the seminal folk band Éritage. He lives in Montmagny where he builds accordions, is Artistic Director of the International Accordion Festival Carrefour Mondial de l’Accordéon, and curates the Montmagny Accordion Museum. FILMS 41 SOUNDshift Festival: Intersections Documentary Films of musical scholarship Wednesday, July 13, 5:45–7:00 pm

Stephen SHEARON (USA). “I’ll Keep On Singing”: The Southern Gospel Convention Tradition. 55 minutes.

The contemporary southern U.S. gospel convention tradition is a tradition of amateur Christian music-making that developed in rural America following the Civil War (i.e., after 1865). It continued and eventually displaced in popularity the shape- note sacred music tradition that flourished prior to the Civil War (known by many today as the Sacred Harp tradition). Gospel convention music is written in a later, more-popular musical style, employs seven-shape notation, and uses instrumental accompaniment — in particular stride piano. Professional southern gospel music developed from it during the 20th century while amateur activity declined. Southern gospel convention singers today live generally in an arc running from West Virginia south and west to Texas. The documentary includes sections on convention singing, use of this music in churches, and connections with professional southern gospel, singing schools, and other aspects.

Aaron CARTER-COHN (USA). At Home with Music: Burundian Refugees in America. 20 minutes.

In San Antonio, you will find world music in an unlikely place: a mid-sized Episcopal church that hosts an annual World Refugee Day event that routinely attracts over 1000 people. Out of this event emerged a Pentecostal congregation of Burundian refugees who fled their country during the civil war of 1992 and who needed facilities where they could make music. Burundi is known for Representing Canadian research to other Canadians drumming, but you will not find amashako, ibishikiso, or ikiranya drums here. Creating international awareness of Canadian scholarship Amongst the Burundian refugees in San Antonio, electric bass and guitar or MIDI disks are the choice accompaniments. The only remnants of tradition are the singing and dancing that is integral to music in Africa. Spanning a year, the film Canadian University Music Society highlights acquisitions of new instruments and equipment, hitherto unavailable, Société de musique des universités canadiennes demonstrating how new tools change music and dance practice. Interviews are www.cums-smuc.ca conducted in French; singing is in Kirundi, Swahili and other African languages; English subtitles are included. 10 Morrow Avenue, Suite 202, Toronto, Ontario M6R 2J1

June’11 Ad.indd 1 11-06-22 3:57 PM 42 FILMS FILMS 43 Friday, July 15, 5:45–7:00 pm Monday, July 18, 8:30–10:00 am

LIU Guiteng (China). The Drum Language: Ominan Ritual Music of Daur Ethnic Enrique CÁMARA DE LANDA (Spain). Non morirà mai: el tango italiano en cuatro Minority Shaman. 60 minutes. movimientos. 74 minutes .

Ominan is a ritual through which Daur shamans advance in their ranks. Shamans The history of the Italian tango is tackled in this video. The historical phases of this throughout the Hulunbuir Grassland (northeastern Inner Mongolia Autonomous musical and dance genre (reception, songs during the fascist, liscio, and postmodern Region of China) wear divine hats decorated with antlers, whose numbers represent periods) are narrated here in Spanish language, and many documents are shown to the rank of the shaman. The ritual is usually performed for three days during which a illustrate the information provided. (80 minutes) shaman proves his ability to communicate with the spiritual world. At the same time Ominan is also a divine banquet when clansmen gather together to sing, dance and offer sacrifices to thank their gods, therefore intensively reflecting Ominan Shaman Monday, July 18, 3:30–5:30 pm music’s functions of epic narrating and creating a ritual atmosphere. This movie is the first documentary ever to study Daur Shaman ritual music from an ethnomusicological Sandrine Loncke (France). Dance with the Wodaabes. 90 minutes. perspective. As an episode of the Chinese Shaman Ritual Music Study Series, this documentary was filmed during an actual Ominan ritual performed by Reverend In the heart of the Nigerien Sahel, far off the beaten “asphalt” track, thousands of Fulbe Esiqinga, the most famous shaman, including records of divine songs, musical Wodaabe nomads come together every year for a vast ceremonial gathering named instruments, as well as the ritual process. the geerewol. For seven full days and nights, following the solar cycle, two lineages are opposed in a genuine ritual war, with for only weapons song and dance.The stakes of war, the clear challenge: stealing women.The ultimate purpose: to break in peace Sunday, July 17, 10:30 am–12:00 noon after having mutually expressed recognition of cultural conformity. For the Wodaabes, this is a gathering where community links are woven. A result of ten years’ research Charlotte VIGNAU (Netherlands). The Alphorn. 52 minutes. and friendship, the film is based on an active dialogical relationship with the ritual’s protagonists who chose to disclose the deep meaning of this tradition to us, since the This video-film deals with issues of nationalism, migration and globalization, ecological crisis striking Sahel makes such gatherings less and less likely in the future. addressed through the phenomenon of the alphorn and its uses. The film first investigates “Swiss” aspects of alphorn-practice as well as distinctions within Switzerland between alphorn playing that is “official-Swiss,” “creative-Swiss,” “playing Monday, July 18, 5:45–7:00 pm like in the Alps” or in the cities, and creating a “Swiss sound.” The film then follows the migration of the alphorn phenomenon to the Netherlands, the Allgäu region Timothy RICE (USA). May It Fill Your Soul. 55 minutes. (Germany) and Japan (Honshu island, where Tokyo and Osaka are situated). In all three cases alphorn-practice started to incorporate specific local as well as Swiss aspects. This documentary film concerns two outstanding Bulgarian traditional musicians who immigrated to the United States in 2001: Ivan Varimezov, a player of the bagpipe (gaida), and his wife Tzvetanka, a singer, player of the plucked lute (tambura), and NGUYEN Thuy Tien (Vietnam). Vietnamese Hiphop in a Dialogue With the Past. 20 director of women’s choirs. The film documents their trajectory of success and minutes. struggle, joy and pain, nostalgia and hope. From a European point of view the main theme of this film is emigration. Since Bulgaria emerged from a 45-year period (1944- In Vietnam, hiphop was imported during the 1990s and quickly attracted a massive 1989) of Communist-Party rule, it has experienced a huge brain drain as its best and student community, despite the indifference of state institutions and attempts at brightest, including outstanding musicians such as the Varimezovs, have sought their suppression by the parents. At the beginning, hiphop was completely imitative of fortunes abroad. Those who remain are variously curious, envious, jealous, proud, and other models but by 2000, with an experiment based on xẩm background music, the scornful of those who have left. Since the Varimezovs are bearers of a musical tradition hiphop youth began returning to their roots. The hiphop community and musical with strong bonds to their national identity, their leaving is particularly problematic for researchers started a dialogue about traditional music as it bridges generations. The the nation. From an American point of view, the main theme of this film is immigration. project is primarily based on three genres representing three regions of Vietnam: Ca It suggests a set of universal questions with particular answers. Why do people leave trù of the North, Central Highlands’ gong and Southern Tài tử music. their home country? How do they adapt to their new one? Is there an emotional 44 FILMS FILMS 45

tension or conflict between love of home and hearth and the people they leave between 2008 and 2010. While discussing the two ceremonies, it details cosmology, behind, on one hand, and the desire or necessity to make a new life in a new country, functions of music and dance, musically-generated dance, season-specific music, and on the other? How is this tension, which seems inevitable, dealt with practically? Can gender relations. it ever be resolved or does it even need to be? Can the tension be productive? What is the role of music in mediating these tensions? Patrick ALCEDO (Canada). Panaad: A Promise to the Santo Niño. 18 minutes

Tuesday, July 19, 8:30–10:00 am In the Aklanon language of the Philippines, panaad means a religious promise that has to be fulfilled as long as humanly possible. Through annual participation in the Ryan Koons (USA). People of One Fire Continuing a Centuries-Old Tradition: Winter. Ati-atihan festival of Kalibo, Aklan, teacher Augusto Diangson, balikbayan (Filipino 40 minutes. returnee) Cecile Motus, and businessman Henry Villanueva dance in the streets in order to stay true to the vow they made many years ago to the Santo Niño, the Holy This film examines two ceremonial gatherings celebrated by Pine Arbor Tribal Town. Child Jesus. By transforming themselves into extraordinary beings and willing their Located in northern Florida, this Muskogee-Creek Native American community performances as acts of prayer, they believe the Santo Niño will continue to descend traces an unbroken line of precolonial traditions that include two formerly little- into their lives not only to reward them with blessings but also to imbue them with a known winter gatherings: the Harvest Busk and the Soup Dance. Scholars such as sense of His presence on the ground. The film traces the festival in the lives of these William Bartram and John Swanton have studied the Creek Green Corn Busk, but three participants to reveal how they show thanks to and hold steady their belief in the never these two winter celebrations. This documentary is therefore an introduction, Santo Niño, symbol of the foreign faith they have localized and then choreographed both to a private Native American community with a rich heritage, and to two of its into modernity. previously unstudied ceremonies and the accompanying music and dance. Created in conjunction with Pine Arbor, this documentary is based on field research conducted Aaron CARTER-COHN (USA). Texas Celebrates the 50th Anniversary of Nigerian Independence. 20 minutes.

On October 1st, 1960, Nigeria claimed its independence from England. This was more than a declaration of self-government; it was a reclamation of indigenous culture and a statement of cultural freedom. Today, Houston is home to what is widely cited as the largest concentration of Nigerians living in the United States. Various expatriate organizations celebrate Nigerian Independence Day with parties, parades and picnics. 2010 marked the 50th Anniversary for many African nations including Nigeria. This documentary focuses on music and dance in this diasporic and immigrant culture. 46 47 Thank You In addition to our sponsors, there are many organizations and individuals who have assisted and encouraged us. In particular, we would like to offer special thanks to:

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