magazine of the philadelphia folklore project Volume 21:1-2 summer/fall 2008 ISSN 1075-0029 G LaVaughn Robinson / in memoriam G Jewish klezmer / Elaine Watts G Philadelphia klezmer / interview excerpts G Felix Pupi Legarreta: Charanguero Mayor G Lois Fernandez: changing that white man’s law G Bootstraps: Suzanne Povse e d i s Works in progress is the magazine of the Philadelphia Folklore Project, a 21-year-old public interest folklife n agency. We work with people and communities in the Philadelphia area to build critical folk cultural knowledge, i sustain the complex folk and traditional arts of our region, and challenge practices that diminish these local grassroots arts and humanities. To learn more, please visit us: www.folkloreproject.org or call 215.726.1106. From the editor philadelphia folklore 3 project staff 4 In memory of LaVaughn Robinson Editor/PFP Director: Debora Kodish Associate Director: Germaine Ingram 6 Elaine Hoffman Watts: “From then on, Program Manager: Dana Dorman I never dropped the sticks” Program Assistant: Thomas Owens Designer: IFE designs + Associates Klezmer interviews: “50 years ago, Printing: Garrison Printers 10 I played the same” [Printed on recycled paper] philadelphia folklore project board Linda Goss Ife Nii-Owoo Mawusi Simmons Yvette Smalls Ellen Somekawa Dorothy Wilkie we gratefully acknowledge support from: G The National Endowment for the Arts, which believes that a great nation deserves great arts G Pennsylvania Council on the Arts G Pennsylvania Historical and Museum Commission G The Pennsylvania Humanities Council and the National Endowment for the Humanities 'We the People’ initiative on American history Felix “Pupi” Legarreta: Charanguero Mayor G The Pennsylvania Department of Community and 12 Economic Development G The Philadelphia Cultural Fund 14 Lois Fernandez: “You think you’re gonna G The William Penn Foundation change that white man’s law?” G Dance Advance, an artistic initiative of the Philadelphia Center for Arts and Heritage Suzanne Povse: Bootstraps funded by The Pew Charitable Trusts and 16 administered by The University of the Arts Afterword G Philadelphia Music Project, a grant program 18 funded by The Pew Charitable Trusts and administered by the University of the Arts G The Pew Charitable Trusts G The Malka and Jacob Goldfarb Foundation G The Samuel Fels Fund G The Philadelphia Foundation G The Douty Foundation G The Hilles Foundation G The Henrietta Tower Wurts Foundation G Stockton Rush Bartol Foundation G and wonderful individual Philadelphia Front cover: Folklore Project members Elaine Hoffman G We invite your support: performing at the Curtis thank you to all Institute Christmas Party, 1951. Photo courtesy Elaine Hoffman Watts from the editor Strength of character, nerve, small but penetrating ties is understood and nur - sheer persistence, creativity, glimpses of inspiring neigh - tured, and where talent and real mother wit: a catalog of bors—people who sustain accomplishment are recog - sterling virtues fills these some of our city’s greatest nized in a multitude of pages of stories about local artistic traditions or who diverse forms and faces. people. A community activist have been part of grassroots and single mother forced the efforts for equity and justice. We tell these stories to honor state to change policy on From our perspective, the inspiring individuals, but birth certificates for children: practice of significant cultural also to remind ourselves and this is the proudest achieve - expression and grassroots our readers that paying atten - ment of Lois Fernandez, social activism are similar in tion to the cultural treasures better known as founder of their positive effect on the among us is something we the long-lived ODUNDE social fabric of our city and each can do—individually festival. The first woman per - its neighborhoods. The paral - and together, in large and cussionist to graduate from lels and similarities are small ways—to build a sense Curtis Institute and a work - reflected in the stories con - of shared promise and an ing mom long before it was tained in this volume. Each avenue for collective invest - common, Elaine Watts kept story is about an "everyday" ment in social progress in our playing her family’s klezmer Philadelphian—someone city and region. The work of tunes, even when no Jewish who could be our next-door building never stops. Rarely bands would hire her. One neighbor—whose passion does a week pass without a of the first women to work and vision led each to defy headline announcing an locally as a transmission the conventions of the day. incident of disregard, neglect mechanic, Suzanne Povse fig - For Fernandez, it was a pas - or abuse of this city's chil - ured out how to advance in sion for the worth and dren. The fact that a man of her trade, one hard-won step blessedness of each child, color, born of an African after another. Playing Cuban regardless of the marital sta - national and raised in charanga music for more tus of his or her parents. Indonesia could become our than sixty years and well- Povse was motivated by a country's next president known as one of the Fania vision of respect and fairness should not obscure the con - All-Stars, Pupi Legarreta in the workplace, regardless tinued existence of unfair became an electrician when of gender or race. Watts barriers to opportunity based music wouldn’t pay the bills. rejected limiting assumptions on gender, disability, religion, And in these pages, the late about the value and place of language, race, great Philadelphia hoofer women musicians and ethnic sexual orientation and other LaVaughn Robinson keeps music. Robinson and invidious distinctions. dancing, his sound and Legarreta proved that excel - Commercialization and Philly-bred style remembered lence and artistry can be homogenization of culture by his protégé and dance achieved in cultural expres - threatens our ability to know partner, Germaine Ingram. sions that were disregarded, who we are and teach our Each of the remarkable peo - devalued, or even denigrat - children who they are. Telling ple in these pages broke new ed. These people have fed these stories is our modest ground. None had an easy sustenance to a vision of our contribution to showing and road. All of them persisted city as a place where each building a way forward. We and endured—and we are so person receives equal respect invite you to read on. grateful! for his or her humanity and potential, where the power of — Debora Kodish and For 21 years, we have been significant cultural practice to Germaine Ingram using this magazine to offer build and sustain communi - 2008 Summer /Fall WIP 3 I N MEMORY OF LAVAUGHN ROBINSON February 9, 1927 - January 22, 2008 With sorrow, we announce the passing of the great Philadelphia tap dancer LaVaughn Robinson this past January. In many ways, this feels like the end of a defining era of remarkable tap veterans and entertainers. Join the Folklore Project in the coming year for programs recalling the contributions of LaVaughn and others, all now passed, who were part of our Plenty of Good Women Dancers and Philadelphia Tap Initiative projects dating to the 1990s: Hortense Allen Jordan, Libby Spencer, Edith “Baby Edwards” Hunt, Henry Meadows, Delores and Dave McHarris, Isabelle Fambro, Michelle Webster Roberts, Patricia Perkins. We are privileged by their presence. Above: LaVaughn Robinson Photo courtesy of the artist Right: Master tap dancers and elders Henry Meadows, Edith “Baby Edwards” Hunt and LaVaughn Robinson, with their students and dancer partners Pete Briglia and Germaine Ingram. Photo: Jane Levine LaVaughn Robinson and Henry Meadow at a PFP “Stepping in Time “ rehearsal. Photo: Thomas B. Morton, 1994 4 WIP 2008 Summer /Fall For LaVaughn Philly street dancer romancing the floorboards like Cyrano diggin’ Roxanne; Tapping beguines that breathe the urgent purr of felines drunk on catnip. Swingin’ like a Hampton jump—like Lunceford layin’ down “For Dancers Only”— like Frankie Manning stompin’ at the Savoy… like Ella chasin’ her yellow basket… Skippy ain’t seen no smooth like his soft shoe, and the moon ain’t been so high as me, watching from the wings, him putting an exclamation point on “Artistry.” Fernando jumped out the Hideaway just long enough for him to run an armada’s worth of paddles; And “Lover” drew near to hear the rapture of staccato heels tradin’ with stop-time tune. Papa Smurf catchin’ his wind while tellin’ jokes older than New Years Day. “Sound tap dancing,” that’s what he’d say, ‘fore pouring fire on the stage. “Peace be still” you say? Death can’t hush his satin roar. Sod and stone can’t quell his story. Sunset can’t out his flame. I stood on the banks of Jordan to see his ship go by… While his song lingers, lingers, lingers, in the air. Germaine Ingram, January 27, 2008 2008 Summer /Fall WIP 5 < e l i f o r p * t s i t r a > Susan Watts and Elaine Hoffman Watts. Photo: Julie Brown, 2005 In May 2008, PFP presented a major concert with Elaine and Susan Watts and a band of klezmer greats, premiering new arrangements of the music that these exceptional women have learned from two older generations of musicians in their family. The following conversation was recorded on March 4, 2008, at the Havertown home of Elaine Hoffman Watts by PFP staffer Elizabeth Sayre. Three other women were present, representing two generations of the Hoffman family: Elaine’s sister, Leanore Nathans, and two of Elaine’s daughters, trumpeter Susan Watts and Lorrie Keammerer. 6 WIP 2008 Summer /Fall elaine hoffman watts interview by Elizabeth Sayre from then on , i“ never dropped the sticks ” Elizabeth: Tell me about the musical Elaine: Mixed.