Making Math Relevant, Maritime-Style

October 17th, 2016


The other day, we stopped by Lowell’s Boat Shop which is situated along the banks of the Merrimack River in Amesbury, Massachusetts. The establishment dates back to 1793 and is credited with being the birthplace of the seaworthy fishing dory, once the mainstay of the fishing industry in New England.


The first floor of the rambling clapboard building houses exhibits on the shop’s storied history and the vital role that dories and skiffs have played throughout time. Sawdust still clouds the air on the second floor where skilled craftspeople build and restore dories and skiffs.

Staff and dedicated volunteers pass their maritime skills onto the next generation. Graham McKay, master boat builder and executive director, gave us a brief tour of the buildings and docks.

On our way through the shop we observed an older volunteer (retired electrician) working with small group of young people with developmental disabilities – one was carrying a toolbox he had just completed. In addition to simple wood working projects, they do general shop chores.


LBS does a good deal in educational programming for grades K-12 including boatbuilding apprenticeships and internships. A group from the local high school had already been by at 8:30 that morning. As we finished up talking about MCC grants available to cultural organizations, a big yellow school bus pulled up and dropped off 12 Amesbury high school students.


We were invited to shadow them as they learned to use navigational sextants (modern plastic ones) to measure the distance between any two visible objects, for example, a dock and a flagpole further down the shore. The students each had their own sextant, took sightings, and then wrote down figures in their composition notebooks.

This is the way Lowell’s Boat Shop describes their “Math on the River” activity: In response to the age-old question ‘When will we ever use this?,’ LBS formed a partnership with Amesbury High School to develop and implement the Math on the River Program. In this innovative high school math program, students experience practical, hands-on applications of math beyond the classroom. Students first learn to row as a team and to use sextants and other navigational tools; they then apply their knowledge of algebra, geometry, and trigonometry to determine the Merrimack River’s velocity, depth, distances, or tidal variations. In doing so, these hands-on, place-based activities further develop skills such as data gathering, variability analysis, and teamwork.”




Then it was time to get into the water. While the students, four to a dory, rowed across the Merrimack River to the opposite shore, we joined Graham in the motorized dory/skiff.


Once “docked” in the reeds, the students were instructed to do another exercise with the sextants. Then they rowed back to the shop’s dock, some miscalculating the strength of the current. Not a bad way to spend a few hours outside of school learning about the practical side of geometry and calculus!









A new round of Apprenticeships are awarded!

August 31st, 2016

We  are delighted to announce the next round of Traditional Arts Apprenticeships funded by the Massachusetts Cultural Council. Master artists will work one-on-one with apprentices in the following traditional art forms: wooden boatbuilding and restoration, the design and making of wooden steering wheels, Cambodian traditional ornamentation, West African dance and drumming, Cape Breton and Scottish fiddle, Cape Breton step dance, and North Indian Mithila art. Apprenticeships last for ten month and culminate in some sort of a public event.

Wooden boatbuilding and restoration:  Harold A. Burnham, master artist and Alden Burnham, apprentice.


Wooden ship steering wheels: Bob Fuller, master artist and John O’Rourke, apprentice


Cambodian traditional ornamentation: Yary Livan, master artist and Panit Mai, apprentice


West African dance and drumming: Sidi “Joh” Camara, master artist and Tiemoko Camara, apprentice


North Indian Mithila art: Sunanda Sahay, master artist and Anindita Lal, apprentice


Cape Breton and Scottish fiddle: Emerald Rae Forman, master artist and Elizabeth Kozachek, apprentice


Cape Breton step dance: Mary C. MacGillivray, master artist and Jennifer Schoonover, apprentice

   Mary MacGillivray    Jen Schoonover dancingd

Traditional Arts Apprenticeships are awarded every other year. If you are interested in applying, the next deadline won’t be until April of 2018.

Snapshots from a Festival: Folk Craft & Foodways Celebrate 30 Years

August 5th, 2016

Watermelon carving of festival logo by Ruben Arroco

It’s not every year that you see a festival’s logo carved into a watermelon. Indeed, this was a very special year for the Lowell Folk Festival. We celebrated 30 years of presenting the best in traditional music, craft, and foodways. Here are some images from the Folk Craft & Foodways area which featured a sampler of traditions.

Signage for folk craft area

Fruit carver Ruben Arroco of Lowell, was a generous presence, creating stunning carvings in melons and continuously handing out refreshing watermelon slices to parched festival goers.

Carving of John Lennon's portrait by Ruben ArrocoRuben Arroco carving watermelon

The craft area featured a few other ephemeral arts, including the daily ritual of kolam that adorns the thresholds of homes, temples, and streets throughout India. The practice is carried on here in New England by members of Tamil Makkal Mandram, Inc.

Display of kolam by Tamil Makkal Mandram, Inc.

Sridevi Karthikeyan and Karthigai Priya Govindarayan doing kolam

In addition to demonstrating kolam using colored stone dust, the artists provided an opportunity for visitors to try their hands at it.

Festival goers trying their hand at making kolam

Traditions of folk beauty from around the globe were on display. Festival goers could get their hair braided in cornrows or have their skin temporarily tattooed with henna. Sellou Coly, a native of Senegal, and her niece Aissatou-Ba Dieme, and Margy Green, and her niece KK braided hair. Lujuana Hood of the Pan African Historical Museum in Springfield, shared her wisdom about hair culture from Africa to America.

Sellou Coly braiding a young worman's hair

Sellou Coly and Inuit throat singer Samantha Peoyuq Kigutaq

Late morning on Sunday, two young Inuit girls from Ottawa sat down to have their hair braided. They were due to perform Inuit throat singing at St. Anne’s stage at noon. Their aunt explained traditions of Inuit hair braiding, while Lujuana regaled us with stories and folklore about African American hair culture dating back to the time of slavery in this country. As a way of thanks, the girls gave a private performance of throat singing for the hair braiders and then they all posed together for a picture.

Hair braiders and Inuit singers

Noureen Sultana and her 13-year old son Danish Khan shared their skills in applying mehndi, also known as henna. This ephemeral art form is customary for brides in India, Pakistan, and parts of the Arab world. When applied, the henna is 3-dimensional. After a few hours, it flecks off, leaving a rust colored stain which lasts for up to two weeks. Danish’s younger brother also pitched in. The line of people waiting to be adorned never let up. In fact, late on Sunday, when Noureen and her family was packing up, a father came by with his four-year son in his arms. The boy’s mother and sister had gotten henna tattoos earlier in the day. It was well after 5:00 p.m. Noureen and her sons, who must have created over 200 henna designs, had pretty much packed up their tools and supplies. The father told his son it was too late to get henna and he broke into tears. Noureen, a mother and dedicated artist, kindly made an exception, giving the boy a floral henna design on his tiny hand.

Noureen Sultana and Danish Khan applying henna

Noureen Sultana applying henna to child

In the realm of more permanent art forms, stone carver and letterpress printer Jesse Marsolais demonstrated the age-old craft of carving letterforms in stone.

LFF2016_Jesse carving Jesse Marsolais_banner

Stephen Earp, a redware potter from Shelburne Falls, demonstrated turning plates, vases, and bowls on his hand built treadle wheel. In addition to working at the wheel, he shared his vast knowledge of the history of pottery production in New England.

  Stephen_Earp_support2  LFF2016_Steve Earp

The musical instrument maker’s tent featured the work of luthiers William Cumpiano and Chris Pantazelos. They displayed cuatros, guitars, requintos, ouds, and bouzuokis in the making, as well as finished instruments.  An added treat was having musicians Kacho Montaluo, Brian Ausbigian, and Kinan Adnawi playing music in the back of the tent.  Throughout the weekend, a few musicians from the audience joined in the informal jam session.

LFF2016_Musical instruments tent

LFF2016_Kacho Moutaluo  LFF2016_Kinan and Kacho

With any luck, the next generation will be inspired to play.

LFF2016_Cumpiano instrument with little girl

With exception of redware vase, all photos by Maggie Holtzberg, 2016

The Irish Music World has Lost a Local Legend

July 25th, 2016

Joe Derrane outside his home, 2006. Photo: Tom Pich

We were deeply saddened to learn of Joe Derrane‘s death this past weekend. A brilliant musician who was highly regarded in the world of traditional Irish music, Joe Derrane had a heart of gold.

In 2003, I had the good fortune to sit down at Joe’s kitchen table in Randolph, MA to interview him for our archive. The interview became source material for a radio feature that aired on WUMB in 2003. For those who knew Joe, it may bring some small comfort to hear his voice. For those who never met him or heard him play, you missed a gem.


Joe Derrane's button box. Photo: Jason Dowdle

Celebrating 30 Years of Presenting Folk Craft Artists at Work

June 16th, 2016

Folk craft banner

Now that the weather is finally warming up, it’s time think about festivals. This year, the Lowell Folk Festival will celebrate 30 years of presenting craft artists at work. Their work is inspired by the human urge to make music, to celebrate, to commemorate, to worship, to adorn, or to delight the senses. Like the music heard on festival stages, these craft traditions have been handed down within families, ethnicities, occupations, or apprenticeships. Visitors may see some familiar faces as we feature some of the most skilled and engaging individuals who have demonstrated over the years and welcome new ones to the festival.

To read about who will be demonstrating in the Folk Craft area at the Lowell Folk Festival this July, click here!



Kolam Art: An Afternoon with Tamil Makkal Mandram

May 19th, 2016

Nora interviewing Priya about kolam

As promised, here is a guest blog from MCC intern Nora Martinez-Proctor.

In early April, I set out to learn about the art of kolam and to find an artist or group who could show me what goes into creating these fabulous pieces. Kolam are designs made by dropping lines of colored rice flour on the ground at the thresholds of homes and temples throughout India.  In the north, they are called rangoli and they have other names in other regions. They can be geometric and pattern-based or freehand, incorporating various types of iconography. The daily practice of creating kolam is a tradition that has reached across India for hundreds of years with mentions dating back to the Ramayana.

After several unsuccessful leads, I found my way to Tamil Makkal Mandram, Inc. TMM is a social and cultural group dedicated to preserving the arts and traditions of Tamil culture.  The president of TMM, Karthekian Ramu, quickly set me up with several members of the group who were able to answer my questions and we had a wonderful afternoon with them in late April, observing their work and talking with them about their designs.

Priya, Nora, and Sridevia

We met at the home of Maggie Holtzberg in Newton on a windy day (although, thank goodness, it didn’t rain!) Maggie and I weren’t sure what to expect, but as soon as Priya, Geetha, Sathya and Sridevi arrived dressed in beautiful, sparkling sari with everything they needed to create their kolam, we knew we were in for a fantastic afternoon! The artists immediately set to work figuring out the best spaces for their designs. Wanting to show us a range of kolam styles, they each planned to each complete one so that we could see examples from the most traditional to the most secular and celebratory. We talked with them as they worked and it was a pleasure to see the way these ephemeral pieces were created at close range.

Close-up of Sridevi making kolam

As a violinist (my other day job), I particularly noticed the loose and yet efficient sweep of the women’s arms as they created the long, curved lines of the kolam. The amount of flexibility, relaxation and control needed is similar to what string players look for in their own arms, something that became especially interesting when I found out about the connection between kolam and cymatics. Cymatics is a visual-vibrational phenomenon where geometric patterns are derived from rhythmic motion (think about putting sand on a plate and then tapping the bottom of it and seeing waves appear). Geometric kolam designs are closely linked to cymatics in the idea that their patterns are similar to naturally occurring cymatic patterns, and that these “visual vibrations” are calming to the mind and encourage meditation.

One of the kolam with deep meaning was Geetha’s “Sikku” kolam. Sikku, meaning “knotted” is a traditional “everyday” kolam done without any color and made of a pattern of white lines curling around each other.

Geetha finishing up Sikku kolam

One of the most interesting things to learn here was that although the organized designs look impossibly complicated to create freehand, they are actually laid on a grid of rice flour dots which are then disguised or incorporated into the design as the artist follows the dots like a map. In India, Geetha explained to me, mothers teach the technique to their daughters starting with these counted dot patterns, which easily can reach over fifty dots per line and can then involve adding and subtracting from other lines to create the shape of the grid. I realized that all over South Asia, mothers are teaching their daughters math at a very young age through this technique. Pretty fantastic!

Geetha doing Sikku kolam Watching Priya make kolam

The interaction between mothers and daughters, and between all the women of the family, was something that all four women stressed as an extremely important part of creating kolam. I learned about this while watching Sridevi create a wildly colorful freehand design of peacocks and flowers that would not adorn a temple, but would be done in the streets.

Sridevii working on peacock kolam

During December and January, the gala season of Marghazi Maadham celebrates the art of kolam. For an entire month, the women of each household arise in darkness together and bring lanterns out into the chilly street, where they lay out their kolam and work to complete them by dawn. This is seen as a treasured time for the women to bond as they work. Mothers, grandmothers, daughters, sisters, and aunts all create the kolam and at dawn, Sridevi told me, they finish and go bathe before attending temple. Before temple, however, the street becomes an informal competition to see whose kolam is the biggest, the most colorful, and who was finished first.  Sridevi added that the dawn bathing ritual is considered very healthy, and repeating it for a month is thought of as a cleansing and purifying ritual that is beneficial for women’s health in many ways. The designs during Marghazi are unique and creative and might appear in front of houses or even, as Sathya told me, in the road as a way to say “Happy Holidays,” to everyone!

In contrast, Priya created a holy design that is traditionally used at the threshold of temples or in front of deities.  The design was done only in white and red, because these are the colors most closely associated with the colors of the temple. The central part, she explained, is the most important and the borders can be embellished or left simple, depending on the wishes of the artist and how much time they have to create.

Priya working on kolam

Kolam vary widely and are often modified depending on the day, because they are a part of daily life and therefore designed to fit in with the other demands of the day.  A busy day still requires a kolam, but it might be a small and simple design that takes a few minutes, whereas a holiday or other celebration would include more time set aside for a bigger and more complicated work.

The last design was splendid! Blending the aesthetic styles of several of the kolam, it was large in size, geometric and full of color.  Sathya laid out a huge grid of dots to begin the design and then connected them into a pattern of flowers and butterflies.

Sathya layinhg grid

As she worked, Sathya talked with me about what creating kolam means to her. Whenever she travels home to India, she told me, she tries to go during Marghazi so that she can have the pleasure of participating in creating kolam every morning with her family.  She remarked that in New England, it is particularly difficult to practice this art because kolam are normally created outside – a tricky thing to do during a Massachusetts winter! In addition, the pace of American life is different from life in India, and does not lend itself as easily to a daily meditative art.

All four artists from the TMM expressed how pleased they were to set aside time on the day they met with us, not just in order to show us the kolam, but in order to enjoy creating the kolam themselves, something they rarely get to do in their American lives.  Although a few solid days of rain soon washed away their fabulous work, Priya, Geetha, Sathya, and Sridevi were able to teach us that the joy of kolam is not only in its visual beauty but in the connections it keeps for them – connections of country and of family, of spirituality and all the meanings of home. As Sathya perfectly articulated gazing at her finished kolam, “I’m very happy today. My heart felt very happy today.”

Photos: Maggie Holtzberg

Kolam Art: A Preview of What to Expect at the 2016 Lowell Folk Festival

May 3rd, 2016
Kolam by Priya

Members of Tamil Makkal Mandram, Inc. seated below a kolam drawn by KarthigaiPriya Govindarajan, (far left).

The women and young girl pictured above gathered in Newton Corner last Friday to share their expertise and pure delight in making kolam. This  ritual form of drawing with rice flour or stone dust is customary throughout India. For these women, learning to draw kolam was part of growing up in Tamil Nadu. Having relocated to New England, they are members of Tamil Makkal Mandram, Inc., a community organization that fosters the ongoing practice of Tamil expressive traditions. We are thrilled that they will be joining us in the Folk Craft area of the Lowell Folk Festival this July to demonstrate kolam art. A proper blog post will be coming from MCC intern, Nora Martinez-Proctor, who spearheaded the effort to find these talented artisans. But for now, we thought we’d share a few images and video from last Friday’s demonstration.

Having first laid a grid of dots using white stone dust, Sathya Ramesh begins outlining a pattern of butterflies.

kolam_Satya laying grid

Geetha Raju helps by filling in with yellow.

Sathya and Geetha


Geetha Raju puts the finishing touches on her kolam. She then shares with us her composition book in which she draws  geometric patterns. Symmetry plays a strong role in kolam designs.

Geetha Anand with her kolam

kolam_Geetha holding pattern

Some kolam designs break free from symmetry, as in this drawing depicting a male and female peacock by Sridevi Karthikeyan.

kolam_Sri detail

YouTube Preview Image

Srivdevi Karthikeyan posing with her finished kolam featuring two peacocks.

Sridevi Karthikeyan posing with her finished kolam featuring two peacocks.

Rain has since washed away all traces of kolam. Stay tuned for more about the daily and ephemeral ritual of kolam artistry and whence it came.

Photos & video by Maggie Holtzberg.

All in a Folklorist’s Day

April 1st, 2016

Noureen Sultana Indo American weddings

On occasion, I get out of the office to visit with, observe, and interview people carrying on traditional arts practices around the state. This time of year, it’s often to meet with craftspeople who will be demonstrating in the folk craft area of the Lowell Folk Festival. This was the case several weeks ago when my intern, Nora Martinez-Proctor, and I met with mehndi artist Noureen Sultana and her husband Waheed Khan. The couple, originally from Hyderabad, India, settled in the Metro Boston area in 2002. Noureen has built up a thriving henna business, providing beautification to approximately 85 brides per year.

At the end of our interview, Noureen kindly offered to apply a unique henna design to each of us.

  Noureen Sultana and Nora Martinez-Proctor Noureen Sultana painting henna

A few weeks later, I headed to Lowell, Massachusetts, with several stops on the agenda. The first was to interview luthier Chris Pantazelos at his shop, Spartan Instruments. Adam Schutzman, who had asked if he could shadow me doing some fieldwork, met me there. A musician with many years of experience working with audio-visual archives and folkloric materials, Adam was right at home as we walked into Chris’ shop. So I put him to work.

Adam Schutman recording ChrisPantazelos being interviewed

Chris opened Spartan Strings last year, after having spent 30 years working with National Heritage Fellow Peter Kyvelos at Unique Strings in Belmont. Chris currently has several building projects underway. He recently finished this highly ornamented jazz guitar.

Pantazelos holding jazz guitar  detail of Pantazelos inlay

In addition to interviewing Chris about his work in building and repairing stringed instruments, we talked about ideas for demonstrating at this summer’s Lowell Folk Festival craft area. Wouldn’t it be great to have a musician there to demonstrate the sound of various guitars, bouzoukis, and ouds?

It was around noon when we left Spartan Instruments. I invited Adam to join me for a stopover at Ruben Arroco’s home. Ruben will also be demonstrating fruit carving in the folk craft area this summer. Back in 2013, Phil Lupsiewicz and I had interviewed Ruben in his kitchen, while he demonstrated his expert skills in carving fruit and vegetables. (Phil edited a short video, which you can find here.) Ever since, Ruben gave us a standing offer to come back for coffee and dessert. A treat that was hard to resist . . .

Ruben Arroco serving guests

We arrived at Ruben’s home around 12:14 p.m.. He welcomed us in and we made our way into the dining area. Ever the consummate host, Ruben brought out fresh brewed coffee and two plated desserts for us. The decadent mousse and cream  cake was topped with fresh mint and surrounded by colorful cut fruit, including dragon fruit looking like wee dice. We talked about the growth of Ruben’s business, Culinary Arts, Inc, including his recent work in servicing local Cambodian weddings. We also learned that Ruben plays electric guitar and is a big Pink Floyd fan.

The last stop of the day was serendipitous. I had read that Yary Livan was going to be opening the wood fire kiln, which he and his students had fired a few days before. It takes a good 30 hours for the ware inside to cool down. When I arrived around 1:30 p.m., Yary was operating the wood splitter. (OMG, be careful with those hands . . . ) Several students and fellow ceramicists were helping out carrying and stacking wood.

Yary at splitter

By 1:45 p.m., it was time to open the kiln. Diane peeled away the plastered paper and others took turns pulling out the bricks on the face of the kiln opening.

Diane unpapering kiln Removing bricks

Kneeling beside the kiln, Yary carefully examined a teapot, and the glaze on a vase and a teapot.

  Yary holding teapotYary holding vase
But the prize piece of the day was Yary’s naga, which he cradled in his arms.

Yary holding naga

Not bad for a day in the life of a public folklorist.

Yary and Maggie


Archiving Folklore Collections: Who’s in Charge?

March 1st, 2016

It’s been a long time in the works, but last week, the archival collection of the Massachusetts Cultural Council’s Folk Arts & Heritage Program was transferred to the Massachusetts State Archives. A little back story is in order.

For many folklorists employed at state arts agencies, humanities councils, museums, and non-profit organizations, fieldwork is an ongoing part of our work. Recording in sound, image, and writing, we document vernacular music, dance, crafts, material culture, and traditional arts associated with annual celebrations and religious belief. Fieldwork is essential to curating exhibitions and producing festivals, publications, and digital media — all ways of sharing our work with the public. Field research helps us recruit grant applicants and evaluate the impact of our grant giving.

The primary sources generated by fieldwork provide a unique and important record of expressive folk culture. But what happens to all these interviews, recordings, and images? My guess is that these materials are handled in a myriad of ways, many of which are not up to the standards of archival best practice.


Although I’ve employed archival preservation methods, including the use of chemically inert plastic sleeves for slides and negatives and acid-free, archival grade folders for print materials, evolving technology has changed the way we collect. Caring responsibly for digitally born materials, which we began collecting in 2008, is more of a challenge. We lack trained staff dedicated to audio preservation, quality analog playback and digital conversion equipment, and large-scale information technology support. We store field-generated audio and images on writable Compact Discs and external hard drives, rather than on redundant file storage devices.

Something needed to be done to safeguard our archival holdings. So a year ago, I reached out to colleagues and archivists around the country with similar collections who specialize in managing folk cultural archival collections. Folklorist/archivists Steve Green and Andy Kolovos were incredibly helpful. With their input, I sought out a mutually beneficial partnership with a repository that has both trained staff and a stated mission supporting preservation and access.

Along the way, I was inspired by news of state arts agencies in Alabama, Maryland, Georgia, and Pennsylvania who were successful in brokering partnerships to guarantee preservation of their folk archival collections.

By the end of the year, two repositories had come forward: The Massachusetts State Archives and the Special Collections and University Archives (SCUA) at the University of Massachusetts, Amherst. After many emails, phone conversations, and meetings, we are on our way. The two institutions will partner in digitizing, preparing metadata, and producing a multi-media finding aid for the web. I’m pleased to be working with Veronica Martzhal, Digital Archivist at the State Archives and Rob Cox, Head Archivist at U Mass’s Special Collections and University Archives.

Archives_Maggie loading cassettes

In February, I spent a few days boxing up analog and digital audio recordings, color slides, black & white negatives, digital images, and manuscript materials (field notes, transcriptions, release forms, and ephemera). Twenty boxes in all. This hybrid collection dates back to 1999, when the archive was established. The physical transfer is the first tangible step in the process of ensuring that this unique collection of primary source materials will be professionally preserved, digitized, and eventually made accessible via a digital library.

On the day of the transfer, it was Mike Farley who did most of the heavy lifting. Acquisitions Archivist Wallace Dailey oversaw the move.

Archives_Mike Farley loading dolly

Archives_Mike loading truck

Archives_driving away

Next steps will be for State Archive staff to begin the process of digitizing the collection. The priority will be to address deterioration and format obsolescence. I plan on working with archive staff to prepare metadata for the collection in order to create an online catalog. To be continued . . .







Joe Cormier (1927-2016)

February 25th, 2016

Joe Cormier at home

This memorial honoring Cape Breton fiddler Joe Cormier was written by friend and fellow musician John Mark Garrison.

Joe Cormier, one of the greatest of the Cape Breton fiddlers, passed away Sunday, January 31st at the age of 88. Born March 19, 1927 in Cheticamp, Nova Scotia, Joe took to the fiddle at an early age. Cheticamp at that time was a small fishing village in the French-speaking area of Cape Breton which had originally been settled by French Acadians in the 18th century. The nearest railroad was in Inverness, 45 miles away. (Joe said he remembered when flour got scarce in winter it would be brought in from Inverness by horse and sleigh — a round trip of 90 miles.)

Two of Joe’s biggest musical influences were Angus Chisholm and Winston Fitzgerald, two of the greatest Cape Breton fiddlers who used to visit his house when he was growing up. From them and others, Joe learned the old Scottish repertoire and style that is the heart of Cape Breton fiddle music. By the time he was a teenager, he was already playing regularly for dances throughout Cape Breton.

Joe Cormier fiddling

In 1962, Joe moved with his wife Norma, and their children to Waltham, Massachusetts. He worked as an electrician and was a force in the local music scene. He played regularly at the Saturday night dances held at the French American Victory Club in Waltham and at the Canadian American Club in Watertown.

During the 1970s, Joe performed from time to time with the “Cape Breton Symphony,” a group of four or five traditional fiddlers that appeared on the weekly “John Allen Cameron Show” on Canadian television. In 1974, Mark Wilson recorded an influential LP album of Joe’s music for Rounder Records. Although several LPs of Cape Breton fiddling had been available in Canada, these were mostly reissues of earlier 78s. Joe’s record exposed the music to a wider audience and played a significant part in reviving this beautiful and ancient tradition.

Joe continued to play regularly and record, doing three more solo CDs for Rounder as well as several recordings with other fiddlers such as Jerry Robichaud and his nephew J. P. Cormier.

In 1984, Joe was awarded a prestigious National Heritage Award Fellowship from the National Endowment for the Arts. He was also one of only six traditional fiddlers chosen to participate in the “Masters of the Folk Violin” tour produced by the National Council for Traditional Arts. In 2006, Joe was awarded an Artist Fellowship in the Traditional Arts by the Massachusetts Cultural Council.

I was lucky to know Joe for the past 20 years. In spite of his immense talent, he was very modest about his music and encouraging to other players. Every Wednesday evening, he invited a small group of younger players to his house to share tunes and stories.

Joe loved the old style of playing he learned from Angus, Winston, and the other great fiddlers he grew up listening to. At the same time, he had his own unique ‘touch’ which imparted a wonderful lilt and swing to his playing.

He is survived by his wife Norma, his six children as well as numerous grandchildren, nieces and nephews. He touched many people with his music and his warm and generous spirit.