Archive for the ‘Apprenticeships’ Category

Bringing a Skill Forward: Apprenticeship in Ship Wheel Making

Thursday, February 2nd, 2017

FullerApp_Bob_holding_wheel FullerApp_cranberry

Master craftsman Bob Fuller was fortunate to have grown up in a boat building family, where he apprenticed under his father and grandfather. The family developed the Edson Yacht Wheel and has been making wheels for Edson International in New Bedford, Massachusetts since 1965.

FullerApp_wheel_detail

In 1990, Bob founded his own shop,  South Shore Boatworks, which specializes in custom boat building, finishing and restoration work, and handmade wooden ship’s wheels. In fact, Bob Fuller may be the only craftsman in the country today who is still making wooden ship wheels by hand. This highly specialized maritime craft involves pattern making, metal working, marine joinery, and fine woodworking. There are only a limited number of places to learn marine joinery. Although a few boatbuilding schools exist along the New England coast, one of the best ways to learn is one-on-one under the guidance of a skilled master.

FullerApp_portrait

Bob Fuller and John O’Rourke were awarded an MCC Traditional Arts Apprenticeship last fall. They typically meet on Sunday mornings from 8:30 to noon. We were there to check in on their progress and observe some of the In late January, Russell Call and I paid a visit to his South Shore Boatworks in Hanson, Massachusetts. You might expect such a place to be situated on the water, but it’s located in an Industrial Park, 30 miles from the coast!

FullerAPP_outside FullerApp_inside

John is a recent graduate of the North Bennett Street School where he earned a degree in preservation carpentry. “I learned mostly historic buildings, nothing about maritime woodwork or marine joinery. In preservation I learned to restore historic structures, historic windows. Try to keep things that were made by hand a long time ago around. So this is very similar. And trying to keep the craft alive.” In contrast, Bob adds, “I don’t work in houses. I chose to work on things where nothing is ever straight. And generally on boats, if something looks straight or looks plumb, it’s wrong.”

Before showing us what they were currently working on, Bob oriented us by explaining the terminology of a ship’s wheel. “Basically, you’ve got the hub, it’s either bronze or it’s chrome plated, but it’s a piece of bronze. And then you have the spokes. The spokes go from inside the hub out. And then you have the pieces in-between here. I call them segments. Some people call them fellows, which is a word that has more to do with wheel making, like for carts. And then on the top of it, this is a band – it kind of bands things together. And then beyond that, on the spoke, you have the king spoke, which that designates, gives you a reference to where the steering should be neutral.”

FullerApp_king pin

These three turnings along the top of the king spoke has always been the family’s signature. “It gives you a sense of feel, especially if you’re operating the boat at night where you can’t have a lot of lights on inside the cabin because it will just blind you, you can’t see out. This way you have a sense as to where the steering is.”

The wheel John was currently working on when we visited is about 2/3rd done. Twenty-eight inches in diameter, it has eight spokes. “There’s a lot that goes into the actual finishing of it, Bob stresses. “Sanding it, hand sanding and then lots of coats of sealer and varnish. . . The wheel I just finished for a customer, the process, the varnishing, was a total of two coats of sealer, and eight coats of hand varnish. And it was a big wheel. It took me roughly two weeks to finish it.” A wheel like this sells for between $2,800 and $3,000. The price can go up from there depending on its complexity, that is, whether is has additional brass band on top or custom engraving on the hub.

FulllerApp_placing_screws

In addition to building wheels for Edson, Bob Fuller has customers around the world. Last year he was commissioned to build a wheel for the 50-foot, passenger-carrying lobster boat that services Acadia National Park. High profile wheels include a replacement wheel for Robert Kennedy’s wooden yawl Glide. 

It was interesting to hear Bob talk about a recent wheel  commission for the new luxury fiberglass motor yacht Cakewalk, built by Derecktor Shipyards. “It was an afterthought. The whole bridge on this boat was set up for using computer settings and all that kind of stuff, but both the captains, an Australian and an American captain, they felt strongly that that boat need a wheel and it would have looked really funny without it. It’s kind of strange today because, with all the computerized stuff — the joy sticks, they call it ‘fly-by-wire’ — a lot of boats don’t have steering wheels anymore. But it’s such a part of our heritage and tradition, that I think it’s going to continue onward.

FullerApp_calipers

“We’re preserving the skills to move this forward for a couple of generations. It is just such a part of our maritime tradition, in Massachusetts especially. Shipbuilding, fishing, boat-building, that’s why I feel strongly about this. I learned from my grandfather and father, apprenticing with them. And, if it wasn’t for a situation like what I’m doing with John, I also have someone else that works with me too that’s learning, but not part of the official apprenticeship – where would someone learn this?”

“It’s a great atmosphere when you can teach people the skills that are required to do a craft. It’s been a great opportunity to show this to John in the apprenticeship, to bring a skill forward. . . . this is part of our heritage, as I mentioned before. This needs to be brought into the future. Largely, that’s what the [Massachusetts] Cultural Council is good at, whereas this is such a small niche, it’s hard to, you don’t really fit into someone’s idea of being an industry, but it really is a cottage industry. And that’s what’s kind of going along the wayside. Skills get lost for generations and then all of a sudden, no one knows how to do it anymore.”

Maggie Holtzberg runs the Folk Arts & Heritage Program at the Massachusetts Cultural Council. Photos by Russell Call.

A new round of Apprenticeships are awarded!

Wednesday, 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.

HaroldBurnham_Alden_full

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

OLYMPUS DIGITAL CAMERA

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

YaryLivan_Panit_full

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

SidiCamara_Tiemoko_full

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

SunandaSahay_Anindita_full

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

EmeraldRaeForman_Elizabeth_full

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.

Interested in applying for a Traditional Arts Apprenticeship?

Tuesday, February 9th, 2016

Kieran Jordan and Emerald RaeDimitrios Klitsas at his workbenchIvelisse Pabon de Landron with apprenticeJohn Kristensen and Jesse MarsolaisKarol Lindquist and Timalyne FrazierQianshen Bai and Mei HungWilliam Cumpiano with apprentice Isidro AcostaDavid Hawthorne teaching bowmaking

Apprenticeships are a time-honored method by which an individual learns skills, techniques, and artistry under the guidance of a recognized master. Since its founding in 2001, the Massachusetts Cultural Council’s  Traditional Arts Apprenticeship Program has funded nearly 100 artists in a vast array of traditions, both old and new to Massachusetts. Applications are now available.

Recent apprenticeships funded by MCC’s Folk Arts and Heritage Program include mentorships in Madhubani painting, Irish uilleann piping, urban sign painting and gold leaf, Chinese seal carving and calligraphy, Carnatic singing, and European architectural and ornamental woodcarving, to name a few. The deadline for applying is April 12, 2016.

The Coloring Book Trend in Light of an Ancient North Indian Tradition

Wednesday, January 20th, 2016

Adult coloring book cover

Recently, there has been a lot of talk about the benefits of coloring books for adults. Once considered child’s play, coloring is now being touted as an adult’s “centering activity,” one that can combat anxiety, relieve stress and improve fine motor skills. Hearing about the trend in recently published coloring books and coloring groups of made us wonder what 8th grader Sanjana Krishan would think of the coloring trend.

Sanjana Krishnan standing with two of her Madhubani paintingsher

Sanjana recently completed an apprenticeship with master artist Sunanda Sahay in the ancient North Indian art of Madhubani painting. This very traditional art form features hand drawn hatched borders, motifs, and figures from Hindu mythology. Once the black lines are drawn, brushed acrylics fill in the spaces, leaving very little white space on the finished work.

filling in the drawing with color

Sanjana was interviewed by the Acton Tab, the local paper about her passion for Indian art. Towards the end of the article, she affirms, “(Art) relaxes you . . . when you paint, it’s focusing you on different things other than schoolwork. It’s different. It’s healing.”

Sounds like it might be the perfect time for someone to publish a Madhubani coloring book . . .

 

Through the eyes of an apprentice

Monday, May 18th, 2015

Every once in awhile, the Folk Arts & Heritage Program welcomes an intern. It’s a win-win situation. The intern gets exposed to the work of a public folklorist (doing fieldwork, managing grants, and archiving field collected materials). The public folklorist gets help with transcribing recorded interviews and the opportunity to mentor the next generation. This spring, that intern has been Hampshire College sophomore and fiddler extraordinaire, Tatiana Hargreaves.

Tatiana HargreavesHere is her guest blog post about her experience:

I started my internship after returning from the Dosti Music Project in March. As preparation, I read Maggie’s book Keepers of Tradition and was immediately struck by the vast array of traditions documented in it. I had no idea Massachusetts held so much culture and so many traditions. Everything in the book fascinated me, but knowing I would be leaving for tour in May, we decided to focus on the three music apprenticeships: South Indian mridangam, Carnatic vocals, and Irish Uilleann piping. I was especially excited about the two South Indian apprenticeships as a way to follow up my experience at Dosti. Our role was to document the progress of the apprenticeships by conducting site visits to observe a lesson and ask follow-up questions about the apprenticeship.

Our first site visit was with mridangam player Gaurish Chandrashekhar at his house in South Grafton.

Gaurish Chandrashekhar teaching mridangum. Photo by Jennifer Atwood.

We all crammed into a small room with Gaurish and his apprentice Kaasinath Balagurunath in the middle, and Kaasinath’s dad scrunched in the corner filming on his iPhone. Having grown up with Western classical and oldtime music, I expected the lesson to start similarly, that is, with a warm-up. However, as soon as Kaasinath sat down for the lesson, they started at full speed, right where they left off at the last week: how to subdivide a 10-beat phrase into a 16-beat cycle. The lesson kept a very fast pace, with Gaurish having Kaasinath figure out multiple ways to put the 10-beats into the sixteen.

Gaurish and Kaasinath

Towards the end of the lesson, we were free to ask questions.  I led the interview, but Maggie’s last question got the most powerful answer. She asked Gaurish what role music played in his life, to which he responded, “People have immigrated from India and here and now they are Americans. . . your heritage, your culture, the grass, the roots are somewhere else. Right? So how do you keep that connection going? So a natural aspect is music or dance or food, right? Those are the three things that we have. Or clothes, obviously. So music has become a very significant part of it, and dance even more so, because it tells a story.  So you have to learn about the stories. . .  so you can bring out the correct expression. The same thing with musical instruments. You’re lyrically expressing what happened at a period of time . . . You’re not just presenting what is taught you.”

Hearing Gaurish say this made me think about all of the kids learning western classical music in schools. How do they connect with the story and history of that music? Or do they at all? At 13, Kaasinath is not only learning music, but a whole history. When I was learning western classical music at that age, no one stressed the importance of the history and culture of the music we were playing. As a result, I wasn’t interested in where it came from or why it was played. So where did the importance of history and culture go in western music education?

Tara Bangalore (right) and Pratik Bharadwaj. Photo by Jennifer Atwood.

Our next site visit was with Tara Bangalore and her vocal apprentice Pratik Bharadwaj. Tara also teaches Carnatic violin, so Maggie and I (both fiddlers) came an hour early to get an introduction to Carnatic violin playing. Although Maggie and I both have a lot of training in other musical traditions, we were complete beginners with Tara. During Pratik’s lesson, Tara taught him the beginning of a new piece by ear, going over it phrase by phrase, and then had him perform a pallavi for us. Pallavi is one of the most complex song performances in Carnatic music as it features several different ways of improvising, from alapane, a slow improvised section, to tanam a rhythmic improvised section, to pallavi, a melodic refrain that has extremely complex improvisation rules. Pratik went through each section, only hesitating once during the pallavi, which he learned at the last lesson.

After the lesson, we asked Tara and Pratik some questions and Tara said many things that could apply to any musician, but one thing she said particularly jumped out at me as something a student in any area should consider. “When you’re. . . building yourself into a musician, you have to pay attention to balance. Is your music balanced? Is it too stormy? Does it have enough melody? Does it have all [the] technical stuff?”

“There’s a lot of music out there in the world today, a lot of interpretations, a lot of brilliance, no question, but sometimes in the middle of all that, the simple melody, the simple music that made Carnatic music what it was, that gave it the classicism, it  always runs the danger of slipping out somewhere.”

Maggie and Tati  working on a sound file. Photo by Artsake

So where am I going with all of this? As a musician, this work is eye-opening and inspiring. As a human being, it teaches you about other human beings and the world we live in. Having the chance to go out into the world and learn about people and the art they make and why they do it, it teaches you so much more than just the how or why. It gets you questioning deeper into your own music, your own life, your own culture, and your own story.

Six New Apprenticeships Funded by MCC

Monday, August 25th, 2014

We are delighted to announce this year’s Traditional Arts Apprenticeship grants. The following six traditional art forms will be taught by master artists to their apprentices: Irish uilleann pipe playing, South Indian carnatic singing, sign painting and gold leaf, ornamental and architectural wood carving, North Indian Madhubani painting, and South Indian carnatic drumming.

Irish uilleann pipe playing: Joey Abarta, master artist and Caroline O’Shea, apprentice

JoeyAbarta_full____________________________________________________________________

South Indian carnatic singing: Tara Anand Bangalore, master artist and Pratik Bharadwaj, apprentice

Bangalore_Bharadwaj_main

_________________________________________________________________________

Sign painting and gold leaf: Josh Luke of Best Dressed Signs, master artist and Corinna D’Schoto, apprentice

JoshLuke_main___________________________________________________________________________

Ornamental and architectural wood carving: Dimitrios Klitsas, master artist and Spiro Klitsas, apprentice

KlitsasApprenticeship_main___________________________________________________________________________

North Indian Madhubani painting: Sunanda Sahay, master artist and Sanjana Krishna, apprentice

Sahay_apprenticeship_main___________________________________________________________________________

South Indian carnatic drumming on mridangam: Gaurishankar Chandrashankar, master artist and Kaasinath Balagurunath, apprentice

Chandrashankar_apprenticeship_main

Apprenticeships are a long-standing method by which an individual learns skills, techniques, and artistry under the guidance of a recognized master. Applicants were reviewed by a panel of experts who evaluated the artistry of the master artist, skill level of the apprentice, rarity of art form, significance of the tradition,  appropriateness of the pairing, and work plan. Grantees are expected to offer a community presentation at the end of their 9-month long apprenticeship.

To see a list of all MCC-funded apprenticeships since 2002, click here.

Learn from a Master Artist

Tuesday, December 31st, 2013

Qianshen Bai lifting seal

The Massachusetts Cultural Council’s Folk Arts & Heritage Program offers a unique opportunity to learn first hand from a master traditional artist through its Traditional Arts Apprenticeship Program.  Apprenticeships are awarded every other year to a limited number of master artists. Priority is given to rare or endangered traditions. If you are interested in applying, please take a look at the program guidelines before contacting program manager, Maggie Holtzberg.

Pictured here are just a few of the apprenticeships that have been funded since the program was established in 2001.

David Hawthorne teaching bowmaking to Joel Pautz

Yary Livan and Samnang Khoen

Estefany Navarro and Sixto "Tito" Ayala on congas

Sekou and Balla Kouyate playing balafons

Chris Pereji and Nisha Purushotham

Kieran Jordan and Emerald Rae FormanSamnang Hor andSopaul Hem Cambodian dance

 

Learning Chinese calligraphy from a master

Wednesday, August 14th, 2013

Qianshen Bai is a demanding teacher.  Leaning over his apprentice’s brush work, he points out tiny things, “This  is the problem. Her problem here is that here, so far so good, and she move this way, see the brush toward this part? The stroke should keep in the same direction. You see? You need to use finger and wrist. . . This kind of work is an illusion. The trick is, where this stroke came from, because calligraphy is art of movement.”

Although there are still quite a few people who practice calligraphy for leisure, very few take the time to study, in depth, the history and various aspects of the art of writing calligraphy. Mei Hung, Executive Director of Chinese Culture Connection, is one of those people.  In September 2013, Qianshen Bai and Mei Hung were awarded a Traditional Arts Apprenticeship by the Massachusetts Cultural Council.

In addition to learning the subtleties of the techniques in writing balanced and artistic calligraphy, Mei Hung learned to appreciate a piece of good work with a critical eye. During their 8-month apprenticeship, Mei was introduced to writing couplets, horizontal banners, and, in a smaller font, on fan shaped calligraphy. In addition to learning how to compose the writing in various styles, she completed the composition with date and signature, and the proper way to apply the seal.

For Mei Hung, having had such a direct experience with master calligrapher Qianshen Bai has been a privilige.  “Now I understand that the art of writing calligraphy can be related to playing music, practicing Tai Ji . . .To do it well is a total harmonious relationship among one’s intent, the brush, the ink and the paper. Professor Bai described it this way: the “brush dances and the ink sings.”

This apprenticeship enhanced my knowledge of the art and improved my writing skills, but most importantly, it made me feel humble. It is truly an art that requires a life long practice.” Perhaps, most importantly, Mei mastered a method of how to learn calligraphy by herself in the future.

The next deadline for Traditional Arts Apprenticeship grants is April 2014.

 

All in the Family: Learning from Master Musicians

Tuesday, May 14th, 2013

It’s that time of year when the MCC’s Traditional Arts Apprenticeships are wrapping up for the year. As part of the grant program, recipients are required to share what they have learned in a public presentation. This coming Sunday, May 19th, two master/apprentice teams will perform musical selections and share some of the joys and challenges of transmitting musical heritage. The free presentation takes place at Lowell National Historical Park Visitor Center theater, 246 Market Street and will begin at 2:30 p.m.

Two continents. Two ancient percussive traditions. And two young people with the good fortune to be born into musical familes headed by master musicians. Balla Kouyaté is a virtuoso player of the balafon, the ancient West African ancester of the xylophone and marimba. Above, you see him teaching his son Sekou the balafon.

Sixto “Tito” Ayala comes from a legendary music and dance institution in Puerto Rico – the Ayala family. He is pictured here teaching a conga rhythm to his daughter Estefany Navarro.

Come see and hear how West African djeli music and Puerto Rican bomba & plena are being passed on from one generation to the next.

 

 

 

 

Bowmaking Apprenticeship

Thursday, January 17th, 2013

Bowmaker David Hawthorne has been making bows for stringed instruments for over 30 years.  This past September, he was awarded an MCC Traditional Arts Apprenticeship  to pass on some of the knowledge he has acquired to Joel Pautz. A woodworker, Joel has studied violin making at the North Bennett Street School. Just before Christmas, I scheduled a visit see how their apprenticeship was progressing.

The 3rd-floor bowmaking workshop is smack in the center of Harvard Square, [just across the hall from Dewey Cheetham & Howe, the Car Talk guys!]. An outer office greets customers; beyond are two workshop spaces full of all sorts of bows in various stages of completion and numerous hand-made tools specific to the trade.

The focus of the apprenticeship is on a French style of bowmaking in the tradition of Dominique Peccatte. “Bowmaking,” David shares, as he gets settled at the workbench, “is a French-influenced pursuit because the French bowmakers were kind of the best.”  David learned from a bowmaker who had studied in France, and then went to France himself to study bowmaking.

The bow Joel is currently working on is based on a model, the original of which is housed in the Powerhouse Museum in Austria. More simple than a modern bow, this baroque bow has a “clip-in” frog. Making a baroque style frog has the advantage of introducing the apprentice to many of the techniques of bowmaking, while modern bows demand skills and techniques beyond woodworking. For example, their screw-adjusted frogs require metalwork, jeweler’s techniques, and inlay.

Clip-in frog

Screw-adjusted frog

David picks up one of two similar sticks from off the workbench.  “We started with a stick. I saw this out at home on my bandsaw. You can see it’s kind of rough looking. And this one I’ve planed a certain amount . . . Joel has done that on a couple of his bows.”

What will follow are the many steps of planing the stick straight, carving the head, heating and bending the stick, and making and fitting the frog of the bow which holds one end of the horse hair.

David decides to demonstrate cutting a mortise, which is basically the hole where the horse hair will go. He speaks slowly, as he is working, “This is the drill we use, the French foret (click to view video) . . . So I’m going to make two holes and then I’m going to carve it out straight. And that’s just my depth stop, that piece of tape. That’s what we were discussing, how deep to make it. Obviously, you can’t make it too deep because it will make a hole through the bow. But you have to make it deep enough to accommodate the amount of hair you want to put in. So you kind of make it as deep as you dare.”

Making a bow demands superb woodworking skills and a keen eye, but how, I wonder, does one learn how to get the sound you want out of a stick of wood? Turns out the most obvious thing affecting the sound is the particular wood out of which each individual bow is made. David adds that the combination of violin and bow will always have to be matched. Being a violin player myself, I’ve noticed how the same instrument can sound so very different when played with a different bow. “Different bows will sound either brighter or darker or warmer or crisper, ” David says, which prompts me to ask, “Is that something you can set out to do?”

His answer is yes, but what he’s really after is great sound. “In general, a very flexible bow has a bigger, warmer sound. I’m interested in the best sound for a bow so I’m looking for a certain kind of flexibility, which can either be a function of the wood — is this wood strong? If it’s strong, did I maximize strength in the way I constructed it?  Which is both a function of the thickness and the taper of the stick, and how you’ve curved it in the end. The camber.

What’s a good tone quality? Well, you don’t want it to sound nasal. You don’t want it to sound strident. You don’t want it to sound tood piercing. But, on the onther hand, you want it to have a certain openess of sound and you want it to have a certain beauty of sound.”

Joel is listening and watching and taking it all in.


css.php