Archive for the ‘Music’ Category

HIDING IN PLAIN SIGHT: Folk Masters of Massachusetts Showcase Concert

Tuesday, April 11th, 2017

We are excited to announce a May 14 showcase concert featuring the excellence and diversity of music and dance traditions thriving in Massachusetts today. Performers are past or current recipients of an Artist Fellowship or Traditional Arts Apprenticeship, prestigious awards granted by the Massachusetts Cultural Council.

Come experience a Dominican carnival procession led by Stelvyn  Mirabal, then be enthralled by leading exponents of South Indian vocals, violin, and percussion, Irish flute, uilleann pipe and old style step dance, and West African balafon (xylophone), djembe drum, and ceremonial dance. The concert will take place at the stunningly beautiful Shalin Liu Performance Center in Rockport, Massachusetts on Sunday May 14 at 5:00 pm.

Carnatic music of South India is one of the oldest music systems in the world. Built upon talas (rhythmic cycles) and ragas (melodic scales), the basic transmission of this venerable South Indian tradition is done via face-to-face lessons in which the guru vocalizes first and then demonstrates the lesson.

  

   

Irish tradition has deep roots in Massachusetts. Tunes once played at crossroad dances traveled the ocean in the hearts, hands, and feet of Irish immigrants. Boston in known for its active scene of pub sessions, concerts, competitions, and classes.

  

  

In parts of Mali, West Africa, dance, music, and song are an integral part of everyday life. Birth, death, initiation rites, and marriage are all marked with specific dances and songs. Many musicians and dancers are hereditary artists, meaning they are born into the tradition.

 

The concert will take place at the stunningly beautiful Shalin Liu Performance Center in Rockport, Massachusetts on Sunday May 14 at 5:00 pm.  A perfect outing for Mother’s Day!

Maggie Holtzberg runs the Folk Arts & Heritage Program at the Massachusetts Cultural Council.

 

Fellows Notes: Shannon Heaton launches “Irish Music Stories” podcast

Tuesday, February 14th, 2017

Shannon Heaton_facing forward_smaller

Shannon Heaton (MCC Artist Fellow 2016) has just launched the inaugural episode of her podcast, “Irish Music Stories.”  She takes us from Boston to Chicago to County Clare, Ireland, where we hear from young players and older masters alike. They reflect on the tunes and how they are learned, the excitement of competing in competitions, and the sense of community that is forged through the multi-generational sharing of the music. It’s like a Valentine’s Day gift to Irish traditional music lovers around the world.  Great work Shannon. We look forward to hearing more episodes.

 

Riding the Wave of Ukulele Popularity

Thursday, December 1st, 2016

magicfluke_sign

Drive along Route 7 in the Southern Berkshire town of Sheffield, Massachusetts and it’s hard to miss The Magic Fluke Company. Founded by Dale and Phyllis Webb in 1999, the company turns out several thousand musical instruments a year. All design, finishing, and assembly takes place inside a timber-framed manufacturing facility, whose solar panels provide electricity.

magicfluke_exterior

The Webbs and their half dozen employees pride themselves on making musical instruments that sound great, are well designed and affordable, and are assembled from mostly locally sourced materials and parts. “We are not luthiers,” Phyllis said, “although the instruments are all hand done. Dale’s design is innovative, bringing together injection molded parts and wood.” Phyllis credits her brother, Jumpin Jim Beloff, for the recent wave in popularizing and teaching the ukulele. Jim’s numerous instruction manuals line a shelf in the showroom. The ukulele’s wide appeal is easy to understand.  “It’s the easiest instrument on the planet to learn to play,” Phyllis say, adding that “it brings people together, it’s affordable, and because of the composite . . . it can take a beating.”

“Fluke” refers to the original style of ukulele the company makes. One with a different shape is called “The Flea.” A banjo ukulele is known as “The Firefly” and a violin-inspired instrument is named “The Cricket.”  All are extremely portable, ideal for traveling and camping.

magicfluke_ukes_in_showroom

Dale ‘s background in molded plastics, materials research, and acoustics has served the company well. It is the business aspect of running the company that remains the most challenging. “For a long time, we were the only serious manufacturer doing any kind of volum with an affordable instrument. But since it’s gotten so popular, so many of the larger companies are now producing overseas and they’re really putting the squeeze on our profits. . . But still, we’re hanging in there. We do a lot of colorful, unique designs. . . we work hard and tr to keep everything as local as we can.”

The main room of The Magic Fluke facility has a number of different assembly stations, each for different parts. Unfinished fingerboards,  ukulele tops, and assembled ukuleles ready for stringing hang on vertical posts and rafters around the well lit room.

magicfluke_assmembly

One of the more unique things about Magic Fluke is their ability to produce one-of-a-kind instruments using a process called dye sublimation. They can take an artist’s work and transfer it directly onto the face of the instrument, embedding it right into the wood using a heat process.

magicfluke_dye-sublimnation

Locally sourced and manufactured, Magic Fluke’s instruments find their way into the hands of musicians around the globe. They are also supplied to area libraries and schools, replacing the once ubiquitous recorder as a 3rd grade starter instrument. The Magic Fluke’s presence in the community has even inspired a multi-generational ensemble: the Berkshire Ukulele Band.

magicfluke_banjo-ukes

“[The ukulele] crosses generational lines — young, old, and socio-economic,” Phyllis notes. “In light of today, I often say, that if we were all playing the ukulele, I think that we’d have a better sense of community.”

 

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

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

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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

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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

Friday, 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

Monday, 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

All in a Folklorist’s Day

Friday, 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

 

Joe Cormier (1927-2016)

Thursday, 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.

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.

MCC Awards 2016 Fellows & Finalists in the Traditional Arts

Tuesday, February 2nd, 2016

FELLOWS:

Portrait of Shannon Heaton

Shannon Heaton, Irish flute playing, singing, & composition

No matter how well any of us play, our Irish cred lies in
how tightly we can play with others. Irish music is social.

Shannon Heaton is highly regarded in Irish traditional music circles for her beautifully expressing playing, composing, and dedication to teaching and promoting the music. She was fortunate to learn firsthand from musicians in Chicago’s rich traditional Irish music scene and later in repeated trips to County Clare, Ireland. For National Heritage Fellow, Seamus Connolly, Shannon’s playing encapsulates the tradition, “In it I hear so many elements of the old styles, such as the playing of Kevin Henry from County Sligo, Ireland, who lived in Chicago and whose music goes back to another time.”

Shannon co-founded the Boston Celtic Music Festival in 2001, a festival that continues to bring Irish musicians together with other Celtic styles. “Live Ireland,” an Irish music radio show broadcasting from Dublin, nominated Shannon “Female Musician of the Year” twice. In addition to performing regularly, Shannon is a sought after teacher, not only of tunes and technique, but also of the tradition’s social and musical customs, e.g., the importance of session etiquette.

 

Dimitrios Klitsas at his workbench
Dimitrios Klitsas, architectural and ornamental woodcarving

Both students and seasoned wood carvers come from around the country to study with master woodcarver Dimitrios Klitsas in his studio in Hampden. Like the architects and designers who seek out his impeccably carved ornamental work for fine homes and churches, these students are inspired by Dimitrios’s ability to shape slabs of walnut, mahogany, or oak into breathtaking architectural and figurative works. Guided by his deep knowledge of the fundamentals of classical European design, Dimitrios patiently creates carvings that exemplify both his unique talent and his devotion to the tradition of his craft.

Dimitrios began his training in classical carving at age 13 at the Ioannina Technical School near his home in the foothills of northwestern Greece. After graduation, he served a five-year apprenticeship and then ran his own woodcarving shop in Athens for another five years, before coming to Massachusetts nearly four decades ago. His work here has been recognized nationally with commendations including the Arthur Ross Award for Artisanship from the Institute of Classical Architecture and Art. Many of Dimitrios’s students have gone on to professional carving careers, including his son, Spiro.

FINALISTS:

Delft redware by Stephen Earp

Stephen Earp, redware pottery

Stephen Earp works within the redware tradition, the common name for a variety of domestic, leadglazed
pottery made in New England between the 17th and 19th centuries. Originally, redware was produced to meet the daily needs of food storage, preparation, and serving such as plates, platters, and pitchers. On occasion, redware served commemorative and decorative purposes. Stephen has perfected the functional forms and sgrafitto of Colonial redware, and more recently found his way to his own heritage through making Dutch Delftware.

Most of Earp’s pottery is thrown on a wheel that he designed and built. He uses local materials including clay from a family owned pottery in Sheffield, Massachusetts, which mines clay from a local seam. His glazes include locally dug clay, as well as ashes from the hay of a nearby farmer. In 2007, Stephen was included in Early American Life Magazine Directory of Traditional Crafts. Stephen was named an MCC Finalist in the Traditional Arts category in 2008. He writes an engaging and informative blog, This Day in Potter History.

Soumya Rajaram

Soumya Rajaram, Bharatanatyam dancer

Soumya Rajaram performs and teaches Bharatanatyam dance, a South Indian classical tradition with strong spiritual connections to Hindu religion and mythology. Although originally a hereditary tradition, the teaching of Bharatanatyam has become institutionalized. Indeed, Soumya came up within a deep lineage of dance teachers trained at the Kalakshetra Foundation in Chennai, India. In addition to her years of dedicated training in the technique and expressive elements of Bharatanatyam, she has extensive training in Carnatic music, which is integral to Bharatanatyam dance.

Known for her exacting standards, Soumya is skilled in nritta (abstract dance) and abhinaya (emotive aspect). She performs regularly at festivals and concerts and is thought of highly by senior dance teachers who first brought Bharatanatyam to southern New England. Soumya is an active contributor to the India arts community in Greater Boston. She continues to enhance her learning under the mentorship of Sheejith Krishna, spending a few months a year at his studio and home in Chennai.

Lutchinha

Maria Neves Leite, Cape Verdean singer

Known in the performing world as  “Lutchinha,” Maria Neves Leite is a singer of Cape Verdean songs. She was born into a singing family on the island of Sao Vicente, Cape Verde Islands, part of an archipelago off the coast of West Africa. She began singing at age seven, first with her father and later with family friends who would come to the house. Luchinha’s first solo CD Castanhinha bears the title of a mourna that her father wrote for her mother. She went on to become one of the winners at the Todo Munco Canta singing competition, representing her island of Sao Vicente. Engagements in the Soviet Union and in Portugal soon followed.

Lutchinha enjoyed a successful performing career in Europe before she joined her parents in immigrating to the United States. The family settled in Brockton. Lutchinha sang out in the local region, performing for Cape Verdean weddings, Noite Caboverdiana, and other community events. Her repertoire continued to draw from the deep well of traditional Cape Verdean song including the morna, coladeira, batuku,and funana Only recently, with her own children grown, Lutchina has returned to performing outside of the Cape Verdean community, including appearances at major festivals like the 2014 American Folk Festival in Bangor, ME. and the 2015 National Folk Festival in Greensboro, NC where she was backed by an all-star band of Cape Verdean musicians from Massachusetts and Rhode Island.

 Textile with hole to be repairedInvisible reweaving

Toni Columbo, invisible reweaving

When is a traditional art at its best when it can’t be seen? Toni Columbo excels at invisible reweaving, French weaving, over weaving, and reknitting; all are traditional ways of repairing holes and damages by hand as imperceptibly as possible in woven and knitted fabrics. Threads or a frayed piece of fabric are harvested from an inconspicuous spot on a jacket, pants, coat, or sweater, and rewoven thread by thread, into the damaged area, rendering it virtually invisible.

Toni learned needle arts from her mother, who in turn, learned from her mother. Toni was born and raised in Boston’s North End, and she maintains a vital connection to this Italian American community. She is highly regarded by customers and by high end retail stores for her excellent skill in mending cherished items of clothing. Using the skills passed down through her family, Toni repairs and restores suits, sweaters, coats, couches, tapestries, and uniforms (including Babe Ruth’s 1926 New York Yankees baseball jersey). In addition to working on heirlooms, Toni keeps up with the new weaves and fibers used in today’s textiles. To work on these micro fabrics, some containing between 100-125 threads per inch, Toni uses a high powered surgeon’s loupe.


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