Traditional Arts Apprenticeship Opportunity

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  over 100 artists in a vast array of traditions, both old and new to Massachusetts. Applications are now available.

Recent apprenticeships funded by Mass Cultural Council’s Folk Arts and Heritage Program include mentorships in Cape Breton step dancing,  design and building of wooden ship’s steering wheels, Cambodian traditional ornamentation, wooden boatbuilding and restoration, West African dance, Scottish & Cape Breton fiddling, and Mithila and Warli arts.

The deadline for applying is April 12, 2018. Guidelines and applications are now available. 

2018 Fellows & Finalists in the Traditional Arts Awarded by Mass Cultural Council

We are delighted to announce the 2018 Artist Fellows and Finalists in the Traditional Arts, awarded by Mass Cultural Council. Fellows each receive $12,000 and Finalists each receive $1,000. The next opportunity to apply for these awards will be October of 2019.

ARTIST FELLOWS:
Kieran Jordan, Traditional Irish step dance

At the age of five, Kieran Jordan watched Irish step dancing for the first time in a St. Patrick’s Day parade. Soon after, she was taking lessons in her parish hall on Saturday mornings. Thus began her life-long journey to becoming not only a renowned Irish step dancer, but also a cultural activist and an invaluable resource within the Irish-American community.

Jordan is a gifted dancer, choreographer, and teacher of old style Irish step dances, a tradition that is intricately tied to Irish history, local culture, and traditional music. She displays the aesthetic assurance that naturally evolves from the dedication of a gifted artist who has danced competitively within the Irish traditional step-dancing sphere.

Panayotis League, Greek lauto playing and oral poetry

Panayotis League specializes in traditional Greek music and oral poetry indigenous to the Greek island of Kalymnos, Crete, and their diaspora communities. With family roots in the Greek community of Tarpon Springs, Fla, League pursued his interest in traditional music by journeying to the Greek islands to study laouto and tsabouna, with older master musicians on Kalymnos in 2001 and violin on Crete in 2003.

Today League is one of the few in the US who specializes in the laouto music of Kalymnos. In addition to concerts and festivals, he is a frequent performer at local marriage celebrations, baptisms, and feast days in the Greek diaspora community. He is also a scholar of Greek music. His dissertation focused on the music of Boston’s Anatolian Greek diaspora. League is currently a postdoctoral fellow at Harvard’s Milman Parry Collection of Oral Literature, where he is managing the digitization and cataloguing of James Notopoulos’ field recordings from his 1952-53 trip to Greece and Cyprus.

Sidi Joh Camara, Malian dance and drumming

Sidi Mohamed “Joh” Camara grew up in Bamako, Mali surrounded by musicians, praise singers, and story-tellers. He began his formal training with Mouvement Pionnier, and then went on to work with Troupe Sewa and Troupe Districte de Bamako before relocating to the United States in 1996. He has experienced West African dances in their purest traditional form, where a particular dance is unique to that village and the movements have remained unchanged for centuries. Though West African dance companies in urban centers keep the traditions alive, often the context and meaning in which these village dances originated gets lost. “Once they are performed by dance companies in the cities, they are taken out of context. . . As a ballet, it is no longer a part of the ceremony it accompanies.”

Joh’s research has taken him all over Mali to see the dances in the ceremonies of which they are a part. He and his young son Tiemoko were awarded a 2017 MCC Traditional Arts Apprenticeship They focused on the learning of  four dances (Didadi, Korodjuga, Mandiani, and Madan), the songs that accompany these dances, as well as why and in what context they are danced. Father and son will also take part in ceremonies within the Malian and Guinean diaspora community both here and in New York.

FINALISTS:

Geoffrey Kostecki, liturgical painting

Geoffrey Kostecki excels at the sacred art known as liturgical painting. As a young man, he was inspired by the powerful imagery of Catholicism, first created for the Church during the Renaissance. Kostecki moved to Italy to study at University Lorenzo Di Medici in Florence. There he gained advanced painting techniques required for liturgical painting which include site-specific design, fresco painting, figurative sculpting, stencil design, gilding, and marbleizing.

After returning home and earning an MFA, Kostecki apprenticed under  figurative painter Graydon Parrish, who himslef had trained through the Atelier method, and with trumpe-l’oeil painter Robert Bock.

Kostecki’s original work and restorations can be seen in churches throughout Central Massachusetts and upstate New York, including  St. Paul’s Church in West Warren, St. John’s in Worcester, and the 30 x 40 feet nave mural depicted here,  commissioned by St. Agnes Church in Lake Placid, NY.

Fabian Gallon, Colombian tiple player

Fabian Gallon grew up in Pereira, the mountainous coffee region of Colombia, where he learned to play the tiple from his father and brothers. He went on to study with Maestro Benjamin Cardona before entering the conservatory of Universidad Technologica of Pereira.

Similar in shape but distinct from the guitar, the 12-stringed tiple is considered the national instrument of Colombia. It recently gained a renaissance when it began to be played more as a solo instrument. The style Gallon developed went from simple strumming to a complex blend of sophisticated picking and rich variations of strumming figures.

Before moving to Boston, Gallon was very active in Bogata’s musical scene, performing and recording with Trio Ancestro, as well as dedicating himself to bringing up the next generation of leading Colombian tiple players.  He recently recorded with several Latin American musicians in Boston. He continues a tradition of well-known tiple players like Gonzalo Hernandez, Pacho Benavides, and David Puerta. Eduaro Carrizoa, Orquestra Conductor says, “Colombian tiple has in Fabian Gallon its best passionate and knowledgeable interpreter.  In his hands lay the responsibility of keeping the path of the development of the technique and interpretation of the instrument.”

 Emerald Rae Forman, Cape Breton & Scottish fiddle player

The distinctive fiddling style of Cape Breton, Nova Scotia has roots in the strathspeys and reels brought to Canada by early 19th century Scottish immigrants. Emerald Rae Forman has mastered both Scottish and Cape Breton fiddling. She began her study with Boston based Barbara McOwen, renowned for her private library of Scottish music books. Emerald went on to compete in the US Scottish Fiddling Championships, winning the US National Champion title at 18 years old. She went on to earn degrees from Berklee College of Music and the University of Glasgow.

Fiddle and dance are closely related; to become a great traditional fiddler, it helps to know the dance steps the fiddle tunes accompany. In 2011, Emerald Rae completed a Mass Cultural Council Traditional Arts Apprenticeship in Irish step dance with Mass Cultural Council Artist Fellow Kieran Jordan. In 2016, she was awarded a Traditional Arts Apprenticeship to mentor Elizabeth Kozachek in Scottish and Cape Breton fiddle playing. Emerald Rae works as a professional performer and teacher of multiple styles of fiddle and step dance. She leads workshop at the Boston Fiddle Club and has served on the Boston Celtic Music Festival

Soumya Rajaram, Bharatanatayam 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, Rajaram 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.

 

 

In studio with Alan Kaufman & local Nepali musicians

A couple of years ago, Alan Kaufman introduced me to Sushil Gautam, a Nepali immigrant he’d met at the local Dunkin Donuts in Arlington. It was Alan’s fiddle case that caught Sushil’s eye and the two struck up a conversation. Sushil, who had written a book on the Nepali sarangi (fiddle), was eager to meet an American  fiddler.  Today, the two have become friends and Sushil has moved on to work in information technology for a local healthcare company.

Last week, I was delighted that Alan invited me to the filming of In the Tradition, a studio show he writes and hosts at Arlington Community Media, Inc.  The hour-long broadcast features local and visiting musicians. Recently, Alan has ventured beyond western traditional music. On the December 20, 2017 shoot, the featured guests were three local Nepali musicians: Shyam Nepali on sarangi, Sushil Gautam on jaw harp and madal, and Ranjan Budhathoki on flutes.  Of the three, only  one, Shyam Nepali, is  a member of the Gandharba occupational caste of musicians. Historically, the Gandharba traveled from town to town in the mountainous regions of Nepal. Much like other hereditary musicians, they played a key role in society, traveling from village to village, spreading news and entertaining.

The tradition of playing the sarangi  is associated with the Gandharba. Indeed, Shyam comes from a long line of traditional musicians, primarily sarangi players.  His instrument was made by his brother and features a carved bird as a scroll. The sound box is covered with goat skin. Shyam explains that the string is played by placing the fingernail (rather than the pad of the finger) on the metal strings. Although he uses a western style violin bow, traditionally, the bow was made from bamboo strung with soaked cactus fiber instead of horse hair.

But I’m getting ahead of myself. . .

We all arrived around 6:00 p.m. at Arlington Community Media, Inc., the local cable television station. It being late December, it was already dark and cold. After unloading musical instruments in “Studio A,” everyone gathered downstairs for pizza while Alan went over production notes.

Alan joked with us about how when he picked up the pizza, he mentioned to the take-out staff it was for some Nepali musicians who were going to be performing on his show. “Oh, who?” they responded.  Turns out they were from Nepal as well –Greater Boston’s Nepalese version of serial migration.

Once back up in the studio, it was time to tune up the musical instruments, check mic levels, and go over the script.

In addition to the interview-style chat led by Alan, the group performed a number of songs and instrumentals.

Shyam Nepali and Ranjan Budhathoki grew up together in the Kathmandu, Nepal. Ranjan, whose family’s home was farther from the school they both attended, would often go to Shyam’s home. It was a welcoming and musical household. Sushil Gautam grew up 200 kilometers away in Pokhara where he was hypnotized by the music of he Gandharba people. Usually the sarangi  is only taught within the occupational caste. However, Sushil’s parents supported him in learning to play the music. It was not common for someone outside the Gandharba commutniy to learn sarangi. He eventually moved to Kathmandu, where he had the luck to rent a house next door to Shyam Nepali.

At the time, he had just started to play the flute, having fashioned one out of small bamboo growing in the back yard. Ranjan went on to become a professional dancer and teacher of dance in Nepal. He and Shyam emigrated to Massachusetts within a few years of each other. When Shyam arrived, the two said, “Why don’t we start a school here? Our population is growing, the children are missing the connection to our Himalayan culture.” Both currently teach at the school they established, the Himalayan Heritage Cultural Academy  in Medford, MA.

Shyam spoke of the relationship between the music of Nepal and Southern Appalachia, both being mountainous regions. He recalled first hearing old time and bluegrass music and being blown away by the similarities. Alan and these three Nepali musicians have found common ground, swapping and sharing tunes like the classic, “Cluck Old Hen.”

If you are curious to hear this music live, head over to Chulo Cuisine & Bar, a recently opened Nepalese restaurant located at 5 Spring Street (upstairs) in Watertown Square.  They perform Friday, Saturday, and Monday evenings.  And be sure to watch for the upcoming Nepali feature on In the Tradition.

Photos & video by Maggie Holtzberg, Folk Arts & Heritage Program, Mass Cultural Council.

 

Here’s what happens when . . .

. . . you have the opportunity to hire a professional film crew and still photographer  to capture master musicians and dancers performing in a beautiful venue. Videos by Blake Road Productions and stills by Brendan Mercure.

Below are links to each segment of the concert – shot and edited by, Blake Road Productions.

Apply for an Artist Fellowship in the Traditional Arts

Mass Cultural Council is pleased to announce that guidelines and applications are currently available for the next round of  Artist Fellowships in the traditional arts.

Recent recipients include architectural woodcarver Dimitrios Klitsas, Cambodian ceramicist Yary Livan, Irish flute player Shannon Heaton, wooden boatbuilder Harold A. Burnham, and Malian balaphon player Balla Kouyaté. To see a complete list of past fellows in the Traditional Arts category, see here. All were recognized for their artistic excellence within art forms that are deeply rooted in traditional and ethnic culture.

The traditional arts include music, craft, dance, and verbal arts that are created and preserved within communities defined by cultural connections such as a common ethnic heritage, language, religion, occupation, or geography. Whether sung or told, handcrafted or performed, traditional art forms reflect a community’s shared sense of aesthetic heritage. The folk and traditional arts typically are learned during the course of daily living from someone steeped in the tradition, rather than through books, classes, or other means of institutional instruction. Artist Fellowships are for individuals not groups.

Fellowships in the traditional arts are awarded biennially. The postmark deadline to apply is October 2, 2017.

 

 

“Hiding in Plain Sight” Concert Brings the World to Rockport

Despite gale force winds and rain on Mothers’ Day, the show went on. And what a show it was! We were delighted to have the opportunity to showcase a sampling of our state’s traditional artists to perform at one of the country’s most stunning concert halls — the Shalin Liu Performance Center in Rockport, Massachusetts. Performers were either past or current recipients of an Mass Cultural Council Artist Fellowship or Traditional Arts Apprenticeship. We’re happy to share some images shot by photographer Brendan Mercure.

No fewer that 20 members of Lawrence’s Asociación Carnavalesca de Massachusetts opened the show by processioning from the back of the hall, down the aisles and up onto the stage.

Mass Cultural Council executive director Anita Walker gave a warm welcome to all in attendance, pointing out the richness of hidden treasures we have in the Commonwealth, many of whom have come here as immigrants.

 

I followed her by introducing our South Indian Carnatic musicians, which included two master artists, Tara Anand Bangalore and Gaurish Chandrashekhar, and three apprentices, Sudarshan Thirumalai, Pratik Bharadwadj, and Kaasinath Balagurunath. A purely musical segment was followed by Bharatanatyam dancer Sridevi Thirumalai.

The second half of the show opened with a beautiful set of Irish music by Joey Abarta, Matt and Shannon Heaton, and sean nos dancer Kieran Jordan.

 

 

 

 

 

 

 

 

 

 

 

 

We closed the concert with West African music and dance led by virtuoso balafon player Balla Kouyaté and master drummer/dancer Sidi “Joh” Camara. Both are considered hereditary artists, meaning they were born into the tradition.

  

Joining them on the stage was the next generation — Tiemoko Camara and Jossira and Sekou Balla Kouyaté — all of whom show great promise in carrying the traditions forward.

 

Balla stood up to invite audience members to join them on stage to dance.

Jossira helped by stepping down off the stage and reaching out her hand, encouraging people to join her. It worked – even 18-month old Maiya Camara got into the act.

Then it was time for a final bow. One of the magical things that happens when you bring musicians together from different world traditions is that they soon find common ground. This often happens back stage, behind the scenes. As one of our stage managers Sara Glidden pointed out, “All of you in the audience missed one of the highlights – the Indian musicians in the green room, jamming along to the video/audio feed of the Irish musicians on stage.”

Postscript: This email from leader of the Dominican masqueraders Stelvyn Mirabal gets to the heart of what our work as folklorists is all about. “I was received like a hero at my work on Monday. My Human Resources boss was at the show on Sunday and she didn’t know I was involved in the event until she saw me there. She took some pictures and posted in the company website. Then everyone was congratulating me for the show. She loved it!! Thanks again for thinking of us for your show.”

Talk about “hiding in plain sight”!

Maggie Holtzberg manages the Folk Arts & Heritage Program at the Mass Cultural Council.

 

 

HIDING IN PLAIN SIGHT: Folk Masters of Massachusetts Showcase Concert

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

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

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!

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.