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The SOUNDshift Festival
takes place in St.
John’s, NL, July 13–19, 2011. It is associated with the 41st World Conference of the
International Council for Traditional Music, an academic event that has attracted over
500 delegates from 50+ countries to our province.
Non-ICTM members may register as delegates for the world conference ($320/$240 for
students or seniors; day registration $60/40). Conference registration includes access
to workshops and afternoon concerts, but not evening concerts.
Two sessions from the academic conference are being made available, free of charge,
to the public:
• Keynote Address: Michelle Bigenho (USA). “The Intimate Distance of
Indigenous Modernities.” Monday, July 18, 1:30 – 3:00 pm Arts & Culture Centre,
Main Stage.
• PLENARY: “Safeguarding Living Culture. The State of Affairs as Regards the 2003
UNESCO Convention.” Wim van Zanten (Netherlands) (Chair); Frank Proschan
(Chief, Programme and Evaluation Unit, Intangible Cultural Heritage Section,
UNESCO); Samuel Araújo (Brazil); Egil Bakka (Norway); Susanne Fürniss-Yacoubi
(France); Inna Naroditskaya (USA); Zhanna Pärtlas (Estonia); Sheen Dae-Cheol
(Republic of Korea). Sunday, July 17, 1:30 – 3:00 p.m. Arts & Culture Centre, Main
Stage.
AT A GL A N C E
2
AT A G L A NC E
AT A GLANCE:
AT A GLANCE:
Tickets are available at the Arts & Culture Centre Box Office.
All workshops take place in the Arts & Culture Centre
July 14, 5:45–7:00 pm
WEDNESDAY, JULY 13TH
SOUNDshift CONCERTS
Saltwater Joys: Music of Newfoundland and
Labrador ($15/10)
School of Music, D.F. Cook Hall
• Featuring Anita Best, Pamela Morgan;The Collins Family; The Flummies; and the
“Wicked Session” Players (Jean Hewson, Frank Maher, Allan Ricketts, Christina
Smith, Gerry Strong, Rick West).
July 15, 8:00–10:00 pm
Atlantic Roots & Routes ($25/15)
Arts & Culture Centre, Main Stage
• Featuring Paddy Keenan; WREN Ensemble and Crowd of Bold Sharemen;
Nathalie Pires; Típica Toronto.
July 17, 5:45–7:00 pm
Feast of Asia: Dance Traditions of Chinese
Opera / Thai Classical Music ($15/10)
School of Music, D.F. Cook Hall
• Featuring William Lau; Paphutsorn WONGRATANAPITAK and Absolutely Thai.
July 17, 8:00–10:00 pm
Indigenous Now! ($25/15)
Arts & Culture Centre, Main Stage
• Featuring Six Nations Women Singers; Claude McKenzie; Frode Fjellheim and
Ulla Pirttijärvi; Matou.
July 18, 8:00–10:00 pm
Canada’s Many Voices ($25/15)
Arts & Culture Centre, Main Stage
• Featuring the Arabic Traditional Music Ensemble; Club Carrefour; Zari; Uzume
Taiko.
Festival passes are available from the A&CC for $120/75. Workshop tickets are sold at
the door for $10/8 or three for $20/15.
WORKSHOPS\
10:30 am–12:00 pm
• Fiddle and Identity I: Newfoundland Fiddle Styles – Charlie Cook, Christina
Smith, Evelyn Osborne (Irwin’s Court)
• Bluegrass in Canada – Neil V. Rosenberg, Graham Blair, and Marc Finch (MMAP
Gallery)
3:30 pm–5:00 pm
• Song Roots/Routes – Anita Best, Jim Payne, Marilyn Tucker, Paul Wilson (Irwin’s
Court)
• Scottish Reels – Mats Melin (MMAP Gallery)
THURSDAY, JULY 14
10:30 am–12:00 pm
• Sámi Vocal Styles I – Frode Fjellheim and Ulla Pirttijärvi (Irwin’s Court)
• Argentinian Chacarera Dance – Adriana Cerletti (MMAP Gallery)
1:30 pm–3:00 pm
• Newfoundland Set Dancing and Music – Jane Rutherford with Christina Smith
(MMAP Gallery)
• Native Contemporary Music – Dawn Avery (Irwin’s Court)
FRIDAY, JULY 15th
10:30 am–12:00 pm
• South African Zulu Music and Dance – Ikusasa Lethu (MMAP Gallery)
• The Charanga Orchestra and Cuban Music – Jorge Maza with Típica Toronto and
Brigido Galvan (Irwin’s Court)
3:30 pm–5:00 pm
• Newfoundland Song Traditions – Pat Byrne, Eleanor Dawson, Ellen Power
(MMAP Gallery)
• Sounding Bamboo: Angklung – Paphutsorn Wongratanapitak with Absolutely
Thai (Irwin’s Court)
SATURDAY, JULY 16TH
3:30 pm–5:00 pm
• Portuguese Fado Demonstration/Performance – Nathalie Pires (Irwin’s Court)
• Aboriginal Hip Hop 101 – Scott Collegiate Hip Hop Group (MMAP Gallery)
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AT A GL A N C E
4
SUNDAY, JULY 17TH
10:30 am–12:00 pm
• Singing the West: Traditional Songs and Songs in the Tradition from the Prairies
and British Columbia – E. David and Rosaleen Gregory, John Leeder (Irwin’s
Court)
• Haudenosaunee Social Dance and Music – Six Nations Women Singers (MMAP
Gallery)
• Tuvan Overtone Singing – Tran Quang Hai (Gallery East)
1:30 pm–3:00 pm
• Taiko Drumming Techniques – Uzume Taiko (Irwin’s Court)
• Georgian Polyphony – Zari (Gallery East)
3:30 pm–5:00 pm
• Arabic Rhythms and Modes –The Traditional Arabic Music Ensemble (Irwin’s
Court)
• Tango – Adriana Cerletti, Silvia Citro (MMAP Gallery)
• Australian Indigenous Songs. Arts & Culture Centre, Gallery East
Visit our table at ICTM
to see these and ALL
our new books!
MONDAY, JULY 18TH
www.wesleyan.edu/wespress
10:30 am–12:00 pm
Save 30% when you use discount code W301
• Dance Styles in Chinese Opera – William Lau (MMAP Gallery)
• Sámi Vocal Styles II – Frode Fjellheim and Ulla Pirttijärvi (Gallery East)
• The Music of Matou (Irwin’s Court)
3:30 pm–5:00 pm
• Inuit Vocal Styles – Jennie Williams and Tama Fost (MMAP Gallery)
• Newfoundland Ugly Stick Making – Grenfell Letto, with host Dale Jarvis
(Irwin’s Court)
TUESDAY, JULY 19TH
10:30am–12:00 pm
• Newfoundland Accordion Styles – Aaron Collis, Art Stoyles and Bob Rutherford,
The Sweet Forget-Me-Nots (Irwin’s Court)
• Sephardic Song – Judith Cohen (Gallery East)
• Fiddle and Identity II – Colin Quigley, Kelly Russell, Pierre Schryer (MMAP
Gallery)
1:30 pm–3:00 pm
• From Montmagny to St. John’s: Accordion Music of Québec and Newfoundland
– Raynald Ouellet, Graham Wells (Irwin’s Court)
• Percussive Dance – Kristin Harris Walsh, Normand Legault, Mats Melin, Stan
Pickett (MMAP Gallery)
Ethnomusicology
Journals From Routledge
Ethnomusicology Forum
www.tandf.co.uk/journals/remf
Ethnomusicology Forum is the academic, refereed journal of the British
Forum for Ethnomusicology. The journal seeks to provide a dynamic
forum for the presentation of new thinking in the field of ethnomusicology,
defined broadly as the study of “people making music”, and encompasses
the study of all music, including Western art music and popular music.
Jazz Perspectives
www.tandf.co.uk/journals/rjaz
Journal of Musical Arts in Africa
www.tandf.co.uk/journals/rmaa
Journal of the Royal Musical Association
www.tandf.co.uk/journals/rrma
Muziki: Journal of Music Research in Africa
www.tandf.co.uk/journals/rmuz
Journal of Musicological Research
www.tandf.co.uk/journals/gmur
AT A G L A N C E
6
AT A GLANCE:
Film Schedule
All film showings take place in the theatre of the Bruneau Centre, Room 2001.
Wednesday, July 13, 5:45–7:00 pm
• Stephen SHEARON (USA). “I’ll Keep On Singing”: The Southern Gospel
Convention Tradition. 55 minutes
• Aaron CARTER-COHN (USA). At Home with Music: Burundian Refugees in
America. 20 minutes
Friday, July 15, 5:45–7:00 pm
• LIU Guiteng (China). The Drum Language: Ominan Ritual Music of Daur Ethnic
Minority Shaman. 60 minutes
Sunday, July 17, 10:30 am–12:00 noon
• Charlotte VIGNAU (Netherlands). The Alphorn. 52 minutes.
• NGUYEN Thuy Tien (Vietnam). Vietnamese Hiphop in a Dialogue with the Past.
20 minutes
Monday, July 18, 8:30–10:00 am
• Enrique CÁMARA DE LANDA (Spain). Non morirà mai: el tango italiano en
cuatro movimientos. 74 minutes
Monday, July 18, 3:30–5:30 pm
A R TI S TS
SOUNDshift CONCERTS:
THE ARTISTS
Saltwater Joys
PAMELA MORGAN & ANITA BEST
Anita Best is Newfoundland’s foremost
interpreter, collector, and presenter of
traditional song. With her rich voice and
warm personality she builds a marvellous
bridge between old-time and contemporary Newfoundland song-making and
storytelling traditions. Anita has received
several honours for her work in collecting
and disseminating Newfoundland folksongs, including the Marius Barbeau
Award from the Folklore Studies Association of Canada. For 19 years, Pamela Morgan fronted Canada’s pioneering folk/
rock band Figgy Duff. Since then she has been writing, recording, producing, and
spearheading her own record label, Amber Music (www.ambermusic.ca). In
recent years, she has toured extensively in England, Canada, the U.S. and Europe,
and overseen productions of two original scores for live theater, her own folk
opera, The Nobleman’s Wedding, and Figgy Duff’s score for Shakespeare’s
Tempest.
Both women have received honorary doctorates from MUN for their
work with Newfoundland and Labrador traditional music. Together, they collaborated on the University of Toronto Press songbook Come and I Will Sing You and
have produced “one of the most haunting and beautiful folk albums ever
recorded,” The Colour of Amber.
• Sandrine Loncke (France). Dance with the Wodaabes. 90 minutes
Monday, July 18, 5:45–7:00 pm
• Timothy RICE (USA). May It Fill Your Soul. 55 minutes
Tuesday, July 19, 8:30–10:00 am
• Ryan KOONS (USA). People of One Fire Continuing a Centuries-Old Tradition:
Winter. 40 minutes
• Patrick ALCEDO (Canada). Panaad: A Promise To The Santo Niño. 18 minutes
• Aaron CARTER-COHN (USA). Texas Celebrates the 50th Anniversary of Nigerian
Independence. 20 minutes
COLLINS FAMILY
Vince Collins stems from St. Anne’s,
Placentia Bay, and has an extensive
repertoire of singles, doubles, step tunes
and waltzes as well as some of his own
compositions.
His parents were accordion
players, and the love of music was nurtured
in all their children.
Vince’s son, Glen
Collins, is one of the most sought after
guitarists in Newfoundland.
He has
performed, recorded and toured with many
of Newfoundland’s finest musical artists and has recently released an album
entitled Superpickers! – Blues on the Ceiling, with two other well-known Newfound-
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A R T I STS
8
land guitarists (Sandy Morris and Peter Narváez).
As a young boy, he learned many
traditional tunes from his father. Glen’s daughter, Maeve Collins, is now the next
generation and is quite busy learning the repertoire that her father and grandfather know so well.
THE FLUMMIES
Multi-award winning recording artists The
Flummies have been performing as a group
in this province for more than 30 years. The
music of The Flummies has become
synonymous with the culture and diversity
of the province and also represents the
Inuit culture of Labrador. The band consists
of Alton Best (vocals/acoustic guitar),
Richard Dyson (accordion), Tunker Campbell (vocals/electric guitars), Leander Baikie
(vocals/acoustic guitar), Sim Asivak (bass),
and Rod Temple (percussion).
Over the
past three decades from their home base of
Happy Valley-Goose Bay, Labrador, The Flummies have performed in many
provinces and territories of Canada and have also played in Germany. On the heels
of their national television release documentary, LAB—Originals, the group
recently gave their fans twelve brand new songs on their eighth studio album, The
River.
Their songs, known as “happy music,” are inspired by the Labradorian way of
life, and are a combination of accordion-flavoured folk and contemporary country
rock. The group has been honoured as Aboriginal Artist of the Year by both the
Music Industry of Newfoundland and Labrador and the East Coast Music Association and has been inducted into the Newfoundland and Labrador Arts Council’s
Hall of Honour.
THE WICKED SESSION PLAYERS
Jean Hewson & Christina Smith: Jean
Hewson is one of the most talented
balladeers singing and playing in Newfoundland today. Known first for her work
with the now defunct folk group Barkin
Kettle, Jean has been involved with a
variety of diverse bands, including the trad
groups Tuckamore, the Sub-Sisters, and
Strings Attached, a country trio Saddle
Sorority, and rockers This Side Up. She was a member of Sweet Absalone, a
Newfoundland traditional group including Christina Smith, Fergus O’Byrne, and
Jim Payne. She is known for her unique rhythm guitar arrangements and is the
A R TI S TS
accompanist of choice at local sessions and festivals. She developed her accompaniment style backing up such notable Newfoundland fiddlers as Emile Benoit and
Rufus Guinchard. For 25 years, she has recorded and performed nationally and
internationally with Christina Smith.
Christina Smith is recognized in North America and Britain as one of the foremost
exponents of traditional Newfoundland fiddling. Since 1982, she has been collecting, researching, performing, teaching, and publishing on Newfoundland traditional music. Her articles on Newfoundland dance tunes and fiddle styles can be found
in the Newfoundland Quarterly and the Journal of Newfoundland and Labrador Studies. She is the author of The Easiest Dance Tunes from Newfoundland and Labrador
(2006) and Inshore Fiddling (2008), an audio fiddle method. She teaches with the
Suzuki Talent Education Program of St. John’s, and instructs a course in Traditional
Newfoundland Fiddling at Memorial University’s School of Music. Christina tours
internationally and records with the award-winning groups, Jean Hewson and
Christina Smith, and Frank Maher and the Mahers Bahers. She is the founder and
director of the STEP Fiddlers, a group of young musicians who have been performing and recording Newfoundland tunes since 1982.
Frank Maher: A stalwart of the Newfoundland music scene, Frank Maher is a master
of the button accordion. Frank grew up in
The Battery, a community hugging the east
end of St. John’s Harbour. He acquired a
four-stop single row accordion during his
late teens and learned many tunes from his
mother, Bridget Maher, and local player
Frank Stamp, who studied the playing of
John Kimmel.
In 1958, he became the
manager of the Harbour Inn, a lively downtown watering hole, renowned for its
sessions. There he played music with the great Newfoundland musicians of the
time, including Emile Benoit, Rufus Guinchard, John White, and international stars
like Dolores Keane and Jackie Daly.
When the Harbour Inn burned down in 1986
Frank had already been playing with Figgy Duff for three years. Figgy Duff broke
up in 1993 and Frank then played with the Plankerdown Band and the Planks for
an additional year. Currently, Frank plays regularly at local concerts and events,
and occasionally appears with Mahers Bahers at mainland festivals. He is in
demand as a studio musician and has been recorded on over 35 albums. In
recognition of his contributions to Canadian culture, Frank received the 2002
Tradition Bearer Award from the Celtic Roots Festival in Goderich, ON, the 2003 St.
John’s Folk Arts Council Lifetime Achievement Award, and the 2007 Stompin’ Tom
Connors Award from the ECMAs. His solo album, Mahervelous!, was nominated for
two Canadian Folk Music Awards in 2006.
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Allan Ricketts: A native of Torbay, Newfoundland, Allan Ricketts is a 23-year-old
traditional musician and visual artist. A
singer and multi-instrumentalist, his primary
instruments are the octave mandolin, banjo,
accordion, and pedal steel guitar. Allan has
performed widely. In 2005, Allan was one of
four artists to represent Newfoundland and
Labrador during the 2005 Canada Summer
Games, and the following year he accompanied the Potluck Singers to Ireland.
During this trip he was given the opportunity to record with other young musicians
at the Liam Clancy Recording Studio in An Rinn, Ireland.
Allan has also performed at
the Newfoundland and Labrador Folk Festival, 2009 Stan Rogers Folk Festival, as well
as the Festival of the Sea in South East Ireland in 2009 and 2010. With the assistance
of MusicNL, Allan has released two CDs, Allan Ricketts (2006) and Rivers (2009).
Rivers has received four nominations through the Newfoundland and Labrador Arts
Council, East Coast Music Awards and MusicNL.
In 2010, Allan formed The Allan
Ricketts Band.
Rick West: It started innocently enough. Living in
Newfoundland for over a decade as an entomologist with the Canadian Forest Service had given
Rick West an appreciation for traditional instrumental music. He bought a bodhran, and shortly
thereafter he and some forestry co-workers
formed a folk group called Snotty Var. Eventually
they recorded a CD with a fine crowd of local
musicians including Frank Maher. Unfortunately
for Rick, the CD was nominated for an East Coast
Music Award, and the ensuing accolades cemented the addiction; he left forestry behind in 1998.
Besides Mahervelous!, Rick has played on several
other albums including those by All-Ireland ulliean piper, Eamonn Dillon; flautist, Erin
Cassidy; Atlantic Union; The Step Fiddlers; Dave Penny; and Jean Hewson and Christina
Smith. With Frank Maher and usually with Jean Hewson and Christina Smith, he has
appeared on various televisual feasts including those broadcast by RTE TV (Ireland),
Vision TV (Steeplechasing) and BRAVO (Celtic Roots Festival). Radio appearances
include those on CBC Radio (Canada Live, Performance Hour, Musicraft, The Music
Room and Sounds Like Canada) and RTE Radio (Fleadh Fleadh Cheoil na hEirean).
Gerry Strong: Gerry Strong is originally from Little Bay Islands, Notre Dame Bay, Newfoundland. His parents moved to Ireland just before he finished high school, which
marked the beginning of his immersion in traditional music and his introduction to the
A R TI S TS
tin whistle.
Upon his return to this province, Gerry
became part of the renewal of interest in the folk
and traditional music of Newfoundland and Labrador, becoming a founding member of the awardwinning group, Tickle Harbour. As well as being
the province’s foremost tin whistle player, he was
also introduced to the wooden flute through
Tickle Harbour alumnus Rob Murphy, and has
since become the province’s leading musician on
both these instruments.
Gerry travelled throughout Canada and the U.S. while playing with Tickle
Harbour, and through Ireland and Australia with
his most recent musical ensemble, A Crowd of Bold Sharemen. He has recorded as a
sideman with an astonishing array of musical groups, all while holding down a job as
X-ray technologist at the Carbonear General Hospital. In 2010 Gerry released his first
solo CD, Velvet in the Wind.
KEYNOTE ADDRESS:
“The Intimate Distance of
Indigenous Modernities”
Monday, July 18, 1:30 – 3:00 pm
Arts & Culture Centre. Main Stage
Michelle Bigenho holds a B.A. from the University
of California at Los Angeles in political science and
Latin American studies, a “Magister” in
anthropology from the Pontificia Universidad
Católica del Perú, and a Ph.D. in anthropology
from Cornell University. Her work examines the
cultural politics of Bolivian music performances as
they relate to nationalism, discourses of
authenticity, indigeneity, folklorization, cultural
property, and globalization. She has received
Fulbright IIE, Fulbright-Hays, and Whiting
Foundation grants as well as fellowships from the
University of Cambridge’s Centre of Latin American Studies and the University of
Connecticut’s Humanities Institute.
She is the author of Sounding Indigenous:
Authenticity in Bolivian Music Performance (Palgrave 2002), and is wrapping up her
second monograph, Intimate Distance: Andean Music in Japan (Duke, forthcoming).
Music performance on the violin has formed a significant part of her research
approach in Peru, Bolivia, and Japan, and she has participated in twelve recordings
with the Bolivian ensemble, Música de Maestros. As an Associate Professor of
Anthropology, she teaches at Hampshire College’s School of Critical Social Inquiry.
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Atlantic Roots/ Routes
PADDY KEENAN
Paddy Keenan was born in Trim, Co. Meath to a Travelling
family steeped in traditional music; both Paddy’s father
and grandfather were uilleann pipers. Paddy played his
first major concert at the Gaiety Theatre, Dublin, when he
was 14, and later played with his family in a group called
The Pavees.
At 17, Paddy left Ireland for England and
Europe, where he played blues and rock. Returning to
Ireland after a few years, he began playing around Dublin
with Seachtar (“seven”), which, after a couple of personnel changes, became The Bothy Band, one of the most
influential bands of the 1970s. Paddy‘s virtuosity on the
pipes combined with the ferocity of his playing made him
its driving force. Bothy Band-mate Donal Lunny once
described Paddy as “the Jimi Hendrix of the pipes”; more recently, due to his
genius for improvisation and counter-melody, he has been compared to jazz great
John Coltrane.
Paddy’s flowing, open-fingered style of playing can be traced
directly from such great Travelling pipers as Johnny Doran. Since The Bothy Band’s
breakup, Paddy has pursued a solo career, playing at festivals and weekends,
including Gaelic Roots I and II at Boston College; the 1995 Eigse na Laoi at University College, Cork; Green Linnet’s Irish Music Party of the Year; and twice at the
Washington Irish Folk Festival at Wolf Trap, as well as various concerts, benefits and
tionals (piping festivals) around the U.S., in Canada and in Ireland. He even plays
an occasional ceili (dance).
A R TI S TS
WREN MUSIC COMBINE (DEVON)
Drawn from the array of professional musicians that make up the Wren Music
team, Combine consists of both vocal and instrumental dexterity from internationally recognised artists.
Marilyn Tucker and Paul Wilson are renowned for their
strong vocal harmonies and instrumental variety. They are skilled exponents of folk
song in all its forms from Devon and the south of England.
David Faulkner is at
the forefront of the English bagpipe pipe tradition, and has won multiple awards
for his playing. His work has included tours and performances across Europe and
U.S.
Becki Driscoll is one of the leading lights of the new generation of Devonbased folk artists, specializing in traditional and contemporary English music on
fiddle and voice, with a particular emphasis on tunes from the South West.
A CROWD OF BOLD SHAREMEN
This band is widely regarded as the finest in
Newfoundland traditional song and instrumental
music. Jim Payne has been long known as a
leading performer on melodeon, and a collector
of Newfoundland traditional music. He is also
one of the province’s most prolific songwriters,
and has created soundtracks for theatre, plays
and documentaries.
Fergus O’Byrne is one of
Newfoundland’s most renowned banjo players,
as well as a facilitator of programmes for young
folk and traditional musicians.
Gerry Strong has a
vast knowledge of traditional tunes, and in
addition to playing a wide variety of flutes and whistles, is also a composer, arranger
and storyteller.
Daniel Payne is a talented, young multi-instrumentalist and singer
with a wealth of knowledge of the musical traditions in Newfoundland.
BILLY SUTTON
Paddy Keanon will be accompanied by Billy Sutton,a multi-instrumentalist/
producer/engineer from Harbour Grace, Newfoundland. Billy is a member of
the multi-award winning group The Fables, and has played professionally with
such groups as Ron Hynes, Shirley Montague, Shanneyganock and Ennis. On the
international scene he recorded with Seamus Creagh on the Island to Island CD
project, which also featured musicians Mick Daly, Aidan Coffey, Colin Carrigan,
Graham Wells, Jason Whelan, and Paddy Mackey. Billy has also worked as a studio
musician on some 30 recording projects, and appeared on various radio and TV
productions. Billy has also co-produced all three, multi award-winning albums by
The Fables, and produced albums for Graham Wells, Ennis, Matthew Byrne and
Chris Andrews.
NATHALIE PIRES
Nathalie Pires proudly represents what is arguably the
oldest urban folk music in the world, and the soul of
Portugal—fado. Her intense voice and raw emotion have
garnered her recognition by the media and her international audiences as one of today’s leading “fadistas,” a huge
honour considering she was born and raised in the U.S.
The
success of her award-winning debut album in 2007,
Corre-me o Fado Nas Veias, led her to stages all over the U.S.
and Canada.
Highlights of Nathalie’s career include a guest
performance in world-famous saxophone player Tim Ries’s
Rolling Stone Project concert in Austria, recording with the
orchestra, Manhattan Camerata, as well as performances in
some of the most prestigious fado houses in Lisbon
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14
alongside living legends of the genre and accompanied by some of the best guitarists in
the history of fado.
Nathalie is currently preparing her untitled sophomore album for a
year end release; she performs weekly in the Manhattan restaurant PAO! in addition to
other venues. For information, visit www.nathaliepires.com.
TÍPICA TORONTO
Típica Toronto is a ten-piece Cuban dance
orchestra assembled by veteran band leader/
arranger, Jorge Maza. This sophisticated band
combines two violins and a cello in a style
known as charanga francesa including for the
first time an innovation for this kind of
ensemble, the Cuban tres guitar. Típica
Toronto performs a repertoire that reflects
the grand continuum of Cuban salsa music
from the late 1950s until today. Jorge Maza has performed and arranged for some of
the biggest names in Cuban salsa music such as Charanga Habenera, Charanga
Forever and Cubanisimo. Maza has created an orchestra with skilful musicians such as
the former Cubanisimo band members Pablosky Rosales (tres) and Jorge “Papiosco”
Torres (congas). Along with these band members are other musical mainstays of
Toronto’s Latin music scene, such as Frank Durand (timbales), Cristian Saldivia (bass)
and Monica Fedrigo (cello). Jorge Maza delivers high quality arrangements with that
distinctive Cuban flair and showmanship. Full band line-up: Jorge Maza (flute, band
leader), Pablosky Rosales (tres guitar and lead vocals), Jorge “Papiosco” Torres (conga),
Roberto Riveron (bass), Aleksandar Gajic (violin), Jorge Betancourt (piano), Frank
Durand (timbales), Onelvis Fernandez Riveron (lead vocals), Osvaldo Rodriguez (violin),
Vladimir Morfis (violin), and Monica Fedrigo (cello).
A R TI S TS
Feast of Asia
PAPHUTSORN WONGRATANAPITAK & ABSOLUTELY THAI
Paphutsorn Wongratanapitak, aka “Koong”
is a graduate from Chulalongkorn
University in Thailand (BA in Thai Classical
Music) and the School of Oriental and
African Studies, University of London
(MMus in Ethnomusicology). Koong is the
director of Absolutely Thai which organizes
cultural activities and festivals throughout
Southeast Asia and as well as many countries around the world. (Visit the Absolutely
Thai website at www.absolutelythai.org or Facebook.) Ms. Wongratanapitak is also a
music and dance instructor/lecturer at universities in Thailand and Singapore. As a PhD
candidate, she is currently conducting research on the music and culture of the Orang
Ulu people in Sarawak, Malaysia.
July 2011 marks the third time that Koong and her
Southeast Asian ensembles perform for an ICTM delegation. She expresses her
deepest gratitude to the musicians who will travel from Singapore to St. John’s to
perform Thai classical music in the Feast of Asia concert and angklung workshop:
Pattara Komkam, Disom Ruenprot, Bussakorn Binson and Roswita Amelinda.
WILLIAM LAU
Born in Hong Kong and raised in Montreal, William Lau is a
graduate of York University’s Master of Fine Arts program
in dance, and is trained in both Chinese traditional dance
and western classical ballet. Presently, he specializes in the
Beijing operatic art of nan dan (males playing female roles)
and is the only Canadian artist who has specialized in all
four major schools/styles of nan dan (Mei, Cheng, Xun,
Shang) and presented them to Canadian audiences
through public performance, pre- and post-show talks,
videos, publications, costume exhibitions and lecturedemonstrations.
William was the founder and Artistic
Director of the Montreal Society of Chinese Performing Arts and the Little Pear Garden
Collective. Under his leadership, he promoted the richness of Chinese dance and opera
to audiences across Canada and mentored a new generation of cultural workers. He
has performed internationally and collaborated with artists of diverse disciplines and
cultural backgrounds—notably South Asian choreographer Menaka Thakkar in Land of
Cards, and playwright Marty Chan, composer Robert Walsh and director Ron Jenkins in
Forbidden Phoenix, among others. A performer, producer, scholar, and cultural
advocate, William’s public service extends to the Canadian Commission for UNESCO,
Department of Canadian Heritage, and the Arts Council of Great Britain. Currently,
William is a Program Officer in Dance at the Canada Council for the Arts.
15
A R TI S TS
The Rooms.
It’s as unique as we are.
NESTLED IN THE HEART OF DOWNTOWN ST. JOHN’S,
this state-of-the-art cultural facility houses the Province’s
Archives, Art Gallery and Museum. It’s the place where
it all comes together – our history, heritage and artistic
expression. A place for people, The Rooms is a portal
to the many stories our province has to tell. Immerse
yourself in our culture at Newfoundland and Labrador’s
innovative public cultural space.
www.therooms.ca
757.8000 | 9 Bonaventure Ave. | St. John’s, NL
Indigenous Now!
SIX NATIONS WOMEN SINGERS
The Six Nations Women Singers is a Haudenosaunee vocal ensemble that has been performing for over thirty years. They are part of a larger
singing society which is a “Mutual Aid Society”
within their Six Nations community. The money
they raise by performing is given back to the
community to serve needy individuals or
families. They have performed at the American
Folklife Festival, the New Orleans Jazz Festival,
on university campuses all across North
America, and in many international venues. Their CD, We Will All Sing, was released in
1996, and they participated in the Smithsonian Institution’s production of Heartbeat:
Voices of First Nations Women recordings (1995, 1998).
Members of the Six Nations
Women Singers are Sadie Buck (Director), Betsy Buck, Pat Hess, Darlene Hill, Bonnie
Freeman, Mary Montour, and Alisa Myke.
CLAUDE McKENZIE
Innu singer-song-writer Claude McKenzie was born
1967 in Schefferville, Québec. He started to sing at
the age of seven. In Maliotenam, the home of the
Innu Nikamu festival that brings Aboriginal musicians from across Canada and beyond together each
summer, he met Florent Vollant in 1984 and together
they formed the folk music duo Kashtin, the most
commercially successful musical group in Canadian
First Nations history. Their music is a mix of rock and
folk and they sing in Innu aimun, their native
language. Ethnomusicologist Véronique Audet has
written about their dramatic rise to fame: “In 1988,
they were filmed by Radio-Canada during the Innu
Nikamu festival (Morrison 1996), and they were then discovered by producer Guy
Trépanier who recorded and produced their debut commercial album in 1989. It
was at this point that their solo “E uassiuian” invaded Québécois radiowaves and
they sold 150,000 albums (Kashtin 1989) in 4 months!” Their three albums Kashtin,
Innu, and Akua Tuta sold over 500,000 copies and garnered both Felix and Juno
awards. They toured internationally, wowing European crowds and critics; among
their performances was one at La Cigale where they opened for Louis Chedid and
another at the Bourges Festival where they performed together with Daniel Lanois.
More recently, they have each pursued solo careers. In 1997, Claude received a
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A R T I STS
18
Juno nomination for Innu Town, his first solo album, and another in 2005 for
Pishimuss. His latest CD, Inniu, appeared in 2009.
ULLA PIRTTIJÄRVI & FRODE FJELLHEIM
Frode Fjellheim is a classically
trained Norwegian Sámi
joiker and musician (piano
and synthesizer). His Sámi
roots stem from Røros where
his family still works as
reindeer herders. Frode’s
discovery of Karl Tiren’s 1910
joik collection inspired an
electronic remake and a style
that combines joik with his
classical and jazz training in
highly original arrangements.
Since 1997, he has composed film scores for Norwegian national radio and children’s
films. In the 1990s, he headed the Jazz Joik Ensemble (later Transjoik) and has
recently undertaken cross-over projects such as the joik opera Skuvle Nejla (2006)
and the Arctic Mass (Aejlies Gaaltije – The Sacred Source, 2004) for which he was
awarded the Spellemannprisen. He has created a joik-based music curriculum now
used in Scandinavian schools, served as composer, arranger and producer on over 30
CDs, and heads his own music company called Vuelie. Frode is a recipient (2002) of
the prestigious Aiollas award, given to a distinguished Sámi culture bearer and
educator.
Ulla Pirttijärvi is regarded as one of the finest traditional artists from Sápmi
(”Samiland”). She lives in a reindeer herding family in Utsjoki, Finland. Her career
began with the Finnish group Angelit (formerly Angelin Tytot), a trio of young Sámi
women who put Sámi popular music (including joik arrangements) on the national
charts. After their first two albums, she left the group to become a solo artist, signing
with Time Warner Finland to produce her debut CD in 1998. Subsequently she has
worked with Fjellheim to produce two more, including Áibbašeabmi (Longing), a
beautiful combination of her joik-inspired songs, presented in an musical surrounding influenced by pop, jazz and world music. She has played an important role as an
educational consultant, teaching traditional joik in the schools of northern Finland.
She too was a recipient of the Aiollas award in 2007.
A R TI S TS
in The Leaf People and was involved in the production of
Bones at the Banff Cultural Center.
Tiokasin Ghosthorse
is a seventh generation Lakota flute maker and player.
While working to preserve the cedar wood flute culture,
he has educated many in this ancient musical tradition.
Ataahua Papa (Ata) is Maori (indigenous New Zealander) and hails from the Central North Island, belonging
to the Waikato and Raukawa tribes. Ata has been singing
and dancing since she was 4 years old and has been immersed in Maori language, custom and tradition.
Charley
Buckland, who carries an Indigenous perspective from
his Mohegan heritage, is a bassist, singer/songwriter,
classically trained trumpet player and flutist. Donna Kelly
is a drummer and percussionist who has played in some of New York’s well known
venues with groups representing different genres, including jazz, rock, R&B and
cabaret.
Ettie Luckey, cellist, is a graduate of the New England Conservatory. A native
of North Carolina, resident in Connecticut, Ettie is a member of Elite Syncopation, a
ragtime jazz quartet and Assistant Principal of the greater Bridgeport Symphony.
Together, Matou combines Native American and Maori flutes with the powerful traditional chants of the Maori; acoustic guitar mixes with beautiful vocal harmonies, and
funk grooves blend with Native American rattles and pow wow drum beats.
NQ
$25/year
ED 4002
Memorial University
St. John’s, NL A1C 5S7
p 709.864.2426
MATOU
Matou (pronounced MAH–TOE) is a collaboration of Native American and Maori
performers whose music celebrates cultural strength, perpetuation of tradition and
a love for nature and the geographic areas that each hail from. Matou are:
Soni Moreno, a well known Native American singer who founded and has performed with the
Women’s vocal group, Ulali, for a number of years. Soni has appeared on Broadway
f 709.864.4330
e [email protected]
N
E
V I S U
A
R
C U L T
W
S
A L S
T
S
U R E
POLITICS HISTORY
F O L K L O R E
P O E T RY F I C T I O N
& MORE
A Cultural Journal of Newfoundland and Labrador
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20
A R TI S TS
Canada’s Many Voices
ZARI
Zari is an exciting trio of singer/instrumentalists who
specialize in the music of the Georgian Republic, a mountainous country at the crossroads of Asia and Europe. In
mid-2003, Shalva Makharashvili, Andrea Kuzmich, and Reid
Robins joined forces to concentrate their efforts on the
exquisite harmony and complex polyphony of this ancient
musical culture. By turns exotic, lyrical, and powerful, Zari
brings to the stage three accomplished artists who embody
the tradition and improvisational interplay of one of the
world’s most beautiful musics in its most transparent
form—the vocal trio.
UZUME TAIKO
Uzume Taiko is known around the world for
its West Coast Canadian taiko drumming—a
powerful synthesis of music, movement and
theatre. Using a diverse collection of
percussive and melodic instruments as well
as taiko drums, Uzume Taiko has developed
its dynamic fusion of old and new styles of
drumming, bringing a vibrant, contemporary sensibility to an ancient art. With the
choreographed physicality of martial arts, the heart-stopping pulse of the o-daiko
and the rhythmic sensitivity of a jazz ensemble, the drummers of Uzume Taiko put
on an exhilarating performance. Their fearless musical collaborations offer a musical
experience unlike any other. Uzume Taiko, Canada’s premiere professional taiko
drumming group, is currently led by Artistic Director Bonnie Soon and Musical
Director Jason Overy. In St. John’s, they are joined by shakuhachi flute player, Alcvin
Ramos. The name Uzume Taiko is derived from taiko, the Japanese word for “big
drum” and from the goddess of laughter, Ame No Uzume No Mikoto—the Heavenly
Alarming Female—who, according to legend, first began taiko drumming. For more
information, see http://www.uzume.com.
THE TRADITIONAL ARABIC MUSIC ENSEMBLE
Created in 1973 by George Sawa and the late Ebrahim Eleish, the Traditional Arabic
Music Ensemble is a group of accomplished scholars and musicians dedicated to the
performance of traditional Arabic music repertoire. The instrumental repertoire includes the sama’i, bashraf (peshrev), longa, tahmila, taqsim, folk and classical dances;
the vocal repertoire
includes the Andalusian muwashshah,
qad halabi, and
folk and popular
songs of Egypt and
Syria. The ensemble
consists of George
Sawa, master of
the qanun (a type
of hammered dulcimer); scholar and musician Suzanne Meyers Sawa; distinguished Lebanese traditional percussionist
Michel Merhej Baklouk; and Nada El Masriya, a belly dancer
born and trained in Cairo. The group has performed in
venues across Canada, the U.S. and Europe, and has been recorded for broadcast by the CBC. They have two recordings:
The Art of the Early Egyptian Qanun, volumes 1 and 2. Volume 1 was nominated for a
Juno award in 2008. For more information, see http://www.georgedimitrisawa.com.
CLUB CARREFOUR
The men of Club Carrefour are masters of
their instruments and musicians at the peak
of their powers united by a passion for
traditional music. They are: Raynald Ouellet
(diatonic accordion), Pierre Schryer (fiddle),
Normand Legault (percussion and step
dancing), Bruno Gendron (guitar and
vocals) and Benoit Legault (piano). Between them they have a wealth of experience in ethnological research, teaching, instrument building, composition,
arranging and event planning. Legendary musicians all, their list of accomplishments is too long to list here, but let their music speak for itself. It is a feast of virtuosity, artistry, and synergy – plunging the listener into the irresistible world of
Québécois traditional song and dance. Guitar, accordion, fiddle, voice, piano,
bones and step dance converge to create a joyful performance of rhythm and
dance for all ages.
Chain Rock
Graham Wells is part of the new generation of dynamic, young Newfoundland accordion players. A former member of well known groups A Crowd of Bold Sharemen and The Irish Descendants, Graham is now focusing on his solo career. He is
also a wonderful singer and tin whistle player and is the Artistic Director of Feile
Seamus Creagh, a folk festival that takes place in July that celebrates Newfound-
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22
land and Irish traditional music. He is joined by his band Chain Rock, consisting of
Billy Sutton, Jason Whelan and Paddy Mackay – some of the finest young players in
Newfoundland and Labrador.
More than 25 years of experience
have garnered Bill Brennan a solid
reputation as a player and
composer of contemporary
classical, jazz, folk and world music
– always exploring, always open to
new ideas. He was musical
director/composer for CBC’s Vinyl
Café and The Nature of Things.
Brennan’s expertise can be heard
on some 90 albums. His CD “Solo
Piano 2” won the 2008 MusicNL Instrumental Album of the Year and garnered an
ECMA nomination. Brennan was named the Newfoundland and Labrador Arts
Council Artist of the Year for 2006. He is the director of Memorial University Jazz
Ensemble.
WORK S HOPS
WORKSHOP SCHEDULE
All workshops are in the Arts & Culture Centre
WEDNESDAY, JULY 13
10:30 am–12:00 pm
Fiddle and Identity I: Newfoundland Fiddle Styles – Charlie Cook,
Christina Smith, Evelyn Osborne (Irwin’s Court)
For an island with fewer than half a million people, Newfoundland has a remarkable
diversity of fiddle styles. This workshop will explore the origins and evolution of fiddle
repertoires across the island, from the Scottish and French-Acadian tunes of the southwest, to the unique driving dance tunes of the Northwest Coast and Labrador Straits,
to Irish/English-based square dance music of the English Shore, to the Irish music of
the Southern Shore and St. Mary’s Bay, to Country and Downeast “radio tunes.” Three
of Newfoundland’s knowledgeable performers will introduce you to the mystery of
what is, exactly, ‘a Newfoundland tune.’
Christina Smith (fiddler and cellist) collects, performs, records, researches, publishes
on, and teaches the traditional dance music of Newfoundland and Labrador. She tours
internationally as a duo with singer/guitarist Jean Hewson, and with Newfoundland
melodeon legend Frank Maher and his group, Maher’s Bahers. With a love for new and experimental music, Evelyn Osborne enjoys improvising and
composing for cross-genre artists. She is currently a PhD candidate in ethnomusicology
at Memorial University where her research centers on instrumental traditions in
Newfoundland and Labrador and how they interact with Irish and Celtic musics.
Charlie Cook is a composer, arranger and recording engineer who lives in Pouch Cove,
Newfoundland. He currently plays with the Newfoundland bluegrass group, Crooked
Stovepipe.
Bluegrass in Canada – Neil V. Rosenberg, Graham Blair, and Marc
Finch (MMAP Gallery)
Is there such a thing as “Canadian bluegrass” or would it be more accurate to speak of
“bluegrass in Canada”? A brief history of bluegrass will be offered before the group
embarks on a tour of Canada’s many scenes. From Newfoundland to British Columbia,
bluegrass can be found at festivals, in urban clubs, small town jam sessions and other
venues, performed by people from many different cultural and linguistic backgrounds.
What will develop is a picture of bluegrass in Canada as a microcosm of the country’s
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national identities: diverse, complex, and difficult to pin down. Throughout Neil,
Graham, and Marc will draw on their personal experiences learning the music and
perform a number of musical examples.
Neil V. Rosenberg is Professor Emeritus at Memorial University, where he taught in the
Department of Folklore from 1968 to 2004. His books include Bluegrass: A History (2005)
and Transforming Tradition: Folk Music Revivals Examined (1993). He has been playing
the banjo since 1959.
Graham Blair is a PhD candidate in the ethnomusicology program at Memorial University. His research concerns the grassroots aspects of bluegrass and oldtime music in Western
Canada.
Marc Finch is a PhD student in ethnomusicology at Memorial University. His current work
is concerned with the history of bluegrass in Toronto and how performers make sense of
their urban lives through their musical activities. His spare time is dedicated to learning
and practicing bluegrass guitar.
3:30 pm–5:00 pm
Song Roots/Routes – Anita Best, Jim Payne, Marilyn Tucker, Paul
Wilson (Irwin’s Court)
Newfoundland was the first colony of the British Empire. From 1565, its shores
were seasonally frequented by Devon and Dorset crews fishing inshore for cod.
This workshop will explore the centuries-old cultural link that exists between
Newfoundland and England’s West Country, and will feature four singers of
international standing: Jim Payne and Anita Best of Newfoundland and Paul Wilson
and Marilyn Tucker from Devon.
Anita Best was born on Merasheen Island in Placentia Bay (since abandoned under the
resettlement program of the 1960s). She has worked as an educator, archivist, folklorist,
broadcaster and singer and has spent a lifetime exploring, cataloguing and celebrating
the rural Newfoundland lifestyle and culture. In the process she has become one of the
province’s most prominent traditional singers.
Jim Payne is from Notre Dame Bay, Newfoundland and has been a performing artist
and writer for almost three decades. Known also as a collector and publisher, he founded
Singsong Music as a vehicle for disseminating traditional and contemporary Newfoundland
song. Jim is also one of the province’s most prolific songwriters, working in several genres.
Marilyn Tucker & Paul Wilson are renowned for their strong vocal harmonies and
instrumental variety. They are skilled exponents of folk song in all its forms from Devon and
the south of England.
WORK S HOPS
Scottish Reels – Mats Melin (MMAP Gallery)
Bring your dancing shoes and explore a number of different Scottish reels from
Shetland, Orkney and the Hebridean isles and the connection to the Cape Breton
Scotch Four. Mats will also touch on the role this dance form once had in Scottish
communities and how that role has changed.
Swedish born traditional dancer, choreographer and researcher Mats Melin is a Lecturer
in Dance at the Irish World Academy of Music and Dance at the University of Limerick,
Ireland. Mats co-founded the dynamic Scottish performance group Dannsa in 1999, and he
is currently conducting PhD research on Cape Breton Step Dancing. THURSDAY, JULY 14
10:30 am–12:00 pm
Sámi Vocal Styles I – Frode Fjellheim and Ulla Pirttijärvi (Irwin’s
Court)
From northern Scandinavia, the indigenous Sámi joik tradition specializes in the
characterization of a person, place or thing. Pirttijärvi is a renowned tradition bearer
who can demonstrate examples that convey the personality, age, movement style
or lifeways of a person or animal. Using pitch, timbre, and rhythm, the joiker conveys
information about the individual or thing that is joiked. The vocal production does
not aim to be “beautiful” but to be evocative. For participants, this workshop will
undoubtedly improve their powers of observation and stimulate their creative
imagination of sound as a mode of description.
Frode Fjellheim and Ulla Pirttijärvi – see performer bios
Argentinian Chacarera Dance – Adriana Cerletti (MMAP Gallery)
Chacarera is an Argentinian dance from Santiago del Estero province. Its name comes
from chacarero (the man who works in the field). This dance is performed in groups
by separate couples, and it is characterized by circular movements and turns, as well
as by its binary/ternary rhythms – a feature it shares with other Argentinian folkloric
dances. Workshop participants will learn the choreography of chacarera simple, with its
avances (advances) and retrocesos (backward movements), giros (turns), vuelta entera
(full turn), zapateo (tapping) y zarandeo, and media vuelta y giro final.
Adriana Valeria Cerletti, Argentinian musicologist, teaches at the National University
of Buenos Aires and the University of Buenos Aires, as well as Popular Music Avellaneda
25
WORK S HOPS
M
OR
E
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College of Music, where tango and folklore are program specialties. Adriana studied
tango and chacarera informally in the traditional milongas of Buenos Aires – La Viruta, La
Catedral del Tango, el Antiguo Salon Canning, la Academia Nacional del Tango. T
W
F
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INFORMATIO
W
W
.Y
OR
1:30 pm–3:00 pm
KU
The Canadian
Society for Traditional
.
C
A
/C
STM
Music is dedicated to the
study and promotion of musical
traditions of all communities and
cultures, in all their aspects. The scope of the Society’s activities is intended
to reflect the interests both of members who are ethnomusicologists and
of members who are interested in traditional music and its contemporary
counterparts in non-academic or performance contexts.
Formed in 1956 as the Canadian Folk Music Society by the eminent ethnographer and
folklorist Marius Barbeau, the Society provides a national focus for lovers of diverse musical
traditions, with annual conferences held in all regions of the country, from St. John’s,
Newfoundland, to Vancouver Island, British Columbia. From its initial focus upon
Christina Smith (fiddler and cellist) collects, performs, records, researches, publishes
on, and teaches the traditional dance music of Newfoundland and Labrador. She tours
internationally as a duo with singer/guitarist Jean Hewson, and with Newfoundland
melodeon legend Frank Maher and his group, Maher’s Bahers. M U S I C U LT U R E S
a subscription to CSTM’s annual peer-reviewed journal MUSICultures
a subscription to Canadian Folk Music Bulletin
access to the CSTM listserv
discounts on CSTM Mail Order Services
a voice in the Society’s affairs
journal de la société canadienne pour les traditions musicales
journal of the canadian society for traditional music
VOLUME 34
The focus of this workshop will be on the traditional square set, a dance that is part
of the repertoire in many Newfoundland communities. Jane will teach you the basic
steps and structure of the dance and show you regional variations. Christina will
talk about the structure of Newfoundland dance tunes and how and why they are
unique. You’ll also hear stories about some of the dance “fiddlers” in the province, such
as accordionist Mrs. Belle Fennelly from Port Kirwan on the Southern Shore.* Now in
her 90s, Mrs. Fennelly started playing for dances – and especially the square set – when
she was eight years old. (* in Newfoundland, anyone who played for dances was the
“fiddler,” regardless of instrument.)
Jane Rutherford has been a dance caller, teacher and performer for 20+ years and
has performed across eastern North America. She is the principal author and dance
consultant for Traditional Dances of Newfoundland and Labrador: A Guide for Teachers
(2007). A keen collector of the province’s traditional dances, Jane has worked with several
communities to revive dances that were close to being lost.
First Nations and rural French and English cultures, the Society has
broadened its horizons to encompass musical
expressions found throughout
Canada and the world.
A one-year CSTM membership includes:
Newfoundland Set Dancing and Music – Jane Rutherford with
Christina Smith (MMAP Gallery)
Native Contemporary Music – Dawn Avery
(Irwin’s Court)
2007/08
Experience contemporary Native music by Mohawk,
Navajo, Mohican, and Cherokee composers in this
lecture/demonstration through listening, dancing, and
playing traditional instruments. Learn how these works
relate to culture, language, revitalization and specific
“native” sensibilities. This uplifting workshop focuses
on Dawn’s particular experience with the Ohsweken
Singers, commissioned works, and Native composition
projects in a variety of genres of contemporary First
Nations Music. 27
WORKS HOP S
28
Grammy Award-winning Dawn Avery spent years working with such luminaries as
Pavarotti and Sting, and collaborating with John Cage, John Cale, R. Carlos Nakai, and
Joanne Shenandoah, among others. Along the way, she got degrees from the Manhattan
School of Music and NYU. Of Mohawk descent, Dawn performs Native American music
with her own ensemble, OKENTI, and as a soloist in the North American Indian Cello
Project. Dawn’s most recent recording, Our Fire, features original songs with cello, on
contemporary native themes.
FRIDAY, JULY 15
10:30 am–12:00 pm
South African Zulu Music and Dance – Ikusasa Lethu (MMAP Gallery)
This workshop is in two
parts: In the first half,
participants will learn a Zulu
song in the isicathamiya
tradition, featuring rich
multi-part vocal harmonies.
In the second half,
participants will learn some
of the steps and movements
associated with ngoma. Both
are forms of Zulu music and
dance that originated in the
male migrant labour
experience of South Africa
during the Apartheid period. Men performed (and continue to perform) isicathamiya
and ngoma in competition for coveted prizes, including money and goats. Ladysmith
Black Mambazo is the most internationally famous isicathamiya group.
Ikusasa Lethu is a young performance ensemble affiliated with the University of KwazuluNatal, South Africa. The group’s Artistic Director is Dr. Patricia Achieng Opondo.
The Charanga Orchestra and Cuban Music –
Jorge Maza with Típica Toronto and Brigido Galvan (Irwin’s Court)
The charanga orchestra originated in Cuba around the late 19th century. What
distinguishes it from salsa orchestras are its use of a string section and flutes in place
of a brass section. The workshop will begin by demonstrating elements of charanga’s
WORK S HOPS
earlier genres, including contradanza, danzón and chachachá. It will then illustrate how
the charanga instrumental textures have been adopted in contemporary salsa cubana
or timba and jazz music. Workshop participants may be invited to tap/clap rhythmic
patterns and to sing along during the call response section (the montuno). Though this
is not a dance workshop, participant may also learn basic steps.
Jorge Maza and Típica Toronto – see performer bios
Brigido Galvan is a singer-guitarist and ethnomusicologist in Toronto who performs
regularly with many of the city’s Cuban musicians. His doctoral dissertation was published
in 2010 and is entitled “Arranging Hybridity: Cuban-Canadian Musicians in Toronto”
(2010).
3:30 pm–5:00 pm
Newfoundland Song Traditions – Pat Byrne, Eleanor Dawson, Ellen
Power (MMAP Gallery)
The practice of singing unaccompanied is alive and well in Newfoundland and
takes place in both formal and casual settings. When referring to the region from
which a singer comes, it is common to mention the “bay” or body of water in which
their community is located. This workshop will feature singers from two of the
major bays of the island: Placentia Bay, and Conception Bay. The repertoire will
include locally composed songs as well as songs and ballads of British and Irish
origin.
Pat Byrne is Professor in both the English and Folklore departments at Memorial
University. In addition to a long list of academic achievements, he is also a published
poet and songwriter, and has performed at numerous folk festivals, as well as on radio
and television.
Eleanor Dawson hails from Bay Roberts, Conception Bay. One of the founders of
the Newfoundland and Labrador Folk Festival, she is Past President of both the
Newfoundland and Labrador Folk Arts Society and the Newfoundland Historical
Society. She is currently a host of the monthly ballad session at the Crow’s Nest, and is
Head of Arts in the Department of Tourism, Culture and Recreation in the Government
of Newfoundland and Labrador.
Ellen Power, now 17, has performed at several folk festivals and concerts in
Newfoundland. She is a member of the chamber and treble choirs at her school, St.
Bonaventure’s College. Ellen’s father, Pius Power Jr., and her grandfather, Pius Power
Sr., were well-known traditional singers from Placentia Bay. She hopes that someday
she will pass on her songs to her children and grandchildren.
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WORK S HOPS
(Ableton Live, Reason). In this workshop,
participants will be introduced to MPC
technology; each person will learn how to
create a beat using pre-recorded sampled
sounds and record their beat on the MPC.
Sounding Bamboo: Angklung – Paphutsorn
Wongratanapitak with Absolutely Thai
(Irwin’s Court)
Angklung is a hand-held bamboo instrument popular
throughout Southeast Asia. Angklung are built in sets,
and each person holds and rattles one to create a lovely,
resonant pitch. Like a handbell choir, when each person
shakes their angklung at the right time, they can create
melodies and harmonies together. The best thing about
angklung besides its beautifully earthy sound? Anybody can play it! This workshop is
good for adults and younger ones too.
Paphutsorn Wongratanapitak and Absolutely Thai – see performer bios
The Scott Collegiate Hip Hop Project – Ethan
Oliver is in grade 11 and Keena AisaicanCheckosis is in grade 12 at Scott Collegiate.
Ryan Anaskon is in his 2nd year in Arts at First
Nations University of Canada. Elizabeth Curry is in the MA program in Interdisciplinary
Studies in the Faculty of Fine Arts at the University of Regina. Charity Marsh is the Canada
Research Chair in Interactive Media and Performance and Director of the IMP Labs at the
University of Regina.
SATURDAY, JULY 16
SUNDAY, JULY 17
3:30 pm–5:00 pm
10:30 am–12:00 pm
Portuguese Fado Demonstration/Performance – Nathalie Pires
(Irwin’s Court)
Singing the West: Traditional Songs and Songs in the Tradition
from the Prairies and British Columbia – E. David and Rosaleen
Gregory, John Leeder (Irwin’s Court)
At the heart of Portuguese fado is the idea of saudade. Saudade refers to an ardent
yearning for something lost or unattainable; and although there is no single word
in English that accurately conveys the meaning of this word, the themes of love, loss
and life at sea will no doubt resonate with Newfoundland audiences. Nathalie Pires
is one of North America’s rising stars of Portugal’s most recognizable musical genre.
She will talk about, and demonstrate the themes of fado in this session. Nathalie is
accompanied by guitarists José Silva and Viriato Ferreira.
This workshop will explore the occupational song traditions of British Columbia and
the Prairie provinces, drawing from the Phil Thomas Collection. Workshop leaders
will try to cover the major occupations of early immigrants, as recorded in ballads
and lyrics from the colonial era onwards. They will sing traditional songs about
homesteading, logging, mining, fishing, transportation, etc., as well as provide
historical context, explain technical terms, and elucidate the attitudes and values of
the songwriters, whether the latter are anonymous or known by name.
Nathalie Pires – see performer bios
Aboriginal Hip Hop 101 – Scott Collegiate Hip Hop Group (MMAP
Gallery)
The Hip Hop Project consists of grade 10 students earning English and Arts Education
credits while learning about Hip Hop culture. Along with classroom time, students
spend three mornings a week in the Interactive Media and Performance (IMP) Labs at
the University of Regina where they are mentored by local Hip Hop DJs, MCs, B-Boys/
B-Girls, and graffiti artists along with IMP Labs’ assistants. In one IMP studio with 8
turntables, students learn the art of scratch, beat juggling, and mixing records. In the
other studio, they learn to use the MPC beat-making machine and computer software
E. David Gregory is Professor of Humanities at Athabasca University, where he teaches
European history and music history. His publications include The Athabasca Ryga (1990),
Victorian Songhunters: The Recovery and Editing of English Vernacular Ballads and
Folk Lyrics, 1820-1883 (2006), and The Late Victorian Folksong Revival: The Persistence
of English Melody, 1878-1903 (2010).
Rosaleen M. Gregory is a retired lawyer, a potter, and a folk-singer. For eight years she
has served as co-editor of Canadian Folk Music, the quarterly publication of the CSTM,
to which she has also contributed a column, “Singing the Child Ballads.” She performs in
Alberta and at the Princeton Festival of Traditional Music in British Columbia.
John Leeder is Honorary President of the CSTM, after having served the society in various
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capacities for over 30 years, including President (1985-86). Canadian traditional music is
his first love, with British traditional and American old-time music following close behind,
and he also writes songs in that vein. He plays “Leeder-style” five-string banjo and octave
mandolin, and has recorded one CD, Fresh Forest Breeze.
Haudenosaunee Social Dance and Music – Six Nations Women
Singers (MMAP Gallery)
Haudenosaunee (Iroquois) nations who reside in southern Ontario and New York
State believe that performing social dance helps to thank and celebrate the gifts
of creation. Non-Haudenosaunee are welcome to assist with this celebration by
learning the dances. Most of them accompanied by a small, pitched water drum and
a group of cow horn shakers. The dances range from easy (Alligator, Robin, or Rabbit
dances) to virtuosic (the best known of which is the Smoke dance, now a regular part
of many northern powwows). Workshop leaders will teach some easier dances and
demonstrate one or more of the difficult ones.
Six Nations Women Singers – see performer bios
Tuvan Overtone Singing – Tran Quang Hai (Gallery East)
In Mongolia and Tuva, the word khoomei means
pharynx, throat, and khoomeilakh is the technique of
producing vocal harmonics. This unusual technique,
which takes the human voice to its limits, entails the
production of two sounds simultaneously: a drone or
fundamental that is rich in overtones. Producing
melodies on the overtones of the drone initially seems
like an impossible task. Tran Quang Hai will convince
you that it is possible to learn techniques that singers in
the Republic of Tuva and elsewhere in the world have
cultivated for centuries. Digital technology now enables
us to see our voices in action and perfect our technique.
In this workshop, the facilitator’s method of learning khoomei overtone singing will be
explained and demonstrated.
Tran Quang Hai descends from an important family of Vietnamese traditional
musicians that stretches back five generations. He is known around the world as the
virtuoso of overtone singing (Tuvan, Siberian, among others). He has made these
techniques a performance specialization as well as an object of research. He worked as
an ethnomusicologist for the National Center for Scientific Research in France since 1968,
attached to the Department of Ethnomusicology of the Musee de l’Homme. He retired in
May 2009.
WORK S HOPS
1:30 pm–3:00 pm
Taiko Drumming Techniques – Uzume Taiko (Irwin’s Court)
Taiko drumming can express a dynamic range of emotion, from furious power to
gentle grace. Through its martial arts links, this drumming style engages the spirit
and motivates participants to work together through its practice. Participants will
explore hard and soft textures in movement and sound, and engage in warm-up drills.
Uzume Taiko will also cover the proper grip on sticks, taiko stance and movements,
basic drumming drills, vocal shouts, verbal notation and song playing. Experience
the respect and cooperation of group taiko drumming and develop listening and
communication skills through the group process.
Uzume Taiko – see performer bios
Georgian Polyphony – Zari (Gallery East)
Declared by UNESCO as a “masterpiece of the oral and intangible heritage,” Georgia’s
“polyphonic” music is known for its haunting, unusual harmonies. Singing the
complex polyphony results in a buzzing physical sensation that metaphorically
represents friendship, love and deep spirituality. In this workshop, songs varying in
complexity and ranging from drinking and horse riding songs to meditative chants,
will be taught according to the skills and interest of workshop participants. They will
be taught by rote and/or by lead-sheet and further contextualized in terms of the
country’s regional styles, song types, and historical circumstances.
Zari – see performer bios
3:30 pm–5:00 pm
Arabic Rhythms and Modes – The Traditional Arabic Music Ensemble
(Irwin’s Court)
The workshop will include description and demonstration of musical instruments
(qanun = psaltery, darabukka = drum, riqq, duff and mazhar = tambourines);
tone system; rhythmic system; forms and genres; notation systems; performance
practice; lyrics themes. And for the dancer: basic steps of classical and folkloric
dances.
The Traditional Arabic Music Ensemble – see performer bios
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WORK S HOPS
Tango – Adriana Cerletti, Silvia Citro (MMAP Gallery)
MONDAY, JULY 18
Tango is a Río de la Plata musical and dance expression which embodies a game of
seduction between a man and a woman. It was born in the late 19th century in Buenos
Aires – a result of the union of several immigrant cultures. Its music and dance were
enriched by multiple influences: fandango, habanera cubana; the candome, and the
milonga campera. This workshop will present the basic steps, including the abrazo
(embrace), ochos (eights), pivotes (pivots) and giros (turns) and will give participants
a feel for the “essence” of tango. “El tango es una pena que se baila” (Tango is a sorrow
that is danced).
10:30 am–12:00 pm
Adriana Valeria Cerletti, Argentinian musicologist, teaches at the National University
of Buenos Aires, the University of Buenos Aires, as well as Avellaneda College of Music,
where tango and folklore are program specialties. Adriana studied tango and chacarera
informally in the traditional milongas of Buenos Aires – La Viruta, La Catedral del Tango, el
Antiguo Salon Canning, la Academia Nacional del Tango. At the University of Buenos Aires, where she is Associate Professor, Silvia Citro has
created a research team on Anthropology of the Body and Performance. She is also
Associate Researcher at the National Council of Scientific and Technical Research. Her
research focuses on intercultural perspectives on dance, music and rituals; theoretical
and methodological approaches to body; history of body representations; and aboriginal
groups of the Argentine Chaco.
Australian Indigenous Songs - Steve Patrick JAMPIJINPA and DOI
Yukihiro (Gallery East)
There are only about 150 Australian languages – much diminished from those known
to exist in earlier centuries – in daily use in contemporary communities today and
many of those are endangered. The Warlpiri language (Central Australia) is one of
the strongest languages and song is one of the means of vitalizing it. Australian
indigenous songs carry knowledge of the land and the relationships among Aboriginal
clans. Doi and Jampijinpa will demonstrate a number of the song traditions that have
been sustained through the biennial Milpirri festival. Milpirri brings together youth
and elders utilising traditional song and dance, contemporary western dance forms,
and a fusion of both. The festival has also led to a revival of the Warlpiri didjeridoo,
called the kurlumpurrngu.
Steve Patrick Jampijinpa is a Warlpiri man who has long worked at Lajamanu
Community Education Centre (CEC), and who has led Milpirri, a festival held biannually
since 2005. Doi Yukihiro is an ethnomusicology PhD student who has spent time at
Lajamanu and also been involved in several Milpirri.
Dance Styles in Chinese Opera – William Lau (MMAP Gallery)
Beijing opera and other regional types of Chinese opera are highly stylized forms
of theatre with distinct character types. This workshop will address some of the
complex make-up and dress styles, and demonstrate the essential elements of singing,
recitation, acting and dancing required of its actors. William Lau will also include a brief
history of Chinese opera and will give an overview of traditional and contemporary
repertoires.
William Lau – see performer bios
Sámi Vocal Styles II – Frode Fjellheim and Ulla Pirttijärvi (Gallery
East)
From northern Scandinavia, the indigenous Sámi joik tradition specializes in
the characterization of a person, place or thing. One of the workshop leaders
is a renowned tradition bearer who can demonstrate examples that convey the
personality, age, movement style or lifeways of a person or animal. Using pitch,
timbre, and rhythm, the joiker conveys detailed information about the individual
or thing that is joiked. The vocal production does not aim to be “beautiful” but
to be evocative. For participants, this workshop will improve their powers of
observation and stimulate their creative imagination of sound as a mode of
description.
Frode Fjellheim and Ulla Pirttijärvi – see performer bios
The Music of Matou (Irwin’s Court)
The music of Matou is a fusion of powwow drum beats, Native American shakers,
koauau (Māori flute), Lakota cedar wood flutes and haunting vocals supported by
guitar and percussion. In this workshop, the members of Matou will demonstrate how
they combine their influences to create a new musical genre that honours the beauty
and uniqueness of their respective traditions.
Matou – see performer bios
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WORK S HOPS
3:30 pm–5:00 pm
TUESDAY, JULY 19
Inuit Vocal Styles – Jennie Williams and Tama Fost (MMAP Gallery)
10:30am–12:00pm
Inuit “throat singing” is a two-part vocal “game” in which a
pair of women use guttural sounds, pitched tones, and
audible breath rhythms to create patterns that often imitate
natural sounds (e.g., a goose, a river, a whimpering puppy, or
the act of polishing the ice on sled runners). Workshop
leaders from two regions of the Arctic will demonstrate
regional differences. In the workshop, participants will learn a
basic vocabulary of sounds for a few games and will be
shown how to combine the two parts. While throat songs are
traditionally performed by two individuals, workshop leaders
will teach the whole group to perform together.
Jennie Williams and Tama Fost work together to preserve and promote Inuit culture
through captivating performances of throat-singing, ajaja singing, drum-dancing, storytelling and Inuit games. They are both descendants of the Labrador Inuit and are very
proud to share their culture with people of all ages while educating and engaging their
audience in traditional practices from many generations ago.
Newfoundland Ugly Stick Making – Grenfell Letto, with host Dale
Jarvis (Irwin’s Court)
Newfoundland Accordion Styles – Aaron Collis, Art Stoyles and
Bob Rutherford, The Sweet Forget-Me-Nots (Irwin’s Court)
If Newfoundland had a national instrument it would probably be the accordion;
the province is known for both the quality and quantity of its players. In fact,
Newfoundland holds the Guinness World Record for the largest accordion ensemble.
989 people assembled at The Newfoundland and Labrador Folk Festival in August
2005 and performed the well known tune, “Mussels in the Corner.” This workshop will
highlight a variety of local players including a young hot shot, some lovely ladies, and
two venerable veterans of the instrument. This workshop is sponsored by O’Brien’s Music
Store, 278 Water St., St. John’s.
Aaron Collis is a third year English student from Appleton who has collected many of his
tunes from older players. He performs with Newfoundland folk band The Dardanelles and
is this year’s recipient of the Dermot O’Reilly Legacy Award.
The Sweet Forget-Me-Nots are Marina Hoskins, Debbie Dunne, Anita Williams, Harryetta
Collett, Vicki Larkin and Doreen Reardigan. They have performed on Out of the Fog, The
Bell Island Accordion Festival and Memorial University’s CHMR radio. They volunteer to play
at seniors’ homes, retirement centers as well as other venues in and around St. John’s.
The ugly stick is a traditional Newfoundland percussion instrument made out of
household and garage items. The main body of the stick is typically an old mop,
decorated with noisemakers, i.e., beer bottle caps. It is played rhythmically with a
notched stick which creates a sound similar to a tambourine. Some ugly sticks are
elaborately decorated and are regarded as pieces of folk art. The workshop facilitator
will demonstrate how to make and decorate an ugly stick, as well as how to use it to
accompany traditional tunes and songs. This workshop is sponsored by the Intangible
Cultural Heritage office of the Province of Newfoundland and Labrador.
Growing up in St. John’s in the 1940s and 50s, Art Stoyles acquired an unique repertoire
by interacting with foreign sailors that visited the city, most notably the Portuguese of the
White Fleet. In the 70s he toured the world with Newfoundland’s famous folk band, Figgy
Duff, and lists playing with the Chieftains as one of the highlights of his career. Art often
performs with his friend Bob Rutherford, who regards Art as a teacher and mentor.
Grenfell Letto is a retired police officer who started making ugly sticks four years ago as
a hobby. His unique designs have become so popular that O’Brien’s Music Store (St. John’s’
premier store for all things folk) has difficulty keeping his ugly sticks in stock.
This workshop is an overview of Sephardic songs, demystifying the medieval and the
flamenco myths, and covering the main song genres and multi-site areas, older and
newer styles, and examples of the main genres: narrative ballads, wedding songs,
calendar cycle songs, and the “modern” (i.e., late 19th century on) repertoire of lyrical
and topical songs.
Dale Jarvis is a performer, researcher, writer and storyteller living and working in St.
John’s. He holds a B.Sc. (Honours) in anthropology from Trent University and an MA in
folklore from Memorial University. He currently works for the Heritage Foundation of
Newfoundland and Labrador as the province’s Intangible Cultural Heritage Development
Officer.
Sephardic Song – Judith Cohen (Gallery East)
Judith Cohen is Past President and Past Francophone Vice-President of CSTM. An
ethnomusicologist and performer, she is currently the first Alan Lomax Fellow of the Kluge
Center at the Library of Congress. Her research focuses on Sephardic music and music of
the Portuguese Crypto-Jews. Judith did both her PhD and MA at the Université de Montréal,
and teaches in York University’s Music Department.
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WORK S HOPS
Fiddle and Identity II – Colin Quigley, Kelly Russell, Pierre Schryer
(MMAP Gallery)
The musical traditions of fiddling play an important role in the expression of cultural
identity. The three facilitators for this session will demonstrate the multiple styles in
which they are so well-versed, including those of Newfoundland, Ireland, America,
Transylvania, Scotland and Québec. Colin, Kelly and Pierre are not only wonderful
performers with great skill and extensive repertoires; they are also extremely
knowledgeable about the social context of fiddling in various cultures.
Colin Quigley is Senior Lecturer in ethnomusicology at University of Limerick. He
researches European and European-American traditions of music and dance and the
inter-ethnicity of dance and dance music in Transylvania. He is General [founding] Editor
of Ethnomusicology Ireland. A fiddler and banjo player, he offers masterclasses and
workshops in the fiddling and dancing of Newfoundland and the American South-East.
Kelly Russell has been a member of landmark Newfoundland groups like Figgy Duff and
The Wonderful Grand Band. Working closely with legendary fiddlers Rufus Guinchard
and Emile Benoit, he has inherited status as one of Newfoundland’s leading traditional
performers, appearing on countless national and international stages. Kelly is the first ever
recipient of the provincial government’s Tradition Bearer Award.
Pierre Schryer is part of the vibrant Franco-Ontarian culture of Canada. As a solo
performer he has received numerous titles and awards including Canadian Open Fiddle
Champion, Canadian Grand Masters Fiddle Champion, Violoneux Championnat, and
North American Irish Fiddle Champion. Pierre tours internationally and has released six
recordings.
Graham Wells is part of the new generation of dynamic, young Newfoundland accordion
players. A former member of well known groups, A Crowd of Bold Sharemen and The
Irish Descendants, Graham now focusses on his solo career. He is also a fine singer and
tin whistle player and is Artistic Director of Feile Seamus Creagh, a July folk festival that
celebrates Newfoundland and Irish traditional music.
Percussive Dance – Kristin Harris Walsh, Normand Legault, Mats
Melin, Stan Pickett (MMAP Gallery)
In this workshop the facilitators will demonstrate their respective styles to the lively
tunes of accordionist Stan Pickett. Afterwards, they will teach participants a step or
two. Kristin will focus on Irish-Newfoundland and Irish step dance, Mats will explore
the connection between Scottish and Cape Breton percussive step-dance steps and
Normand will demonstrate the Québec improvisational approach to percussive dance.
A great way to get shake out the cobwebs and burn off your lunch!
Kristin Harris Walsh is a dance scholar and dancer whose work has recently focused on
Irish and Newfoundland step dance. Kristin is currently President of DanceNL, the province’s
sectoral dance organization.
Normand Legault is one of the finest and most knowledgeable dancers of his generation.
He is a dance caller and a master of the art of la gigue, a distinctively Québécois form
of solo step dancing. As former administrator of the folk art agency Arts & Patrimoine/
Québec, Normand has promoted and produced a variety of cultural events and as a
performer; he has traveled throughout Canada, the U.S. and Europe.
Swedish born traditional dancer, choreographer and researcher Mats Melin is a Lecturer
in Dance at the Irish World Academy of Music and Dance at the University of Limerick,
Ireland. Mats co-founded the dynamic Scottish performance group Dannsa in 1999, and he
is currently conducting PhD research on Cape Breton step dancing. 1:30 pm–3:00 pm
From Montmagny to St. John’s: Accordion Music of Québec and
Newfoundland – Raynald Ouellet, Graham Wells (Irwin’s Court)
This session features two of Canada’s
accordion masters. Come. Sit. Enjoy and be
amazed! This workshop is sponsored by
O’Brien’s Music Store, 278 Water St., St. John’s.
Raynald Ouellet has been one of the leading
figures in Québec traditional music since his
days with the seminal folk band Éritage. He
lives in Montmagny where he builds accordions, is Artistic Director of the International
Accordion Festival Carrefour Mondial de l’Accordéon, and curates the Montmagny
Accordion Museum.
Stan Pickett started playing for square dances and step dances on Fair Island, Bonavista
Bay at age twelve, and continued after resettling to Centreville. In the early 1990s, he
resumed playing for dances with the St. John’s Folk Arts Council for callers such as Jim
Payne and Ford Elms, and with Jane Rutherford in attempts to revive square dancing in St.
John’s. He has played for Kristin Harris Walsh’s step dancing classes on many occasions.
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Intersections
of musical scholarship
SOUNDshift Festival:
Documentary Films
Wednesday, July 13, 5:45–7:00 pm
Stephen SHEARON (USA). “I’ll Keep On Singing”: The Southern Gospel Convention
Tradition. 55 minutes.
The contemporary southern U.S. gospel convention tradition is a tradition of
amateur Christian music-making that developed in rural America following the Civil
War (i.e., after 1865). It continued and eventually displaced in popularity the shapenote sacred music tradition that flourished prior to the Civil War (known by many
today as the Sacred Harp tradition). Gospel convention music is written in a later,
more-popular musical style, employs seven-shape notation, and uses instrumental
accompaniment — in particular stride piano. Professional southern gospel music
developed from it during the 20th century while amateur activity declined. Southern
gospel convention singers today live generally in an arc running from West Virginia
south and west to Texas. The documentary includes sections on convention singing,
use of this music in churches, and connections with professional southern gospel,
singing schools, and other aspects.
Aaron CARTER-COHN (USA). At Home with Music: Burundian Refugees in America.
20 minutes.
Representing Canadian research to other Canadians
Creating international awareness of Canadian scholarship
Canadian University Music Society
Société de musique des universités canadiennes
www.cums-smuc.ca
10 Morrow Avenue, Suite 202, Toronto, Ontario M6R 2J1
June’11 Ad.indd 1
11-06-22 3:57 PM
In San Antonio, you will find world music in an unlikely place: a mid-sized
Episcopal church that hosts an annual World Refugee Day event that routinely
attracts over 1000 people. Out of this event emerged a Pentecostal congregation
of Burundian refugees who fled their country during the civil war of 1992 and
who needed facilities where they could make music. Burundi is known for
drumming, but you will not find amashako, ibishikiso, or ikiranya drums here.
Amongst the Burundian refugees in San Antonio, electric bass and guitar or MIDI
disks are the choice accompaniments. The only remnants of tradition are the
singing and dancing that is integral to music in Africa. Spanning a year, the film
highlights acquisitions of new instruments and equipment, hitherto unavailable,
demonstrating how new tools change music and dance practice. Interviews are
conducted in French; singing is in Kirundi, Swahili and other African languages;
English subtitles are included.
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Friday, July 15, 5:45–7:00 pm
Monday, July 18, 8:30–10:00 am
LIU Guiteng (China). The Drum Language: Ominan Ritual Music of Daur Ethnic
Minority Shaman. 60 minutes.
Enrique CÁMARA DE LANDA (Spain). Non morirà mai: el tango italiano en cuatro
movimientos. 74 minutes .
Ominan is a ritual through which Daur shamans advance in their ranks. Shamans
throughout the Hulunbuir Grassland (northeastern Inner Mongolia Autonomous
Region of China) wear divine hats decorated with antlers, whose numbers represent
the rank of the shaman. The ritual is usually performed for three days during which a
shaman proves his ability to communicate with the spiritual world. At the same time
Ominan is also a divine banquet when clansmen gather together to sing, dance and
offer sacrifices to thank their gods, therefore intensively reflecting Ominan Shaman
music’s functions of epic narrating and creating a ritual atmosphere. This movie is the
first documentary ever to study Daur Shaman ritual music from an ethnomusicological
perspective. As an episode of the Chinese Shaman Ritual Music Study Series, this
documentary was filmed during an actual Ominan ritual performed by Reverend
Esiqinga, the most famous shaman, including records of divine songs, musical
instruments, as well as the ritual process.
The history of the Italian tango is tackled in this video. The historical phases of this
musical and dance genre (reception, songs during the fascist, liscio, and postmodern
periods) are narrated here in Spanish language, and many documents are shown to
illustrate the information provided. (80 minutes)
Sunday, July 17, 10:30 am–12:00 noon
Charlotte VIGNAU (Netherlands). The Alphorn. 52 minutes.
This video-film deals with issues of nationalism, migration and globalization,
addressed through the phenomenon of the alphorn and its uses. The film first
investigates “Swiss” aspects of alphorn-practice as well as distinctions within
Switzerland between alphorn playing that is “official-Swiss,” “creative-Swiss,” “playing
like in the Alps” or in the cities, and creating a “Swiss sound.” The film then follows
the migration of the alphorn phenomenon to the Netherlands, the Allgäu region
(Germany) and Japan (Honshu island, where Tokyo and Osaka are situated). In all three
cases alphorn-practice started to incorporate specific local as well as Swiss aspects.
NGUYEN Thuy Tien (Vietnam). Vietnamese Hiphop in a Dialogue With the Past. 20
minutes.
In Vietnam, hiphop was imported during the 1990s and quickly attracted a massive
student community, despite the indifference of state institutions and attempts at
suppression by the parents. At the beginning, hiphop was completely imitative of
other models but by 2000, with an experiment based on xẩm background music, the
hiphop youth began returning to their roots. The hiphop community and musical
researchers started a dialogue about traditional music as it bridges generations. The
project is primarily based on three genres representing three regions of Vietnam: Ca
trù of the North, Central Highlands’ gong and Southern Tài tử music.
Monday, July 18, 3:30–5:30 pm
Sandrine Loncke (France). Dance with the Wodaabes. 90 minutes.
In the heart of the Nigerien Sahel, far off the beaten “asphalt” track, thousands of Fulbe
Wodaabe nomads come together every year for a vast ceremonial gathering named
the geerewol. For seven full days and nights, following the solar cycle, two lineages are
opposed in a genuine ritual war, with for only weapons song and dance.The stakes
of war, the clear challenge: stealing women.The ultimate purpose: to break in peace
after having mutually expressed recognition of cultural conformity. For the Wodaabes,
this is a gathering where community links are woven. A result of ten years’ research
and friendship, the film is based on an active dialogical relationship with the ritual’s
protagonists who chose to disclose the deep meaning of this tradition to us, since the
ecological crisis striking Sahel makes such gatherings less and less likely in the future.
Monday, July 18, 5:45–7:00 pm
Timothy RICE (USA). May It Fill Your Soul. 55 minutes.
This documentary film concerns two outstanding Bulgarian traditional musicians
who immigrated to the United States in 2001: Ivan Varimezov, a player of the bagpipe
(gaida), and his wife Tzvetanka, a singer, player of the plucked lute (tambura), and
director of women’s choirs. The film documents their trajectory of success and
struggle, joy and pain, nostalgia and hope. From a European point of view the main
theme of this film is emigration. Since Bulgaria emerged from a 45-year period (19441989) of Communist-Party rule, it has experienced a huge brain drain as its best and
brightest, including outstanding musicians such as the Varimezovs, have sought their
fortunes abroad. Those who remain are variously curious, envious, jealous, proud, and
scornful of those who have left. Since the Varimezovs are bearers of a musical tradition
with strong bonds to their national identity, their leaving is particularly problematic for
the nation. From an American point of view, the main theme of this film is immigration.
It suggests a set of universal questions with particular answers. Why do people leave
their home country? How do they adapt to their new one? Is there an emotional
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tension or conflict between love of home and hearth and the people they leave
behind, on one hand, and the desire or necessity to make a new life in a new country,
on the other? How is this tension, which seems inevitable, dealt with practically? Can
it ever be resolved or does it even need to be? Can the tension be productive? What is
the role of music in mediating these tensions?
FI L MS
between 2008 and 2010. While discussing the two ceremonies, it details cosmology,
functions of music and dance, musically-generated dance, season-specific music, and
gender relations.
Patrick ALCEDO (Canada). Panaad: A Promise to the Santo Niño. 18 minutes
Tuesday, July 19, 8:30–10:00 am
Ryan Koons (USA). People of One Fire Continuing a Centuries-Old Tradition: Winter.
40 minutes.
This film examines two ceremonial gatherings celebrated by Pine Arbor Tribal Town.
Located in northern Florida, this Muskogee-Creek Native American community
traces an unbroken line of precolonial traditions that include two formerly littleknown winter gatherings: the Harvest Busk and the Soup Dance. Scholars such as
William Bartram and John Swanton have studied the Creek Green Corn Busk, but
never these two winter celebrations. This documentary is therefore an introduction,
both to a private Native American community with a rich heritage, and to two of its
previously unstudied ceremonies and the accompanying music and dance. Created in
conjunction with Pine Arbor, this documentary is based on field research conducted
In the Aklanon language of the Philippines, panaad means a religious promise that
has to be fulfilled as long as humanly possible. Through annual participation in the
Ati-atihan festival of Kalibo, Aklan, teacher Augusto Diangson, balikbayan (Filipino
returnee) Cecile Motus, and businessman Henry Villanueva dance in the streets in
order to stay true to the vow they made many years ago to the Santo Niño, the Holy
Child Jesus. By transforming themselves into extraordinary beings and willing their
performances as acts of prayer, they believe the Santo Niño will continue to descend
into their lives not only to reward them with blessings but also to imbue them with a
sense of His presence on the ground. The film traces the festival in the lives of these
three participants to reveal how they show thanks to and hold steady their belief in the
Santo Niño, symbol of the foreign faith they have localized and then choreographed
into modernity.
Aaron CARTER-COHN (USA). Texas Celebrates the 50th Anniversary of Nigerian
Independence. 20 minutes.
On October 1st, 1960, Nigeria claimed its independence from England. This was more
than a declaration of self-government; it was a reclamation of indigenous culture and
a statement of cultural freedom. Today, Houston is home to what is widely cited as
the largest concentration of Nigerians living in the United States. Various expatriate
organizations celebrate Nigerian Independence Day with parties, parades and picnics.
2010 marked the 50th Anniversary for many African nations including Nigeria. This
documentary focuses on music and dance in this diasporic and immigrant culture.
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Thank You
In addition to our sponsors, there are many organizations and individuals who have
assisted and encouraged us. In particular, we would like to offer special thanks to:
Memorial University
School of Music: Keith Matthews, Ellen Waterman, Tom Gordon and staff
President’s Office: Linda Tilley
Computing and Communications: Patrick Knee, Todd Farrell
MUN Libraries: Louise White, Sheilah Roberts, Joe Carroll, Dion Collins
Marcomm: Mandy Cook, Victoria Collins, Ivan Muzychka, Marcia Porter, Paula EddyShea and staff
DELTS: Glen Gleeson, Colleen Collette, Donna Downey
Conference Services: Mary Garnier, Paula Tulk, Brian Mallard
Printing Services: Peggy Chafe, Kate Best, Boyd Cranford and all the folks ‘in the back’
Financial and Administrative Services: Deborah Collis, Doug Rowe
Sustainability Office: Toby Rowe, Nancy Burt
School of Graduate Studies: Noreen Golfmann
Arts & Culture Centre
Doreen McCarthy, Aiden Flynn, Sandra Wood, Kathryn Lear, custodial staff and security
personnel
Media Partners /Advisors
Canadian Broadcasting Corporation: Glen Tilley, Mack Furlong, Amy Joy, Jamie
Fitzpatrick, Ted Blades, Francesca Swann, Ingrid Fraser, Kathy Porter, Christine Davies
Steele Communications: Nikki Poole, Mike Murphy
Caterers
Tent Lunches: Zainab Jerrett and colleagues, Mike Gillan, Stephanie O’Brien
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Red Oak Catering: John Rogers
Chartwells Catering: Thelma Greene, Philip Hunt
The Rooms
Karen Walsh, Cindy Lu Edwards, Angela Barclay, Dean Brinton
Conference/Festival Services
Executive Travel: Valerie Gulliver
French translation: Laure Dutirou-Mason, Luc Journe, Lorna Arndt and folkwaysAlive!,
Jessica Roda
Sound Technicians: Pat Janes, Rich Blenkinsopp, Kalen Thomson, Spencer Crewe
Photographers: Jared Reid, Rick West
Metrobus
Security: Mel Cake
Jack Strawbridge
Lori Pike
Noel Veitch
Ann Anderson
Randy Follett
Jocelyne Chaytor
Eleanor Dawson
Pat Byrne
Donna Ball
Collaborating Organizations/Events
Folk Arts Society: Anita Best, Tracey Waddleton, John Clarke
Festival 500: Andrea Rose, Ki Adams, Janet Miller, Peter Gardiner
Wreckhouse Blues and Jazz Festival: Kirk Newhook, Sean Panting
Seamus Creagh Festival: Graham Wells
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