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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.

2 3AT A GL ANCE AT A GL ANCE

AT A GLANCE: SOUNDshift CONCERTSTickets are available at the Arts & Culture Centre Box Office.

July 14, 5:45–7:00 pm 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 pmATLANTiC 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 pmiNdiGENouS 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.

AT A GLANCE:WORKSHOPS\All workshops take place in the Arts & Culture Centre

wEdNESdAy, JuLy 13Th

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)

4 AT A GL ANCE

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

MoNdAy, JuLy 18Th

10:30 am–12:00 pm • 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 Forumwww.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 Perspectiveswww.tandf.co.uk/journals/rjaz

Journal of Musical Arts in Africawww.tandf.co.uk/journals/rmaa

Journal of the Royal Musical Associationwww.tandf.co.uk/journals/rrma

Muziki: Journal of Music Research in Africawww.tandf.co.uk/journals/rmuz

Journal of Musicological Researchwww.tandf.co.uk/journals/gmur

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6 7ArTiSTSAT A GL ANCE

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

• Sandrine Loncke (France). Dance with the Wodaabes. 90 minutes


• 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

SOUNDshift CONCERTS: THE ARTiSTS

SALTWATER JOySpAMELA 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 contempo-rary Newfoundland song-making and storytelling traditions. Anita has received several honours for her work in collecting and disseminating Newfoundland folk-songs, including the Marius Barbeau Award from the Folklore Studies Associa-

tion 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 collabo-rated 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.

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-

8 9ArTiSTS ArTiSTS

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 grandfa-ther know so well.

ThE fLuMMiESMulti-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 Camp-bell (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 Associa-tion and has been inducted into the Newfoundland and Labrador Arts Council’s Hall of Honour.

ThE wiCKEd SESSioN pLAyErSJean hewson & Christina Smith: Jean Hewson is one of the most talented balladeers singing and playing in New-foundland 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

accompanist of choice at local sessions and festivals. She developed her accompa-niment 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 collect-ing, researching, performing, teaching, and publishing on Newfoundland tradition-al music. Her articles on Newfoundland dance tunes and fiddle styles can be found in the Newfoundland Quarterly and the Journal of Newfoundland and Labrador Stud-ies. 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 perform-ing and recording Newfoundland tunes since 1982.

frank Maher: A stalwart of the Newfound-land 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.

10 11ArTiSTS ArTiSTS

Allan ricketts: A native of Torbay, New-foundland, 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 entomolo-gist with the Canadian Forest Service had given Rick West an appreciation for traditional instru-mental 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 cement-ed 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, New-foundland. 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

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 Labra-dor, becoming a founding member of the award-winning 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 through-out 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.


ATLANTiC ROOTS/ ROUTES

pAddy KEENANPaddy 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 person-nel 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 Univer-sity 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).

biLLy SuTToNPaddy 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.

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 interna-tionally 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 Devon-based 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 ShArEMENThis 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.

NAThALiE pirESNathalie 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 interna-tional 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


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 ToroNToTípica 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).

FEAST OF ASiA

pAphuTSorN woNGrATANApiTAK & AbSoLuTELy ThAiPaphutsorn 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 LAuBorn 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 lecture- demonstrations. 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.

17ArTiSTS

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yourself in our culture at Newfoundland and Labrador’s

innovative public cultural space.

iNDiGENOUS NOW!

SiX NATioNS woMEN SiNGErSThe Six Nations Women Singers is a Haudeno-saunee vocal ensemble that has been perform-ing 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 McKENZiEInnu 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 musi-cians 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


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 surround-ing 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.

MATouMatou (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 More-no, 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

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 tradi-tion. Ataahua Papa (Ata) is Maori (indigenous New Zea-lander) 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 im-mersed 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. To-gether, Matou combines Native American and Maori flutes with the powerful tradi-tional chants of the Maori; acoustic guitar mixes with beautiful vocal harmonies, and funk grooves blend with Native American rattles and pow wow drum beats.

N E W S V I S U A L S A R T S C U L T 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

& M O R E

NQ$25/yearED 4002Memorial UniversitySt. John’s, NL A1C 5S7

p 709.864.2426

f 709.864.4330e [email protected]

A Cultural Journal of Newfoundland and Labrador


CANADA’S mANy VOiCES

ZAriZari is an exciting trio of singer/instrumentalists who specialize in the music of the Georgian Republic, a moun-tainous 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, contempo-rary 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 ENSEMbLECreated 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 in-cludes the sama’i, bashraf (peshrev), longa, tahmila, taqsim, folk and classical dances;

the vocal repertoire includes the Anda-lusian 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 Mey-ers 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 re-corded 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 CArrEfourThe 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). Be-tween them they have a wealth of experi-

ence in ethnological research, teaching, instrument building, composition, arranging and event planning. Legendary musicians all, their list of accomplish-ments is too long to list here, but let their music speak for itself. It is a feast of virtu-osity, 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 roCKGraham Wells is part of the new generation of dynamic, young Newfoundland ac-cordion players. A former member of well known groups A Crowd of Bold Share-men 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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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.

WORKSHOP SCHEDULEAll workshops are in the Arts & Culture Centre

WEDNESDAy, JULy 1310:30 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 south-west, 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.

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 1410:30 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

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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.

1:30 pm–3:00 pm

NEwfouNdLANd SET dANCiNG ANd MuSiC – JANE ruThErford wiTh ChriSTiNA SMiTh (MMAp GALLEry)

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.

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.

NATiVE CoNTEMporAry MuSiC – dAwN AVEry (irwiN’S CourT)

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.

The Canadian

Society for Traditional

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 refl ect 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

First Nations and rural French and English cultures, the Society has

broadened its horizons to encompass musical

expressions found throughout

Canada and the world.

M U S I C U LT U R E S

journal de la société canadienne pour les traditions musicalesjournal of the canadian society for traditional music

2007/08VOLUME 34

A one-year CSTM membership includes:

a subscription to CSTM’s annual peer-reviewed journal MUSICultures

a subscription to Canadian Folk Music Bulletinaccess to the CSTM listserv

discounts on CSTM Mail Order Servicesa voice in the Society’s affairs

F OR M O R E I N F O R M A T I O N V I S I T

WW

W. Y

OR

KU

. CA / C S T M


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 1510:30 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 Kwazulu-Natal, 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

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.


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

SATURDAy, JULy 163:30 pm–5:00 pm

porTuGuESE fAdo dEMoNSTrATioN/pErforMANCE – NAThALiE pirES (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.

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

(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.

The Scott Collegiate Hip Hop Project – Ethan Oliver is in grade 11 and Keena Aisaican-Checkosis 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.

SUNDAy, JULy 1710:30 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)

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.

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


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.

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


TANGo – AdriANA CErLETTi, SiLViA CiTro (MMAp GALLEry)

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).

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.

mONDAy, JULy 1810:30 am–12:00 pm

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


3:30 pm–5:00 pm

iNuiT VoCAL STyLES – JENNiE wiLLiAMS ANd TAMA foST (MMAp GALLEry)

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, story-telling 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)

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.

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.

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.

TUESDAy, JULy 1910:30am–12:00pm

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.

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.

SEphArdiC SoNG – JudiTh CohEN (GALLEry EAST)

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.

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.


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.

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.

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.

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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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 shape-note 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.

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.

Intersections of musical scholarship

Canadian University Music SocietySociété de musique des universités canadiennes

www.cums-smuc.ca10 Morrow Avenue, Suite 202, Toronto, Ontario M6R 2J1

Representing Canadian research to other CanadiansCreating international awareness of Canadian scholarship

June’11 Ad.indd 1 11-06-22 3:57 PM

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fridAy, JuLy 15, 5:45–7:00 pm

Liu Guiteng (China). The Drum Language: Ominan Ritual Music of Daur Ethnic Minority Shaman. 60 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.

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, 8:30–10:00 am

Enrique CáMArA dE LANdA (Spain). Non morirà mai: el tango italiano en cuatro movimientos. 74 minutes .

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)


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.


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 (1944-1989) 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

44 45fiLMS fiLMS

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?

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 little-known 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

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

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 youIn 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 universitySchool 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 Eddy-Shea 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 CentreDoreen McCarthy, Aiden Flynn, Sandra Wood, Kathryn Lear, custodial staff and security personnel

Media partners /AdvisorsCanadian 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

CaterersTent 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 roomsKaren Walsh, Cindy Lu Edwards, Angela Barclay, Dean Brinton

Conference/festival ServicesExecutive 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 StrawbridgeLori PikeNoel VeitchAnn AndersonRandy FollettJocelyne ChaytorEleanor DawsonPat ByrneDonna Ball

Collaborating organizations/EventsFolk 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 PantingSeamus Creagh Festival: Graham Wells

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