folk festival aug 17 2013
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2 2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013
THE AMERICAN FOLK FESTIVAL - WELCOME
THE PERFORMERS
Aurelio MartinezHonduran Garifuna - Page 7
The ChankasPeruvian Scissors Dance - Page
15
ElatosGreek - Page 15
Frank Ferrel and FriendsMaine Fiddle Master - Page 8
James King BandBluegrass - Page 16
Jorge ArcePuerto Rico Parade - Page 17
JuvenatoColombian Vallenato - Page 17
The LegendarySinging Stars
Gospel - Page 20
Mcauley, Horanand O’Caoimh
Irish - Page 8
Prem Raja MahatNepalese - Page 18
Qi Shu FangPeking Opera - Page 6
Rosie Ledet &The Zydeco Playboys
Zydeco - Page 6
Samba MapangalaEast African Rumba - Page 19
Sista Monica ParkerBlues - Page 10
Sonny Burgess andthe Legendary Pacerswith Lance LipinskyRockabilly - Page 10
Yves Lambert TrioQuébecois - Page 9
WELCOME
IndexWelcome / 2
Information / 4Donations / 5Volunteers / 5
Music / 6Sponsors / 11 & 14
Map / 12-13Food / 20
Folklife / 21Kids / 22
Marketplace / 23
This American Folk Festival program was produced and published by
Editor/Layout: David M. Fitzpatrick • Writing: David M. Fitzpatrick and others • Photos: BDN
Maine, American Folk Festival, and others • Cover Design: Bridgit Cayer and Michele Dwyer
Sales: Jeff Orcutt, 207-990-8036 or [email protected].
To support the American Folk Festival, through a fi nancial contribution or by volunteering, contact
Heather McCarthy at 207-992-2630 or [email protected]
Welcome to the 12th annual American Folk Festival on the
Bangor Waterfront.
If this is your fi rst time attending the American Folk Festival,
welcome. We encourage you to enjoy as much music as you
can, to sample new and delicious food, to visit the talented
craft vendors located between the Railroad Stage and the Dance
Pavilion, and to enjoy the beauty of the historic Bangor Water-
front.
If you have been to The American Folk Festival before, you
may notice a few changes. The Children’s Village is now located
in a more central area of the festival grounds (between the Rail-
road Stage and the Penobscot Stage); the Railroad Stage seating
area has been updated to allow for some fantastic and unique
viewpoints from which to enjoy the performances. Some of the
food vendors have moved to a location adjacent to the Railroad
Stage on Railroad Street, and the Beer Tent’s location at the
Dance Pavilion has been adjusted to allow for a more enjoyable
experience for festival-goers looking to enjoy spirits while tak-
ing in the wonderful music.
All of the changes — minor as they may be — are efforts to
continue to improve the American Folk Festival experience,
while retaining its true heart and soul. As always, you can
listen to incredible performers from all over the world who
create a global block party right here in Bangor, Maine. Blues
fans will be amazed by the soulful, passionate singing from
Sista Monica Parker, known as “the lioness of the blues.” Fre-
quent American Folk Festival attendees may recognize Yves
Lambert from his 2002 appearance on the Bangor Waterfront,
although he returns this year with a new Québecois sound
with the Yves Lambert Trio. One of America’s top fi ddlers,
Frank Ferrel, happens to live right in our own back yard and
will perform throughout the weekend. You also may notice a
couple of genres not heard at the American Folk Festival until
this year, such as Chinese opera and Greek music. That is just
a small sampling of what you can expect musically at this
year’s American Folk Festival.
As you navigate your way through the four music stages,
the Marketplace, the food court, the Children’s Village, and
the FolkLife Area, please keep in mind that the American Folk
Festival remains admission-free because of sponsors and your
generosity. Keep an eye out for our Bucket Brigade. We sug-
gest a donation of $10 per person per day, but the members of
the Bucket Brigade will accept any donation you are willing to
offer. They also have helpful information to ensure that your
experience is a positive one.
The American Folk Festival is a unique festival for Bangor
and for Maine. We are able to bring high quality entertainment
and attractions year after year to this region because of you.
This is your festival. This is Bangor’s festival. This is Maine’s
festival. We are proud to be stewards of it and to ensure you an
entertainment experience that is family friendly, fun for all ages
and, as always, free.
On behalf of the hard-working staff, the board of directors,
the members of the various committees, and the hundreds of
volunteers who make this amazing weekend happen, enjoy
the 2013 edition of the American Folk Festival on the Bangor
Waterfront.
Sincerely,
Rick Fournier Heather McCarthy
Chair, Board of Directors Executive Director
The American Folk Festival on the Bangor Waterfront
2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013 3
THE AMERICAN FOLK FESTIVAL
4 2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013
THE AMERICAN FOLK FESTIVAL - INFORMATION
Welcome to the 2013 American
Folk Festival on the Bangor
Waterfront, the 12th year of an
annual celebration of authentic
traditional arts. We hope that you
enjoy this year’s festival, and that
you’ll make your plans to experience
this grand event with the help of the
information in this program guide.
From 2002 to 2004, Bangor
hosted the 64th, 65th and 66th
National Folk Festivals, celebrating
traditional performing arts from cultures across
the globe and entertaining tens of thousands of
people each year. After a very successful three-
year run, the community launched the American
Folk Festival on the Bangor Waterfront in 2005,
carrying on the tradition established by the
National Folk Festival.
The American Folk Festival is a nonprofi t
organization, working in partnership with many
community members, including the city of
Bangor, the Maine Discovery Museum, and the
Maine Folklife Center at the University of Maine.
The AFF has proven that authentic traditional arts
have a long-lasting place in the heart of Bangor.
This year’s American Folk Festival features 16
performing groups for your enjoyment.
Plus, mark your calendars for Aug. 22-24, 2014
for next year’s American Folk Festival on the
Bangor Waterfront.
ADMISSIONThere is no fee to attend any of the
festival’s programs, including performances,
demonstrations, and children’s activities. However,
presenting the festival free-of-charge costs nearly
$900,000, and your help is crucial to cover these
production costs. The suggested donation is $10
per day per person or $20 per day per family.
When you see the donation buckets, please,
consider a gift to support the event!
BUCKET VOLUNTEERSThe volunteers who make up the Bucket
Brigade and the Donation Stations are a happy
corps of community volunteers who encourage
festival-goers to support the American Folk
Festival. The Donation Stations are at the two
main festival entrances (at Railroad and Broad
streets). The Bucket Brigade travels throughout
the festival site. Please, drop your contribution
(suggested donation: $10 per person per day) in
the bucket to help cover the cost of the festival.
PARKING People familiar with downtown Bangor
are invited to park in any street-side parking,
surface lots, or the Pickering Square Parking
Garage. Or you may want to use the convenient
parking at the Bass Park complex off Buck
Street. Parking fees are $8 per vehicle per day,
or $20 per vehicle for a three-day parking pass.
The Folk Festival is pleased to be working with
the Anah Shrine to facilitate parking at Bass
Park. One hundred percent of your parking
fee supports these two Bangor area nonprofi t
organizations: the Second Section of Anah
Shrine and the American Folk Festival.
Free shuttle service will transport people
from Bass Park to the festival site on the
Penobscot River waterfront.
BICYCLESFree bicycle parking will be available at the
Festival’s Broad Street entrance in a designated
bicycle parking area. Remember, Maine law
requires a headlight and rear red refl ectors
visible from at least 500 feet when riding at
night. Flashing taillights and light-colored and/
or refl ective clothing are highly recommended.
The law requires helmets for anyone under 16,
but everyone should wear a helmet to prevent
head injury.
INFORMATION BOOTHS &FESTIVAL SCHEDULES
General festival information, the schedule
of performances, and area information will be
available at four information booths: near the
Dance Tent, near the Railroad Stage portal, near
the Food Court, and near the Two Rivers Stage.
WHAT TO BRINGYou may want to bring comfortable walking
shoes, sunscreen, and sunglasses. A credit card
may come in handy to buy festival memorabilia
and CDs of performing artists.
Collapsible chairs and a blanket might make
your trip more comfortable. Some stages will
have seating, but others, such as the Railroad
Stage, require that you bring your seating.
Don’t forget your prescription medications
and, just in case, bring your insurance and
Medicare cards.
WHAT IF IT RAINS?Tents cover many festival stages and
presentations. If the weather appears
threatening, bring an umbrella. The show will
go on, rain or shine, unless there is a concern
for public safety.
PETSPlease, do not bring pets (other than service
animals) to the American Folk Festival. The
large crowds — with many people seated on the
ground — will appreciate your animals staying
at home. Your pets will be more comfortable at
home than in the midst of the festival crowds.
SMOKE-FREE, PLEASEThe Folk Festival, together with the City of
Bangor’s division of Regional Public Health and
Wellness remind you to Fill the air with music,
not with smoke.
By not lighting up, you’ll be giving children
and those with breathing diffi culties a break,
and you’ll be helping everyone breathe easier,
including yourself. Help everyone breathe easy.
Thank you for not smoking.
Smoking is prohibited under any festival
tent, and in the food courts and picnic areas.
Throughout other areas of the festival, please,
be courteous and refrain from smoking when in
a crowd of people.
MEDICAL ANDEMERGENCY SERVICES
Minor medical emergencies will be treated
at the First Aid Center, located directly behind
the Railroad Stage. Eastern Maine Healthcare
Systems sponsors and coordinates the First Aid
Center.
LOST PEOPLEChildren who lose track of their caretakers
should fi nd a festival volunteer or staff member,
who will contact security escort them to the
First Aid Center (directly behind
the Railroad Stage). All lost people
will be directed to the First Aid
Center unless their parties have
made arrangements to meet
elsewhere.
RESTROOMSPortable restroom facilities and
hand-washing stations are located
at numerous spots throughout the
festival site. See the map for the
facilities closest to you.
HANDICAPPEDACCOMMODATIONS
Handicapped parking facilities will be
available at Bass Park and along Broad Street at
the Festival’s upriver entrance.
Several stage performances and
demonstrations will be translated in American
Sign Language. See the schedule in the center of
this program or check at an information booth.
For liability reasons, the festival is no longer
able to provide golf cart transportation to
festival-goers.
BABY-CHANGING STATIONThe Festival’s baby-changing station is
located near the Harbormaster’s Building.
RETURNABLESFor your convenience, there are bins
for returnable bottles and cans (and other
recyclables) placed throughout the festival.
ON THE RADIOIf you just can’t get to the festival, WERU at
89.9 FM in Blue Hill and 99.9 FM in Bangor
will broadcast Saturday and Sunday from the
Penobscot Stage until 6 p.m., and also stream
content on its website at www.WERU.org.
SCHEDULE SUBJECT TO CHANGEPrograms and performances were accurate
at press time, but could change. Check at
information booths for performance and
scheduling updates.
KICK-IN STICKERSWhen you collect your “I Kicked In” sticker
for donating to the Folk Festival’s Bucket
Brigade this year, Governor’s has a special
“thank you” for your support. Through
Saturday, September 8, bring that sticker in to
any Governor’s Restaurant and receive a free
piece of pie with any purchase.
INFORMATION
BDN FILE PHOTO BY GABOR DEGRE
2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013 5
THE AMERICAN FOLK FESTIVAL - INFORMATION
BY DAVID M. FITZPATRICKBANGOR DAILY NEWS/BDN MAINE
Marquise Knox, a twenty-
something blues singer, was a shy and
reserved type when he fi rst arrived at
the American Folk Festival last year.
But it didn’t take long for him to
come out of his shell.
The AFF asks artists who feel
comfortable in doing so to do “stage
asks” — speaking to the crowd about
the importance of kicking in to the
Bucket Brigade, those volunteers
with donation buckets who walk the
festival. Knox, timid unless he was
playing the blues, at fi rst was shy
about it. That changed.
“By the end of the weekend,
his attitude was, ‘We’ve got to get
as many people to contribute as
possible,’” recalled AFF Executive
Director Heather McCarthy.
It worked — people responded.
And McCarthy said that was an
important moment that helped the
crowds realize just how vital the
Bucket Brigade is.
“For 12 years, this folk festival
has succeeded against really diffi cult
odds given the economy that we’re all
struggling against,” said McCarthy.
“And for that amount of time, we
have collected very generous support
from festival-goers every single year
of this event.”
In its fi rst year in 2002, the AFF
collected $30,137 through its Bucket
Brigade. Last year saw the second-
largest collection ever — $137,592,
about 15 percent of the festival’s
nearly $900,000 price tag, about the
same as this year’s projected cost.
“Contributions from our Bucket
Brigade are an absolutely crucial
piece of ensuring that this festival
continues to be part of Bangor’s
summer calendar,” said McCarthy.
The Bucket Brigade is really in
the spotlight this year. Corporate
sponsorships for the AFF, the lion’s
share of festival funding, are down
this year.
“Corporate giving isn’t where
we wanted it to be,” said McCarthy.
“We’re hoping to make up for that
through our on-site giving at the
Bucket Brigade… The contributions
from the people who are on site
at the festival are key to making it
happen every year — not just for
the fi nancial bottom line but also for
the fact that the people who come to
the festival are the people who come
back to the festival. They’re our core
audience, they’re our core supporters,
and they’re our core advocates.”
Donors receive “I Kicked In”
stickers — a different color for each
day. Since collecting those stickers
has become popular amongst donors
in recent years, this year a limited-
edition sticker featuring this year’s
theme artwork will be available
Saturday, while supplies last, to those
who kick in to the Bucket Brigade.
The festival suggests a donation of
$10 per person per day, or $20 per
family per day, but McCarthy stressed
that the festival is free, and all
are welcome.
“If somebody is coming to the
festival and they simply can’t make
that contribution, then we want them
to come as well,” she said. “That’s why
this festival is free admission — so
that everybody can attend.”
There’s a level of pride in how well
BY DAVID M. FITZPATRICKBANGOR DAILY NEWS/BDN MAINE
It takes a lot of people to put on the
American Folk Festival. Every year, the number
of dedicated volunteers hovers around 800.
These are the people who set up, work, and tear
down the festival. But this year, the volunteer
roster is struggling to make that number.
Volunteers come and go — usually, about
35 percent of volunteers each year are new
— but this year marks a surprising turn. The
volunteer roster is down dramatically this year
and, although the reduced volunteer staff has
stepped up to take on more shifts during the
festival, the AFF needs more people.
“The numbers aren’t as strong as they need
to be in order to have all the services that we’d
like to have,” said AFF Executive Director
Heather McCarthy.
Volunteers are expected to be knowledgeable
about where things are, how to fi nd stages,
who to go to with questions they can’t answer,
and so forth, so the AFF strongly prefers that
volunteers sign up in advance and attend
Volunteer Orientation. But this year, with
volunteer numbers substantially reduced, the
AFF would like help from anyone able to fi ll in
a shift or two.
The AFF is a big operation that happens with
just three paid staff — one of them part time.
If it weren’t for the vast numbers of volunteers,
there would be no American Folk Festival.
“Our volunteers are so crucial to the
festival — from our board of directors and our
committees who work year round to the folks
that gather all together by the hundreds festival
weekend,” McCarthy said.
Site volunteers do it all. They build stages
and erect fences. They sell T-shirts and soda
and man information booths. They transport
staff and artists around and travel the festival
grounds as members of the Bucket Brigade,
seeking donations to help keep the festival paid
for.
Throughout the year leading up to the
festival, volunteers also evaluate the AFF’s
systems, recruit volunteers, and ensure that
people are trained in the different volunteer
jobs.
“There’s always an opportunity and there’s
always a need for new volunteers to step in,
for new families to join us and do some of
the things that the families can volunteer at
together,” McCarthy said. “When that happens,
when we’ve got almost an ongoing cycle of
volunteers coming into the festival family, that’s
just a more rich resource that the community
has to draw from.”
If you’re particularly impressed with an
AFF volunteer — one you feel goes above and
beyond, who serves as a role model for other
The American Folk Festival is always free, but ‘free’ costs nearly $900,000
Without dedicated volunteers, there would be no American Folk FestivalSee DONATIONS, PAGE 23
See VOLUNTEERS, PAGE 23
6 2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013
THE AMERICAN FOLK FESTIVAL - MUSIC
MUSICThe American Folk Festival on the Bangor Waterfront celebrates the rich traditional folk, ethnic, and tribal cultures of the people of Maine and the United States. The nation’s earli-
est immigrants and settlers brought the music, arts, and customs of their countries of origin with them to their new homeland, where they encountered the land’s First Nations. They worked to maintain their unique traditions while at the same time adapting to new conditions and a rich confluence of cultures. Those musical traditions that we think of as quintes-sentially “American” — jazz, blues, gospel, bluegrass, old-time, Tex-Mex, Cajun, zydeco, cowboy, and others — spring from the interaction and intertwining of these varied cultural roots. Today, renewed immigration from an even wider range of nations brings new sounds, dances, foods, and customs to enrich our American cultural landscape. The American Folk Festival celebrates this diversity through performances by our nation’s finest traditional artists.
Rosie Ledet &The Zydeco PlayboysZydeco
Saturday: 2:15 p.m., Railroad Stage; 4 p.m., Dance Pavilion.
Sunday: 1:15 p.m., Dance Pavilion; 4 p.m., Railroad Stage
Rosie Ledet & The Zydeco Playboys have quickly become
the act to watch on the zydeco circuit. Brimming with coy
sensuality, Ledet’s music is fresh and daring while still
retaining its links to its bayou Creole heritage. Ledet has a
rare combination of talent, not only in the zydeco world, but
in any musical genre. She can write top-notch, award-winning
songs, hang with the best of them on her instrument, and can
sing circles around her peers. Ledet is among the few zydeco
artists who still sing and write some of their own material in
Creole French.
Ledet provides a unique female presence in the male-
dominated zydeco world. She sings in both Creole French and
in English. Her songs are often sly and lusty and, combined
with her natural good looks and distinctive, bluesy singing
voice, she wows audiences wherever she goes.
A prolifi c songwriter, Ledet has released nine albums of her
own material. They showcase superb lyrics, strong vocals, and
skillful accordion playing along with funky bass grooves, solid
danceable beats, and blues rock guitar. Her newest CD, “Come
Get Some” (JSP Records), was released in 2011 and very well-
received, critically and commercially.
She and her band began performing in 1994 throughout the
Texas-Louisiana triangle, and have gradually spread their
touring base to include the rest of the United States. Ledet and
the band have been on several European tours as well.
The band is Rosie Ledet (lead vocals and accordion), Andre
Nizzari (guitar, keyboard, and vocals), Chuck Bush (bass and
vocals), Lukey Ledet (drums), and Malcolm Walker (scrub
board and vocals).
Qi Shu FangPeking Opera
Saturday: 1:30 p.m. and 9:30 p.m., Penobscot
Stage
Sunday: 1:45 p.m., Penobscot Stage
Qi Shu Fang has been performing Peking
Opera all of her life. In her youth, she
studied with her sister-in-law, the renowned
martial arts actress Zhang Meijuan. At
16 she created a stir in Beijing when she
played the lead role in “Three Battles with
Zhang Yue’e.” The great actor and female
impersonator Mei Lanfang praised her
performance of this tremendously diffi cult
piece.
After this early success, Qi went on to
study at the Shanghai Municipal Theater
School and perform as a leading actress
with Shanghai Youth Peking Opera
Company and the Shanghai Peking Opera
Theater. During this time, her performance
in the revolutionary model opera “Taking
Tiger Mountain by Strategy” made her a
household name in China.
Qi has performed throughout Asia and
Europe. In 1987 she performed “Green Stone
Mountain,” “The Legend of the White
Snake,” and “Autumn River” in Vienna to
great acclaim; in Hamburg, Germany she
was hailed as “a white-clad empress” for
her performance of the “Flaming Phoenix”;
and in Japan she is know as one of that
country’s most beloved Peking Opera stars.
In 1988 Qi moved to New York City and
established the Qi Shu Fang Peking Opera
Company. In 2001 she was awarded the
prestigious National Heritage Fellowship,
the highest honor in traditional folk arts in
the United States.
In 2003 Qi made her Broadway debut
in her company’s historic performance
of “The Women Generals of the Yang
Family” at the New Victory Theatre. Qi is
accomplished in all areas of Peking Opera
performance; in particular she is known
for her full, sweet soprano voice and her
remarkable, powerful martial abilities.
Jack Anderson of The New York Times
has written, “She fi lls the stage with magic
that is inexpressibly enchanting.” James R.
Oestreich has praised her as “a bright star, a
truly great artist.”
The Qi Shu Fang Peking Opera Company
is dedicated to the preservation and
performance of traditional Chinese Peking
Opera, and also provides rigorous training
to the next generation of performers,
so as to ensure the survival of this art
form as part of America’s diverse artistic
heritage. Highlights from the extensive
list of successful performances given by
the Qi Shu Fang Peking Opera Company
include: 11 years (2000-2011) of
performances at our annual
Peking Opera Festival; a sold-
out performance at Symphony
Space in New York City in 1990;
a 1999 12-city tour of Florida;
a 2002 performance at the
Smithsonian Folklife Festival; a
2003 premier on Broadway at the
New Victory Theatre; and two
2005 performances at New York
University’s Jack H. Skirball
Center for the Performing
Arts as part of its World Music
Institute series. Internationally,
the company has toured in both
Poland and Canada.
Qi and her husband Ding
Meikui currently lead their
company across the country
to promote Peking Opera
and Chinese culture. Every
year their professional
performances are greeted with
great enthusiasm by American
audiences. In this regard,
Madame Qi has made a great contribution
to the cultural richness of American while
at the same time building a bridge between
East and West.
2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013 7
THE AMERICAN FOLK FESTIVAL - MUSIC
Aurelio MartinezHonduran Garifuna
Friday: 8:30 p.m., Railroad Stage
Saturday: 1 p.m., Railroad Stage; 3 p.m.,
Two Rivers Stage (Global Voices);
3:30 p.m., Penobscot Stage (Masters of
Percussion); 5:15 p.m., Dance Pavilion
Born in the tiny coastal hamlet of Plaplaya
on Honduras’ Caribbean coast, Aurelio Mar-
tinez, 39, may be one of the last generations
to grow up steeped in Garifuna tradition.
These traditions encompass the African and
Caribbean Indian roots of his ancestors, a
group of shipwrecked slaves who intermar-
ried with local natives on the island of St.
Vincent, only to be deported to the Central
American coast in the late 18th century.
Martinez’s humble but highly musical be-
ginnings were in a hometown that today still
has no electricity. As a child, his fi rst toy was
a guitar he built for himself from wood taken
from a fi shing rod. That’s how he played
his fi rst chords, which he learned from his
family, including his father, a well-loved local
troubadour who improvised playful paranda
songs that embrace Garifuna roots and Latin
sounds. Martinez became a drummer almost
as soon as he began to walk, thanks to his
uncles and grandfather. From his vocally tal-
ented mother, he learned to sing and picked
up many songs she crafted.
This percussion prodigy began performing
at Garifuna ceremonies as a boy, even at the
most sacred events where children were usu-
ally not allowed. By the time he left Plaplaya
to attend school at 14, he was a respected
musician with a fi rm grounding in Garifuna
rhythms, rituals, and songs.
After constant musical work through
secondary school, including playing profes-
sionally, he founded a Garifuna ensemble, Lita
Ariran, one of the fi rst Garifuna groups to ap-
pear on an internationally distributed record-
ing. Martinez’s musicianship and passionate
performances made him a mainstay of the La
Cieba music scene, where he was best loved
for his take on punta rock, the high-energy,
Garifuna-roots-infused pop genre that took
Central America by storm in the 1990s.
His musical career took a global turn
thanks to his Belizean friend and fellow mu-
sician Andy Palacio, who organized a major
Garifuna festival and invited Martinez. The
two artists struck up a decades-long friend-
ship thanks in part to their shared hopes for
the future of Garifuna music and culture.
Through Palacio, Martinez met Ivan
Duran, the tireless producer behind Belize’s
Stonetree Records, and participated in a
compilation of paranda, the Latin-inspired
genre his father had favored, which was
slowly dying out among the Garifuna. Mar-
tinez, youngest of the three generations on
the recording, proved that the music was still
alive and kicking.
In 2005, Martinez became the fi rst Hondu-
ran of African descent to become a repre-
sentative to the National Congress. Devoting
himself to a different approach to supporting
and promoting Garifuna culture, Martinez
set aside his music making for years as a
legislator and politician. But in 2008, Palacio
passed away unexpectedly at just 48, leaving
the Garifuna community stunned and bereft.
Martinez hadn’t played much due to his po-
litical commitments, but he knew he needed
to start recording immediately. His album
“Laru Beya” honored Palacio, but it was
also a means for continuing his mission of
uplifting and expanding what it meant to be
a Garifuna artist. With Duran, several veteran
Garifuna musicians, and the occasional local
ensemble dropping into the studio, Martinez
began laying down the tracks for this record-
ing in a cabana on the beach.
Martinez has continued to keep the tradi-
tions alive while exploring new approaches to
Garifuna sounds.
“We’re not going to let this culture die,”
Martinez said. “I know I must continue the
culture of my grandparents, of my ancestors,
and fi nd new ways to express it. Few people
know about it, but I adore it, and it’s some-
thing I must share with the world.”
8 2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013
THE AMERICAN FOLK FESTIVAL - MUSIC
McAuley, Horan& CaoimhIrish
Friday: 7:45 p.m., Penobscot Stage
Saturday: 12:15 p.m., Two Rivers; 2:30 p.m.,
Penobscot Stage (Winnie Horan at World
on a String/Fiddle Traditions); 4:30 p.m.,
Railroad Stage.
Sunday: 12:15 p.m., Two Rivers (Mick
McAuley at The Big Squeeze/Accordion
Traditions); 3:15 p.m., Two Rivers
Long-time Solas members Mick McAuley
and Winifred Horan have joined forces with
the amazing Kilkenny-born guitarist Colm
O’Caoimh to bring you their new release
“Sailing Back to You.”
Solas has long been heralded as one of
the most innovative and exciting bands to
emerge on the Irish music scene over the last
two decades and have been cited “the best
traditional band in the world” by the Boston
Herald while the New York Times praised
them as “a fi ve-piece of extraordinary instru-
mental and vocal fi re-power.”
Winifred Horan was born and raised in
New York of Irish parents, and began playing
music at an early age. Her fi rst instrument
was piano, which she learned from her father
who was himself an accomplished pianist
and jazz trumpeter. His love for classical,
jazz, and traditional Irish music was a great
infl uence on Horan and ultimately laid out
a colorful and eclectic musical direction.
She began fi ddle and Irish dance lessons in
the then-bustling Irish scene in New York
in the 1970s. Her fi ddle teacher was the late
Maureen Glynn and her dancing teacher
was the great Donald Golden. Throughout
these years she participated and competed in
many fl eadhs and competitions in the U.S.
and Ireland, winning the U.S. National Dance
Championships a record nine years in a row.
She was also pursuing a path in classical
music and ultimately won a scholarship to at-
tend Mannes College of Music in Manhattan,
as a teenager, for violin. She then went on to
earn a degree in music from the prestigious
New England Conservatory of Music in
Boston. This combination of both classical
and traditional backgrounds helps to defi ne
the style that is so identifi able and associated
with Horan’s playing.
Mick McAuley was born into a well-
known musical family from Kilkenny and
has been playing Irish music from a very
early age. In fact, his fi rst public performance
was when, at age 5, he was featured on tin
whistle by the late great Irish tenor Frank
Patterson. McAuley took up accordion at age
9 and has since become one of the leading
exponents on that instrument in Ireland.
During his teenage years he mastered several
other instruments and competed successfully
in various competitions. By his late teens he
had toured extensively throughout Europe
at concerts and cultural festivals as part of
the family group, with ensembles, and as a
soloist.
McAuley moved to London in 1991 and
recorded and toured regularly with the
London-based Ron Kavana Alias band and
was part of The Bucks with Kavana, Terry
Woods, and piper Paddy Keenan. Returning
home for a while in 1994, he recorded and
toured with Niamh Parsons’ Loose Connec-
tions and has also recorded or toured with
Patti Griffi n, Susan McKeown, Karan Casey,
Paul Brennan of Clannad, and Eurovision
winner Eimear Quinn. While spending time
in New York during the mid-1990s, he joined
the band Solas and has recorded and toured
with them during the years since.
Colm O’Caoimh has been a huge pres-
ence on the Kilkenny music scene in recent
years and is a founding member of Caladh
Nua, which burst onto the Irish music trail
with two exciting albums: “Happy Days” and
“Next Stop.” His solidly imaginative play-
ing and delicate fi nger-style is described as
being both the backbone and powerhouse of
Caladh Nua.
The medieval city of Kilkenny is synony-
mous with the meeting of culture and tradi-
tion. It was here, in an artistically nurturing
environment, that O’Caoimh took his fi rst
tentative steps in music through classical
piano and violin. But it was his intrinsic pas-
sion and love for Irish music that eventually
drew this fl uent Irish speaker to the guitar.
Taking the long-tested and circuitous route
of weekend fl eadhs and national festivals, the
world soon opened up to his evident talents.
Through a distinctive and unfaltering style
infl uenced by guitarists such as Jim Murray
and John Blake, his abilities were soon in
popular demand both as a live performer and
a studio session player.
Frank Ferrel and FriendsMaine Fiddle Master
Saturday: Noon, Dance Pavilion (with contradance caller
Chrissy Fowler); 2:30 p.m., Penobscot Stage (Frank Ferrel
at World on a String/Fiddle Traditions); 4 p.m., Two Rivers
Stage
Sunday: Noon, Dance Pavilion (with contradance caller
Chrissy Fowler); 2:30 p.m., Children’s Village
Maine coast musician Frank Ferrel is considered one of the
great traditional New England and Maritime fi ddlers who
Boston Globe music critic Scott Alarik called “One of the fi nest
living masters of the genre.”
His original compositions have enjoyed great popularity in
the Canadian Maritimes, and have been recorded by such no-
table Canadian fi ddlers as Buddy MacMaster, Ashley MacIsaac,
Brenda Stubbert, and Andrea Beaton.
He’s a regular fi xture at local traditional dances and
concerts, and has performed and toured throughout North
America, Ireland, and the British Isles, including numerous
appearances with the legendary Celtic group The Boys of the
Lough.
He has performed at major festivals throughout North
America including the Vancouver and Winnipeg Folk Festi-
vals, Cape Breton’s Celtic Colours Festival, The National Folk
Festival in Lowell, Mass., and the Los Angeles Summer Solstice
Festival.
Frank has recorded his music for such prestigious record
labels as Rounder, Flying Fish, Voyager, and Great Meadow.
He has written two books of traditional music for the inter-
national music-publishing house MelBay, and has contributed
numerous articles to folk and music magazines and journals.
His CD recording, “Yankee Dreams,” was selected by the
American Library of Congress to be included in their “Select
list of 25 examples of American folk music on record.”
He will be joined at the American Folk Festival with Maine
piano player Robert Choiniere. Chrissy Fowler of Belfast,
Maine will serve as caller for Ferrel’s contradance sets at the
Dance Pavilion at noon on Saturday and Sunday.
2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013 9
THE AMERICAN FOLK FESTIVAL - MUSIC
Yves Lambert TrioQuébcois
Friday: 9 p.m., Penobscot Stage
Saturday: 2:30 p.m., Penobscot Stage
(Tommy Gauthier, World on a String/
Fiddle Traditions); 5:30 p.m., Penobscot
Stage
Sunday: 12:15 p.m., Two Rivers (Yves
Lambert at The Big Squeeze/Accordion
Traditions); 2 p.m., Railroad Stage; 3:45
p.m., Penobscot Stage
The Yves Lambert Trio is very
generously sponsored by
Yves Lambert is a backcountry musician
with a kamikaze style, whose 36-year career
has been full of risks, adventures, and chal-
lenges. Over time, he has become a veritable
patriarch of the revival of our musical roots.
His very personal manner of linking the
relevance of his words with anecdotes and his
concerns contribute to his great propensity
for interpretation. Lambert can sing it all,
from “Boisson d’avril” with Groovy Aardvark
(a hard rock Québecois band), to children’s
songs such as Gilles Vigneault’s “Un tré-
sor dans mon jardin,” or by going blues on
“Petite fl eur” by Sidney Béchet. He also pas-
sionately supports the songs of poet Gaston
Miron, all while maintaining his traditional
music leadership role in La Bottine Souriante
and his Bébert Orchestra. In fact, some Que-
bec critics portray Lambert as a beacon in the
aesthetics of our cultural heritage.
It was in 1976 that the singer and multi-
instrumentalist founded what became the
legendary group, La Bottine Souriante, with
partners Mario Forest and André March-
and. Lambert’s natural talent and charisma,
together with this growing group, has had an
impact on the history of our musical heritage
as well as the revival of traditional music.
Throughout his 26 years as a member of La
Bottine Souriante, Lambert was the link be-
tween the various incarnations of the group
and was their heart and soul. From 1976 to
January 2003, he contributed to the group’s
rise by participating in numerous shows,
tours, and television programs in Quebec as
well as around the world.
After taking his famous boots around the
world during more than a quarter century,
Lambert decided to try on some new shoes.
Guided by an overfl ow of creative energy,
he embarked on a second beautiful big
adventure. Surrounded by new musicians,
he released an album entitled “Récidive” in
2004. This album was acclaimed once more
by critics and was awarded the Félix for Best
Traditional Album of the Year at the 2005
ADISQ Gala.In 2011-12, once again Lambert
rolled up his sleeves to produce a new album
as a trio with two musicians who have been
his partners since 2004: Olivier Rondeau
(guitar, bass guitar) and Tommy Gauthier
(violin, mandolin, bouzouki, and feet).
Lambert, Rondeau, and Gauthier experi-
mented with the trio concept during their
23-concert summer circuit tour in Eastern
Quebec in 2010. Strongly encouraged by
charmed audiences and by the pleasure
of the musical challenge, in fall 2012, the
trio delivered an album where the “sound”
achieved extraordinary mastery and af-
firmed the trio’s distinctive personality.
The trio brilliantly demonstrates how tra-
ditional local music continually reinvents
itself within a modern context. Despite
there being only three musicians, noth-
ing of the sound is lost. The three multi-
instrumentalists multiply the decibels as
though there were many more than three
members.
PH
OTO
BY
ALE
XA
ND
RA
JA
CQU
ES
10 2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013
THE AMERICAN FOLK FESTIVAL - MUSIC
Sista Monica ParkerBlues
Friday: 9:30 p.m., Railroad Stage
Saturday: 3:15 p.m., Railroad Stage; 7:30
p.m., Dance Pavilion
Sunday: Noon, Railroad Stage; 2:45
p.m., Penobscot Stage (Gospel Song
Traditions)
Sista Monica, “the lioness of the blues,”
released her 11th CD, “Living in the Danger
Zone,” in October 2011. Immediately, she
became a 2012 Blues Music Award nominee
for “Best Soul Blues Female Artist” by The
Blues Foundation.
A recognized international festival
favorite, Sista Monica is recognized for her
songwriting, music recordings, powerful
vocals, and dynamic performances. She
connects and is often compared to legend-
ary singers Etta James, Koko Taylor, Ruth
Brown, and Katie Webster. Parker says,
“These women are the mothers of my
blues,” as expressed in her 10th CD “Soul,
Blues, & Ballads,” which was released in
2010. She gained national TV placement of
her music on the Fox channel. Her original
song “Show Me What You’re Working With”
was on the hit show “So You Think You Can
Dance” fi nale show on August 11, 2011;
choreographer Ray Leeper selected the
song, written by Sista Monica and her piano
player Danny Beconcini, from her 2005 CD
release “Can’t Keep a Good Woman Down.”
Melanie Moore was the winning dancer of
SYTYCD 2011 as she danced to this sexy,
naughty, and somewhat dysfunctional rou-
tine as Leeper suggests. Her dance to this
song was the highlight of the evening.
Parker has performed and shared the
stage with many well-established artists, in-
cluding The Neville Brothers, Mavis Staples,
Dr. John, Gladys Knight, Ray Charles, Taj
Mahal, Al Green, Lil Milton, Etta James,
Koko Taylor, and many others over the past
20 years.
In June 2011, Sista Monica was invited
to perform with India Arie at the Uptown
Theater in Napa, Calif. after her return
from touring and performing in Paris,
Bern, Monte Carlo, and Greece. Just prior
to leaving on her European tour, she and
her world-class band performed with the
legendary B.B. King at The Catalyst in Santa
Cruz, Calif.
Sista Monica was born in Gary, Ind.
and lived several years in Chicago before
relocating to northern California’s Bay Area
in 1987. The Sista Monica Band consists of
seasoned musicians that record and tour
with her: Danny Beconcini (piano and
Hammond B3 organ; musical director and
co-writer), Danny Sandoval (tenor saxo-
phone), Leon Joyce Jr. (drums), Artis Joyce
(bass), and Bill Vallaire (guitar).
Sonny Burgess andThe Legendary Pacerswith Special Guest Lance Lipinsky
Rockabilly
Friday: 7:45 p.m., Dance Pavilion
Saturday: 2:45 p.m., Dance Pavilion; 8:30
p.m., Railroad Stage
Sunday: 2:15 p.m., Two Rivers (Lance
Lipinsky & Kern Kennedy at Boogie Kings/
Rockabilly Piano); 2:45 p.m., Penobscot
Stage (Sonny Burgess at Gospel Song
Traditions); 5:15 p.m., Railroad Stage
Sonny Burgess and the Legendary Pacersare very generously sponsored by
Sonny Burgess and the Legendary Pacers
play the music of the Fifties the best because
they helped invent it. The band was formed in
1955 at Newport, Ark. They had fi ve singles
on Sun Records: “Red Headed Woman”/“We
Wanna Boogie” (B-side); “Thunderbird”;
“Ain’t Got a Thing”; “Bucket’s Got a Hole In
It”; and “Sadie’s Back In Town.” They also
had a hit in 1965 on Razorback Records with
“The Short Squashed Texan.” “Red Headed
Woman”/”We Wanna Boogie” has been voted
the wildest record ever recorded. Sonny and
the Pacers played clubs, festivals, shows,
and colleges all over the United States and
Canada. They were one of the pioneers of
rock and roll and traveled with Johnny Cash,
Roy Orbison, Jerry Lee Lewis, Carl Perkins,
Elvis Presley, Danny
and the Juniors,
Conway Twitty,
Patsy Cline, Ronnie
Hawkins, Billy Lee
Riley, Ace Cannon,
Charlie Rich, Teddy
Riedell, Narvel
Felts, and many
more.
The Pacers started
with Sonny Burgess
on vocals and guitar,
Kern K. Kennedy on
piano, Johnny Ray Hubbard on slap bass, Russ
Smith on drums, Joe Lewis on guitar, and Jack
Nance on trumpet. In early 1957 Smith and
Lewis left the band, Smith going to work with
Jerry Lee Lewis and Lewis to further his own
career. In August 1957 Nance joined Lewis
working with Conway Twitty, and Bobby Craf-
ford joined the Pacers as drummer.
In March 1958 J.C. Caughron joined the
Pacers on lead guitar. In 1962 Jim Aldridge
joined the Pacers playing sax and in 1963
Fred Douglas replaced Hubbard as bass
player. Lewis was killed in a car wreck several
years ago and Nance passed away in 2000.
Smith currently lives in Mississippi. Hub-
bard retired and now lives in Newport, Ark.
Charles Watson II plays fi ddle on the “Still
Rockin’ and Rollin’” album and appears live
with the band.
Several years ago the band re-formed to re-
cord “They Came From the South” and now
have another CD out called “Still Rockin’ and
Rollin’.” The CD has received rave reviews
and in June 2000 was voted best new album
in the country and roots fi eld in Europe.
In April 1999 the Pacers played for a
worldwide rockabilly show in Las Vegas and
stole the show. In May 1999, Sonny Burgess
was voted into the Rock and Roll Hall of
Fame of Europe. In May 2000 they played
for the Rockabilly Hall of Fame in Jackson,
Tenn. along with Narvel Felts, Ace Cannon,
The Crickets, The Comets, Brenda Lee, Stan
Perkins, D.J. Fontana, Scotty Moore, W.S.
Holland, and more.
They were inducted into the Rockabilly
Hall Of Fame In Jackson, Tenn. in 2002.
Lance LipinskyJoining the Legendary Pacers in Bangor will
be Lance Lipinsky, whose young life is full of
the musical styles of a time decades past.
“You don’t know where you’re going if
you don’t know where you been,” says the
24-year-old Texas native. This personal motto
of absorbing history has resulted in his own
original music that is the evolution of a style
from the past.
In the studio or as an entertainer, the style
of original music that Lance renews is similar
to early rock and roll, classic country, and
1960s mod pop. He does this all with a piano
as his weapon of choice.
“I was born too late,” Lance says, perhaps
referring to the idea that if it was 1958, or
even 1964, his songs would be on the radio.
But times have changed. Lance chose to
pursue the underground community of
live-music venues worldwide instead of
participating in the mainstream music in-
dustry politics by promoting himself on the
Internet. Like a distant cousin to Elvis and
Jerry Lee Lewis, Lance blends these two main
infl uences as a recipe to stir up his batch of
self-proclaimed honky tonk, boogie woogie
rock and roll. Lance possesses the showman-
ship and energy of Little Richard in his live
performances and the haunting 1960s Roy
Orbison sound in his original songs.
2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013 11
THE AMERICAN FOLK FESTIVAL - SPONSORS
AFF Sponsors enjoy a variety of marketing and access benefi ts, from the naming of a stage to the opportunity to enjoy the Festival from the VIP tent at the Railroad Stage. The Festival relies
upon sponsors at all levels, and we welcome contributions from businesses and individuals alike. To fi nd out more, call or email our offi ce: 207-992-2630 or [email protected]
SPONSORS
Virtuoso
Soprano
Alto
Tenor
OvationOvation
Jace Cohen and
Barbara Carey
Emera Companies
Maine Public Service
CITY OF
REWERB
Eastern MaineCommunity CollegeGreat College. Smart Choice.
BarbaraCassidy
Foundation
More SPONSORS on page 14
14 2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013
THE AMERICAN FOLK FESTIVAL - WHO’S WHO / SPONSORS
The American Folk Festival on the Bangor Waterfront is only possible through the hard work of hundreds of volunteers, committee members, directors and staff. The following people are among those who have dedicated their time and skills to make the 2013 American Folk Festival a success.
Board of DirectorsChair: Rick Fournier, Bangor Savings Bank Vice Chair: Dan Tremble, Fairmount MarketSecretary: Thom Johnston, New England School of Communications • Treasurer: Tim Reynolds, Bangor Daily News • Michael Aube, EMDC • Maria Baeza, Turning Point • Dan Cashman, Cashman Communications • Elizabeth Downing, University of Maine • Amy Kenney, UCU Credit Union • Vern Leeman, N.H. Bragg • Pauleena MacDougall, Maine Folklife Center • Julia Olin, NCTA • Niles Parker, Maine Discovery Museum • John Rohman • Brad Ryder, Epic Sports • Lee Speronis, Husson University • Rob Sutcliffe,
Rudman & Winchell • Mary Turner, Eastern Maine Healthcare Systems
Development CommitteeChair: Dan TrembleMaria Baeza • Jodie Kandel • Brad Ryder • Julie Green • Monique Bolduc • Amy Kenney • Keith Martin • Juanita Mullen • Kristen Strong • Vern Leeman • Rick Fournier • Jenni-fer Khavari • Joe Connors
Communications CommitteeDan Cashman • Karen Cashman • Angela Smith • Amy Kenney • Julie Green • Melissa Gerety • Kelly Cotiaux
Family CircleKristen Strong • Juanita Mullen • Bill Dwyer • Janet Smith • Aymie Walshe • Emily Burke • Julie Joy
Volunteer LeadersJoan Andren • Jane Black • Jeff Bossé •
Brenda & Jim Boulier • Mary Brooks • Al & Esther Bushway • Barbara Carey • Donna Chase • Peter Clewley • Bruce Clukey • Peter Curran • Dawn & Bill Curtis • Marian & Richard Dressler • Shirley Ellis • Mark Friedman • Jo Ann Higgins • Judy Ingersoll • Doug Keith • Diana Keyser • Cedric Long, Jr. • Mike McGinn • Kathy McLeod • Connie McVey • Jennifer • Mike, Rose and Robin Murphy • Alice Rancourt • Steve Ropiak • Lauren Rothschild • Lynda Ryder • Janet Smith • Barb St. Peter • Libby Turner • Mary Turner • Peggy Turner • Larry Wade • Judy Weatherbee • Don Wilbur • Dale Wilkes • Gerald Wiswell • Lynne Woods
Transportation TeamBill Mulherin • Michelle Mulherin • Nancy Tracy
Children’s VillageNiles Parker and Trudi Plummer from
The Maine Discovery Museum, together with Maria Baeza and Natalie Deger-strom. Thanks to Michele Collins for logo design!
Folklife AreaThe Maine Folklife Center at the University of Maine, with the Hudson Museum and the Page Farm and Home Museum
Operations TeamWoody Higgins • Jack Kearns • Darrell Do-nahue • Brad Ostrow • Richard Derbyshire • Betty Derbyshire • Al Banfi eld • Sean Sykes • Dale Farmer
Offi ceHeather McCarthy, Executive DirectorDenise Libby, Site Services CoordinatorCarin Sychterz, Development CoordinatorErin Guesman, Event Planning AssistantBre Clement, Ardel Designs, Graphic
Designer
BARITONEBangor Federal Credit Union • Bangor Letter Shop • Black Bear Inn • Brantner, Thibodeau & Associates • Camden National Bank • Chapel Hill Floral • Cianbro • Consumer Title • Epic Sports • Fairmount Market • Farrell, Rosenblatt & Russell • Fireside Inn • The First • Foster Imaging • Garelick Farms • Gross, Minsky and Mogul, P.A. • Holiday Inn • John T. Cyr & Sons • Katahdin Trust • Kappa Mapping • Lafayette Hotels • Lane Construction • Maine Beaches Association • Maine Distributors • N.H. Bragg • Northeast Pain Management • Oriental Jade Restaurant and Bar • OTT Communications • Packard Judd Kaye • Paine, Lynch & Harris, P.A. • People’s United Bank • Penobscot Area Recov-ery Company • Penquis • Pine Tree Waste/Ca-sella • Securitas • Shyka, Sheppard and Garster • Spectrum Medical Group • University Credit Union • University of Maine Augusta - Bangor • Vactionland Inn • Volunteers of America North-ern New England • WBRC • Whitehouse Inn • World Acadian Congress 2014
PRODUCERS CIRCLEAnonymous • Peter Arabadjis and Lisa Buck • Bill and Sally Arata • Maria Baeza • Larry and Barbara Beauregard • Mona and Sandy Blitz • Beth Bohnet • Frank and Jane Bragg • Al and Esther Bushway • David and Susan Carlisle • Rachel and Dana Clark • Elizabeth Downing and Dennis Cox • Doug and Nichi Farnham • Sheri and Marvin Glazier • Andy and Patty Hamilton • Paul and Jane Hannigan • Tracy Harding and Aimee Smith • Jen and Aram Kha-vari • Vern and Janelle Leeman • Lilian and Vic-tor Lo • Anonymous • Keith and Kristen Martin • Mary and Tom Martz • Norman Minsky • Ron and Nima Morgan • S Ortiz and A Kagan • Tim & Roxanne Reynolds • John and Lyndy Rohman • Liz Russell and Julie Green • Deb and Jeff Sanford • Katie & Allen Schaffer • Penny Shar • Warren and Evelyn Silver • Kathryn Slott • Lee and Ruth Souweine • James Stanley • Bob & Kristen Strong • Prudence Taylor, DDS • Tim Ward • Kathy and Carlo White • Margaret T. Wiken • Mary and George Wright • Leith and Donna Wadleigh
BASS - BusinessAllen/Freeman/McDonnell Agency • Berry-
Dunn • Bangor Frameworks • Brewer Redemp-tion Center • Daigle and Houghton • Dysart’s Restaurant • Eaton Peabody • ERA Dawson Bradford • Fessenden Geo-Environmental Services • Greenway Equipment • Griffi n and Jordan, Attorneys At Law • Hardwood Products & Puritan Medical Products • Hartt Transporta-tion • Jeff ’s Catering • Kleinschmidt • Mac-Dermott Valuation & Consulting • The Maine Jump • Morgan Stanley Wealth Management • Ntension • Olive Garden • Penobscot Clean-ing Services • Quality Cash Register • Realty of Maine | Dave Sleeper • Schooners Steak & Sea-food • Seacoast Scaffolding • Snowman Printing and Stamps • Transco Business Technologies • UniFirst • The UPS Store • W.S. Emerson Co. • Woodard and Curran
BASS - IndividualEric Brown and Jean Camuso • Rick and Renee Fournier • Jan Hill, Bruce Hunt, Deb Lawrence and Bob Smith • Richard and Suellen Jagels • Thomas and Patricia Johnston • Curt and Denise Kimball • Leonard and Renee Minsky • Cindy Mitchell and Ron Hidu • Julia Olin • Barbara Owen • Matthew and Layne Rowe • Tisdale Family
FAMILY CIRCLEThe Bergin Family • James, Emily and Dan Burke • The Jones Family • The Dwyer Family • Debbie, Mark, Bekah, Hannah Friedman • The Hewes Family • Khavari Family • The Leeman Family • Addison, Brad and Denise Libby • Ro-bicheau Family • Lynne and Jay Shubert • Sirois Family • Sychterz Family • The Walshe Family • Douglas and Lourdes Wellington • Wittmann Family
CONTRIBUTORRichard and Joan Andren • Bangor Steel Service • Charles and Judy Boothby • Karen Boucias and George Jacobson • Charles and Jane Burger • Daniel and Dina Cassidy • Marjory and Robert Chase • David and Elizabeth Clark • Peter and Susan Daigle • Kate Dickerson and John, Conor and Claire Thompson • Jon and Lisa Eames • Richard A. Eustis • Nancy Fishwick and Marc Moss • Dr. Ray Fort • Rod and Kathy Gillespie • Janet Godfrey • Bob and Ruth Gomes • John and Carol Gregory • The Grosjean Family • Rod and Judy Hanscom • Healing & Expressive Arts Retreats of Maine • Judy Horan
and Joe Howard • John and Ginger Hwalek • Barbara Ives • Carol and Gordon Kulberg • Vir-ginia Lemos • Deb Leon and Duane Hanselman • Gerald Maclean • Dawn, Wende, and Maggie Mahaney • Gianna and Stuart Marrs • LaForest E. Mathews • Eddie Meisner and Jim McCleave • Bill and Gloria Miller • Modern Screenprint, Tim & Kathy McLeod • Lesa O’Connell • Olde Tom Waits • Penobscot County Conservation Association • Christian Rafford • Debra Rice and Michael Grenier • Ken and Diane Rowell • Adrien & Deborah Roy • Ruth Saliba • Elsa Sanborn • Dan and Maria Sandweiss • Ann Schonberger • Brent and Michele Slater • Peter and Lynn Soucy • Marie and Norman Stern • Mr. Jeremy Strater • Paul and Suzanna Svend-sen • Mary Turner • Jeff and Lisa Wahlstrom • Michael and Laura Wittmann • Neil and Barbara Womble • Bob and Ellen Young
DONORAcadia OB-GYN Associates, P.A. • Richard Anderson • Jan and Neil Ashton • Dottie Baron • Jane Baron • Paul and Cathleen Bauschatz • Judy and David Beebe • Robert and Ellen Beekman • D&B Benson • Marcia Biggane • Sidney and Martha Block • Kathy Bodkin and John Rubino • Ray and Lynn Bolduc • Robert Bowman and Lori Tradewell • Marlo and Ray Bradford • Mel and Barbara Braverman • Broque Insurance and Financial Services • Cal and Nancy Bubar • Ben and Sarah Carlisle • Arline and Richard Caron • Todd Caron • Brigitte Cassidy • Roger and Greta Choquet • The Cigaret Shopper • Jane Clayton and Nancy Harrison • Larry Conrad and Lynne Josselyn • Allan and Linda Currie • Curtis Law Firm • Robert and Eleanor Davids • “Jack” Deer-ing • Dog • Geraldine Dorsey • Shaun Dowd • Roberta and Peter Downey • Mark Eggleton & Janet Berkel • Judith F. Eichel • Elite Auto | John Pollard • Bruce and Deborah Ellis • Marilyn and Michael Eremita • Frank and DARE Farrington • Al and Judy Faust • Maria Fuentes and Jeff Romano • The Forest Family • Mike and Crystal Friedman • Arnold and Susan Garson • Emil and Rebecca Genest • Gilbert and Greif, P.A. • Goodwin and Roz Gilman • Don and Pam Gow • Mike Grondin and Kyle Tardy • Charles and Susanne Grosjean • Mike and Jacquie Haney • John R. Hanson • Joe and Sheila Harris • Edward and Maxine Harrow • Henry’s Bridal and Formal Wear • Tony Hersh and Cynthia Segale • Alan and Sheila Hess • Frederic Hirsch • Bill and
Hazel Hiscock • Ellie and Stanley Israel • Rodney and Susan Jacobs • Dr. M. Jsaletta • Barbara Kates and Sol Goldman • Don Katnik • Doug and Samanth Kavanaugh • Amy Kenney • Nancy and Donald King • Carol and Gordon Kulberg • LJ and Doris Laber • Janette and Eric Landis • Rober Larkin and Ethel Champaco • Bill Leithiser • Rob Lemire and Roberta Bailey • Ralph Leonard • Stephanie Leonard • Thomas and Nancy Lever • Rosalind Lewis • LH Spaulding and Son • Dennis and Jayne Libbey • William and Mary Linz • Walter and Elaine Littlefi eld • Jerry and Kathy London • Susan Luthin • Pauleena MacDougall • Jim and Carolyn Mahon • Rich Maietta • Bruce and LeeAnne Mallonee • Karen Marley • Willie MarQuart • Lee Martin and Dawn Pelletier • Connie and Dan McCarthy • Gerald McCarthy • Ivan and Susan McPike • Meadowbrook Ridge • Milford Motel “On the River” • Gloria and Bill Miller • Helen and Bill Munsey • Ruth and Jerry Nadelhaft • New Waverly Restaurant • Nathan and Nancy Nickerson • Northeast Geophysical • Natalie Norton • Fritz and Caroline Olden-burg • Gerald Palmer • Clare and Lew Payne • Mr. and Mrs. Herbert Pelletier • Eric Peterson and Kristin Langellier • Richard and Sarah Pendelton • Ralph and Kathleen Pino • Bonnie and Chris Popper • Robin and Ursula Pritham • G.A. Rafford • Paul Rawson, Sara Lindsay and Family • Glen and Ann Rea • Evan Richert, AICP • Liam Riordan and Susan Thibedeau • Denise and Dave Rocker • Don and Ellen Roffey • Michael and Louise Rolnick • Edward Rudnicki and Jean Mellett • Steve and Penny Sargent • Roberta Scott • William Shackelford • Richard R. Shaw • Barbara and Gary Smith • Bryce and Janet Smith • Dave and Evie Smith • Don and Nancy Smith • Gregory and Eileen Smith-Porter • Louis and Bill Soule • Pat and Win Stevens • Lovern Stockwell • Anonymous • Robert Sutcliffe and Nina Jerome Sutcliffe • Edward and Deborah Thompson • Ray and Carolyn Thompson • Joe and Kathy Tiso • David and Rosemary Tonini • Town of Dedham • Rich Tozier and Carol Gillette • Michael and Ann Trainor • Bourke and Esther Trask • Mary Ann Turowski • Robert and Ingrid Tyler • Tricia and Jim VanKirk • Charles Westcott and Emilie Holland • Cindy and Alan White • Donald and Janice White • Ralph and Joni Averill White • Bob and Gerry Williams • Donald and Felicia Wiswell • Mark and Bridget Woodward • Shawn and Rita Yardley
SPONSORS FROM PAGE 11
WHO’S WHO
2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013 15
THE AMERICAN FOLK FESTIVAL - MUSIC
The ChankasPeruvian Scissors Dance
Saturday: 12:15 p.m., Children’s Village;
2:15 p.m., Two Rivers Stage; 8:45 p.m.,
Penobscot Stage
Sunday: 1 p.m., Penobscot Stage
The scissors dance is a traditional Andean
ritual expression through which the dancer
is a bridge between a community of people
and the Pacha Mama (Mother Earth) and
her sacred mountains. Its origins are in the
ancient Chanka region, which included what
is today the southern Peruvian Departments
of Ayacucho, Apurimac, and Huancavelica.
With the arrival of the Spaniards in the
16th century, a colonial economic system was
imposed that destroyed the economic and
social structure of reciprocity upon which
the Inca Empire was based. The new system
channeled all of the productive activity
toward mineral exploitation, which destroyed
agricultural settlements.
The Inca could not organize effective
armed resistance against the Spaniards. An
ideological and religious resistance took
form, in which Inca gods were disguised in
Catholic rites and festivals. The Spaniards
ran a campaign of eradication of idolatries,
resulting in thousands of deaths and the
destruction of religious centers.
One of the most important ideological
resistance movements was the taki onqoy.
Begun in the Chanka Region, it was headed
by Andean priests who went far and wide
announcing that all of the spirits and areas
of worship destroyed by the Spaniards were
still alive and had united to fi ght for the end
of the oppression. It is said that the Andean
priests who were called to preach were of-
fered the energy of the spirit of the Apus (sa-
cred mountains) and the sweetness of Pacha
Mama, to show that the Apus and the Pacha
Mama were still alive and desired a return
to the agricultural activities that allowed the
people to live in harmony with nature.
The priests danced and transmitted the
message of Mother Nature, the Sun, and the
Moon, and indicated that all that surrounded
us on Earth and in the sky had life. This
dance was called “the sickness of song and
dance.” In possessing the dancers, the moun-
tain spirits and Pacha Mama revealed to the
dancer that he would not lose communica-
tion with them, and that the source of energy
remained alive.
The Chankas Scissors Dancers have a long,
successful career, nationally and internation-
ally. They help to spread out the traditional
dance of the scissors with a lot of effort and
sacrifi ces. They have demonstrated the ritual
and dance of their culture at such places as
the United Nations Organization, the Ameri-
can Museum of Natural History in New York,
the Museum of the American Indian in New
York, Villalona University in Pennsylvania,
The Museum of the American Indian in
Washington, The National Geographic in
Washington, and at many American schools.
The members of the Quechua Chankas
group, with their nicknames, are:
Walter Velille (“Quesquento,” meaning
“Cicada”) is a scissors dancer with 28 years of
experience and inheritor from his grandfa-
ther and father’s religion, myth, magic, and
history of the Quechua culture. He traveled
with them through most of the Peruvian
states and later he attended festivals in Spain,
Portugal, Germany, Italy, Belgium, Luxem-
burg, Taiwan, Switzerland, and France. He
was born in Apurimac, Peru.
Luis Aguilar (“Paccaricha,” meaning “Day-
break”) is a professional scissors dancer and
a family inheritor. He became Peru’s National
Champion and has spread the art of the scis-
sors dance for 25 years. He was born in Sucre,
Ayacucho and started dancing when he was
14. He joined the Chankas in 2005 and has
worked with Walter ever since.
Alejandro Velasquez (“Siguarcha,” meaning
“Small Bird”) is a fi ne harpist with lots of ex-
perience and a long carrier with the Chankas
group. He started playing the harp on his
own when he was 14 in the Departamento de
Apurimac, where he was born.
Ignacio Velasquez (“Chirapa,” meaning
“Rainbow”) is the violinist of the Chankas
group since 2008. He started playing the violin
on his own when he was a teenager, never
attending a music school. He is Alejandro’s
brother and was born also in Apurimac, Peru.
ElatosGreek
Saturday: 12:30 p.m., Penobscot Stage; 3
p.m., Two Rivers (Global Voices/Singing
Traditions); 5 p.m., Two Rivers Stage
Sunday: Noon, Penobscot Stage; 3 p.m.,
Railroad Stage
In Greek, “elatos” (έλατα) pronounced EL-
ah-tose, means “fi rs,” the type of pine trees.
For Stavros Pappas, it refers to the fi r trees
that grow high on Greek mountains. But the
meaning is deeper than that.
Pappas was raised in the United States but
was always exposed to his Greek heritage.
After high school, he opted not to attend col-
lege in favor of working in his father’s Greek
restaurant. But around age 24, in 1986, he de-
cided to visit Greece, where he’d live with his
grandparents and learn about his ancestral
land. He remained there until 1999.
While there, he became immersed in the
culture and music. Music had always been a
part of his life; he liked a wide variety, every-
thing from Led Zeppelin to Jimi Hendrix to
Frank Sinatra. But he was greatly affected by
his time in Greece.
He’d played a bit as a youth, but in Greece
he picked up the clarinet and studied music,
including the Byzantine scale. To Western
ears, the Byzantine scale’s gaps result in a
musical sound that may seem exotic — and it
attracted him.
The music that he learned wasn’t the sort
of thing found in books or taught in schools;
he had to fi nd someone to teach him. Pappas
maintains that those wishing to learn that
music would need to do the same thing —
fi nd someone like him in order to properly
learn the ways and the meaning behind the
music.
During his studies, he talked with old-
timers — some approaching 100 years of age.
They told him stories of life under Ottoman
rule before Greece regained its independence,
and he learned the importance of Greece’s
mountains.
During oppressive times, Greeks would
often fl ee into the mountains on horseback.
But to disguise their fl ight, they shoed their
horses backwards, so their oppressors would
think that horses were coming down out of
the mountains, and not pursue. To Pappas,
those mountain fi rs — those elatos — are a
symbol of modern Greek culture.
Through the Byzantine scale, much of the
music is based on traditions stretching back
2,000 years. You can hear the sounds in the
choir music of a Greek Orthodox church —
or many other religious choirs. Some of the
music is much younger, from the last century.
All of it has that classic Greek fl avor that
makes it unique.
After 400 years of Ottoman rule, Greece
won its independence in the early 1900s,
but those four centuries of oppression, and
the century of freedom since, has certainly
affected the folklore and music of Greek
culture.
The music of Elatros comes in many
genres — the city music endemic to Greece’s
urban centers; the island music from the
lands just off its shores; and the mountain
music, from the villages up in the many
mountains of northern Greece.
Elatos is an always-changing group, as
Pappas works with various musicians from
performance to performance. He does have
some regulars, but he’s very particular about
who he plays with — and those who play
with him tend to be particular as well.
Business comes from word of mouth; cur-
rently, Elatos has no Web presence, and Pap-
pas says he’s never spent a dollar on advertis-
ing. But successful performances have had
people talking, and his phone keeps ringing.
Along with Pappas on his clarinet, Elatos
will bring four performers to the festival: his
daughter, a singer; Dennis Karyanis, a guitar
player; a drummer; and Kostas Talis, who will
play the bouzouki, a bowl-shaped lute-like
instrument with a long, slender neck. The
bouzouki came to Greece from immigrants
from Asia Minor in the early 1900s, but soon
became a staple of modern Greek music.
16 2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013
THE AMERICAN FOLK FESTIVAL - MUSIC
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� Steel Magnolia – Country Music Duo
SAT Sept 14, 2013 | 7:30 PM
� An Evening with Molly Ringwald Jazz hits from her new CD, Except Sometimes
SAT Nov 23, 2013 | 4:00 & 7:30 PM
� Forbidden Broadway Alive & KickingTony Award winning musical by Gerard Alessandrini.
SAT Feb 1, 2014 | 4:00 & 7:30 PM
� Paul Reiser – TV/fi lm star and comedian
SAT April 12, 2014 | 6:00 & 8:30 PM
The James King BandBluegrass
Friday: 7:30 p.m., Railroad Stage
Saturday: 1:15 p.m., Two Rivers Stage; 2:30
p.m., Penobscot Stage (Merle Johnson at
World on a String/Fiddle Traditions); 3
p.m., Two Rivers Stage (James King at
Global Voices/Singing Traditions); 4:30
p.m., Penobscot Stage
Sunday: 2:45 p.m., Penobscot Stage (James
King at Gospel Song Traditions); 4:15 p.m.,
Two Rivers Stage
James King was born Sept. 9, 1958, in
Martinsville, Va., and grew up in Carroll
County — one of the most fertile breeding
grounds for bluegrass and old-time musi-
cians. King’s father, Jim, and his uncle, Joe
Edd, were both musicians of note. As King
entered his teens, he began to take the music
seriously too, particularly the music of his
fellow Virginians, the Stanley Brothers. One
of King’s closest mentors was Ted Lundy,
whose raw and heartfelt brand of bluegrass
exerted a particularly strong infl uence on
King’s music.
Following a stint in the Marine Corps,
King relocated to Wilmington, Del., where
he started a band with Lundy’s sons, T.J.
and Bobby. The Lundys introduced King to
legendary bluegrass deejay Ray Davis, who
paired King with Ralph Stanley for two mid-
1980s releases, “Stanley Brothers Classics”
and “Reunion” (also with George Shuffl er),
on his Wango label. In 1988, King released his
fi rst record under his own name: “James King
Sings Cold, Cold World.”
In the 1990s, Dudley Connell of the
Johnson Mountain Boys brought King to
the attention of Rounder’s Ken Irwin. Irwin
brought together Connell and a band of
bluegrass all-stars to back up King on 1994’s
“These Old Pictures” and 1995’s “Lonesome
and Then Some.” King began to tour steadily,
gradually assembling the James King Band.
The group was named emerging artists of
the year by the International Bluegrass Music
Association in 1997. The following year, “Bed
by the Window” was the James King Band’s
recording debut, and its gripping, bittersweet
title track — about a man in a nursing home
with a vivid imagination — was nominated
for IBMA’s 1999 song of the year award.
King is also a member of the bluegrass
supergroup Longview, along with Connell,
Don Rigsby, Joe Mullins, Glen Duncan, and
Marshall Wilborn. Their self-titled 1997
debut was named recorded event of the year
by the IBMA. The second Longview album,
“High Lonesome,” arrived in 1999, fol-
lowed by “Lessons in Stone” in 2002. King
released “30 Years of Farming” in 2002. The
album featured the James King Band as the
supporting instrumentalists, with a potent
blend of classic bluegrass, hardcore country,
and contemporary songcraft. Including the
country classics “Saginaw, Michigan” and
“Carroll Country Accident,” King released
“The Bluegrass Storyteller” in 2005. In April
2009, King married Julie Lillard of Cascade,
Va., and now resides in Danville, Va..
The James King Band includes Barry
Crabtree (banjo), Chance Leadbetter (man-
dolin and vocals), Merl Johnson (fi ddle and
vocals), and John Marquess (upright bass and
vocals).
2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013 17
THE AMERICAN FOLK FESTIVAL - MUSIC
Jorge Arce andRaiz de PlenaPuerto Rican Parade Band
Friday: 6:45 p.m., parade from Broad Street
to Railroad Stage
Saturday: 1:30 p.m., Dance Pavilion;
3:30 p.m., Penobscot Stage (Jorge Arce
at Masters of Percussion/Percussion
Traditions); 7 p.m., parade from Broad
Street to Railroad Stage
Jorge Santiago Arce was born in Bélgica,
a working-class neighborhood of Ponce,
Puerto Rico. Ponce is a city well known for its
rich cultural traditions and is characterized
by the emergence and evolution of important
Afro-Caribbean music and dances such as the
“bomba,” “plena,” and “danza.” Half of Arce’s
family comes from San Antón, mainly a black
community known for the African tradition
of the bomba music; the other half comes
from the music tradition. His life in the “bar-
rio” of Bélgica was fi lled with the plena mu-
sic. This experience, among other things, has
contributed to his creativity and curiosity. In
addition to being an actor, dancer, singer, and
performer, he is also a cultural historian and
researcher.
Arce’s early exposure to the bomba and
plena in Puerto Rico helped him to establish
a direct relationship with the Cepeda
family in the early 1970s. He was able to
include them in television, record, and
theater productions. In 1979 he wrote,
performed, directed, and choreographed
the musical-theater piece “Melodía en El
Caño,” in which the leader and choreog-
rapher of the Cepeda’s family ensemble,
Petra Cepeda, played a leading role. This
piece, broadcast as a TV special, was later
recorded as the album “Tierra, Tierra”
(1980) by Haciendo Punto en Otro Son, a
renowned group of which Arce has been
a member since 1978. It has been used as
reference material in schools in Puerto
Rico as well as in public school systems in
the United States connected to the Puerto
Rican community.
Arce toured the U.S. from 1975 to 1982
as an actor and musician. Since 1983, it
has been Arce’s responsibility to expand
the bomba and plena through workshops,
classes, residency programs, and perfor-
mances at school sites, festivals, parent
and community organizations, and uni-
versities, thus becoming one of the most im-
portant cultural liaisons to the Puerto Rican
community in the U.S. After completing his
educational program at Boston Conservatory
in 1985, where he majored in musical theater,
he decided to share his experiences with
youth and children and to learn more from
the community of people who best knew the
traditions of his native culture.
Arce conceived the musical group Hu-
mano in 1987 as a result of an invitation to
perform at the Ruiz Belvis Cultural Center in
Chicago. About the same time, he became the
coordinator of a successful cultural program
in an human service agency and gained
valuable experience leading cultural proj-
ects in schools and the community. He then
rejoined the community as an artist and, by
combining the elements of tradition with
community and cultural awareness, his group
Humano was born.
Arce will appear at the American Folk Fes-
tival with another group, Raiz de Plena.
JuvenatoColombian Vallenato
Friday: 9:15 p.m., Dance Pavilion
Saturday: 3:30 p.m., Penobscot Stage
(Masters of Percussion/Percussion
Traditions); 9:30 p.m., Railroad Stage
Sunday: 12:15 p.m., Two Rivers Stage (The
Big Squeeze/Accordion Traditions); 2:45
p.m., Dance Pavilion
Juvenato is a Chicago-based group that
plays an authentic yet innovative version of
Colombian vallenato, cumbia, merengue,
paseo and son. Their poignant and energetic
music attracts a diverse fan base of young
and old, who dance enthusiastically to the
African based rhythms. The name Juvenato is
portmanteau of the Spanish words “juven-
tud” meaning youth and “vallenato,” one of
the popular styles of Colombian folk music.
Being born and raised in Cartagena,
Colombia, group leader and accordion
player Hernan “Nancho” Caraballo had been
exposed to Colombian culture and music his
whole life. In 2004, he decided he wanted to
share his passion of music with others and it
was then that Juvenato was formed.
The group consists of eight members that
range from ages 16 to 30. Although most of
the members are native from Colombia there
are a few that are from other countries such
as Puerto Rico and Dominican Republic,
bringing great diversity to the group.
The group’s instruments include the ac-
cordion, caja, guacharaca, bass guitar, congas,
and timbales. Many of these instruments
originate from different parts of the world
such as Africa, Europe, and Colombia’s indig-
enous culture.
Although Juvenato is based in Chicago
and caters to local restaurants, festivals, and
private parties, they can also be found play-
ing at many cultural events throughout the
Midwest. Their youth and talents bring a vast
energy into any room and, no matter what
nationality you are or what language you
speak, you will have no alternative but to get
up, start dancing, and join in the fun.
Currently, Juvenato has about 20 members,
with eight of them the permanent lineup. Ac-
cording to Juvenato’s leader, Javier Caraballo,
they’re all friends and mostly are from Carta-
gena, Colombia, where they knew each other.
The lineup for various performances changes
constantly. Caraballo says Juvenato is the best
group of its kind in Chicago, where there are
about 10 such groups. Regardless of the com-
petition, those groups work together because
they’re all part of a vallenato community.
“We are all friends and when in need, we
help each other out, with instruments, equip-
ment and band members,” said Caraballo.
“All of us are mostly in our 20’s and 30’s. I
even play once in a while with a different
group here.”
Juvenato usually plays with its usual
eight-man lineup, which will be at the AFF;
Caraballo says they work very well together,
because none of them know how to read mu-
sic and have adapted to working as a group.
“Those eight know our routine and the
accordion player’s moves,” he said. “All of us
play by ear… Vallenato comes from the heart
and you have to be born with it. If not, you
are ‘no bueno.’”
Juvenato is Hernan Caraballo (accordion),
Fernando Simank (vocals/voz lider) Eliu
Puentes (chorus/guitar), Javier Caraballo
(guacharaca), Francis Caparroso (caja), Abel
Villalba (congas), Pablo Fuente (bajo), and
Henry Caparroso (timbales).
18 2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013
THE AMERICAN FOLK FESTIVAL - MUSIC
Prem Raja MahatNepalese
Saturday: 2:30 p.m., Penobscot Stage
(Manoj Mahat at World on a String/
Fiddle Traditions); 3 p.m., Two Rivers
Stage (Prem Raja Mahat at Global
Voices/Singing Traditions); 3:30
p.m., Penobscot Stage (Masters of
Percussion/Percussion Traditions);
7:45 p.m., Penobscot Stage
Sunday: 1:15 p.m., Two Rivers Stage;
4:45 p.m., Penobscot Stage
Prem Raja Mahat is a living Nepali
musical legend in more ways than one.
Over the past 25 years, folk music in
Nepal has gone from being a very local
phenomena to a national celebration.
Prem Raja Mahat, who grew up listening
to and singing the “rural Nepali blues” as
a young boy in the hills of west central
Nepal, is a large part of the reason for the
revival and tremendous appeal of folk
music in Nepal.
Nepal is just as rich in music as it
is in natural beauty. But lying in the
shadows of the great Indian culture and
entertainment industry, Nepal’s own
prodigious musical heritage remained
underappreciated, by both national and
international audiences. The Hills of
Nepal are settled by very diverse peoples,
and the effects of this are enshrined beau-
tifully in the incomparable musical legacy
of this region. The instrumentation,
scales, rhythms, melodies, and syncopa-
tion found in the music of the Nepal
Hills refl ect a millennia of cross-fertil-
ization between distinct, yet ultimately
complementary, musical heritages. And
nowhere is this unison more beautifully
or powerfully expressed than in the di-
verse traditions of “lok geet’ (folk songs)
of the green hills of Nepal.
When Prem Raja Mahat took up this
art form in earnest at the age of 12,
many were dismayed that a sharp young
man had chosen the dead-end path of
a sarangi-playing singing minstrel. But,
incredibly, within 10 years Mahat had
managed to transplant his own love affair
with Nepali lok geet into the hearts of an
entire nation. Nepalis became instantly
reinfatuated with their own musical roots
while swaying and tapping to Mahat’s
early hits like “Panko Paat” and “Simsime
Paanimaa.” Nepali music fans that grew
up on a steady diet of recorded Hindi
fi lm music turned en masse to the folk
tunes and rhythms rooted in their own
lush hills and valleys.
It will be no exaggeration to say that
Mahat played a key role in altering musi-
cal imaginations in Nepal for the better.
Mahat was not the fi rst in Nepal to look
to lok geet for inspiration. But it is on
account of Mahat’s unique genius and
supreme dedication to his art form that
whole new generations of Nepali artists
and audiences have gravitated towards
and remained completely captivated
within the lush world of Nepali lok geet.
Mahat’s boundless musical energy
and his creative genius are irrepressible.
In the short time that Mahat has lived
in the USA (Baltimore, MD) Mahat has
showcased his music and his passion for
it on NPR, in the columns of numer-
ous local and regional papers, in a wide
range of performance venues, including
local bars and national college campuses.
Having conquered the musical hearts of
Nepalis, Mahat is now on a mission to
captivate worldwide audiences with the
timeless magic and charm of the music
of the mountains and hills of Nepal. And
judging by the interest and excitement he
has generated for Nepali folk music from
his new musical base in Baltimore, MD,
Mahat is well on his way achieving his
new mission.
2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013 19
THE AMERICAN FOLK FESTIVAL - MUSIC
Samba MapangalaEast African Rumba
Saturday: 5:30 p.m., Railroad Stage; 3 p.m.,
Two Rivers Stage (Global Voices/Singing
Traditions); 9 p.m., Dance Pavilion
Sunday: 4:15 p.m., Dance Pavilion
When 20-year-old Samba Mapangala
boarded the riverboat for Kisangani in 1975,
little did he know where it would really be tak-
ing him. The young vocalist, one of a quartet
of singers in the Kinshasa dance band Saka
Saka, was heading with his mates for a tour of
eastern Zaire. Soukous, a genre of dance music
that originated from African rumba music of
the Belgian and French Congos in the 1940s,
was all the rage then, and Congolese dance
bands were in great demand.
When a better offer came to play in Kam-
pala, Uganda two months later, the group
eagerly grabbed it, and when a chance arose
to record their music in Kenya, they did not
hesitate, hightailing it to Nairobi’s well-
equipped studios to make their fi rst record,
“Lokoki.” Rechristened L’Orchestre Les
Kinois, they established their reputation in
Nairobi, playing at the Uhuru Park nightclub
and recording many more hit rumba Lingala
songs. Mapangala’s beautiful high tenor
voice became the main attraction, along with
sweet group harmonies and exciting dance
routines.
When Les Kinois broke up in 1981, Ma-
pangala formed Orchestra Virunga (named
after a volcanic mountain range in central Af-
rica). In the highly competitive East African
music scene, Virunga quickly became the
region’s most popular band. No one could
touch them for the unequivocal excellence
of their front line of singers, performing a
constant string of hot dance hits for over 12
years at Nairobi’s leading nightclubs, Star-
light Club and Garden Square. The ensuing
international acclaim for their greatest hit,
“Malako,” secured the brilliant future and
now-legendary status that Mapangala could
not even imagine when he took that fi rst fate-
ful step onto the deck of the Zaire River ferry.
Mapangala and Virunga fi rst toured the
United Kingdom in 1991, playing 23 concerts
and causing a terrifi c buzz, followed by many
more tours of North America and Europe.
Since leaving Kenya to settle in the United
States in 1997, Mapangala has continued
to perform internationally at festivals and
concert halls throughout Africa, Europe, and
North America.
Virunga’s music is an innovative mix of
the best rumba and soukous from Congo,
infused with earthier Kenyan and Tanzanian
styles. Mapangala composes and sings in
both Lingala and Kiswahili. The lyrics, often
containing advice or social commentary,
are charming and instructive, the melodies
delightful, the arrangements exuberant.
His astounding voice has been described as
“melting in the ears.” Nick Hasted, in The
Independent (UK), proclaimed following a
recent appearance at the prestigious WO-
MAD festival: “Pure balm, he makes you
wonder again why African music still awaits
its Marley moment of global breakthrough.”
PH
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BY
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20 2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013
THE AMERICAN FOLK FESTIVAL - MUSIC / FOOD
The LegendarySinging StarsGospel
Saturday: Noon and 7:30 p.m., Railroad
Stage
Sunday: 1 p.m., Railroad Stage; 2:45 p.m.,
Penobscot Stage (Gospel Song Traditions)
The American gospel music tradition is
endlessly rich. Among its many treasures
are astonishingly talented groups not widely
heard outside the gospel circuit. Imagine a
spirit-infused gospel quartet singing joined
seamlessly with the precision groove and
choreographed moves of the classic R&B
band, and you’ll have an inkling of the
musical power of gospel road warriors The
Legendary Singing Stars.
Founded over 50 years ago by the late
Tommy Ellison, one of the genre’s acknowl-
edged superstars, the Legendary Singing
Stars remain one of the gospel circuit’s big-
gest names. The band that regularly played
the Apollo Theater in the 1960s still thrills
audiences with its unparalleled stage show
and depth of spirituality. The current lineup
features original member Billy Hardy plus
three other gentlemen who’ve each been
with the group for 30 to 45 years: Dennis
Bowers (lead vocals), Sam Williams (guitar,
vocals), and Franklin “Big O” Hardnett
(bass, vocals). The ensemble is completed
by a cast of younger members: Joe Dawkins
Jr. (drums), Justin Mickens (guitar, vocals),
Joseph Ricks (keyboards, vocals), Jaqune
Malinder (keyboard), and Da’Quan Bowers,
Dennis’s son (lead guitar, vocals).
At any one time, up to six of the musi-
cians form the group’s front line, singing
glorious harmony while churning out
rhythms that approach perfection. If you
wonder how six singers can be a quartet, the
answer is that the defi ning element of quar-
tet singing is the four-part harmony, and
in this case singers may double up on parts
to highlight or add volume to the heavenly
sound.
Gospel quartets have their roots in the
Negro spiritual tradition, which combined
English hymns with West African rhythms
and vocal styles to create a musical form
that expressed both Christian devotion and
the longing for freedom from slavery and,
later, for civil rights. The Legendary Singing
Stars exemplify the modernization of the
gospel sound in the 1960s and 1970s, when
groups added electrifi ed instruments and
incorporated R&B infl uences into their
sanctifi ed music. The Legendary Singing
Stars have honed the signature sound and
presentation style developed by Tommy El-
lison into something more than a perfor-
mance — it’s an exaltation that both lifts the
soul and brings down the house.
Based out of Brooklyn, N.Y., the group
includes Billy Hardy (original member);
Sam Williams (rhythm guitar, background
vocals); Franklin “Big O” Hardnett (bass
guitar, background vocals); Dennis Da’Quan
Bowers (lead guitar and background vocals);
and Justin Mickens (third guitar and lead
background vocals).
CHILDREN’S VILLAGEPure Pops - organic popsicles
DANCE PAVILIONCC’s Spiral Potatoes - sweet potato chips/
white chips, fried pickles, corn dogs, New
England clam chowder, fried dough, fried
bananas foster, fried PB&J sandwich
Fast Eddie’s - ice cream, shakes, root beer
fl oats, shaved ice, sundaes
Jojo’s Corn - kettle korn, slush puppies
Moe’s Original BBQ - pulled pork, smoked
turkey, marinated slaw, cucumber-water-
melon salad, ribs, banana pudding
Siri Grill - grilled chicken teriyaki, vegetable
fried rice, vegetable fried noodles, fried
plantains, vegetable egg rolls
MAIN FOOD COURT4M Productions – fresh-cut French fries,
fesh-cut potato chips, corn dogs, iced chai,
iced cappucino, fresh-squeezed limeade,
nachos and cheese
Aucoin - lemonade, fruit smoothies, hot
chocolate
Bangor Girl Concessions - homemade
waffl es, fruits, ice cream, and chocolate
Crescent Foods - burrito, quesadilla, porto-
bello wrap, vegetarian salad wrap, kashmiri
iced chai, iced green tea and assorted teas,
lemonade, smoothies
Crescent Foods - Que Quesadilla - quesa-
dillas, kashmiri iced chai, iced green tea,
lemonade, smoothies
Dip-Em Donuts - mini donuts, cinnamon/
sugar, hot and iced coffee, hot tea
Fat Guys Concession - sausage sub, steak
sub, burgers, hot dogs, kielbasa sub
Hampden Congregational Church - straw-
berry shortcake, blueberry shortcake, coffe,
tea, hot chocolate
Hewes Chowder Co. - chowder
Mr. Jack’s Catering Service - deep fried mac
& cheese, sausage peppers & onions, hot
dogs, hamburgers, turkey legs, pulled pork,
French fries
Pizze Pie on the Fly - pepperoni, cheese,
tomato-basil-mozz-sea salt pizza
St. George Greek Orthodox Church - Greek
plate special, gyro, souvlaki, Athenian
burger, spanakopita, baklava, kourambi-
ethes, rizogalo, lemonade, coffee, Orangina
Stone Fox Farm Creamery - homemade ice
cream
Taste of India - samosa, onion bhaji, nan or
garlic nan, chicken tikka masala, chicken
curry, mix vegetable curry, palk aloo,
chaina massala, lassi
Three Leaf Foods - sauteed veggie wrap w/
chicken or tofu, sauteed veggie wrap
Vicky’s Thai Food - pad thai vegetables,
lo mien, fried rice, garlic chicken, broc-
coli chicken, sweet and sour chicken, pad
woon, chicken satay, crab rangoon, cashew
chicken
Yogi’s Traveling Kitchen - doughboys, fun-
nel cakes
Your Maine Course - lobster rolls, fried sea-
food (haddock, shrimp, clams), bread bowl
soup, crabcakes w/cilantro lime sauce, French
fries, fried haddock sandwich, hot dogs
RAILROAD STAGEAucion - lemonade, fruit smoothies, hot
chocolate
Dancing Elephant Indian Restaurant -
samosa, mix-vegetable pakora, lamb curry,
chicken tikka, mix-vegetable curry, saag
paneer, mango lassi
First Congregational Church ofBrewer - root beer fl oats, whoopie pies
Hammerheads Seafood - bourbon chicken,
alligator bites, crawfi sh etouffee, whole
lousiana crawfi sh, shrimp creole, crab
cake etouffee, po-boys (fried crawfi sh,
blackened steak, bourbon chicken), New
Orleans beignets, iced tea, soda, water
John’s Ice Cream - ice cream and sundaes
Nickerson’s Kettle Korn - kettle korn
The Smoothie Shack - smoothies, wraps
FOOD
2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013 21
THE AMERICAN FOLK FESTIVAL - FOLKLIFE
FOLK DEMOSFolk and Traditional Arts Programming
provided by the Maine Folklife Center, Hudson Museum and Page Farm and Home Museum
at the University of Maine
Bangor: Gateway to the North Woods Bangor and the sister towns of Veazie, Oro-
no, Old Town, and Bradley were the center of
the great 19th-century lumber industry, when
logs were fl oated downriver to the hundreds of
sawmills on the Penobscot River. Bangor is the
gateway to the great North Woods. Numer-
ous traditional arts have arisen out of Maine’s
forest heritage including creation of baskets,
snowshoes, canoes, wooden furniture, wood-
carved animals and fi gures, woods songs, and
storytelling. Refl ecting the Maine woods and
its occupations, the culture of woodsmen
is highlighted at this year’s American Folk
Festival. Maine boasts many traditional artists
who work in wood partly as a result of their
primary occupations of woodsmen.
WoodcarvingRodney “Butch” Richard Jr., Pownal
Rodney Richard Jr. followed early in the
carving and logging traditions of his father and
grandfather. When he was about 7, Rodney Jr.
began shoveling snow away from tree trunks so
his father could cut spruce and fi r in the timber
woods near their home. He continued to work
throughout high school with his father, learning
to do selective cutting and to handle a chainsaw
with skill. He also watched his grandfather and
father as they carved. Rodney Jr. is sought out
for his chains and balls-in-cages, his carefully
painted miniatures of Maine animals and birds,
and his single-log chainsaw sculptures featuring
loon mothers and chicks among grasses, Maine
black bears, totem poles of animals, and more.
A graduate of the University of Maine, Orono,
Rodney Jr., teaches in Biddeford and lives with
his wife, Lenita, in Pownal.
Crooked KnivesDuane Hanson, Jackman
Duane is a lifelong woodsman who began
making baskets and tools that he and his wife
Sally Kwan later turned that into a busi-
ness called Moose River Handcrafts. He will
demonstrate how to make crooked knives, the
traditional woodworking tools of the northern
Indians. It’s used for creating canoes, kayaks,
snowshoes, toboggans, sleds, paddles, and
the many other wooden items used in their
subsistence economy. It can be used by hold-
ing it in one hand while the other hand fi rmly
holds the work, making it more versatile than
the European drawknife or spoke shave. It was
adopted by many Maine woodcarvers, particu-
larly those working in logging camps or other
forest-related work.
BlacksmithingGary Kenney, Emden
Blacksmithing is a traditional occupation
with many used in logging camps and farms.
Gary is a blacksmith who runs a business,
Millstream Ironworks, in Emden. He works
with Duane Hanson in forging the steel
blades for knives that Duane creates. He will
bring a portable forge and demonstrate the
forging process.
Birch Bark CanoesSteve Cayard, Wellington
The “birch” is Maine’s prototypical canoe
and original creation of Maine’s Wabanaki
people. Woodsmen altered the materials by
creating a wooden frame similar to the birch
but covering it with canvas and later wood.
Today other materials are used, but the basic
form remains. The ancient art form of build-
ing a birch bark canoe was threatened when
the large birch trees were cut down by lumber-
men. However, Steve Cayard has revived the
art in Maine. Steve builds birch bark canoes in
the traditional style of the Penobscot, Passam-
aquoddy, and Maliseet builders of Maine and
New Brunswick from the early- to mid-1800s.
He has learned his craft through research on
canoes in museums, old photos, and written
accounts. It has been his goal to contribute all
that he can to the revival of the traditional ca-
noe style of this area, in which there have been
few if any such builders since the 1920s. He
has presented birch bark canoe workshops to
Penobscots, Passamaquoddies, and Maliseets,
and has been involved in restoration of older
birch bark canoes in museums.
MAINE FOLKLIFE CENTERNARRATIVE STAGE
Music and stories from MaineWoodsmen - Saturday, Noon - 1 p.m.
Harold Jackson and Martin Morris of
Fort Kent are experienced woodsmen who
also play music together. Harold plays the
guitar and is especially known for his song
“Poor, Poor Woodsman.” Martin plays fi ddle
tunes from the Acadian tradition of northern
Maine. They will perform music and talk
about their experiences as woodsmen from
the St. John Valley on Saturday.
Doughnuts! - Saturday 1 p.m. - 2 p.m. & Sunday Noon - 1 p.m.
Patricia Henner of Orono will demonstrate
how to make a traditional molasses dough-
nut—the kind one would have found on the
table in any woods camp operation.
Patty is the director of the Page Farm and
Home Museum at the University of Maine,
which is a repository for Maine history relat-
ing to farms and farming communities be-
tween 1865 and 1940. She has been at the Page
Museum since 1997 and has been the director
since 2001. Her research interests include log
transportation, material culture, and domestic
economy in the late 19th and early 20th cen-
turies. The museum holds a large collection
of recipes from fabled Maine food writer and
home economist Mildred Brown “Brownie”
Schrumpf. Patty will make Brownies’s recipe
for lumber-camp molasses donuts. Copies of
the recipe will be provided.
Knives and CarvingSaturday and Sunday, 2 p.m. - 3 p.m.
Butch Richard, Duane Hansen and Gary
Kenney will take the stage to talk about the
kinds of tools needed to carve wood, how
they are created and used, what makes a good
carving tool. Butch will also talk about his
work as a third generation wood carver.
Canoe MakingSaturday and Sunday, 3 p.m. - 4 p.m.
Steve Cayard will talk about his journey to
fi nd out how to make a birch bark canoe, his
experiences in making them, his progress in
reviving the tradition, and answer questions
the audience might have about the craft.
Songs from the Maine WoodsSunday, 1 p.m. - 2 p.m.
Four people will perform and talk about
songs collected from the Maine Woods. Many
of these songs are older ballads that came
from the British Isles and Ireland, others
are homegrown. Audience participation is
encouraged.
The performers are Pauleena MacDougall,
director of the Maine Folklife Center at the
University of Maine; Sarah Harlan-Haughey,
honors preceptor and instructor of English at
the University of Maine; Julia Lane, folksinger,
ballad collector, and member of Castlebay, and
Julia’s husband Fred Gosbee.
FOLK PRESERVERS
Hudson MuseumUniversity of Maine, Orono
Among the collections of the Hudson
Museum are Maine Indian holdings that were
essential to the forest lifeways of the Northeast,
including crooked knives, birch-bark canoes
and paddles, fi shing creels, and pack baskets.
These were known for their durability, utility,
and beauty, and were coveted by those who
frequent the Maine woods. All of these Maine
Indian artistic and cultural traditions date
back thousands of years and connect us with
these ancestral forest art forms.
The Hudson Museum is in the Collins
Center for the Arts at the University of Maine
in Orono. The museum features the Merritt
Gallery for temporary exhibits and two per-
manent galleries; the World Cultures Gallery; a
Maine Indian Gallery; the Shoemaker Gallery;
and the Minsky Culture Lab. Through its
exhibits and programs, the Hudson Museum
celebrates a world of culture and cultures of
the world. The museum’s collections include
an extraordinary assemblage of pre-Colum-
bian artifacts ranging from Olmec to Aztec
(the William P. Palmer III Collection); Native
American holdings from Maine, the South-
west, Northwest Coast, Arctic, and Plains; and
collections from Africa, Oceania, and Asia. Vis-
it us online at UMaine.edu/hudsonmuseum.
Page Farm and Home MuseumUniversity of Maine, Orono
Maine once led the world in lumber
production. With Bangor at its center, Maine
was the fi rst great lumber-producing region.
Logging crews penetrated deep into the
Maine woods in search of pine and spruce
and fl oated it down to sawmills gathered at
waterfalls. Maine’s lumber industry’s need for
transportation became so great that it spurred
other important large industries, such as
shipbuilding and railroads. Visit our exhibit
to learn about the history of Maine’s lumber
industry, early log transportation and life in
the lumber camps.
The Page Farm and Home Museum show-
cases agricultural and domestic life in Maine
from 1865 to 1940. The Museum is located
on the University of Maine campus in Orono,
within the historic 1833 White Farm barn, an
1855 schoolhouse from Holden, a carriage
house, blacksmith shop and heirloom gardens.
FOLKLIFE
See FOLKLIFE PAGE 23
22 2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013
THE AMERICAN FOLK FESTIVAL - KIDS
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A Great Space for a Great Community
BY DAVID M. FITZPATRICKBANGOR DAILY NEWS
The Children’s Village has moved — right
smack in the middle of the American Folk
Festival, just downriver from the Penobscot
Stage.
“That’s going to give us an opportunity
to have all this wonderful activity right in
the middle of the festival so it’s on your way
down to the Dance Stage or on your way
down to the Food Court, as opposed to up
at the very end where people might not have
gotten all the way to visit it last year,” said Ex-
ecutive Director Heather McCarthy. This year
it’s right in the middle and you can’t miss it.”
And the Children’s Area will feature 11 ac-
tivity stations plus a spot for parents to take a
break. The activities will be made possible by
many volunteering organizations.
“We are thrilled to have so many commu-
nity partners working with us to make this
happen,” McCarthy said. “We’ve gotten some
great support this year from the Maine Com-
munity Foundation, and they’re supporting
the programming at the stage.”
There are 11 stations with different activi-
ties in the Children’s Village, plus a resting
spot for tired parents.
A - StageAFF artists will give kid-themed perfor-
mances here.
B - Boat DockHamlin’s Marine of Hampden will loan a
real boat for this area where kids can dress up
in costumes, climb into the boat, and pretend
to fi sh for lobster.
C - GardenKids will have the opportunity to plant an
artifi cial garden. Rows will be laid out, and
kids will get turned loose to play at being
farmers.
D - BubblesBubbles, bubbles everywhere!
E - UMMA LobsterMonster Art Project
The University of Maine Museum of Art will host this big art project that kids of all
ages can work on together. Kids will collabo-
rate on the 6-foot-tall Lobster Monster and
create their own sea creatures to join him.
F - UMMA Hat MakingThe UMMA will also run this booth,
where kids will use newsprint to fold and
create various hats.
G - MDM Face PaintingThe Maine Discovery Museum will once
again handle face painting, always an incred-
ibly popular feature for kids at the AFF. Tire-
less volunteers will create kitties, Spider-Man,
zombies, and everything else.
H - EMCC CareerImagination Station
Kids like to play dress-up, so Eastern Maine Community College will host this
booth, giving kids a chance to dress up as
various vocations and professions from the
college’s courses.
I - BPL Book NookIt’s not all about running, playing, and sen-
sory overload. The Bangor Public Library
will set up the Book Nook, complete with
plenty of books, and scheduled storytimes to
give kids a quiet space to rest, relax, and read.
J – GSA SWAPSThe Girl Scouts of America will help
children craft tiny “SWAPS” — Special What-
chamacallits Affectionately Pinned Some-
where. These include tiny bandanas, bedrolls,
a map of Maine, and other scouting-themed
items.
K - Community CraftsKids, crafts, and activities!
On Saturday, the Bangor Chinese
School will help children draw Chinese
characters.
On Sunday, Chispa, a local Latino club,
will help kids make their own piñatas.
L - Parents’ PerchIn the center of the Children’s Village is the
Parents’ Perch, where parents can take a break
while watching their kids.
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Penobscot River
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Bangor Savings Bank Dance
Bangor Daily News Railroad
LL Bean Penobscot
KIDS
The Children’s Village
2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013 23
THE AMERICAN FOLK FESTIVAL - MARKETPLACE
FIBER ARTJustKim - Colorful bags and accessories.
Mooncrazy Fibre Arts - Handcrafted felted
and ‘naked’ soaps, felted cat toys, and fi ber
from Angora rabbits and friendly neigh-
borhood sheep.
Northern Solstice Aplaca Farm - Luxuri-
ous, soft alpaca clothing and yarn for all
seasons of the year.
Rose Whitehead Fiber Fabrications - Luxu-
rious hand dyed, hand spun, hand woven,
and hand felted accessories in apparel and
home.
Simply Prudence Creations - Handmade
fabric catcher bags.
True Blue Collections - Fabric gift items.
TASTE OF MAINEBalfour Farm - Fresh dairy products, cul-
tured dairy products, aged raw milk chees-
es, handcrafted fresh and aged cheeses,
yogurts, and butter from a certifi ed organic
dairy and farmstead creamery.
Fudgin’ It - Gourmet homemade fudge.
Gryffon Ridge Spice Merchants - Spices,
herbs, seasoning blends, and rubs.
Irish Daisy Bakery - Whoopie pies, cereal
bars, cookies, pancake mix, cake mix,
pretzels, bread, scones, truffl es, cupcakes,
allergy-friendly and vegan baked goods.
Everything is free of gluten, dairy, eggs, soy,
and peanuts.
Jacks Gourmet Pickles - Pickles, relishes,
jams, jellies, salsa.
White’s Farm / Smith’s Smoke House -
Woodturnings, jewelry boxes, box trays,
egg baskets, collapsible hula hoops,
smoked/dried salamis, meat sticks and
jerkies, smoked mozzarella and cheddar
cheese.
Worcester’s Wild Blueberries - Wild blue-
berry jams, jellies, vinaigrettes, pie fi lling,
syrup, chutney, and juice. Honey, straw-
berry jam, BBQ sauce.
HERBAL/PERSONAL CAREFields of Dreams Soaps – Made-from-
scratch olive-oil-based soaps; over 45
varieties, herbal and fl oral blends.
Herb and Vine at Common Folk FarmMountain Mama of MaineNaturally Bee-Ewe-tiful - Handmade skin
care for men, women, and babies.
JEWELRYAffi nity 2 - Metal and Japanese rice paper
jewelry.
And the Bead Goes On - Wire-and-bead
jewelry
Chaya Studio Jewelry - Sweet, functional,
upcycled fi ne jewelry drawn from Chaya’s
love of nature and Japanese minmalism.
Circle of Stones - Beautiful, unique natural
stone cabochons wire-wrapped in sterling
silver or gold fi lled wire, creating distinc-
tive pendants and earrings.
Green Mountain Enamel Works - Enamel
on metal, jewelry, dishes; kiln fi red.
Molten Mama Lampwork Beads - Hand-
made lampwork beads using Venetian
glass, jewelry designs in necklaces, earrings,
bracelets, etc.
Seamack Designs - Original handcrafted
silver and enamel jewelry; specializing in
chakia stones and their meanings.
NATIVE AMERICANMic Mac Indian Crafts - Native crafts
Native Arts Gallery - Native American jew-
elry. Gaspeite, larimar; necklaces, bracelets,
and earrings.
OTHERDan Johnson’s Designs - Original watercol-
or paintings and photographs printed on
wood. Items include table savers, placemats
and coasters.
Dogn’i Apparel - Custom pet apparel.
Leatherworkers - Leather belts, bags, wallets,
sheepskin hats, slippers, and small leather
items.
Maine Lights Collection - Polymer clay
sculptures, ornaments, and paintings.
Mainely Pinatas - Handmade papier mâché
items.
Olivia’s Journee - Metalsmith creating hand-
crafted hair barrettes, ponytail holders,
reading glass, and badge holders.
The Patio Flame - Mini tabletop fi re pits.
Remarkable Blackbird - Natural henna
body art
POTTERY/CERAMICSDown to Earth Pottery – Wheel-thrown and
handbuilt utilitarian fi ne pottery.
S Designs - Beautiful hand-painted ceramic
cut fl ower vases and matching platters and
dip bowls.
WOODWORKINGAcorn Wood Products - Fine wooden
giftware, including cutting boards, crib-
bage boards, trivets, furniture, and custom
work.
Dick’s Stix - One of-a-kind walking sticks
and canes handmade in Maine.
Fish River Crafts - Wooden marionettes.
Maine Bird Carvings - Hand carved and
hand painted Maine Birds
Maine Guide Snowshoes and Furniture -
Snowshoes and furniture
Norembega Woodcarvers - Woodcarving of
Maine life and its fl ora and fauna.
MARKETPLACE
the AFF does in raising Bucket Brigade funds. According to McCarthy,
similar festivals around the country that also grew out of the National
Folk Festival frequently call her to ask how the AFF raises so much
money. McCarthy tells them it’s all about the people — from the
volunteers to the festival-goers, all of whom see the value in the festival.
“That’s been something that people have decided they really
value — they value the opportunity to experience the music and the
song and the dance and the people of dozens of different traditions
coming to Bangor,” McCarthy said. “The American Folk Festival is now
something that we treasure as part of Bangor’s cultural landscape, and
I think it’s something that residents and visitors alike want to make
sure continues.”
Often underestimated is the impact of bringing other cultures and
traditions to Bangor. It’s one thing for kids to perhaps look at an article
about another country on Wikipedia or watch a video on YouTube, but
it’s entirely another experience for young people to be immersed in it.
“Children in our communities today are going to be expected to
communicate and interact and do business on a global platform,” said
McCarthy. “Experiencing other traditions as part of the American
Folk Festival is an incredibly valuable entry into understanding other
cultures, understanding other traditions, and valuing them. And that’s
just going to set our entire community on a good path toward success
later in life.”
volunteers, and has performed exceptional
service to the 2013 festival — the AFF is
asking for nominations for the 2013 AFF
Gerry Turner Excellence in Volunteerism
Award. Interested people can request
nomination forms at all four Information
Booths and at the Volunteer Registration
Tent.
Gerry Turner, a dedicated volunteer from
the very beginning of the AFF, passed away
in 2011. The fi rst award was given after the
festival in 2011, beginning what will be a
long tradition honoring those who work so
hard to make the festival a reality.
The AFF asks volunteers to attend
Volunteer Orientation prior to the festival;
however, on-site volunteers are welcome.
Interested people should call 207-992-2630
or visit AmericanFolkFestival.com. Or if
you plan to be at the festival, stop at the
Volunteer Registration Tent to volunteer
this year, or to get your name on the list to
volunteer at the 2014 AFF.
The Museum venerates Maine heritage by cultivating awareness and appre-
ciation of the state’s rural history.
Thousands of patrons, many of them schoolchildren, visit each year to
learn about the industry, agriculture, economy, and home life of the late 19th
and early 20th centuries. The museum also upholds the university’s educa-
tional mission through its public events, lecture series, curriculum-intensive
school programs, and outreach services. The museum is open to the public
Tuesday through Saturday from 9 a.m. - 4 p.m. Visit UMaine.edu/pagefarm.
The Maine Folklife CenterUniversity of Maine Orono
The Maine Folklife Center is the only organization in the state devoted to
the documentation and study of the vernacular arts and culture of Maine
and the region. The center has a mission to teach, publish, research, and
preserve the folklife and oral history of Maine and the region and to engage
communities in these efforts. The Maine Folklife Center maintains the
Northeast Archives of Folklore and Oral History (3,600 accessions, 10,000
photographs), and provides preservation services to other archives.
The collection includes materials relating to folk music, logging, fi shing
and lobstering, agriculture, folk arts and artists, the pulp and paper indus-
try, family, and community celebrations. Our collection can be searched
through our website or through the university’s URSUS online catalog. Visit
UMaine.edu/folklife or call 207-581-1891.
DONATIONS FROM PAGE 5 VOLUNTEERS FROM PAGE 5 FOLKLIFE FROM PAGE 21
24 2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013
THE AMERICAN FOLK FESTIVAL
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