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14 episodes with national heritage fellow
10 episodes with national heritage fellow
A conversation with Todd Goings, a 2024 National Heritage Fellow renowned for his work restoring and building carousels. Goings shares stories from his early days in woodworking, his path to becoming a master of carousel restoration with a shop, Carousels and Carvings, that employs 18 artisans, and the lasting impact of his craftsmanship. He reflects on the magic of carousels and how his work preserves these historic treasures for future generations.Goings walks us through his journey, from pounding nails into woodblocks as a child to becoming a master artisan in carousel restoration. His early experiences in woodworking, combined with a love for building, led him to a career preserving the intricate mechanisms and art of century-old carousels. Goings also discusses his recent honor as a National Heritage Fellow, the joy of sharing his work with other fellows, and the deep personal satisfaction that comes from maintaining these living pieces of art and history. See a video the Arts Endowment produced about Todd Goings work with carousels here!
A conversation with Todd Goings, a 2024 National Heritage Fellow renowned for his work restoring and building carousels. Goings shares stories from his early days in woodworking, his path to becoming a master of carousel restoration with a shop, Carousels and Carvings, that employs 18 artisans, and the lasting impact of his craftsmanship. He reflects on the magic of carousels and how his work preserves these historic treasures for future generations.Goings walks us through his journey, from pounding nails into woodblocks as a child to becoming a master artisan in carousel restoration. His early experiences in woodworking, combined with a love for building, led him to a career preserving the intricate mechanisms and art of century-old carousels. Goings also discusses his recent honor as a National Heritage Fellow, the joy of sharing his work with other fellows, and the deep personal satisfaction that comes from maintaining these living pieces of art and history. See a video the Arts Endowment produced about Todd Goings work with carousels here!
This week's podcast is a heartfelt remembrance of blues harmonica master and 2017 National Heritage Fellow Phil Wiggins, who passed away last month. Phil Wiggins was celebrated for his extraordinary skill and soulful music, deeply rooted in the Piedmont blues tradition. In this interview, he shared his journey from his early days in Washington, D.C., playing with renowned bluesmen, to his long-standing partnership with 1989 National Heritage Fellow guitarist John Cephas—a collaboration that brought them international acclaim and numerous awards. Phil Wiggins also discusses the distinct characteristics of Piedmont and Delta blues, his musical influences, and his love for the harmonica. We explore his experiences performing globally, his insights on music and culture, and his reflections on a lifetime dedicated to the blues. This episode is filled with Phil's music and stories, offering a fitting tribute to his enduring legacy. This 2017 podcast is hands-down one of my favorite interviews—not only because of Phil's extraordinary musicianship and thoughtful storytelling, but also because he was a true gentleman with a warm presence that drew people to him. He was deeply admired, respected, and loved.
This week's podcast is a heartfelt remembrance of blues harmonica master and 2017 National Heritage Fellow Phil Wiggins, who passed away last month. Phil Wiggins was celebrated for his extraordinary skill and soulful music, deeply rooted in the Piedmont blues tradition. In this interview, he shared his journey from his early days in Washington, D.C., playing with renowned bluesmen, to his long-standing partnership with 1989 National Heritage Fellow guitarist John Cephas—a collaboration that brought them international acclaim and numerous awards. Phil Wiggins also discusses the distinct characteristics of Piedmont and Delta blues, his musical influences, and his love for the harmonica. We explore his experiences performing globally, his insights on music and culture, and his reflections on a lifetime dedicated to the blues. This episode is filled with Phil's music and stories, offering a fitting tribute to his enduring legacy. This 2017 podcast is hands-down one of my favorite interviews—not only because of Phil's extraordinary musicianship and thoughtful storytelling, but also because he was a true gentleman with a warm presence that drew people to him. He was deeply admired, respected, and loved.
We're revisiting my conversation with the 2021 National Heritage Fellow, Reginald “Reggio The Hoofer” McLaughlin, a master tap dancer whose feet tell stories of tradition, perseverance, and cultural heritage. In this podcast, Reggio discusses his childhood love for tap dancing sparked at community centers in Chicago, his transition from a successful career as an R&B bassist to a full-time tap dancer (and how this musical foundation influenced his tap dancing career) and his experiences busking in Chicago's subways. He highlights the invaluable lessons and traditions passed down by his mentors, Jimmy Payne and Ernest “Brownie” Brown, and their influence on his style and teaching. Reggio shares his passion for teaching at the Old Town School of Folk Music, emphasizing the importance of connecting students with the history and joy of tap. He also recounts performing on stages around the world as part of Old Town's international program and audience's embrace of this American art form. He gives an inside look into the creation of "The Nut Tapper," showcasing how he blends tap with diverse cultural dance forms to celebrate the universality of dance. And reflecting on his National Heritage Fellow award, Reggio discusses the importance of recognition for artists dedicated to preserving cultural traditions.
We're revisiting my conversation with the 2021 National Heritage Fellow, Reginald “Reggio The Hoofer” McLaughlin, a master tap dancer whose feet tell stories of tradition, perseverance, and cultural heritage. In this podcast, Reggio discusses his childhood love for tap dancing sparked at community centers in Chicago, his transition from a successful career as an R&B bassist to a full-time tap dancer (and how this musical foundation influenced his tap dancing career) and his experiences busking in Chicago's subways. He highlights the invaluable lessons and traditions passed down by his mentors, Jimmy Payne and Ernest “Brownie” Brown, and their influence on his style and teaching. Reggio shares his passion for teaching at the Old Town School of Folk Music, emphasizing the importance of connecting students with the history and joy of tap. He also recounts performing on stages around the world as part of Old Town's international program and audience's embrace of this American art form. He gives an inside look into the creation of "The Nut Tapper," showcasing how he blends tap with diverse cultural dance forms to celebrate the universality of dance. And reflecting on his National Heritage Fellow award, Reggio discusses the importance of recognition for artists dedicated to preserving cultural traditions.
"Jamming at Borderland: Goose, Trey Anastasio, and More Shine Bright"Larry Mishkin welcomes the Deadhead Cannabis Show's sound editor, Jamie Humiston to discuss his experience at the Borderland Music and Arts Festival. Jamie highlights various bands that performed, including Goose, Trey Anastasio's Classic Tab, and The Infamous Stringdusters. Jamie shares their impressions of the festival's atmosphere, mentions a cannabis-infused hot sauce that he discovered, and provides insights into the different musical acts. The conversation touches on the evolving jam band scene and the unique charm of festivals..Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast Going with a hot one, September 25, 1980Grateful Dead Live at Warfield Theater on 1980-09-25 : Free Borrow & Streaming : Internet Archive Opening night of the Grateful Dead's Warfield/Radio City acoustic/electric runs, recorded every night and best wound up on Reckoning (acoustic) and Dead Set (electric) Warfield Run – September 25, 1980 – October 14, 1980Radio City Run – October 22, 1980 – October 31, 1980 Prior to these shows, had not played a full acoustic set in concert since 1970 or maybe early 1971. As a result, a good number of songs that the Dead liked to play acoustic had not been heard in a number of years before this show. first "Ain't No Lie" - last "All Around This World": 02-14-70 [706] - last "Bird Song": 09-15-73 [382] - last "Dark Hollow": 04-29-71 [550] - last "Monkey & Engineer": 12-31-70 [589] - last "Ripple": 04-29-71 [550] - last "Rosalie McFall": 11-08-70 [609] - last "Roses": 01-12-79 [118] INTRO: Birdsong Track No. 1 1:00 – 2:13 From Jerry's first solo album, “Garcia” released Jan 20, 1972. Robert Hunter lyrics: Robert Hunter originally wrote the song as a tribute for Janis Joplin. Phil Lesh now sings "All I know is something like a bird within him sang", transfering it Jerry Garcia instead. First played Feb. 19, 1971 Capitol Theater Port Chester Last played June 30, 1995 Three Rivers Stadium, Pittsburgh Played by the Dead 300 times in concert This was the first time played since 9.15.73 (382 shows) This version is amazing both because it is acoustic and Jerry's voice is so strong. Makes you fall in love with the song all over again, or, as One Armed Lary would say, “taste it again for the first time” although I don't think he was talking about this song, or any song, when he said it (Deer Creek 1989). SHOW #1: I've Been All Around This World Track No. 2 1:23 – 2:16 The origins of I've Been All Around This World are not easy to trace. It possibly derives from a number of different songs. The 'Hang Me, Oh Hang Me' verse is thought to derive from the traditional song My Father Was A Gambler, a US ballad, which is thought to be about a murderer who was hanged in 1870. The song has also been collected under such titles as "Diggin' on the New Railroad", “The Gambler, ” “My Father Was a Gambler,” “The New Railroad,” “The Hobo's Lament,” “The Hobo's Blues” and "Hang Me, Oh Hang Me". In 1930, George Milburn published a book entitled the Hobo's Hornbook that included a version of “I've Been All Round this World”. It was also found in Henry Marvin Belden's "Ballads and Songs Collected by the Missouri Folk-Lore Society". The book was printed in 1940 but the song was "secured by Miss Frances Barbour in 1917 from the singing of Minnie Doyle of Arlington, Phelps County [MO]". Dead's version is “Traditional, arranged by the Grateful Dead and they all get credit (Pig Pen days)Released on History of the Grateful Dead, Vol. ! Bear's Choice (a live album by the Grateful Dead. It is their fourth live album and their ninth album overall. Released in July 1973 on Warner Bros. Records, it offers concert highlights recorded February 13 and 14, 1970 at the Fillmore East in New York City. Often known simply as Bear's Choice, the title references band soundman Owsley "Bear" Stanley. It was originally intended to be the first volume of a series.) First played by the Dead on December 19, 1969 at the Fillmore West Last played by the Dead on December 31, 1980 Oakland Civic Auditorium Played a total of 19 times in concert This was the first time played by the Dead since Feb. 14, 1970 (706 shows) I really love the acoustic guitar in this version. Jerry can pick with the best of them. BORDERLAND SEPT. 15, 16 AND 17EAST AURORA, NY (JUST OUTSIDE OF BUFFALO)5th year The Borderland Music + Arts Festival celebrates the rich history and renaissance of the region with a three-day music and cultural festival set in one of the most scenic and storied grounds in all of New York State, Knox Farm State Park. Great lineup with headliners: Goose TAB Moe.Also featuring: Infamous String Dusters Dawes Sammy Rae and Friends Neal Francis Not Fade Awa Band (Dead and Zeppelin covers) Eric Krasno Brandford Marsalis Anders Osborne Etc. Jamie Humiston was there.Jamie – discuss festival, highs, favorite acts, etc. SHOW #2: SONG FROM BORDERLAND GOOSE SHOW #3: SONG FROM BORDERLAND TREY AND DAWES Back to the Dead from 9.25.1980 SHOW #4: Oh Babe It Ain't No Lie Track No. 8 :10 – 1:35 By Elizabeth “Libba” Cotton January 5, 1893 – June 29, 1987)[1][2][3] was an American folk and bluesmusician. She was a self-taught left-handed guitarist who played a guitar strung for a right-handed player, but played it upside down.[4] This position meant that she would play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as "Cotten picking".[5]NPR stated "her influence has reverberated through the generations, permeating every genre of music."[6]Her album Folksongs and Instrumentals with Guitar (1958), was placed into the National Recording Registry by the Library of Congress, and was deemed as "culturally, historically, or aesthetically significant". The album included her signature recording "Freight Train", a song she wrote in her early teens.[7] In 1984, her live album Elizabeth Cotten Live!, won her a Grammy Award for Best Ethnic or Traditional Folk Recording, at the age of 90.[8] That same year, Cotten was recognized as a National Heritage Fellow by the National Endowment for the Arts.[9] In 2022, she was posthumously inducted into the Rock and Roll Hall of Fame, as an early influence.[10] David Dodd: The song debuted in the Dead's repertoire during their Warfield run on September 25, 1980, and was then played ten times over the course of the acoustic shows at the Warfield and Radio City Music Hall runs. After that, it made three more appearances, in one-off situations such as an acoustic set at the Mill Valley Recreation Center, or in the Netherlands for an acoustic set, and finally at Marin Vets, on March 28, 1984, in a performance that kicked off the second set, without Weir and Mydland onstage.However, I know the song had been “around” for much longer than that. It appears on the studio outtakes from Garcia's Reflections album, as released in the All Good Things box set. And personal interviews with Garcia's circle of acquaintances in Palo Alto in the early 1960s make it explicitly clear that he was familiar with the work of Libba Cotten. So I expect Garcia had performed the song many times during his folkie period, and it may have been in the Jug Band repertoire. Dodd: An avid Grateful Dead concertgoer for more than two decades, David Dodd is a librarian who brings to the work a detective's love of following a clue as far as it will take him. Author of:The Annotated Grateful Dead Lyrics OUTRO: Ripple Track No. 9 3:04 – 4:30 From American Beauty (Released Nov. 1970) Robert Hunter wrote this song in 1970 in London on the same afternoon he wrote "Brokedown Palace" and "To Lay Me Down" (reputedly drinking half a bottle of retsina in the process [3]). The song debuted August 18, 1970 at Fillmore West in San Francisco. Jerry Garcia wrote the music to this song.[3] Between 1970 and 1971 the Grateful Dead played the gorgeous Garcia/Hunter tune “Ripple” a number of times both electric and acoustic before putting the song in mothballs until 1980. Though the Dead performed “Ripple” a whopping 27 times acoustically in 1980 and then once again unplugged in 1981, it disappeared from the repertoire for the final 14 years of the band's career with one exception. On September 3, 1988 the Grateful Dead busted out an electric “Ripple” for the first time in 17 years for what would be the final performance of the tune.As the story goes, which is unconfirmed, the band was approached by the Make-A-Wish Foundation with a request from a young fan dying of cancer. The Grateful Dead were asked to perform “Ripple” at their September 3, 1988 show in Landover, Maryland. Jerry Garcia & Co. honored the request by ending the evening with the tender ballad. “Ripple” hadn't been played in any form in 459 shows and it had been 1,113 performances since the last electric version of the American Beauty stunner which took place at New York City's Fillmore East. As you can imagine, the crowd went absolutely ape shit the moment the “Ripple” bust out begins.That was also the night of the rehearsal dinner for my wedding weekend in Chicago. A number of my good Deadhead friends were in town celebrating with my wife and me and much later that night (remember, no cell phones or internet or on-line set lists. Had to wait for the 800 RUN DEAD line to be updated and then be able to get through. Somehow even by those standares word got around very fast and my buddies were not at all pleased since many of them would have undoubtedly been at that show (although, since it was a second encore a number of fans had already walked out of the Cap Center and then desperately tried to get back in.No better way to end any show, including this one. Music Stories:Neil Young & Crazy Horse Deliver ‘Tonight's The Night' and ‘Everybody Knows This is Nowhere' in Full Bobby Weir & Wolf Bros Announces Three-Night New Year's Eve Stand in Fort Lauderdale Phish to Bring Four-Night New Year's Run Back to Madison Square Garden
In this 2015 podcast, quilter, curator, and National Heritage Fellow Dr. Carolyn Mazloomi takes us through her own history with quilts and quilting. She discusses her first career as an aerospace engineer and then her discovery of quilts, especially African-American narrative quilts. She talks about her own process for quilt-making, her work as a curator-- including the exhibit of narrative quilts "And Still We Rise" which traces 400 years of African American history, her founding in 1985 the Women of Color Quilters Network, her determination to carve out a place for African American quilts in American cultural history, and her ground-breaking book. Let us know what you think about Art Works—email us at artworkspod@arts.gov.
Kevin Locke passed away on September 30, 2022. He was a Lakota flute player, hoop dancer, teacher, and 1990 National Heritage Fellow. And we're paying tribute to him by reposting this 2015. In the podcast, Kevin Locke talks about learning to play the indigenous flute—which had been on the brink of extinction, his work in the revitalization of the Lakota language, and the difference in meaning dance has in indigenous culture as compared to European culture. Locke also describes the Hoop Dance and its significance—the Hoop Dance is another traditional practice that almost died out-- in which he uses 28 wooden hoops to create a series of designs and patterns. Kevin Locke also discusses the universal importance of traditional arts and how the specificity of them creates connections among different peoples. We'd love to know your thoughts--email us at artworkspod@arts.gov.
Kevin Locke passed away on September 30, 2022. He was a Lakota flute player, hoop dancer, teacher, and 1990 National Heritage Fellow. And we're paying tribute to him by reposting this 2015. In the podcast, Kevin Locke talks about learning to play the indigenous flute—which had been on the brink of extinction, his work in the revitalization of the Lakota language, and the difference in meaning dance has in indigenous culture as compared to European culture. Locke also describes the Hoop Dance and its significance—the Hoop Dance is another traditional practice that almost died out-- in which he uses 28 wooden hoops to create a series of designs and patterns. Kevin Locke also discusses the universal importance of traditional arts and how the specificity of them creates connections among different peoples. We'd love to know your thoughts--email us at artworkspod@arts.gov.
Louie Perez is one of the founding members of the 5-time Grammy award winning musical group Los Lobos. Founded in 1973, Louie has functioned as a percussionist, drummer, guitarist, singer, and lyricist for Los Lobos. Louie has been the art director and artistic supervisor on many of the Los Lobos albums. In 2019, Louie wrote a book, “Good Morning Aztlan: The Words, Pictures, and Songs of Louie Perez.” (Available on Amazon). In 2021 he was named a National Heritage Fellow by the National Endowment for the Arts for his role as a songwriter and storyteller.Louie is also a visual artist and has shown his paintings and sculptures since 1975. His work has been exhibited in prominent galleries and museums including the Los Angeles Municipal Art Gallery, the Los Angeles Contemporary Exhibitions, (LACE), Plaza De La Raza in Los Angeles, El Museo del Barrio in New York, the San Antonio Museum of Art, Museo de Arte Modern in Mexico City, and the Vincent Price Art Museum in East Los Angeles.
We're celebrating Black Music Appreciation Month by revisiting my 2021 interview with MacArthur Fellow and artistic director of Silkroad Rhiannon Giddens. A classically-trained singer, banjo and fiddle-player, and composer, Rhiannon excavates the past to bring forgotten stories and music, particularly of African-Americans, into the present. Giddens is a co-founder of the Grammy Award winning Carolina Chocolate Drops, which insisted reclaiming for Black musicians a central and historically-accurate place in old-time music. She then went on to create solo albums of haunting beauty and power born of African-American struggles past and present. Giddens is, first and foremost, an artist determined to be of service which drives her commitment to unearth musical roots and put that knowledge of different musical traditions to good use. In this podcast, Rhiannon talks about uncovering the Black roots in old-time music, the importance of National Heritage Fellow fiddler Joe Thompson to her musical lineage, the path to creating her opera Omar, the centrality of history on the margins to her music, and her plans to have Silkroad explore the multiplicity of musical worlds within the US. Keywords: Rhiannon Giddens, Silkroad, Carolina Chocolate Drops, Joe Thompson, Omar
We're celebrating Black Music Appreciation Month by revisiting my 2021 interview with MacArthur Fellow and artistic director of Silkroad Rhiannon Giddens. A classically-trained singer, banjo and fiddle-player, and composer, Rhiannon excavates the past to bring forgotten stories and music, particularly of African-Americans, into the present. Giddens is a co-founder of the Grammy Award winning Carolina Chocolate Drops, which insisted reclaiming for Black musicians a central and historically-accurate place in old-time music. She then went on to create solo albums of haunting beauty and power born of African-American struggles past and present. Giddens is, first and foremost, an artist determined to be of service which drives her commitment to unearth musical roots and put that knowledge of different musical traditions to good use. In this podcast, Rhiannon talks about uncovering the Black roots in old-time music, the importance of National Heritage Fellow fiddler Joe Thompson to her musical lineage, the path to creating her opera Omar, the centrality of history on the margins to her music, and her plans to have Silkroad explore the multiplicity of musical worlds within the US. Keywords: Rhiannon Giddens, Silkroad, Carolina Chocolate Drops, Joe Thompson, Omar
Birch bark canoes take a long time to make. But according to master artist Wayne Valliere from the Lac du Flambeau Band of Lake Superior Chippewa, the process is just as important as the finished project. And he should know. Valliere was just selected to be a 2020 National Heritage Fellow by the National Endowment of the Arts, one of the top honors in folk and traditional art. WXPR's Mackenzie Martin brings you the story.
Today, we revisit our interview with 2018 National Heritage Fellow and black ash basket maker Kelly Church. An Anishinaabe belonging to the Gun Lake Potawami Band, Church combines the centuries-old tradition of ash tree harvesting and processing, creating ribbons of ash she then weaves into stunningly original and colorful baskets. Tied to her artistry is a deep commitment to keep this tradition not just alive but vital. She's taken on a task that's become more difficult and urgent since the ash tree is being destroyed by an invasive species: the emerald ash borer. In this podcast, Kelly Church takes us on the journey of taking a living tree and recreating it as a basket, the significance of the black ash tree for the North East people, and the steps she's taking to keep this traditional art intact for the next generations. Follow us on: Apple Podcasts Google Podcasts
Today, we revisit our interview with 2018 National Heritage Fellow and black ash basket maker Kelly Church. An Anishinaabe belonging to the Gun Lake Potawami Band, Church combines the centuries-old tradition of ash tree harvesting and processing, creating ribbons of ash she then weaves into stunningly original and colorful baskets. Tied to her artistry is a deep commitment to keep this tradition not just alive but vital. She's taken on a task that's become more difficult and urgent since the ash tree is being destroyed by an invasive species: the emerald ash borer. In this podcast, Kelly Church takes us on the journey of taking a living tree and recreating it as a basket, the significance of the black ash tree for the North East people, and the steps she's taking to keep this traditional art intact for the next generations.
Anita Fields, a citizen of Osage Nation, is a renowned textile and clay artist whose work has been exhibited nationally and internationally. Her art reflects Osage philosophy with its connection to nature and emphasis on duality. Her work also gives a new visual language to the complexities of Native history and culture. While immensely talented in other media, Fields has been named a National Heritage Fellow for her outstanding ribbon work. Native American ribbon work is colorful, precise, and complex. The style of Osage ribbon work is unique and Fields is an exemplar of the art form. An innovative artist, she honors the tradition while taking it to new places--for example, taking the designs of ribbon work and impressing it on her ceramic and clay pieces. In this podcast, Fields talks about the centrality of Osage culture and philosophy in her art, her work in different media, her respect for and innovations of traditional textile and clay work, and her long and continuing artistic journey.
Anita Fields, a citizen of Osage Nation, is a renowned textile and clay artist whose work has been exhibited nationally and internationally. Her art reflects Osage philosophy with its connection to nature and emphasis on duality. Her work also gives a new visual language to the complexities of Native history and culture. While immensely talented in other media, Fields has been named a National Heritage Fellow for her outstanding ribbon work. Native-American ribbon work is colorful, precise, and complex. The style of Osage ribbon work is unique and Fields is an exemplar of the art form. An innovative artist, she honors the tradition while taking it to new places--for example, taking the designs of ribbon work and impressing it on her ceramic and clay pieces. In this podcast, Fields talks about the centrality of Osage culture and philosophy in her art, her work in different media, her respect for and innovations of traditional textile and clay work, and her long and continuing artistic journey.
Anita Fields, a citizen of Osage Nation, is a renowned textile and clay artist whose work has been exhibited nationally and internationally. Her art reflects Osage philosophy with its connection to nature and emphasis on duality. Her work also gives a new visual language to the complexities of Native history and culture. While immensely talented in other media, Fields has been named a National Heritage Fellow for her outstanding ribbon work. Native-American ribbon work is colorful, precise, and complex. The style of Osage ribbon work is unique and Fields is an exemplar of the art form. An innovative artist, she honors the tradition while taking it to new places--for example, taking the designs of ribbon work and impressing it on her ceramic and clay pieces. In this podcast, Fields talks about the centrality of Osage culture and philosophy in her art, her work in different media, her respect for and innovations of traditional textile and clay work, and her long and continuing artistic journey.
2020 National Heritage Fellow singer and songwriter Suni Paz is part of the progressive Latin American music movement known as nueva canción (new song). For decades, Paz has been guided by twin passions which are reflected in her music: a commitment to social justice and a creative approach to education. In fact, Paz is a pioneer in the use of music to teach Spanish-language curricula. Born in Buenos Aires, Paz's was a large extended family of musicians, writers, and artists. Her grandmother painted, her doctor grandfather would play his violin to patients, and her father insisted that the family listen to opera each weekend. Paz herself was singing and composing as a teenager. But when she heard the songs of Argentinian folk singer Atahualpa Yupanqui, who championed the music of indigenous people and songs about the poor, she became passionate about “music with a conscience.” She came to the United States and began performing—alongside singers such as Pete Seeger, Bob Dylan, Don McClean, and Phil Ochs—in folk festivals, rallies, marches, festivals, and on concert stages around the world. In this podcast, we talk about her family, her belief in the power of music to inform and transform people, her commitment to children and education, and her years writing and performing “music with a conscience.”
2020 National Heritage Fellow singer and songwriter Suni Paz is part of the progressive Latin American music movement known as nueva canción (new song). For decades, Paz has been guided by twin passions which are reflected in her music: a commitment to social justice and a creative approach to education. In fact, Paz is a pioneer in the use of music to teach Spanish-language curricula. Born in Buenos Aires, Paz's was a large extended family of musicians, writers, and artists. Her grandmother painted, her doctor grandfather would play his violin to patients, and her father insisted that the family listen to opera each weekend. Paz herself was singing and composing as a teenager. But when she heard the songs of Argentinian folk singer Atahualpa Yupanqui, who championed the music of indigenous people and songs about the poor, she became passionate about “music with a conscience.” She came to the United States and began performing—alongside singers such as Pete Seeger, Bob Dylan, Don McClean, and Phil Ochs—in folk festivals, rallies, marches, festivals, and on concert stages around the world. In this podcast, we talk about her family, her belief in the power of music to inform and transform people, her commitment to children and education, and her years writing and performing “music with a conscience.”
2020 National Heritage Fellow singer and songwriter Suni Paz is part of the progressive Latin American music movement known as nueva canción (new song). For decades, Paz has been guided by twin passions which are reflected in her music: a commitment to social justice and a creative approach to education. In fact, Paz is a pioneer in the use of music to teach Spanish-language curricula. Born in Buenos Aires, Paz's was a large extended family of musicians, writers, and artists. Her grandmother painted, her doctor grandfather would play his violin to patients, and her father insisted that the family listen to opera each weekend. Paz herself was singing and composing as a teenager. But when she heard the songs of Argentinian folk singer Atahualpa Yupanqui, who championed the music of indigenous people and songs about the poor, she became passionate about “music with a conscience.” She came to the United States and began performing—alongside singers such as Pete Seeger, Bob Dylan, Don McClean, and Phil Ochs—in folk festivals, rallies, marches, festivals, and on concert stages around the world. In this podcast, we talk about her family, her belief in the power of music to inform and transform people, her commitment to children and education, and her years writing and performing “music with a conscience.”
Covid Conversations Episode 3 features two quilters and quilting group organizers. Dr. Carolyn Mazloomi, who lives in West Chester, Ohio, is a quilter, quilt scholar, curator, founder of the Women of Color Quilters Network. She's received many honors, including being named as a National Heritage Fellow by the National Endowment for the Arts in 2014, which is the highest award given in the United States for traditional arts. Carolyn is also a trained aerospace engineer. Felicity Khan is based close to Cape Town in South Africa. She has been sewing all her life. She has formed several patchwork and quilting groups and teaches theses craft to others. Felicity was formerly a board member of the Good Hope Quilters Guild - which is the Western Cape of South Africa's patchwork and quilting umbrella body - and served as its Outreach Liaison person. More information about the Unmask Your Creativity competition discussed in the podcast can be found here: wcqn.org/unmask-your-creativity-contest. Episode 3 was recorded on Saturday November 7th, 2020. Mastered by Paul Kotheimer at the Ohio State University. Music from https://pixabay.com/music Covid Conversations: Life in a Time of Corona is a 12-part podcast series from the Ohio State University's (OSU) Center for Folklore Studies. To find out more about the OSU Center for Folklore Studies, where the full recordings of each Covid Conversation will be archived along with contextual information about each episode, please visit go.osu.edu/covidconversations. The series is funded by an OSU Global Arts and Humanities Discovery Theme grant. Its 12 episodes will be published between September 2020 and August 2021. It is produced and presented by radio producer and folklorist Rachel Hopkin. To find out more about Rachel Hopkin, please visit www.rachelhopkin.com.
Culture-bearer and 2020 National Heritage Fellow Wayne Valliere (Lac du Flambeau Ojibwe) is one of a handful of birch bark canoe builders left in the United States. The Ojibwe is a nation and cultural community that has a deep connection to waterways, and the birch bark canoe was commonly used for transportation, fishing, harvesting wild rice, and hunting. The tradition of building these canoes had been handed down for millennia. The boats are as beautiful as they are functional; in fact, it is one of the most sophisticated inland watercrafts in the world. Wayne Valliere is determined to keep this cultural knowledge alive and vibrant—ready to be passed down to the next generations. In this podcast, Wayne Valliere explains how the boats are made “on nature's time; “ he takes us through the steps of the boats' creation and their profound cultural meaning as well as Anishinaabe ways of teaching, learning and being.
Culture-bearer and 2020 National Heritage Fellow Wayne Valliere (Lac du Flambeau Ojibwe) is one of a handful of birch bark canoe builders left in the United States. The Ojibwe is a nation and cultural community that has a deep connection to waterways, and the birch bark canoe was commonly used for transportation, fishing, harvesting wild rice, and hunting. The tradition of building these canoes had been handed down for millennia. The boats are as beautiful as they are functional; in fact, it is one of the most sophisticated inland watercrafts in the world. Wayne Valliere is determined to keep this cultural knowledge alive and vibrant—ready to be passed down to the next generations. In this podcast, Wayne Valliere explains how the boats are made “on nature’s time; “ he takes us through the steps of the boats’ creation and their profound cultural meaning as well as Anishinaabe ways of teaching, learning and being.
Culture-bearer and 2020 National Heritage Fellow Wayne Valliere (Lac du Flambeau Ojibwe) is one of a handful of birch bark canoe builders left in the United States. The Ojibwe is a nation and cultural community that has a deep connection to waterways, and the birch bark canoe was commonly used for transportation, fishing, harvesting wild rice, and hunting. The tradition of building these canoes had been handed down for millennia. The boats are as beautiful as they are functional; in fact, it is one of the most sophisticated inland watercrafts in the world. Wayne Valliere is determined to keep this cultural knowledge alive and vibrant—ready to be passed down to the next generations. In this podcast, Wayne Valliere explains how the boats are made “on nature’s time; “ he takes us through the steps of the boats’ creation and their profound cultural meaning as well as Anishinaabe ways of teaching, learning and being.
Poet Jose Marti wrote “With the poor people of the earth I want to cast my lot.” 2020 National Heritage Fellow and Founder and Executive Director of Radio Bilingüe Hugo Morales could well write the same. A Mixtec, born in Oaxaca, he came to California with his mother and siblings when he was nine and joined his father working in the fields in the central valley. Growing up in a farm labor camp, Hugo quickly became aware of the dignity and poverty of the workers and of the sustenance provided by their traditional cultures, especially their music. Hugo's musician father would often talk about the pride he had in Mixtec traditions and frequently played with other indigenous musicians for farmworkers' fund-raisers, funerals or dances. Against most odds, Hugo went to Harvard College and Harvard Law School; but, he returned every summer to work in the fields and graduated with a determination to work for farmworkers and give voice to their culture. And so, in 1980, Radio Bilingüe was born. Based on “honest” culture by and for the people, Radio Bilingüe was the first Latino-controlled full-power FM radio station in the San Joaquín Valley. Now, 30 years later, Radio Bilingue is the leading Latino public radio network and content producer for the nation's public broadcasting system with 24 stations and over 75 affiliates. Listen to the podcast to learn about Hugo's and Radio Bilingüe's extraordinary journey.
Poet Jose Marti wrote “With the poor people of the earth I want to cast my lot.” 2020 National Heritage Fellow and Founder and Executive Director of Radio Bilingüe Hugo Morales could well write the same. A Mixtec, born in Oaxaca, he came to California with his mother and siblings when he was nine and joined his father working in the fields in the central valley. Growing up in a farm labor camp, Hugo quickly became aware of the dignity and poverty of the workers and of the sustenance provided by their traditional cultures, especially their music. Hugo’s musician father would often talk about the pride he had in Mixtec traditions and frequently played with other indigenous musicians for farmworkers’ fund-raisers, funerals or dances. Against most odds, Hugo went to Harvard College and Harvard Law School; but, he returned every summer to work in the fields and graduated with a determination to work for farmworkers and give voice to their culture. And so, in 1980, Radio Bilingüe was born. Based on “honest” culture by and for the people, Radio Bilingüe was the first Latino-controlled full-power FM radio station in the San Joaquín Valley. Now, 30 years later, Radio Bilingue is the leading Latino public radio network and content producer for the nation’s public broadcasting system with 24 stations and over 75 affiliates. Listen to the podcast to learn about Hugo’s and Radio Bilingüe’s extraordinary journey.
Poet Jose Marti wrote “With the poor people of the earth I want to cast my lot.” 2020 National Heritage Fellow and Founder and Executive Director of Radio Bilingüe Hugo Morales could well write the same. A Mixtec, born in Oaxaca, he came to California with his mother and siblings when he was nine and joined his father working in the fields in the central valley. Growing up in a farm labor camp, Hugo quickly became aware of the dignity and poverty of the workers and of the sustenance provided by their traditional cultures, especially their music. Hugo’s musician father would often talk about the pride he had in Mixtec traditions and frequently played with other indigenous musicians for farmworkers’ fund-raisers, funerals or dances. Against most odds, Hugo went to Harvard College and Harvard Law School; but, he returned every summer to work in the fields and graduated with a determination to work for farmworkers and give voice to their culture. And so, in 1980, Radio Bilingüe was born. Based on “honest” culture by and for the people, Radio Bilingüe was the first Latino-controlled full-power FM radio station in the San Joaquín Valley. Now, 30 years later, Radio Bilingue is the leading Latino public radio network and content producer for the nation’s public broadcasting system with 24 stations and over 75 affiliates. Listen to the podcast to learn about Hugo’s and Radio Bilingüe’s extraordinary journey.
Poet Jose Marti wrote “With the poor people of the earth I want to cast my lot.” 2020 National Heritage Fellow and Founder and Executive Director of Radio Bilingüe Hugo Morales could well write the same. A Mixtec, born in Oaxaca, he came to California with his mother and siblings when he was nine and joined his father working in the fields in the central valley. Growing up in a farm labor camp, Hugo quickly became aware of the dignity and poverty of the workers and of the sustenance provided by their traditional cultures, especially their music. Hugo’s musician father would often talk about the pride he had in Mixtec traditions and frequently played with other indigenous musicians for farmworkers’ fund-raisers, funerals or dances. Against most odds, Hugo went to Harvard College and Harvard Law School; but, he returned every summer to work in the fields and graduated with a determination to work for farmworkers and give voice to their culture. And so, in 1980, Radio Bilingüe was born. Based on “honest” culture by and for the people, Radio Bilingüe was the first Latino-controlled full-power FM radio station in the San Joaquín Valley. Now, 30 years later, Radio Bilingue is the leading Latino public radio network and content producer for the nation’s public broadcasting system with 24 stations and over 75 affiliates. Listen to the podcast to learn about Hugo’s and Radio Bilingüe’s extraordinary journey.
In Part 1 of my conversation with 2018 National Heritage Fellow and old-time fiddler Eddie Bond, we learned about his deep musical roots and the family and friends that nurtured them. Eddie said that the music has taken him to so many places, and in part 2, we follow him on these travels as Eddie brings his old-time fiddling across the country and around the world—beginning in an unlikely spot: Iraq during the Gulf War where Eddie served as a young soldier.
In Part 1 of my conversation with 2018 National Heritage Fellow and old-time fiddler Eddie Bond, we learned about his deep musical roots and the family and friends that nurtured them. Eddie said that the music has taken him to so many places, and in part 2, we follow him on these travels as Eddie brings his old-time fiddling across the country and around the world—beginning in an unlikely spot: Iraq during the Gulf War where Eddie served as a young soldier.
In Part 1 of my conversation with 2018 National Heritage Fellow and old-time fiddler Eddie Bond, we learned about his deep musical roots and the family and friends that nurtured them. Eddie said that the music has taken him to so many places, and in part 2, we follow him on these travels as Eddie brings his old-time fiddling across the country and around the world—beginning in an unlikely spot: Iraq during the Gulf War where Eddie served as a young soldier.
In Part 1 of my conversation with 2018 National Heritage Fellow and old-time fiddler Eddie Bond, we learned about his deep musical roots and the family and friends that nurtured them. Eddie said that the music has taken him to so many places, and in part 2, we follow him on these travels as Eddie brings his old-time fiddling across the country and around the world—beginning in an unlikely spot: Iraq during the Gulf War where Eddie served as a young soldier.
Irish-American dancer Kevin Doyle joins Neil this episode to share his story of growing up in a strong Irish community in Providence, RI, learning to dance from his mother who emigrated from Ireland. He also tells Neil about the connections between American tap dance and Irish step dance and talks about what it was like to get the phone call saying that he was being named a National Heritage Fellow by the National Endowment for the Arts.
Dr. Carolyn Mazloomi is a quilt historian, curator, author, lecturer, artist, wife and mother. She also founded the African American Quilt Guild of Los Angeles and the Women of Color Quilters Network. Passionate about educating the public about African American quilts, Carolyn has curated 17 exhibits including the largest travel exhibit of African American quilts called "Still We Rise: Race, Culture and Visual Conversations" along with having her own quilts in over 70 exhibits. She was named the National Heritage Fellow by the National Endownment for the Arts in 2014 and the Distinguished Scholar and celebrated artist lifetime acheivement award by Faith Ringgold's Anyone Can Fly Foundation. She was inducted into the Quilters Hall of Fame Museum in 2016. During our conversation, we talk about what she considers to be her greatest achievement, dispelling the myth of what an African American quilt might look like, why quilts are her passion, the line between inspiration and appropriation along with art being reflective of a community's social, political and cultural current. As a warning, there are a few explicit words. Podcast Music by Mekanism Sound For more information about this episode (including show notes), please check out my website.
Quill worker and 2014 National Heritage Fellow brings a Native-American tradition into the 21st century.
(Sep 5, 2014) Later this month in Washington D.C., a master basketmaker from Akwesasne will be honored with the nation's highest tribute in the folk arts. Henry Jake Arquette will receive a National Heritage Fellow award on September 19, the first such award for a Mohawk traditional basket weaver. At 83, the retired iron worker is one of the few individuals who still knows how to make the elegant, sturdy baskets. Today Arquette is a revered community elder and his baskets are in collections around the world. Todd Moe recently visited his basement workshop in Hogansburg, where he can still be found making a basket or two, and passing the traditional craft along to the next generation.
2010 National Heritage Fellow Jim "Texas Shorty" Chancellor talks about the great tradition of Texas fiddling. [25:43]
2010 National Heritage Fellow Jim "Texas Shorty" Chancellor talks about the great tradition of Texas fiddling. [25:43]
2010 National Heritage Fellow, Jim "Texas Shorty" Chancellor talks about the great tradition of Texas fiddling. [25:43]
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