folk festival aug 17 2013

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 - 0

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


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


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


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.



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.”



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.



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

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BY

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Sista Monica ParkerBlues


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.


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


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



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.



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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


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).



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


(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).



Prem Raja MahatNepalese


(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.



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.”

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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


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


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

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KIDS

The Children’s Village


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


THE AMERICAN FOLK FESTIVAL

For over 160 years, we’ve been working to bring you products and services to improve

your life. That’s why we’ve built a statewide network of 57 branches and invested in robust

online banking technology and security. Bangor Savings was founded to help our neighbors

and friends. It’s our sole mission and purpose in Maine. Being recognized for our efforts by you,

our customers, not only makes us incredibly proud, it inspires us to do even more to help you.

Bangor Savings Bank received the highest numerical score among retail banks in the New England region in the proprietary J.D. Power and Associates 2013 Retail Banking Satisfaction StudySM. Study based on 51,563 total responses measuring 14 providers in the New England region (CT, MA, ME, NH, RI & VT) and measures opinions of consumers with their primary banking provider. Proprietary study results are based on experiences and perceptions of consumers surveyed January–February 2013. Your experiences may vary. Visit jdpower.com.

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folk festival aug 17 2013

Documents

elatosgreek page

american folk festival

annual american folk

festival grounds

zydeco playboyszydeco

horanand ocaoimhirish

prem raja mahatnepalese

qi shu fangpeking opera