La Peña Flamenca de Seattle

What Is Flamenco?

La Peña Flamenca de SeattleFlamenco as we know it began to be recognized within Spain and internationally during the last half of the Eighteenth Century.  From there, it has followed the same trajectory as a number of other “urban blues” forms, and has become one of the most successful and prominent of those forms.  Think for a moment of American Jazz, Argentine Tango, Greek Rembetiko and Portuguese Fado, all arising from rural or urban conditions of poverty and oppression, moving to the cabaret or nightclub phase in cities, and at length overcoming the prejudices of the more privileged classes and appealing to a world-wide audience.  In the case at least of flamenco, jazz and tango, the forms have been highly developed both musically and technically and have been successfully presented on the concert stage.

In the case of flamenco, however, the roots go back thousands of years and thousands of miles.

Spain has had a vibrant musical and dance tradition since ancient times; dancers from Cadiz, playing what resemble castanets, have been pictured in Roman mosaics.  Spain was one of the Roman Empire’s most important components, but within the millennium before the Roman conquest, it had been settled by immigrant Phoenicians, Greeks, Carthaginians and Jews as well as its native Iberians.  There is a strong possibility that the Spanish art of bullfighting developed from ancient Greek beliefs and ceremonies associated with the bull.  Bullfighting later became one of the important themes of flamenco singing, and members of the same family often go into each profession.

After the collapse of Rome, Spain was ruled for several centuries by the Visigoths.  Spain had become Christianized late in the Roman period, and the Visigoths, although only roughly civilized, practiced Christianity as well.  The country was invaded in 711 by a Muslim army comprising Arabs, Berbers and Moors from North Aftrica, as part of the whirlwind conquest of Mediterranean and Middle Eastern territory by the new religion of Islam.  Under the leadership of Tarik b. Ziyad, all of Spain save for a small portion of the north and west, swiftly fell into  Muslim hands.

In the eighth ninth and tenth centuries, Al-Andalus, as Muslim Spain was called, enjoyed

a remarkably enlightened and tolerant rule by the Umayyad Dynasty under the Caliphate of Cordoba.  The Spaniards refer to this period as “La Convivencia” or the time of living together.

Islam was dominant, but populous communities of both Christians and Jews were allowed to govern themselves locally.  Many Christians converted by Islam, becoming known as Mozarabes.  Culture, especially poetry and music flourished, along with agriculture and medicine.

La Peña Flamenca de Seattle 2All during this time, Christians from the north of Spain were pushing southward, trying to regain their lost territories.  By the eleventh century, they had regained sizeable portions of the north and west of the Iberian Peninsula.

Things took a further turn for the worse for the Caliphate during the eleventh century when two waves of austere Islamic fanatics, first the Almoravids and later the Almohads, invaded from their kingdoms in Northwest Africa.  These invaders found the culture of Al-Andalus decadent, and greatly damaged the culture of tolerance that the territory had previously enjoyed.  Nonetheless, it was the descendants of these invaders who were to rule the ever-shrinking Muslim Spain until their final defeat by the Christians in 1492.

As the Christians began to take back territory from the Muslims, by and large they continued to practice “convivencia” with the Mudejares (Muslims in Christian territory) and Jews, and to respect the high level of civilization of the lands and peoples newly conquered.  This began to change after the conquest of Sevilla in 1248, and in 1391 a horrendous attack against the Jews was perpetuated.  The Inquisition was officially established in Spain in 1478, and in 1492, the same year that Granada fell to the Christians, the Jews were expelled from Spain.  Some fled to the Ottoman Empire, some to North Africa, some to other parts of Europe, and some to Mexico.

The Muslim population of the Kingdom of Granada had been promised that their faith and properties would be respected, but these promises were soon retracted.  By 1502, the Muslims were forced to choose between conversion to Christianity  or exile, much like the Jews.  By 1609, after several rebellions by the Muslim population, they too were expelled.  Most returned to North Africa, where they received a mixed welcome, now being regarded as “westernized” by their new hosts.  Meanwhile, areas abandoned by the Moors became depopulated and impoverished.

But there were many Jews and Muslims who fled into the countryside and mountains, hiding and eventually intermarrying with sympathetic local people.  The Andalusian population of today shows evidence of the intermingling of European, African and Middle Eastern traits.  These people and their musical traditions became a strong component of flamenco.

Close to this calamitous time, around the 1450’s, the Gypsies, or Rom People, appeared in Spain.  We know that several hundred thousand crossed the Pyrenees, and travelled south slowly.  There are Gypsies all over Spain, but most of them seem to have settled in Andalusia.

There are some theories that another wave of Gypsies travelled across North Africa and up into Andalusia while the territory was Muslim but there is no hard evidence of this.

All researchers agree that the Rom originally came from the northwest part of the Indian subcontinent.  They were a wandering tribe, like many still in India.  They travelled to Egypt (hence the name “Gypsy”), Turkey, the Balkans, Central Europe and through France into Spain.

They have been universally persecuted, oppressed, and even enslaved all the way through their travels.  Upon arriving in Spain, they were obliged to stop their wandering and to settle, although until recently there were still itinerant Canasteros living in Spain.

La Peña Flamenca de Seattle 3 It is not surprising that once the Gypsies were established in Andalucia they would have become acquainted with the “underground” Moors and Jews, as well as disaffected and poor Christian Spaniards, and discovered their musical traditions.  Wherever the Gypsies have travelled, they have taken the native musical styles and preserved and embellished them (another example: Hungary and Romania, with heavy Gypsy populations, have a great deal of Gypsy influence in their music).

The next several centuries were extremely difficult for Spain and most of her people.  Much of her economy was weakened by the expulsions and harassment of its industrious minorities; her wealth was squandered fighting wars all over Europe, and her colonies were beginning to agitate for independence.  The plight of Spain’s poor was abysmal.

By the late eighteenth century, the music that was to become known, mostly in its “cante hondo” form, was beginning to become known.  The aristocracy was hiring Gypsy musicians for entertainment.  The occasional traveler in rural Andalusia was making note of this mournful and exotic singing style.

By the nineteenth century, flamenco had “come to town”.  Gypsy artists continued to be hired privately, as they are to this day, but by 1860 certain urban districts in and near Sevilla, Jerez and Cadiz were becoming known for their Cante styles and artists.  The age of the Cafes Cantantes had arrived.  These were “flamenco cabarets”, featuring guitarists, singers and both male and female dancers in formal performance dress.  Many of the styles we will be exploring in the next pages were developed and refined during this stage, and singers and dancers who performed during this golden age are still referred to in songs and poetry that are performed today.

A seminal event occurred in June of 1922.  The composer Manuel de Falla, with the collaboration of Federico Garcia Lorca, Joaquin Turina and Andres Segovia, along with other artists, musicians and writers organized a “concurso de cante”; a contest for singers, in the hopes of stimulating interest among the general public in this art form and encouraging new talent.

Around this time also, flamenco began to be presented on the concert stage.  Two classically trained, Argentine-born dancers of Spanish descent, La Argentina and La Argetinita, although not purely flamenco dancers, raised consciousness of the unique Spanish art form around the world.  La Argentinita staged the flamenco show “Las Calles de Cadiz” with the best artists of the times during the 1930’s.  The public’s appetite for flamenco, along with the artform’s own evolution, has grown exponentially ever since.

 

Experience local Flamenco live, Feburary 21 at Crossroads Bellevue – FREE!

Historical written by Rubina Carmona, Flamenco singer/dancer, La Peña Flamenca de Seattle

Dog Pound B-Boys 1-2015

Who Are The Dog Pound B-Boys?

In case you haven’t heard, we are super excited to be bringing our specially curated cultural performance series back to Bellevue’s Crossroad’s Mall this year. The third Saturday of every month, January-June 2015, your family can experience Northwest Folklife artists live on the Eastside from 6:30 p.m. – 8:30 p.m. And, the best part… it’s FREE!

We kick things off January 17 with the Dog Pound B-Boys (a.k.a. Vicious Puppies). While many Northwesters may know the Massive Monkees, we think it’s about time just as many folks know all about these guys, so we sat down with them for a little Q&A – take a read:

How did the Dog Pound B-Boy crew form and when?

Six of the seven members were students of Jerome Aparis, a highly recognized member of the Massive Monkees. Our connection was established through his classes and eventually we began performing at talent shows and various other gigs. The group grew up together sharing the same passion and interest. Finally on May 31, 2008 we formed Vicious Puppies Crew. After graduating high school, Vicious Puppies was changed to Dog Pound.

What is the group’s cultural background?

B-boying originated in the Bronx in the mid-late 70′s. Originally it was created to earn respect from ‘the streets’ and to give youth something positive to focus on instead of joining gangs and getting in trouble.

What is one thing you want your community to know about your work?

All of our energy comes from the audience. The more you all give, the better we perform. So get loud and have fun with us!

What can audiences expect to see at your Crossroads performance this month?

The audience will have the opportunity to witness the accumulation of our years of practice and teamwork, all while having fun! We’ll spare the details as a surprise and to keep the audience on their toes.

Who choreographs your work? How do you create a piece?

No one individual choreographs our work. Whenever one member has an idea, we experiment with it and add to it to make it fresh. I believe this is the reason we always have different styles of movements; our work is inspired by seven different individuals as opposed to just one choreographer.

How did you first come to be involved with Northwest Folklife?

Dog Pound has done recent work with a band called Global Heat. The point man for their group, Rob Pastorok, informed us of this opportunity.

Have you heard about Northwest Folklife’s Cultural Focus (“Beats, Rhymes, Rhythms: Traditional Roots – Today’s Branches“)? What do you think?

Today’s society revolves around social and cultural awareness. The 2015 Cultural Focus we believe is a great idea to continue this type of exposure. The fact that cultural awareness is spread through art makes it much more fun.

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FOR MORE INFORMATION about the Dog Pound B-Boys or any of the other artists part of this series, find us on Facebook and ask! We’ll respond.

Folklife 2014 - Saturday

PERFORM AT THE 2015 FOLKLIFE FESTIVAL (MAY 22-25)

The Northwest Folklife Festival is a regional Festival. Preference is given to performers from within the Pacific 220px-Seattle_Center_Pavilion_during_FolklifeNorthwest (WA, OR, ID, MT, BC, AK). Our artists/participants are not paid, and we are ever grateful that they volunteer their time and talents.

Music Performance Application: Online Form or Download the PDF

Dance Performance Application: Online Form or Download the PDF

Spoken Word/Storytelling Performance Application: Online Form or Download the PDF

Music, Dance, Storytelling, or Choral Workshop Application: Online Form or Download the PDF

Panel/Presentation/Film Application: Online Form or Download the PDF

Photo by Dan Thornton

Photo by Dan Thornton

Download a Stage Diagram here.

Thank you for your interest in the 2015 Northwest Folklife Festival and for taking the time to fill out the performer application. The Northwest Folklife Festival is the largest free community arts festival in the United States because talented performers and volunteers like you donate their time and energy each year.

*Applications for the 44th Annual Northwest Folklife Festival are due December 1, 2014.

To learn more about the Festival, visit www.nwfolklife.org. For questions specific to the application, feel free to email us or leave us a message on the Performer Hotline. We will get back to you as quickly as we can.

TO CONTACT US:

Performer Hotline: 206-684-4189

Email: programming @ nwfolklife.org

Thank you for applying. We look forward to receiving your application!

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Meet Singer-Songwriter and Crankie Maker, Dejah Leger

Singer and song-writer Dejah Leger will transport you back to the days of being a child, getting tucked into bed with a story book and a soft lullaby. Although she may perform acoustic lullabies, don’t expect to fall asleep! Dejah pairs her musical stylings with moving panoramic illustrations known as a Crankie. Performing at 4:45 at Loft 2, you will not want to miss this unique performance. To find out more Dejah and just what the heck a Crankie is, check out our interview with her!

SCF:  What inspires you to create the relaxing style music that you do?DL: I was very fortunate to grow up with two parents who both sang lullabies to me as a child.  They would sing cowboy ballads and even pop songs, but they would always slow them down to a slow, soft lullaby tempo. It helped me realize the freedom that I had as a songwriter to shape music to fit a need.  As I sang my own children to sleep, I started to revisit some traditional lullabies in both Acadian French and English, as well as creating some from scratch and putting melodies to poems, like “Wynken, Blynken and Nod,” and even pulling new songs into the lullaby tradition that weren’t there before, like “Mother Earth and Father Time” from Charlotte’s Web.  The simplicity of lullabies is deceptive — the power of lullabies is one of the greatest tools we have in our parenting toolbox, and I hope that my CD can be like having another mom and her guitar sitting in the nursery helping your child rest.  There’s such a drive in our musical culture to dress things up and layer on synth and extra frills, but I really wanted this project to remain as simple and true-to-form as possible.

 

SCF: What message do you hope to share with audiences?

 

DL: Since I pair my songs with a visual art form called a “Crankie,” I hope to show that music is multi-dimensional.  We can feel it, hear it, and in this case, see it.  There’s no limit to creativity! Music doesn’t have to be just sound. It can also be a warm blanket around you, a beautiful picture, a story, a feeling.

SCF: Exactly is a Crankie and what is the process of making one?

 

DL: A Crankie is an old folk-art device. Imagine taking an old TV set, pulling out everything inside of it, then taking out the screen. Instead of the screen, there’s paper or felt roll that scrolls by as it’s “cranked” (hence the name Crankie) by hand from above.  On the inside is a little light that illuminates the paper as it scrolls by!  Although it was once a common story-telling device, it disappeared from our culture almost entirely until just recently.  While it is still a very rare sight, the Crankie is beginning to see a renaissance, and now you can come see one too!  There’s no “one” way to do a Crankie; some people quilt and appliqué, some draw and color. I paper-cut.  Using just an X-acto knife and construction paper, I transform songs and stories into images!

 

SCF: How will families be able to participate with your performance at Seattle Children’s Festival?

 

DL: I love for audiences to sing along with me, and I also look forward to teaching some French words!

 

SCF: Your album titled Hand Sewn Lullabies is so peaceful – probably perfect for cool-down or nap time! Do you ever catch your youngest fans peacefully falling asleep during your shows? How cute would that be!?

DL: I would be thrilled if anyone actually fell asleep!! What a compliment!! With the Crankie as part of the show, kids tend to stay pretty awake and fixed on the pictures, but “calm” is a pretty accurate description of the mood I tend to see most often.

 

SCF: What can festival attendees expect when they watch you at SCF?

 

DL: I get very excited to show the audience what a Crankie is and how it works with music.  Expect to pick up some words in French, learn what happens when a frog asks a mouse to get married, visit lumberjacks in the far north of Quebec, and watch a crow transform into a beautiful girl!

Caspar BabyPants

Kindie Musician Caspar Babypants at the Seattle Children’s Festival

Chris Ballew is known on some stages as the frontman of Seattle’s own The Presidents of the United States of America. However he also has an alter ego… kindie musician Caspar Babypants! He recently took the time to chat with us about his life as Caspar Babypants and what we can expect from his performance at Seattle Children’s Festival. Performing at 1:00 p.m. at the Fisher Pavilion. We are so excited to have Caspar rock the stage!

SCF:Where does the name ‘Caspar Babypants’ come from?

 

CB: I just made it up many years ago. It was my nickname in the early 90′s when I was in an improvisational band in Boston and it stuck!

SCF:  Why children’s music?

 

CB: I wanted to make something mellow and small and that used my love of old music and public domain music and was innocent and not cool or jaded and was folksy and had elements of rock and roll and appealed to a wide variety of people. So when I made music that fit all of those criteria and listened to it I realized that it was kid’s music. I did not set out to make kid’s music. It found me.

SCF:How important is it for kids to learn music? And how should parents and teachers incorporate music in their child’s lives?

 

CB: Learning music is not my thing. I want kids and parents to take a trip and SEE what I am singing about and have a visual experience to my songs. I am not an educator and have no opinions really on how important it is for kids to learn music. I just don’t know much about that topic so I can’t comment on it. Incorporating music into daily life is easy! Put on a Caspar Babypants records and sing and dance!

SCF:Any memorable or favorite memories from performing with Caspar Babypants?

 

CB: Too many to list! One time a kid asked me to play “that song about the little green man in the radio”. I did not have a song about that so I made one up on the spot. After finishing to a big round of applause I asked the kid if that was the song he wanted to hear. He simply said “no”. I laughed all day

SCF:Where do you see the future of kindie music going in the following years?

 

CP: I have NO idea. I only take care of myself really and I am here to stay. My 8th record “RISE AND SHINE!” is out on 9/16/14 and I have the next two in the works for 2015 and 2016 with many many more songs on the way. I guess the future will look like the present only with more music out there to choose from!

SCF:What can parents expect for their kids from Caspar Babypants at Seattle Children’s Festival?

 

CB: Parents should expect to participate WITH their kids in singing along and moving and smiling. But every show is different for me. I have no set list so I play what the room demands. Some shows are quiet and mellow and others are crazy. You just have to come and see!

MTPic46-web

Music Together Brings Fun for the Young Set

Expect a forecast of sunshine at Seattle Children’s Festival! We are so excited for your little one(s) to experience the Sunshine Music Together workshop and get a taste of what it offers. Bring the whole family and join in on the fun at 1:00 p.m., in Loft 4.  Check out our interview with Sunshine director Summer Rognlie Trisler to find out more about the Music Together program and what activities to look forward to at the Festival.

 

SCF: Explain what the Music Together program is and the philosophy behind it?ST: Music Together i

s an innovative music and movement program for children aged birth to five years and their parents or caregivers, that is bas

ed on the belief that all children are inherently musical.  Music Together pioneered the concept of a research-based, developmentally appropriate early childhood music curriculum that strongly emphasizes and facilitates adult involvement. At Music Together we believe that music ability is as basic to life as walking or talking, and that it is every child’s birthright to participate with pleasure and confidence in the music of our culture. We introduce children to the joys of making music instead of passively receiving it from CD’s and television. And because very young children instinctively respond to and imitate their loved ones, the active participation of parents and caregivers – regardless of their musical ability – is an essential part of the rich musical environment we create. Music Together parents discover what a powerful role model they are for their child, just by having fun with the music themselves! And by providing cd’s and songbooks to take home, we hope to inspire music-making in your everyday family life.

SCF: What can parents do on their own to inspire music education and movement activities for their children?

ST: Nothing is more important for a child’s musical growth than seeing their loved ones modeling music making with enjoyment! They don’t care if you sing in tune, they think you have the best voice in the world, but they do care that you model and participate! Around the house or wherever

you spend time with your children, try to incorporate music into your day-to-day activities. Create songs out of brushing your teeth, taking a bath, getting dressed, getting in the carseat – It’s so very simple for us to do, yet profound for your child’s music development. Families will often ask us what type of music they should be playing at home for their children, and we always tell them; “Play what you love. Remember that children learn by watching and imitating you, they are acquiring a disposition for music from you, so if you love rhythm and blues, share that with your child. If you love the Beatles, play the Beatles!” Parents need to give themselves permission to model how much fun music is.

 

SCF: What kind of activities will families be doing in the workshops at Seattle Children’s Festival?

ST: We’ll be encouraging families to unwind and join in with full participation as we lead fun, silly and playful music and movement activities together!  We’ll talk a little bit about what we’re learning and why we do what we do within the song activities.  Our hope is to send parents home with a deeper understanding of their child’s music development, and with some basic tools to help support  that development at home.

 

SCF: What is the most popular/favorite activity in the program?

ST: Singing and moving together in a mixed aged family community setting!  Where else do children get to see a room full of adults circle dancing with bells or crawling around on the floor playfully acting like cats and dogs singing.  Remember children learn through play at this age!  They respect adults who can communicate with them on their level!  We create a fun, informal, playful, developmentally appropriate, non performance oriented learning environment which is musically rich, yet immediately accessible to the child’s – and the adult’s! – participation.

 

SCF: What should parents expect for the kids from Sunshine Music Together at SCF?

ST:  To have a GREAT time participating with their parents in song and movement activities and to be inspired and motivated by the participation of the musical community around them!   We’re all there to model how much fun music making is!

Photo by Dan Thornton

FOLKLIFE PRESENTS AT KIRKLAND SUMMERFEST

Northwest Folklife thrilled to be partnering with Kirkland Summerfest to program their Community Stage on Sunday, August 10th!

Celebrating their third season, Kirkland Summerfest will transform Kirkland’s Marina Park into a lively arts destination, a place where friends and neighbors can connect and share in a celebration of community spirit. We’re excited to have the opportunity to showcase Folklife performers in a new enviFolklife 2014 - Sundayronment!

 

Catch some of your favorite Folklife performers that Sunday, including:

11:00 – 11:50 AM: Capoeira Angola

12:10 – 1:00 PM: Grupo Folklorico Guadalajara

1:20 – 2:10 PM: Carrigaline

2:30 – 3:20 PM: Armstrong, Lawton, and Katz

3:40 – 4:30 PM: Joseph Giant

4:50 – 6:00 PM: PARTICIPATORY DANCE: Balkan Dance with Jana Rickel

Folklife 2014 - Sunday

Summertime Fun with Folklife!

The Northwest Folklife Festival comes around but once a year, but we’re here year round! Here’s a few events just around the corner!

Join us at Crossroads Mall
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Join us Saturday, July 19th at Crossroads Mall in Bellevue for an evening of dancing through Asia. Learn hand movements from instructor Meloody Xie. This is a FREE event starting at 6:30PM – 8:30PM.

Folklife is thrilled to be p?format=400wartnering with the Kirkland Summerfest, August 8-10 to present some of your favorite Folklife performers on their Community Stage! Summerfest is Kirkland’s largest festival featuring three days of art and music on the waterfront and throughout downtown. Don’t miss 3 days of visual and performing arts, over 50 performances, spectator sports, family rides, and entertainment, over 150 vendors and food trucks on the streets of downtown. Stay tuned for our full line up and more details!

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Folklife was streaming live from many of our stages from the Festival all weekend! Miss a show? Click here to see if it’s there, and listen to many of the hundreds of recordings from this remarkable Festival!Fri_Multigenerations2The Northwest Folklife Festival comes around but once a year, but we’re here year round! Keep up with us on Facebook – we’ll be sharing fun events around town, Folklife news, do a few fun giveaways, and so much more. Plus, we want to hear about the cultural entertainment you love in the Pacific Northwest. Facebook is the perfect place to share.
SAVE THE DATE

scf_logo_Starburst_TransFolklife is hard at work planning our first Children’s Festival! The Seattle Children’s Festival will be a free one-day festival located on the Seattle Center Grounds on October 12, 2014. No admission charge, thanks to your donations and community support! By “Celebrating Our Big Neighborhood,” the Festival will bring together local communities that showcase and celebrate families of the Northwest. Programming will include music and dance performances and interactive workshops from around the world as well as a Hands-on Activity Area.

ALL PHOTOS BY CHRISTOPHER NELSON

2 Days Until our Winter Fireside Party!

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We’re looking forward to seeing you this Saturday.

We’re counting down the days to our first annual Winter Fireside Party this Saturday, January 25th at the Vera Project. We’ll have a limited number of tickets available at the door so if you haven’t purchased your tickets yet, order your tickets now:

Still planning your day? Click here to view the schedule for the day!

You can also purchase tickets for the Northwest Fiddle Tour! Start off the day at the Vera Project and then head up to the Phinney Neighborhood Center to experience a whole day of fiddlers.  Between the two events, you will have the chance to hear a wide array of many of the best players of all different styles and backgrounds in the Northwest!  Save money and get a discounted combined ticket to both events.

Folklife Founders, Vivian & Phil Williams

Northwest Fiddle Showcase

Winter Fireside Party, Vera Project – Seattle Center Grounds, 4pm

One of the highlights of Northwest Folklife’s Winter Fireside Party will be a Northwest Fiddle Showcase, an excited and fast-paced show of both up-and-coming new fiddlers and some pillars of Northwest Fiddle traditions. The show will feature fiddlers of various different styles including Bluegrass, Mexican music of the Tierra Caliente, Cajun twin fiddling and more.  We’ll be featuring some of the hottest young fiddlers in the Seattle scene such as The Onlies, a band of teenage traditional music superstars, as well as some of the most celebrated and experienced tradition bearers, such as Vivian and Phil Williams, who have been documenting and performing Northwest fiddle music since the 1950s.  Paul Anastasio, Karen England and Jim Newberry, and Ben Hunter (of Renegade Stringband) will also perform to create this cross-generational fiddle extravaganza.  Please join us on January 25, 2014 at the Vera Project on the Seattle Center grounds for the Winter Fireside Party starting at 2pm with the Fiddle Showcase at 4pm.

Seattle Folklore Society’s Fiddler’s Showcase Concert

Catch Paul Anastasio on the Northwest Fiddle Tour!

Seattle Folklore Society, Phinney Neighborhood Center – 6532 Phinney Ave N, 7:30 pm

The Seattle Folklore Society presents an evening with some of the finest traditional fiddlers in the Pacific Northwest on January 25th at 7:30 at the Phinney Neighborhood Center. Featured Fiddlers are: Jeff Anderson – Norwegian American; Paul Anastasio – Tierra Caliente and Western Swing; Gary Lee Moore – Oklahoma/Texas; Jamie Fox – Metis/Northern Plains; Ramon Selby – Old Time Northwestern/Western Swing; Hank Bradley – Southern string band.  Hosted by Stuart Williams.

Get your tickets now for the Northwest Fiddle Tour:http://folklifefiresidefundraiser.bpt.me

 

 

 

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Winter Fireside Party Schedule

We’re counting down the days until our Winter Fireside Party; a benefit for Northwest Folklife on January 25, 2014 at the Vera Project on Seattle Center grounds. We’ll be featuring some of your favorite Northwest performers on three stages! Doors open at 1:30PM, programming starts at 2PM…and will continue until 11:00PM.

Let the excitement begin…

Main Stage –  Featuring Square Dancing, Northwest Fiddle Showcase and Full Bands

Square Dance with The Onlies! Main Stage, 2:00pm

2:00pm – Square Dancing with The Onlies and Caller Gabe Strand

4:00pm – The Northwest Fiddle Showcase at 4pm highlights a varied line-up of some of the best fiddlers in the Northwest such as Phil & Vivian Williams, Ben Hunter (of Renegade Stringband), Karen England & Jim Newberry, The Onlies, and Paul Anastasio.

5:45pm Jason Dodson & Kevin Barrans of The Maldives

The Sojourners, Main Stage, 7:00pm

7:00pm The Sojourners
8:15pm Ravenna Woods
9:30pm The Shivas

Gallery StageSpecial acoustic performances in the Vera Gallery include:

2:30pm Juliana & PAVA
3:30pm Orville Johnson
4:30pm Vikesh Kapoor
5:30pm Baby Gramps

And don’t miss the Folklife Fireside Tent presented by KEXP: a cozy, outdoor heated and fire-lit space for jams and conversation with musicians:

2:15pm Phil and Vivian Williams
3:15pm Swing Jam with Paul Anastasio
4:15pm Les Pamplemousses
5:45pm Old Time Fiddle Jam with Tony Mates
6:45pm Blues Jam and Q+A with Orville Johnson
7:45pm Cajun Jam with Whozyamama
9:00pm Balkan Jam with Marchette DuBois

Join the Balkan jam hosted by Marchette DuBois in the KEXP Fireside Tent, 9:00pm

(Food and drink available in the venue.)

Purchase a ticket today for a full day of music, dancing, food, and friends.

Already have plans on January 25th? Consider making a donation of $25 or more to Folklife and support the largest community supported Festival in the nation.

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You’re Invited to Folklife’s Winter Fireside Party!

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Bring your instruments! We’ll be jamming around the fireplace.

Join us for our very first annual Winter Fireside Party; a benefit for Northwest Folklife

on January 25, 2014 at the VERA Project on Seattle Center grounds!

Enjoy a full day and evening of string bands, indie-roots, blues and gospel music, as well as the opportunity to hear from artists in a cozy and intimate setting.

Guests are invited to join us for a square dance featuring The Onlies and caller Gabe Strand; performances in the main venue featuring The Sojourners, Jason Dodson & Kevin Barrans of The Maldives, Ravenna Woods, and The Shivas.

The Northwest Fiddle Showcase highlights a varied line-up of some of the best fiddlers in the Northwest such as Phil & Vivian Williams, Ben Hunter (of Renegade Stringband), Karen England & Jim Newberry, The Onlies, and Paul Anastasio.

Special acoustic performances in the Vera Gallery include Baby Gramps, Vikesh Kapoor, Juliana & PAVA, Les Pamplemousses, and Orville Johnson.

And don’t miss our Fireside Tent: a cozy, outdoor heated and fire lit space for jams and conversation with musicians.nwf_winterfiresideparty14_poster_v1125

Come support Northwest Folklife and keep warm on a Seattle winter’s day!

Food and drink available in the venue. Doors at 1:30PM. Music and jammin’ until 11:00PM. Tickets $25

You can also purchase a Northwest Fiddle Tour Ticket. This ticket price includes admission to Seattle Folklore Society’s Fiddle Showcase AND Folklife’s Winter Fireside Party!

Get your tickets before they’re gone!

More than 10 fun things to do at CroatiaFest’s 10 year anniversary!

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So Many Ways to Take in Croatian Culture at Seattle Center Festál:  CroatiaFest

Seattle Center Festál presents CroatiaFest, 12 p.m. – 8 p.m.  Sunday, Oct. 6, in Seattle Center Armory. Explore and experience the cultural roots and contemporary influences of Croatia through live performances, foods, hands-on activities, and a lively marketplace. Acclaimed dance ensembles and musicians, intricate costumes, art exhibits, tourist information and displays showcase Croatia’s rich past and dynamic present.

CroatiaFest 2013, its 10th anniversary year, celebrates All Things Croatian!  Festival-goers will find an author’s corner, Croatian costume photo booth, and photo cutout opportunities. They may trace their genealogy and learn about the varied history of Croatians across the state of Washington, in communities such as Grays Harbor, Interbay, Spokane, Everett and the Roslyn/Cle Elum area.

The Jerry Grcevich Tamburitza Orchestra travels from Pittsburgh, Penn. to perform at CroatiaFest. Grcevich, recognized as the premiere tamburitza prim player in the world, has gained fame both in the United States and in Europe through his recordings and performances over nearly 40 years. Acclaimed Pacific Northwest groups Radost Folk Ensemble, Ruže Dalmatinke Orchestra and Vela Luka Croatian Dance Ensemble will also perform.

Expert chefs offer cooking demonstrations of some of the country’s most beloved dishes throughout the day in the west bay of Seattle Center Armory. Three inside and four outside food booths will feature authentic Croatian entrees for purchase.

Seattle Center Festál, a series of 22 celebrations presented by community organizations with support from Seattle Center, considers themes of importance to ethnic cultures in our region, revealing their common forms of tradition and expression, while highlighting their unique contributions to the Pacific Northwest and the world.

CroatiaFest is produced in partnership with CroatiaFest Committee. For more information on CroatiaFest, including a full schedule of events, visit croatiafest.org. Click on www.seattlecenter.com or call 206 684-7200 to learn more about Seattle Center Festál and other outstanding public programming offered at Seattle Center.

 

About Seattle Center Festál

Seattle Center Festál 2013 presents a series of 22 world festivals on weekends throughout the year highlighting the distinct cultures and common threads of ethnic communities in our region through traditional and contemporary art, music, foods, youth activities, workshops and more. This collection of cultural events is produced with the generous support of Coca-Cola, The Boeing Company, T-Mobile, Bill & Melinda Gates Foundation, Wells Fargo, Real Networks, and KUOW 94.9 Public Radio. Additional support is provided by 4Culture, Washington State Arts Commission, Seattle Center Foundation and the City of Seattle.