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WHAT'S NEWSubscribe to The New Moon, ACTA's Monthly E-Newsletter. See the latest edition of The New Moon. The Alliance Convenes Bay Area Artists
First Row: Sherwood Chen (Alliance for California Traditional Arts), Charya Burt (Cambodian classical dance master artist), Amy Kitchener (Alliance for California Traditional Arts), Sabrina Hou (Chinese Kunqu opera master artist), Suzy Thompson (Berkeley Old Time Music Convention) Amy Kitchener, Executive Director, Alliance for California Traditional Arts Artists and community organizers convened for the annual Bay Area gathering of the Alliance for California Traditional Arts’ grantees on September 30, 2007, at our San Francisco offices in the Presidio. The afternoon began with each attendee sharing experiences and realizations about the Living Cultures Grant Program projects and Apprenticeships that for some artists were either underway or had just recently been completed. The opportunity to share one’s successes and frustrations gave way to lots of head nodding in recognition and a sense of a mutual support network, even though many people around the table were meeting each other for the very first time. One fertile topic discussed around the table addressed traditional artists as agents of social change. For each participant this theme resonated in different ways. Melody Takata spoke about the participation of her Taiko group in the recent protests against the takeover of San Francisco’s Japantown by investment giants to underscore their concern for the one of the last Japanese historical neighborhoods in California. Friends of Negro Spirituals, co-founded by Sam Edwards and Lyvonne Chrisman, are working to preserve the oral histories of local Negro spiritual singers because they “impart value and linkages with our ancestors who gave us these songs during slavery … We want to make sure that connection in our community is not lost.” John Daley of the Croatian American Cultural Center discussed traditional music as a common binding factor in Croatia, and as a common denominator at the Center. He explained that participation in the cultural festivals at the center “helps make everyone more tolerant to other religions and political views.” Colleen Tiffenson of Mas Makers Massive, an organization dedicated to the carnival arts of Trinidad and Tobago, explained how their musical heritage is inherently political. “Calypso is an instrument of social change where the songs send a message – you can tell the events and political commentary through a song about AIDS, or sexuality… It provides a strong message for change because it is easily learned; children can sing the Calypso.” Suzy Thompson of Berkeley Old Time Music Convention completed the circle by reflecting, “We create social change by building community; people all over the U.S. come to our festival, one even came from Japan. A lot of people have romantic stereotypes about Appalachian singers and musicians – and coming together helps to humanize people to each other. That’s how social change starts – what was seen as the ‘other’ is humanized.” The final discussion of the afternoon focused on what people felt was needed in order to sustain their work in traditional arts. The challenges and issues that poured forth went from needing nuts and bolts information like support for computer and internet applications, sharing information about venues and technical consultants, transportation, and insurance needs. Other concerns revolved around the way in which traditional or ethnic arts are “infantilized” or “exoticized” by media. Questions surfaced around how to maintain a standard of what is “authentic” so that those who are not trained in the tradition are not the ones “representing” the culture. Other issues regarding how to grow your project and how to know when to stop; how to find balance between artistic growth, development, and how to work strategically within your own community and beyond were also discussed. The comments and experiences of the participants will help the Alliance respond with the development of a new program sponsored in part by the San Francisco Arts Commission, to provide some assistance to field. For many, visibility was paramount, and the idea of showcasing the collective work to build audience and recognition was popular, as well as developing other strategies to bring greater attention to traditional arts, which in the words of Sam Edwards, “have a hard time competing with Michael Jackson and MTV.” A theme of the scarcity or fragility of human resources was common to many – where the organization’s or ensemble’s capacity fluctuates because it relies on volunteers, or as young performers grow older, they may leave for college, or new groups spin off from an already established group. And then there’s the burn out factor of those who are willing but are tired after an output of 150% for so long. While we were left with many questions and a tall list of issues to reflect upon, Sam Edwards expressed, “the value of a group like this as a support group is important because these challenges seem to be a norm.” Earlier that afternoon upon hearing the impressive projects and voices of the artists and organizers that work hard without a lot of recognition, Suzy Thompson was curious about how long people had been engaged in their art forms. We ended the day by reflecting on the years we have been involved in our traditional arts work. We left knowing that our collective 260 plus years was a testament to the tenacity and pull of our separate and collective work. The words of Danny Kalanduyan, master musician of Pilipino kulingtang music, summed up this labor of love and necessity very succinctly: “For our traditions, there has to be someone who comes after us, because we have come after others…” California Traditional Artists Receive New Grants from Fund for Folk Culture and Center for Cultural InnovationThe Alliance for California Traditional Arts would like to congratulate the following California traditional artists on their recent receipt of grants from the Fund for Folk Culture and the Center for Cultural Innovation. Fund for Folk Culture’s Artist Support ProgramThe Fund for Folk Culture awarded 26 grants to traditional artists throughout the U.S through its Artists Support Program, which provides support to individual folk and traditional artists to pursue opportunities that will help them grow artistically and professionally, to better connect with their cultural communities, or to develop new audiences for their work. The following seven California traditional artists were among the grantees: Native born Puerto Rican bomba artist Román Carrillo, Oakland, will return to San Juan and Mayaguez, Puerto Rico, for 10 days of intensive study with four master bomba musicians. Carrillo is a former master artist in the Alliance’s Apprenticeship Program. Philippine-native and master kulintang musician Danongan Kalanduyan, South San Francisco, will upgrade instruments, equipment, costumes, and supplies for his ensemble, Palabuniyan Kulintang Ensemble. Kalanduyan is a current master artist in the Alliance’s Apprenticeship Program. Mexican American musician Eugene Rodriguez, San Pablo, will purchase traveling cases for his instruments and a laptop computer to enhance the technical quality of his presentations and his ability to conduct field documentation and research more efficiently. Mexican-born papel picado (Mexican paper cutting) artist Herminia Albarrán Romero, San Francisco, will digitize, document, and archive her work. Romero is a former master artist in the Alliance’s Apprenticeship Program. Afro-Caribbean musician John Santos, Oakland, will produce La Guerra No! (No War), a recording by the artist and his group, Coro Folklorico Kindembo. Native American singer/flute player Ernest Siva (Serrano/Cahuilla), Banning, will document the Paa’t Achaam, the Big Horn Sheep songs and stories sung by ceremonial leaders of both the Yuhavetam Serrano and Muhaetniyam Serrano tribes. North Indian classical dancer Vishnu Tattva Das, Mill Valley, will create a new Odissi dance piece entitled “Mangalacharan” (Auspicious Beginning). Das’ dance company, Odissi Vilas: Sacred Dance of India, is a former grantee of the Alliance’s Living Cultures Grants Program. Read more about the Fund for Folk Culture's programs on their website. Center for Cultural Innovation's Investing in ArtistsThe Center for Cultural Innovation awarded 27 grants to individual artists through its Investing in Artists program, which is designed to enhance the working lives and creative environment for California artists by funding tools and market strategies that will allow them to create their best work more consistently, and distribute that work more broadly to new audiences. The following 5 traditional artists were among the grantees:
Read more about the Center for Cultural Innovation's programs on their website. Three California Artists Receive Nation’s Highest Honor in Traditional Arts
NEA Chairman Dana Goia, NEA National Heritage
Fellow Violet
On September 18, 2007, National Endowment for the Arts (NEA) Chairman Dana Goia presented twelve NEA National Heritage Fellowships in a ceremony on Capital Hill in Washington D.C. Three California artists – Haiku poet and historian Violet de Cristoforo, Salinas; Chicano singer, musician, and composer Agustin Lira, Fresno; and Pomo basketweaver Julia Parker, Midpines – were among this year’s honorees. The fellowship is the nation's highest honor in the folk and traditional arts. To read more about these and other 2007 National Heritage Fellows, please visit the NEA’s website. NEA National Heritage Fellows Violet de Cristoforo passed away on October 3, 2007, just two weeks after visiting Washington D.C. to accept her award. De Cristoforo is survived by two daughters, a son, and two grandchildren. Visit the Los Angeles Times’ website to read her obituary. |
