Folk festival aug 17 2013 by Bangor Daily News

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - WELCOME

WELCOME THE PERFORMERS Aurelio Martinez Honduran Garifuna - Page 7

The Chankas Peruvian Scissors Dance - Page 15 Welcome to the 12th annual American Folk Festival on the Bangor Waterfront. If this is your first 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 Waterfront. 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 Railroad 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 taking 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.” Frequent 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 fiddlers, 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

Index Welcome / 2 Information / 4 Donations / 5 Volunteers / 5 Music / 6 Sponsors / 11 & 14 Map / 12-13 Food / 20 Folklife / 21 Kids / 22 Marketplace / 23

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 suggest 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,

Elatos Greek - Page 15

Frank Ferrel and Friends Maine Fiddle Master - Page 8

James King Band Bluegrass - Page 16

Jorge Arce Puerto Rico Parade - Page 17

Juvenato Colombian Vallenato - Page 17

The Legendary Singing Stars Gospel - Page 20

Mcauley, Horan and O’Caoimh Irish - Page 8

Prem Raja Mahat Nepalese - Page 18

Qi Shu Fang Peking Opera - Page 6 Rick Fournier Heather McCarthy Chair, Board of Directors Executive Director The American Folk Festival on the Bangor Waterfront

This American Folk Festival program was produced and published by

Rosie Ledet & The Zydeco Playboys Zydeco - Page 6

Samba Mapangala East African Rumba - Page 19

Sista Monica Parker Blues - Page 10

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 jorcutt@bangordailynews.com. To support the American Folk Festival, through a financial contribution or by volunteering, contact Heather McCarthy at 207-992-2630 or heather@americanfolkfestival.com

Sonny Burgess and the Legendary Pacers with Lance Lipinsky Rockabilly - Page 10

Yves Lambert Trio Québecois - Page 9

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - INFORMATION

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 threeyear 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 nonprofit 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.

ADMISSION There 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 VOLUNTEERS The 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

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.

RESTROOMS

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 nonprofit 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.

BICYCLES Free 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 reflectors visible from at least 500 feet when riding at night. Flashing taillights and light-colored and/ or reflective 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 BRING You 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

Portable restroom facilities and hand-washing stations are located BDN FILE PHOTO BY GABOR DEGRE at numerous spots throughout the and, just in case, bring your insurance and festival site. See the map for the Medicare cards. facilities closest to you.

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.

PETS Please, 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, PLEASE The 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 difficulties 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 AND EMERGENCY 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 PEOPLE Children who lose track of their caretakers should find a festival volunteer or staff member, who will contact security escort them to the

HANDICAPPED ACCOMMODATIONS 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 STATION The Festival’s baby-changing station is located near the Harbormaster’s Building.

RETURNABLES For your convenience, there are bins for returnable bottles and cans (and other recyclables) placed throughout the festival.

ON THE RADIO If 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 CHANGE Programs and performances were accurate at press time, but could change. Check at information booths for performance and scheduling updates.

KICK-IN STICKERS When 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.

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - INFORMATION

The American Folk Festival is always free, but ‘free’ costs nearly $900,000 BY DAVID M. FITZPATRICK BANGOR DAILY NEWS/BDN MAINE

Marquise Knox, a twentysomething blues singer, was a shy and reserved type when he first 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 first 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 difficult 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 first year in 2002, the AFF collected $30,137 through its Bucket Brigade. Last year saw the secondlargest 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 financial 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 See DONATIONS,

PAGE 23

Without dedicated volunteers, there would be no American Folk Festival BY DAVID M. FITZPATRICK BANGOR 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 find 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 fill 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 See VOLUNTEERS,

PAGE 23

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - MUSIC

MUSIC The 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 earliest 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 quintessentially “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 Playboys

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

Zydeco

voice, she wows audiences wherever she goes.

Saturday: 2:15 p.m., Railroad Stage; 4 p.m., Dance Pavilion.

own material. They showcase superb lyrics, strong vocals, and

Sunday: 1:15 p.m., Dance Pavilion; 4 p.m., Railroad Stage

skillful accordion playing along with funky bass grooves, solid

A prolific songwriter, Ledet has released nine albums of her

danceable beats, and blues rock guitar. Her newest CD, “Come Rosie Ledet & The Zydeco Playboys have quickly become the act to watch on the zydeco circuit. Brimming with coy

Get Some” (JSP Records), was released in 2011 and very wellreceived, critically and commercially. She and her band began performing in 1994 throughout the

sensuality, Ledet’s music is fresh and daring while still retaining its links to its bayou Creole heritage. Ledet has a

Texas-Louisiana triangle, and have gradually spread their

rare combination of talent, not only in the zydeco world, but

touring base to include the rest of the United States. Ledet and

in any musical genre. She can write top-notch, award-winning

the band have been on several European tours as well. The band is Rosie Ledet (lead vocals and accordion), Andre

songs, hang with the best of them on her instrument, and can sing circles around her peers. Ledet is among the few zydeco

Nizzari (guitar, keyboard, and vocals), Chuck Bush (bass and

artists who still sing and write some of their own material in

vocals), Lukey Ledet (drums), and Malcolm Walker (scrub

Creole French.

board and vocals).

Ledet provides a unique female presence in the male-

Qi Shu Fang

great acclaim; in Hamburg, Germany she

form as part of America’s diverse artistic

Madame Qi has made a great contribution

Peking Opera

was hailed as “a white-clad empress” for

heritage. Highlights from the extensive

to the cultural richness of American while

her performance of the “Flaming Phoenix”;

list of successful performances given by

at the same time building a bridge between

and in Japan she is know as one of that

the Qi Shu Fang Peking Opera Company

East and West.

country’s most beloved Peking Opera stars.

include: 11 years (2000-2011) of

Saturday: 1:30 p.m. and 9:30 p.m., Penobscot Stage Sunday: 1:45 p.m., Penobscot Stage

In 1988 Qi moved to New York City and

performances at our annual

established the Qi Shu Fang Peking Opera

Peking Opera Festival; a sold-

Company. In 2001 she was awarded the

out performance at Symphony

Opera all of her life. In her youth, she

prestigious National Heritage Fellowship,

Space in New York City in 1990;

studied with her sister-in-law, the renowned

the highest honor in traditional folk arts in

a 1999 12-city tour of Florida;

martial arts actress Zhang Meijuan. At

the United States.

a 2002 performance at the

Qi Shu Fang has been performing Peking

16 she created a stir in Beijing when she

In 2003 Qi made her Broadway debut

Smithsonian Folklife Festival; a

played the lead role in “Three Battles with

in her company’s historic performance

2003 premier on Broadway at the

Zhang Yue’e.” The great actor and female

of “The Women Generals of the Yang

New Victory Theatre; and two

impersonator Mei Lanfang praised her

Family” at the New Victory Theatre. Qi is

2005 performances at New York

performance of this tremendously difficult

accomplished in all areas of Peking Opera

University’s Jack H. Skirball

piece.

performance; in particular she is known

Center for the Performing

After this early success, Qi went on to

for her full, sweet soprano voice and her

Arts as part of its World Music

study at the Shanghai Municipal Theater

remarkable, powerful martial abilities.

Institute series. Internationally,

School and perform as a leading actress

Jack Anderson of The New York Times

the company has toured in both

with Shanghai Youth Peking Opera

has written, “She fills the stage with magic

Poland and Canada.

Company and the Shanghai Peking Opera

that is inexpressibly enchanting.” James R.

Theater. During this time, her performance

Oestreich has praised her as “a bright star, a

Meikui currently lead their

in the revolutionary model opera “Taking

truly great artist.”

company across the country

Tiger Mountain by Strategy” made her a

The Qi Shu Fang Peking Opera Company

Qi and her husband Ding

to promote Peking Opera

is dedicated to the preservation and

and Chinese culture. Every

Qi has performed throughout Asia and

performance of traditional Chinese Peking

year their professional

Europe. In 1987 she performed “Green Stone

Opera, and also provides rigorous training

performances are greeted with

Mountain,” “The Legend of the White

to the next generation of performers,

great enthusiasm by American

Snake,” and “Autumn River” in Vienna to

so as to ensure the survival of this art

audiences. In this regard,

household name in China.

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - MUSIC

Aurelio Martinez Honduran 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 Martinez, 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 intermarried 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 beginnings were in a hometown that today still has no electricity. As a child, his first toy was a guitar he built for himself from wood taken from a fishing rod. That’s how he played his first 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 talented 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 usually not allowed. By the time he left Plaplaya to attend school at 14, he was a respected musician with a firm grounding in Garifuna rhythms, rituals, and songs. After constant musical work through secondary school, including playing professionally, he founded a Garifuna ensemble, Lita Ariran, one of the first Garifuna groups to appear on an internationally distributed recording. 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 musician Andy Palacio, who organized a major Garifuna festival and invited Martinez. The two artists struck up a decades-long friendship 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. Martinez, youngest of the three generations on the recording, proved that the music was still alive and kicking. In 2005, Martinez became the first Honduran of African descent to become a representative 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 political 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 recording in a cabana on the beach. Martinez has continued to keep the traditions 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 find new ways to express it. Few people know about it, but I adore it, and it’s something I must share with the world.”

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - MUSIC

McAuley, Horan & Caoimh Irish 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 five-piece of extraordinary instrumental and vocal fire-power.” Winifred Horan was born and raised in New York of Irish parents, and began playing music at an early age. Her first 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 influence on Horan and ultimately laid out a colorful and eclectic musical direction. She began fiddle and Irish dance lessons in the then-bustling Irish scene in New York in the 1970s. Her fiddle teacher was the late

Maureen Glynn and her dancing teacher was the great Donald Golden. Throughout these years she participated and competed in many fleadhs 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 attend 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 define the style that is so identifiable and associated with Horan’s playing. Mick McAuley was born into a wellknown musical family from Kilkenny and has been playing Irish music from a very early age. In fact, his first 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 Griffin, 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 presence 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 playing and delicate finger-style is described as being both the backbone and powerhouse of Caladh Nua.

Frank Ferrel and Friends Maine 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 fiddlers who Boston Globe music critic Scott Alarik called “One of the finest living masters of the genre.” His original compositions have enjoyed great popularity in the Canadian Maritimes, and have been recorded by such notable Canadian fiddlers as Buddy MacMaster, Ashley MacIsaac, Brenda Stubbert, and Andrea Beaton. He’s a regular fixture at local traditional dances and concerts, and has performed and toured throughout North

The medieval city of Kilkenny is synonymous with the meeting of culture and tradition. It was here, in an artistically nurturing environment, that O’Caoimh took his first tentative steps in music through classical piano and violin. But it was his intrinsic passion and love for Irish music that eventually drew this fluent Irish speaker to the guitar. Taking the long-tested and circuitous route of weekend fleadhs and national festivals, the world soon opened up to his evident talents. Through a distinctive and unfaltering style influenced 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.

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 Festivals, 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 international music-publishing house MelBay, and has contributed numerous articles to folk and music magazines and journals. His CD recording, “Yankee Dreams,” was selected by the American Library of Congress to be included in their “Select list of 25 examples of American folk music on record.” He will be joined at the American Folk Festival with Maine piano player Robert Choiniere. Chrissy Fowler of Belfast, Maine will serve as caller for Ferrel’s contradance sets at the Dance Pavilion at noon on Saturday and Sunday.

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

Yves Lambert Trio Québcois 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 challenges. 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 fleur” by Sidney Béchet. He also passionately 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 Quebec critics portray Lambert as a beacon in the aesthetics of our cultural heritage. It was in 1976 that the singer and multiinstrumentalist founded what became the legendary group, La Bottine Souriante, with partners Mario Forest and André Marchand. 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 between 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 overflow of creative energy, he embarked on a second beautiful big adventure. Surrounded by new musicians, he released an album entitled “Récidive” in

PHOTO BY ALEXANDRA JACQUES

THE AMERICAN FOLK FESTIVAL - MUSIC

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 experimented 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 affirmed the trio’s distinctive personality. The trio brilliantly demonstrates how traditional local music continually reinvents itself within a modern context. Despite there being only three musicians, nothing of the sound is lost. The three multiinstrumentalists multiply the decibels as though there were many more than three members.

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - MUSIC

Sista Monica Parker Blues Friday: 9:30 p.m., Railroad Stage Saturday: 3:15 p.m., Railroad Stage; 7:30 p.m., Dance Pavilion Sunday: Noon, Railroad Stage; 2:45 p.m., Penobscot Stage (Gospel Song Traditions)

Sista Monica, “the lioness of the blues,” released her 11th CD, “Living in the Danger Zone,” in October 2011. Immediately, she became a 2012 Blues Music Award nominee for “Best Soul Blues Female Artist” by The Blues Foundation. A recognized international festival favorite, Sista Monica is recognized for her songwriting, music recordings, powerful vocals, and dynamic performances. She connects and is often compared to legendary singers Etta James, Koko Taylor, Ruth

Sonny Burgess and The Legendary Pacers with 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 Pacers are 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 five 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 Crafford 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. Hubbard retired and now lives in Newport, Ark. Charles Watson II plays fiddle on the “Still Rockin’ and Rollin’” album and appears live with the band. Several years ago the band re-formed to record “They Came From the South” and now have another CD out called “Still Rockin’ and Rollin’.” The CD has received rave reviews

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” finale 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 routine 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, including The Neville Brothers, Mavis Staples, Dr. John, Gladys Knight, Ray Charles, Taj

and in June 2000 was voted best new album in the country and roots field 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 Lipinsky Joining 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

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 saxophone), Leon Joyce Jr. (drums), Artis Joyce (bass), and Bill Vallaire (guitar).

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 industry politics by promoting himself on the Internet. Like a distant cousin to Elvis and Jerry Lee Lewis, Lance blends these two main influences as a recipe to stir up his batch of self-proclaimed honky tonk, boogie woogie rock and roll. Lance possesses the showmanship and energy of Little Richard in his live performances and the haunting 1960s Roy Orbison sound in his original songs.

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - SPONSORS

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 info@americanfolkfestival.com

Virtuoso

Soprano

Alto Jace Cohen and Barbara Carey Ovation

Tenor

Maine Public Service Emera Companies

Eastern Maine Community College

Barbara Cassidy Foundation

Great College. Smart Choice.

CITY OF

BREWER More SPONSORS on page 14

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - WHO’S WHO / SPONSORS

WHO’S WHO 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 Directors Chair: Rick Fournier, Bangor Savings Bank Vice Chair: Dan Tremble, Fairmount Market Secretary: 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,

SPONSORS

FROM PAGE 11

BARITONE

Bangor 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 Recovery Company • Penquis • Pine Tree Waste/Casella • Securitas • Shyka, Sheppard and Garster • Spectrum Medical Group • University Credit Union • University of Maine Augusta - Bangor • Vactionland Inn • Volunteers of America Northern New England • WBRC • Whitehouse Inn • World Acadian Congress 2014

PRODUCERS CIRCLE

Anonymous • 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 Khavari • Vern and Janelle Leeman • Lilian and Victor 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 - Business

Allen/Freeman/McDonnell Agency • Berry-

Rudman & Winchell • Mary Turner, Eastern Maine Healthcare Systems Development Committee Chair: Dan Tremble Maria Baeza • Jodie Kandel • Brad Ryder • Julie Green • Monique Bolduc • Amy Kenney • Keith Martin • Juanita Mullen • Kristen Strong • Vern Leeman • Rick Fournier • Jennifer Khavari • Joe Connors Communications Committee Dan Cashman • Karen Cashman • Angela Smith • Amy Kenney • Julie Green • Melissa Gerety • Kelly Cotiaux

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

Family Circle Kristen Strong • Juanita Mullen • Bill Dwyer • Janet Smith • Aymie Walshe • Emily Burke • Julie Joy

Transportation Team Bill Mulherin • Michelle Mulherin • Nancy Tracy

Volunteer Leaders Joan Andren • Jane Black • Jeff Bossé •

Children’s Village Niles Parker and Trudi Plummer from

Dunn • Bangor Frameworks • Brewer Redemption Center • Daigle and Houghton • Dysart’s Restaurant • Eaton Peabody • ERA Dawson Bradford • Fessenden Geo-Environmental Services • Greenway Equipment • Griffin and Jordan, Attorneys At Law • Hardwood Products & Puritan Medical Products • Hartt Transportation • Jeff ’s Catering • Kleinschmidt • MacDermott Valuation & Consulting • The Maine Jump • Morgan Stanley Wealth Management • Ntension • Olive Garden • Penobscot Cleaning Services • Quality Cash Register • Realty of Maine | Dave Sleeper • Schooners Steak & Seafood • Seacoast Scaffolding • Snowman Printing and Stamps • Transco Business Technologies • UniFirst • The UPS Store • W.S. Emerson Co. • Woodard and Curran

and Joe Howard • John and Ginger Hwalek • Barbara Ives • Carol and Gordon Kulberg • Virginia 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 Svendsen • Mary Turner • Jeff and Lisa Wahlstrom • Michael and Laura Wittmann • Neil and Barbara Womble • Bob and Ellen Young

BASS - Individual

Eric 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 CIRCLE The 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 • Robicheau Family • Lynne and Jay Shubert • Sirois Family • Sychterz Family • The Walshe Family • Douglas and Lourdes Wellington • Wittmann Family

CONTRIBUTOR

Richard 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

DONOR Acadia 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” Deering • 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

The Maine Discovery Museum, together with Maria Baeza and Natalie Degerstrom. Thanks to Michele Collins for logo design! Folklife Area The Maine Folklife Center at the University of Maine, with the Hudson Museum and the Page Farm and Home Museum Operations Team Woody Higgins • Jack Kearns • Darrell Donahue • Brad Ostrow • Richard Derbyshire • Betty Derbyshire • Al Banfield • Sean Sykes • Dale Farmer Office Heather McCarthy, Executive Director Denise Libby, Site Services Coordinator Carin Sychterz, Development Coordinator Erin Guesman, Event Planning Assistant Bre Clement, Ardel Designs, Graphic Designer 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 Littlefield • 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 Oldenburg • 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

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - MUSIC

The Chankas

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 fight for the end of the oppression. It is said that the Andean priests who were called to preach were offered the energy of the spirit of the Apus (sacred 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 mountain spirits and Pacha Mama revealed to the dancer that he would not lose communication with them, and that the source of energy remained alive. The Chankas Scissors Dancers have a long, successful career, nationally and internationally. They help to spread out the traditional dance of the scissors with a lot of effort and sacrifices. They have demonstrated the ritual and dance of their culture at such places as the United Nations Organization, the American 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 grandfather 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, Luxemburg, Taiwan, Switzerland, and France. He was born in Apurimac, Peru. Luis Aguilar (“Paccaricha,” meaning “Daybreak”) is a professional scissors dancer and a family inheritor. He became Peru’s National Champion and has spread the art of the scissors 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 fine harpist with lots of experience 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.

part of his life; he liked a wide variety, everything 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 find someone to teach him. Pappas maintains that those wishing to learn that music would need to do the same thing — find someone like him in order to properly learn the ways and the meaning behind the music. During his studies, he talked with oldtimers — 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 flee into the mountains on horseback. But to disguise their flight, 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 firs — 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 flavor 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; currently, Elatos has no Web presence, and Pappas says he’s never spent a dollar on advertising. 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.

Peruvian 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.

Elatos Greek

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 ELah-tose, means “firs,” the type of pine trees. For Stavros Pappas, it refers to the fir 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 college in favor of working in his father’s Greek restaurant. But around age 24, in 1986, he decided 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

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - MUSIC

The James King Band Bluegrass Friday: 7:30 p.m., Railroad Stage Saturday: 1:15 p.m., Two Rivers Stage; 2:30 p.m., Penobscot Stage (Merle Johnson at World on a String/Fiddle Traditions); 3 p.m., Two Rivers Stage (James King at Global Voices/Singing Traditions); 4:30 p.m., Penobscot Stage Sunday: 2:45 p.m., Penobscot Stage (James King at Gospel Song Traditions); 4:15 p.m., Two Rivers Stage

James King was born Sept. 9, 1958, in Martinsville, Va., and grew up in Carroll County — one of the most fertile breeding grounds for bluegrass and old-time musicians. 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 influence 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 mid1980s releases, “Stanley Brothers Classics” and “Reunion” (also with George Shuffler), on his Wango label. In 1988, King released his first 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.

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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, followed 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 (mandolin and vocals), Merl Johnson (fiddle and vocals), and John Marquess (upright bass and vocals).

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at HUSSON UNIVERSITY

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 & Kicking Tony Award winning musical by Gerard Alessandrini.

SAT Feb 1, 2014 | 4:00 & 7:30 PM

Paul Reiser – TV/film star and comedian SAT April 12, 2014 | 6:00 & 8:30 PM

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2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - MUSIC

Jorge Arce and Raiz de Plena Puerto 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 “barrio” of Bélgica was filled with the plena music. 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

Juvenato Colombian Vallenato Friday: 9:15 p.m., Dance Pavilion Saturday: 3:30 p.m., Penobscot Stage (Masters of Percussion/Percussion Traditions); 9:30 p.m., Railroad Stage Sunday: 12:15 p.m., Two Rivers Stage (The Big Squeeze/Accordion Traditions); 2:45 p.m., Dance Pavilion

Juvenato is a Chicago-based group that plays an authentic yet innovative version of Colombian vallenato, cumbia, merengue, paseo and son. Their poignant and energetic music attracts a diverse fan base of young and old, who dance enthusiastically to the African based rhythms. The name Juvenato is portmanteau of the Spanish words “juventud” 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

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 choreographer 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 performances at school sites, festivals, parent and community organizations, and universities, thus becoming one of the most important 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 Humano 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 projects 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 Festival with another group, Raiz de Plena.

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 accordion, 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 indigenous culture. Although Juvenato is based in Chicago

and caters to local restaurants, festivals, and private parties, they can also be found playing 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. According to Juvenato’s leader, Javier Caraballo, they’re all friends and mostly are from Cartagena, 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 competition, 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, equipment 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 music 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).

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - MUSIC

Prem Raja Mahat Nepalese Saturday: 2:30 p.m., Penobscot Stage (Manoj Mahat at World on a String/ Fiddle Traditions); 3 p.m., Two Rivers Stage (Prem Raja Mahat at Global Voices/Singing Traditions); 3:30 p.m., Penobscot Stage (Masters of Percussion/Percussion Traditions); 7:45 p.m., Penobscot Stage Sunday: 1:15 p.m., Two Rivers Stage; 4:45 p.m., Penobscot Stage

Prem Raja Mahat is a living Nepali musical legend in more ways than one. Over the past 25 years, folk music in Nepal has gone from being a very local phenomena to a national celebration. Prem Raja Mahat, who grew up listening to and singing the “rural Nepali blues” as a young boy in the hills of west central Nepal, is a large part of the reason for the revival and tremendous appeal of folk music in Nepal. Nepal is just as rich in music as it is in natural beauty. But lying in the shadows of the great Indian culture and entertainment industry, Nepal’s own prodigious musical heritage remained

underappreciated, by both national and international audiences. The Hills of Nepal are settled by very diverse peoples, and the effects of this are enshrined beautifully in the incomparable musical legacy of this region. The instrumentation, scales, rhythms, melodies, and syncopation found in the music of the Nepal Hills reflect a millennia of cross-fertilization between distinct, yet ultimately complementary, musical heritages. And nowhere is this unison more beautifully or powerfully expressed than in the diverse 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 film 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 musical imaginations in Nepal for the better. Mahat was not the first 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 numerous local and regional papers, in a wide range of performance venues, including local bars and national college campuses. Having conquered the musical hearts of Nepalis, Mahat is now on a mission to captivate worldwide audiences with the timeless magic and charm of the music of the mountains and hills of Nepal. And judging by the interest and excitement he has generated for Nepali folk music from his new musical base in Baltimore, MD, Mahat is well on his way achieving his new mission.

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

Samba Mapangala East 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 taking 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 Kampala, 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 wellequipped studios to make their first 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, Mapangala formed Orchestra Virunga (named after a volcanic mountain range in central Africa). 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, Starlight 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 first fateful step onto the deck of the Zaire River ferry. Mapangala and Virunga first toured the United Kingdom in 1991, playing 23 concerts and causing a terrific 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

PHOTO BY BONNIE PERKINSON, COURTESY OF SKIRBALL CULTURAL CENTER

THE AMERICAN FOLK FESTIVAL - MUSIC

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 WOMAD festival: “Pure balm, he makes you wonder again why African music still awaits its Marley moment of global breakthrough.”

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - MUSIC / FOOD

The Legendary Singing Stars Gospel 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 acknowledged superstars, the Legendary Singing Stars remain one of the gospel circuit’s biggest 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 musicians 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 defining element of quartet 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 electrified instruments and incorporated R&B influences into their sanctified music. The Legendary Singing Stars have honed the signature sound and presentation style developed by Tommy Ellison into something more than a performance — 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).

FOOD CHILDREN’S VILLAGE Pure Pops - organic popsicles

DANCE PAVILION CC’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 floats, shaved ice, sundaes Jojo’s Corn - kettle korn, slush puppies Moe’s Original BBQ - pulled pork, smoked turkey, marinated slaw, cucumber-watermelon salad, ribs, banana pudding Siri Grill - grilled chicken teriyaki, vegetable fried rice, vegetable fried noodles, fried plantains, vegetable egg rolls

MAIN FOOD COURT 4M 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 waffles, 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 - quesadillas, 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 - strawberry 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, kourambiethes, 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, broccoli chicken, sweet and sour chicken, pad woon, chicken satay, crab rangoon, cashew chicken Yogi’s Traveling Kitchen - doughboys, funnel cakes Your Maine Course - lobster rolls, fried seafood (haddock, shrimp, clams), bread bowl soup, crabcakes w/cilantro lime sauce, French fries, fried haddock sandwich, hot dogs

RAILROAD STAGE Aucion - 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 of Brewer - root beer floats, whoopie pies Hammerheads Seafood - bourbon chicken, alligator bites, crawfish etouffee, whole lousiana crawfish, shrimp creole, crab

cake etouffee, po-boys (fried crawfish, 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

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - FOLKLIFE

FOLKLIFE FOLK DEMOS Folk and Traditional Arts Programming provided by the Maine Folklife Center, Hudson Museum and Page Farm and Home Museum at the University of Maine

ing it in one hand while the other hand firmly holds the work, making it more versatile than the European drawknife or spoke shave. It was adopted by many Maine woodcarvers, particularly those working in logging camps or other forest-related work.

Bangor: Gateway to the North Woods Bangor and the sister towns of Veazie, Orono, Old Town, and Bradley were the center of the great 19th-century lumber industry, when logs were floated downriver to the hundreds of sawmills on the Penobscot River. Bangor is the gateway to the great North Woods. Numerous traditional arts have arisen out of Maine’s forest heritage including creation of baskets, snowshoes, canoes, wooden furniture, woodcarved animals and figures, woods songs, and storytelling. Reflecting 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.

Woodcarving Rodney “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 fir 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 Knives Duane 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 business 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-

Blacksmithing Gary 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 Canoes Steve 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 building a birch bark canoe was threatened when the large birch trees were cut down by lumbermen. However, Steve Cayard has revived the art in Maine. Steve builds birch bark canoes in the traditional style of the Penobscot, Passamaquoddy, 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 canoe 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 CENTER NARRATIVE STAGE Music and stories from Maine Woodsmen - 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 fiddle 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.

FOLK PRESERVERS

Doughnuts! - Saturday 1 p.m. - 2 p.m. & Sunday Noon - 1 p.m.

Hudson Museum University of Maine, Orono

Patricia Henner of Orono will demonstrate how to make a traditional molasses doughnut—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 relating to farms and farming communities between 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 centuries. 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.

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.

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, fishing 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 permanent 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-Columbian artifacts ranging from Olmec to Aztec (the William P. Palmer III Collection); Native American holdings from Maine, the Southwest, Northwest Coast, Arctic, and Plains; and collections from Africa, Oceania, and Asia. Visit us online at UMaine.edu/hudsonmuseum.

Canoe Making Saturday and Sunday, 3 p.m. - 4 p.m.

Page Farm and Home Museum University of Maine, Orono

Steve Cayard will talk about his journey to find 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.

Maine once led the world in lumber production. With Bangor at its center, Maine was the first great lumber-producing region. Logging crews penetrated deep into the Maine woods in search of pine and spruce and floated 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 showcases 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.

Knives and Carving Saturday and Sunday, 2 p.m. - 3 p.m.

Songs from the Maine Woods Sunday, 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.

See FOLKLIFE

PAGE 23

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - KIDS

KIDS ties in the Children’s Village, plus a resting spot for tired parents.

Bangor Savings Bank Dance Bangor Daily News Railroad LL Bean Penobscot

G F

A - Stage

AFF artists will give kid-themed performances here.

Hamlin’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 fish for lobster.

C - Garden BY DAVID M. FITZPATRICK BANGOR 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 Executive 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 activity 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 community partners working with us to make this happen,” McCarthy said. “We’ve gotten some great support this year from the Maine Community Foundation, and they’re supporting the programming at the stage.” There are 11 stations with different activi-

Kids will have the opportunity to plant an artificial garden. Rows will be laid out, and kids will get turned loose to play at being farmers.

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D - Bubbles

The University of Maine Museum of Art will host this big art project that kids of all ages can work on together. Kids will collaborate on the 6-foot-tall Lobster Monster and create their own sea creatures to join him.

F - UMMA Hat Making The UMMA will also run this booth, where kids will use newsprint to fold and create various hats.

G - MDM Face Painting The Maine Discovery Museum will once again handle face painting, always an incredibly popular feature for kids at the AFF. Tireless volunteers will create kitties, Spider-Man, zombies, and everything else.

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The Children’s Village

Bubbles, bubbles everywhere!

E - UMMA Lobster Monster Art Project

B - Boat Dock

H - EMCC Career Imagination 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 Nook It’s not all about running, playing, and sensory 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 SWAPS The Girl Scouts of America will help

children craft tiny “SWAPS” — Special Whatchamacallits Affectionately Pinned Somewhere. These include tiny bandanas, bedrolls, a map of Maine, and other scouting-themed items.

K - Community Crafts Kids, 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’ Perch In the center of the Children’s Village is the Parents’ Perch, where parents can take a break while watching their kids.

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL - MARKETPLACE

MARKETPLACE FIBER ART JustKim - Colorful bags and accessories. Mooncrazy Fibre Arts - Handcrafted felted and ‘naked’ soaps, felted cat toys, and fiber from Angora rabbits and friendly neighborhood sheep. Northern Solstice Aplaca Farm - Luxurious, soft alpaca clothing and yarn for all seasons of the year. Rose Whitehead Fiber Fabrications - Luxurious 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 MAINE Balfour Farm - Fresh dairy products, cultured dairy products, aged raw milk cheeses, handcrafted fresh and aged cheeses, yogurts, and butter from a certified 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, truffles, cupcakes, allergy-friendly and vegan baked goods. Everything is free of gluten, dairy, eggs, soy, DONATIONS

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 blueberry jams, jellies, vinaigrettes, pie filling, syrup, chutney, and juice. Honey, strawberry jam, BBQ sauce.

HERBAL/PERSONAL CARE Fields of Dreams Soaps – Made-fromscratch olive-oil-based soaps; over 45 varieties, herbal and floral blends. Herb and Vine at Common Folk Farm Mountain Mama of Maine Naturally Bee-Ewe-tiful - Handmade skin care for men, women, and babies.

JEWELRY Affinity 2 - Metal and Japanese rice paper jewelry. And the Bead Goes On - Wire-and-bead jewelry Chaya Studio Jewelry - Sweet, functional, upcycled fine jewelry drawn from Chaya’s love of nature and Japanese minmalism.

FROM PAGE 5

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

Circle of Stones - Beautiful, unique natural stone cabochons wire-wrapped in sterling silver or gold filled wire, creating distinctive pendants and earrings. Green Mountain Enamel Works - Enamel on metal, jewelry, dishes; kiln fired. Molten Mama Lampwork Beads - Handmade 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 AMERICAN Mic Mac Indian Crafts - Native crafts Native Arts Gallery - Native American jewelry. Gaspeite, larimar; necklaces, bracelets, and earrings.

OTHER Dan Johnson’s Designs - Original watercolor 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.

FROM PAGE 5

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 first 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.

FOLKLIFE

Mainely Pinatas - Handmade papier mâché items. Olivia’s Journee - Metalsmith creating handcrafted hair barrettes, ponytail holders, reading glass, and badge holders. The Patio Flame - Mini tabletop fire pits. Remarkable Blackbird - Natural henna body art

POTTERY/CERAMICS Down to Earth Pottery – Wheel-thrown and handbuilt utilitarian fine pottery. S Designs - Beautiful hand-painted ceramic cut flower vases and matching platters and dip bowls.

WOODWORKING Acorn Wood Products - Fine wooden giftware, including cutting boards, cribbage 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 flora and fauna.

FROM PAGE 21

The Museum venerates Maine heritage by cultivating awareness and appreciation 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 educational 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 Center University 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, fishing and lobstering, agriculture, folk arts and artists, the pulp and paper industry, 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.

2013 AMERICAN FOLK FESTIVAL ON THE BANGOR WATERFRONT, AUGUST 23-24-25, 2013

THE AMERICAN FOLK FESTIVAL

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