Keepers of Tradition

Mehndi: From tradition to fashion

Heritage8 — Tue, 02 Mar 2010 19:55:17 +0000

Freshly applied henna by Manisha Trivedi.

Four hours later . . .

What happens when an ancient traditional practice becomes a mainstream fashion statement? Well, perhaps not mainstream. But I have noticed a difference since the last time I had henna applied to my hand by a traditional mehndi artist, some 15 years ago. The practice of applying dye from the henna plant to beautify the skin is well known through throughout India, where it is most commonly associated with the adornment of a bride, a couple of days before her wedding. But less so here in New England. Or so I thought, until I noticed how many people outside of the Indian community saw the applied design and knew exactly what it was. It was one thing for the wait staff at a local Indian restaurant to say, “I love your mehndi.” But almost everywhere I went, from the pharmacy to the grocery store, the bus stop to the library, people were familiar with the practice of mehndi. We have celebrities such as Madonna to thank for popularizing this art form.

Manisha Trivedi is a skillful artist who first learned mehndi as a youngster in Mumbai. She and her husband relocated to Massachusetts a decade ago. She has many bridal customers. Her clients are both from within the Indian community as well as general public who have discovered the art through popular culture. Traditionally, mehndi has been done as good luck for a bride. A typical session may take four to five hours to apply. Ever since Hollywood celebrities have taken to having mehndi, it is now not uncommon to find henna art available in the local mall or beauty salon. But the cultural traditions surrounding mehndi are probably not part of the service. Manisha tells this story about the use of mehndi in very traditional arranged marriages, when the bride and groom typically have not spent time together before the wedding. Once married, and alone for the first time together, they play a game in which the groom searches for the letters of his name, which have been hidden within the mehndi design. Searching for his name, while handling her arms, is a way of breaking the ice. If he cannot find his name, he has to give his bride a nice gift.

Traditional Arts Apprenticeships Available

Heritage8 — Tue, 23 Feb 2010 18:29:16 +0000

Interested in applying for a Traditional Arts Apprenticeship? Applications are now available. Recent apprenticeships funded by MCC’s Folk Arts and Heritage Program include wooden boatbuilding, North Indian Indian tabla, Scottish bagpiping, Cambodian dance, Turkish ebru, bladesmithing, and Irish dance, to name a few. Check them out.

Local Brick Making and Pottery Industries, circa 1800

Heritage8 — Thu, 18 Feb 2010 00:48:58 +0000

Brick making and utilitarian pottery was once a thriving industry in Massachusetts. Come hear Rich Hamelin of Pied Potter Hamelin Redware talk about the people, language, history, materials, and development of brick and pottery making in America from the early Colonial days through the 1930s. Special focus on a who’s who in Massachusetts and Medford (such as the Tufts family) clay working industries. The Program will take place February 24 at 7:30 p.m. at the Medford Historical Society headquarters located at 10 Governors Ave. in Medford.

The dogged pursuit of folk tunes and songs

Heritage8 — Tue, 09 Feb 2010 18:06:52 +0000

Lomax, the Hound of Music, a relatively new show on PBS, stars a puppet dog who rides a train in search of local music and musicians. Named after legendary folklorist and musicicologist Alan Lomax, this four-legged hound tracks down folksongs on the Melody Hound Express, traveling to many regions of the United States. As befitting a dog, Lomax has the advantage of being able to hear tunes from very far away.

Perhaps this show will introduce a whole new generation of children to participatory folk music. On the other hand, unmediated folk music is still alive and well around the country, as this video clip featuring the real Alan Lomax’s sister, Bess Lomax Hawes commenting on the contuinuity of children’s hand-clapping games.

Traditional Artists win MCC Fellowships

Heritage8 — Thu, 28 Jan 2010 18:11:00 +0000

At first glance, this year’s two fellowships in the traditional arts seem a study in contrasts. One represents an age-old Yankee craft; the other, an ancient West African musical tradition. Yet wooden boat builder Harold A. Burnham and Malian balaphon player Balla Kouyaté share something in common. Each individual is carrying on a traditional art form passed on through his own family lineage. Harold A. Burnham’s boat building ancestors arrived in Essex, Massachusetts nearly 400 years ago. Balla Kouyaté, who came to the United States just a decade ago, was born into a musical family whose artistic lineage dates back 800 years. And their traditions are stronger for it.

In addition to performing in concert halls and clubs, Balla is ever present playing at weddings, baptisms, and other domestic ceremonies within the West African immigrant communities of Boston, New York City, and beyond. As for Harold Burnham, he has essentially revived a once dormant shipbuilding technique, and in doing so, has reconnected a town to its own shipbuilding heritage. More than a revivalist serving a small market of weathy buyers who romanticize the past, he is an innovative craftsman working fully within the local wooden boatbuilding tradition.

The MCC has also granted finalist awards in the traditional arts to the following individuals:

Sunanda Sahay specializes in a style of folk painting originating in the Madhubani region of North India.

Sophia Bilides is a master performer of Smyneika, a heartfelt and highly ornamented singing style of Greek Asia Minor heritage.

Ivelisse Pabon de Landron makes traditional Puerto Rican black dolls as a way of honoring her ancestors — Puerto Rican women of African descent and their contribution to cultural history.

Sridevi Ajai Thirumalai is an acclaimed Bharathanatyam dancer and founder of the Natyamani School of Dance.

The next deadline for Artist Fellowships in the Traditional Arts will be Fall 2011.

A decade later . . . remembering the workers of the Big Dig

Heritage8 — Mon, 11 Jan 2010 21:05:15 +0000

It seems like just yesterday that our Boston streets were continually disrupted by the Big Dig. Back in 2000, construction on roadways, tunnels, and bridges was in full swing. Tunnelworkers, crane operators, pile drivers, ironworkers, carpenters, and electricians labored to replace an ugly and dangerous elevated highway and replace it with a 10-lane underground expressway. Now that the tunnels are tiled and the traffic is flowing, we thought it was a good idea to remember these laborers’ contribution.

Listen here as we venture down the “Glory Hole “and speak with Sand Hogs Steve Shepardson and Dominic Mazzeo. (This 10-minute radio segment originally aired on WUMB in 2001.)

Though their numbers were small, women had a consistent presence on the Big Dig. Sally Addison joined the Piledrivers Union in 1993 and worked on the Big Dig until it was completed in 2006. When asked how her grandchildren would be able to appreciate her role in the Big Dig, Sally said, “You can see what I’ve done.” We can see what she, and thousands of other Big Dig tradespeople, have done. Let’s not take their contributions for granted.

All photos by Maggie Holtzberg

Transmitting knowledge one apprentice at a time

Heritage8 — Sat, 02 Jan 2010 03:27:09 +0000

Mastering the intricacies of an industrial craft or perfecting the nuances of an ancient music tradition is best taught one-on-one. For those lucky enough to gain the attention of a master, subtle skills are acquired and cultural knowledge is preserved. This week’s Boston Globe shines a light on several master/apprentice pairs who are currently being funded by the Massachusetts Cultural Council’s Traditional Arts Apprenticeship Program.

Ringing in the New Year

Heritage8 — Wed, 23 Dec 2009 20:39:01 +0000

Change ringing — it’s a music tradition that mathematicians feel an unusual pull toward. Back in 2001, WBUR’s Robin Young talked with Maggie about Boston’s English change ringing for “Here and Now.”

Bagels made the old-fashioned way

Heritage8 — Mon, 07 Dec 2009 15:37:00 +0000

For the bagel connoisseur, there is nothing like the crunchy outside and the dense, slightly moist, texture of a freshly baked bagel. But they are becoming harder and harder to find. What passes for a bagel in most food establishments is basically a roll with a hole in the middle. Big difference. To find out why, I ventured behind the counter of my local bagel shop.

Rosenfeld’s Bagels first opened in 1972. At the time, there were many more small, individually owned bakeries in the Boston area. “It was before all the chains,” recalls owner/bagel baker Mike Lombardo, who started working at Rosenfeld’s twenty-one years ago. He has been there ever since.

Rosenfeld’s is small. There is hardly any room for the customer to stand in line to buy bagels or pick up a quart of cream cheese. Unlike chain eateries, there is no room to sit and eat. Newton has a large Jewish population and Rosenfeld’s does a brisk business. “Friday is a more religious crowd,” Mike tells me. “The Kosher people come here all the time but because of the Sabbath you have people buying challahs. It’s a very community oriented place.”

Though he himself is not Jewish, Mike and his wife Jennifer run a kosher bagel shop, with oversight by an orthodox rabbi. The bagels do not come in contact with any meat or dairy products. On Fridays, a blue tarp is draped over areas separating the bagel making area from any utensils, mixing bowls involved in making cream cheese.

A place must really be set up to do bagels, which are a specialty item. “I learned how do make bagels from somebody who learned how to do it from people who learned how to do it in Eastern Europe in the 1920s and 1930s.” Here at Rosenfeld’s, the bagels are made the way they traditionally have been made for centuries: Bagel dough is boiled before being baked. No shortening is used (traditionally, bagels are made without any shortening). The only ingredients are high-gluten flour, water, salt, malt syrup, and yeast. Once the bagels are formed, they must “rest” for 24 hours. This allows them to rise slowly in a refrigerated environment.

A critical step is boiling the bagels before baking them.

The last step is baking the bagels in the oven. This being a kosher place, the oven has been lit by an orthodox rabbi.

“The beauty of bagels as a bakery item is once they are baked, they’re done.” No laborious icing or decoration need be done.

Mike makes the distinction that athough the entire process of producing bagels is simple, it is not easy to do. “There are ample opportunities to screw things up at every step.”

So, next time you order a bagel at Dunkin Donuts or grab a bag of frozen bagels at the grocery store, keep in mind that they are mass-produced offsite, shortening has been added to the dough because it is so heavily machined, and they haven’t taken that obligatory dunk in boiling water before being baked. Ignorance is bliss. Once you’ve tasted a real bagel, there’s no going back.

All photos by Maggie Holtzberg. Rosenfeld’s Bagels is located at 1280 Centre Street, Newton Centre, MA. 617-527-8080

A Folklorist’s Folklorist: Bess L. Hawes (1921-2009)

Heritage8 — Tue, 01 Dec 2009 21:15:50 +0000

Addressing the American Folklore Society at the 1988 Centennial Meetings, Bess Lomax Hawes told a story about doing fieldwork, the sine qua non of the folklore profession. When she was teaching years ago, a student of hers had done an excellent term paper based on some folk curing beliefs which he had collected from an old lady in his neighborhood. By semester’s end he complained, “You taught me all about how to collect, Mrs. Hawes. What you didn’t teach me was how to stop collecting. That old lady lives on my block and every night when I come home, she runs out on the porch and says, ‘Hey boy, I just remembered another one!’ I keep trying to explain to her that my project is all finished, but she just won’t stop, and I’m starting to go up the alley when I go home just so I won’t run into her.”

“My dear young man,” Bess responded, “welcome to the grown-up world. It’s a place where real actions have real results, where real people have real feelings as well as real information. And it’s a place where old ladies actually think that people who say they are interested in what they know really are interested, and issues like course requirements and semesters and quarters are really irrelevant. You’ve gotten your A. Now you start to pay back.” (excerpt taken from Public Folkore, edited by Robert Baron and Nicholas R. Spitzer, 1992, page 68.)

Bess Lomax Hawes, a folklorist of national renown, died last Friday. Today’s Boston Globe pays tribute to her and the little piece of local folklore she left behind. During the 1940s, while raising her family in Cambridge, Bess sang with local folk groups and tried her hand at songwriting. Today’s Boston Globe story focuses on “Charlie and the MTA,” a song Bess co-wrote with her friend Jacqueline Steiner. The political ditty poked fun at the Massachusetts Transit Authority’s complicated fare system and went on to become a hit.

In addition to a career as a performer and teacher, Bess Lomax Hawes was a remarkably effective arts administrator. Rocco Landesman, current Chairman of the National Endowment for the Arts, reminds us that, during her 16-year tenure as Director of the NEA’s Folk & Traditional Arts Program, Hawes inspired her colleagues to re-imagine how a federal agency might serve often overlooked artists and communities across the nation. Hawes was largely responsible for creating this country’s version of the Japanese Living National Treasures program. The first National Heritage Fellowships were awarded in 1982 and they continue to be the country’s highest honor awarded to individual artists working in the traditional arts.

Finding, documenting, presenting, and honoring traditional artists is work that is carried out at the grassroots level. Bess was the driving force behind establishing the network of public folklorists we have in the United States today. My colleague Jeff Titon recalls the United States map Bess kept in her office: “Whenever a folklorist got a job in one of those states, a colored push pin went into the location. She used to point to the map with great pride as the number of pins, and states, and public folklorists, increased. It was as if this gentle lady was mapping an occupying army moving into positions around the country.”

Indeed it was Bess who took Jeff aside in the early 1980s and began asking him why there wasn’t a position for a state folklorist in Massachusetts. Jeff writes, “It wasn’t long before Jane Beck [founder of the Vermont Folklife Center] and I were lobbying at the state arts council, telling them that the NEA would fund a position for a state folk arts coordinator for three years, and that when the arts council saw how valuable it would be to have one, they would surely pick up the funding from then on. . . That is how the position that Maggie Holtzberg now holds with the Massachusetts Cultural Council originated. The pattern had been established before Massachusetts, and it was repeated in state after state.”

Many public folklorists, like myself, who were lucky enough to enter the field in the 1980s, were mentored by Bess. We looked to her for advice and wisdom. This is why, during the past few days, my email box has been overflowing with “Bess stories” – moving memories of this pioneering, principled, formidable, feisty, fun-spirited woman. We are often reminded of her in our daily work and will miss her presence in the world profoundly.