Back in March, I had attended “Crowning Glories: Hat Show and Contest” in Roxbury. I was hoping to see some fancy hats, the kind traditionally worn to church by African American women. The event was hosted by the Friends of Dudley Street  Branch Library and it was the first hat show they had organized. It appeared to be modeled on traditional African American hat shows and contests. Nearly all of the 30 or so women who attended came wearing a hat. Some were crocheted, others were adorned with brooches or feathers, but all in all, they were rather modest. As for seeing more elaborate hats, several folks suggested observing what women wear on Easter Sunday. “Try New Hope Baptist Church in Boston’s South End.”  Folklorist friend Kate Kruckemeyer, who grew up in the South End, also suggested United Methodist on Columbus Avenue. “It’s the home church for many. There are so many cars that the police let people double-park in the middle of Columbus Avenue.”

The website of Union United Methodist indicated that Easter Sunday services would let out at 12:30.  So I made my way there, arriving at 12:30 p.m. on Easter Sunday. Everyone appeared to still be inside. 

There was a temporary wooden crucifix draped with a long narrow white cloth, whipping around on this windy day. The faint sound of organ music indicated that the service had not ended. A young girl entered the building so I decided to follow her inside. People were shaking each other’s hands, giving hugs, carrying Easter lilies, and generally making their way out of the sanctuary. I looked around to see a mostly black congregation, but there were some white folks too. Amidst the crowd, I spotted only one woman wearing a fancy hat. I slowly wound through the crowd and left to stand on the sidewalk outside.

About ten minutes later, the doors opened and parishioners began to trickle out. First to leave was a woman and a young boy, talking about how much they had enjoyed the service.

A few others emerged, and then the woman with the large white hat exited. I admired her outfit and asked her if I could take her picture. She smiled and agreed. Though she’d bought her hat in Baltimore, she did recall there being several hat shops in Roxbury, near Dudley station.

The lack of headwear at Union United Methodist was a bit of a disappointment. I thought I’d try to find New Hope Baptist Chruch, even though I didn’t know their Easter Sunday schedule. Got a little lost driving around the South End. Finally, as I circled around back toward Tremont, I saw a woman on her way to a large granite stone chuch, which turned out to be New Hope Baptist.

Several women were exiting the church and they were wearing large, fanciful hats.  So I risked double-parking on a side street and made my way to the door. A man was about to enter and he motioned for me to go first. In the foyer were an older seated couple and an older woman on her way out. Both women were wearing hats, so I began a conversation with them, letting them know I was looking to find anyone who might make hats locally. The gentleman knew of someone names Sykes. He offered to bring me inside to try to find her. More women came out of the sanctuary wearing hats and I asked them where they got them. One answered, “Oh honey, I got this online.”  As she was leaving she offered the name of several websites that sold hats. The older gentleman spoke up, with a touch of impatience in his voice saying, “No, she’s looking for a local maker.”

I was delighted to see he had taken interest in my quest. We walked into the hallway that separates the sanctuary from the function hall. The service, led by Rev. Willie Dubose, Jr., was still ongoing – I think I came in during the offertory prayer/doxology.  The band consisted of a guitar, bass, keyboard and drums and they were rocking. 

The service ended and people slowly began to make their way out. White was the predominant dress and hat color. No one seemed to mind my presence. Many seemed eager to pose for photographs. 

I left after most others had gone outside. It was chilly for April and people didn’t linger.  Several older women were boarding a van. Others walked. I took a few more photos.

Just as I was starting to leave, I noticed a lovely outfit on a woman who was about to get into her car. After commenting on her outfit, I asked to take her photograph.

I was fully expecting  her to tell me she had bought her hat online, but asked anyway, “Do you happen to know who made your hat?” “Yes,” she answered. “I did.” Turns out, she is Ms. Sykes, the woman who several people had mentioned. I told her I’d been looking to find a local hat maker and asked for her email. 

A few days later I sent her an email telling her about my interest in African American hats, my wish to learn more, and the “Head to Toe” theme of this summer’s folk craft area of the Lowell Folk  Festival.  I attached the photo I’d taken of her, which showed off her lovely pink hat and matching blouse.

Dear Ethel: It was a pleasure meeting you (ever so briefly) on Easter Sunday.  I had admired your hat and asked you about it. Attached is the photo I took.  I’d come by New Hope Baptist Church at the suggestion of several women who had organized the hat show at the Dudley Street Branch Library on March 17th. I’ve been wanting to learn more about the African American tradition of wearing fancy hats to church — and was delighted to see so many beautiful hats this past Easter Sunday at New Hope Baptist Church. Many of the women I spoke to told me they had bought their hats online or in a shop. So I am thrilled to meet you and hear you say you had made your hat yourself!

I curate the Folk Craft area of the Lowell Folk Festival (www.LowellFolkFestival.org). This year our theme is “Head to Toe” and I am in the process of identifying traditional artists who craft a variety of head gear (hats, Caribbean carnival headdresses, crowns, head wraps, etc.) and foot wear (handmade shoes of all kinds).

I’d like to be able to learn more about your hatmaking and perhaps see if you might consider participating as a craft demonstrator at the festival. If you think you might be interested, let me know how and when I can reach you be telephone.

Regards,

Maggie

Ethel wrote back right away.

Dear Maggie:

You are very good at what you do. I will be looking forward to talking with you.

Thanks again,

Ethel

In all my years of doing folklore field research, I’ve never had anyone tell me that.

I phoned Ethel at work on 4/12/12.  She’d be happy to meet with me in her home studio, as long as I can come by on a weekend. Ethel makes hats for herself, as well as for others, and still has a few hats on hand which she made for a hat show for the Shriners. She mentioned that she would be traveling to Tennessee for a school reunion, after that would be fine. 

 To be continued . . .

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We first came to know Jesse Marsolais as an apprentice to letterpress printer John Kristensen. An old soul, Jesse has embraced the black art of printmaking and brings new life to the craft. So we were not surprised to learn that Jesse has the rare opportunity to apprentice under third generation stone carver, calligrapher, and designer  Nick Benson  at the John Stevens Shop in Newport, Rhode Island. Lucky for us, Jesse is  blogging about his experience, “Six Weeks in the John Stevens Shop.” We suggest you give it a read.

Jesse’s six-week apprenticeship is funded by the Southern New England Folk & Traditional Arts Apprenticeship Program.  This unique tri-state apprenticeship program allows apprentices to work with master artists across state lines in Massachusetts, Connecticut, and Rhode Island. The next deadline is October 4, 2012.

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Many of Massachusetts’ de-industrialized mill and manufacturing towns are known as “gateway cities.”  Home to close-knit communities of immigrants who initially came seeking work in the state’s once thriving mill and manufacturing sectors, gateway cities have been hit hard by job loss and poverty. Average household incomes remain below the state average as do educational attainment rates.

Gateway cities are often the starting place for new immigrants, who are drawn by the affordable housing and competitive business opportunities. In cities like Lawrence, Lowell, Springfield, and Brockton, and Fall River, it is not uncommon for aging Irish, French-Canadian, Greek, and Polish populations to live alongside a new generation of newcomers, emigrating from places like Nigeria, the Dominican Republic, Puerto Rico, Cambodia, and Vietnam.

When it comes to the practice of faith, this globalization means that once mono-cultural parishes are now multi-cultural, with multi-lingual masses. The 2009 documentary film Scenes from a Parish, is a window into this world.

The  Lowell Folklife Series invites you to a screening of this powerful film, with special guest  James Rutenbeck, the film’s director. Shot over four years in Lawrence, Massachusetts, the film sensitively captures the ethnic working class tensions of a multi-cultural Catholic parish in a hard-pressed former mill town.

Come see this award-winning documentary and join the discussion about how communities adjust as neighborhoods change. Free and open to the public.

Date: April 11, 2012 at 7:30

Place: Visitor Center Theater, Lowell National Historical Park, 246 Market Street, Lowell, MA

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High on my list for awhile has been finding the Hat Ladies of Fiesta. The first I’d heard of them was in the summer of 2009, when I was lucky to have two college interns who spent the summer documenting ethnic festivals around Massachusetts. (Ellen Arnstein and Signe Porteshawver’s fieldwork is sprinkled throughout our Keepers of Tradition website).  A highlight for them was attending Gloucesters’ St. Peter’s Fiesta in late June, which honors the patron saint of fishermen. In amongst their photos were shots of two women wearing fantastic hats.

After a little research I discovered their identity: Robyn and Amy Clayton.  As it turns out, the Clayton sisters are known around Gloucester as “The Crazy Hat Ladies of Fiesta.” Their outlandish hats have become an integral part of St. Peter’s Fiesta.  I wrote them a letter back in December and soon after had an invitation to come meet with them in Gloucester to learn all about their hats.

What started as a backyard party 18 years ago has grown into a highly anticipated display of creativity.  It’s just around this time of year that Robyn and Amy begin working on their Fiesta hats. Made from scratch, each hat replicates in miniature key elements of Fiesta:  local churches, temporary altars, the St. Peter statue, the greasy pole competition, Gloucester’s fishing fleet, concession stands, and carnival rides.

A couple of weeks ago, I found myself sitting at the kitchen table in Robyn Clayton’s home. Spread out on nearly every available surface were hats from previous years and supplies for creating this year’s hats including large light slabs of foam core, pipe cleaners, glue, popsicle sticks, paint, Sculpey clay, Legos, and HO-scale model railroad figures.

Robyn modeled last year’s hat for me. “My friends joke that when I put this hat on, I’m going to need some kind of out riggers because they think it’s so heavy, but it really isn’t heavy. It’s just a little awkward if it’s really windy out.” Not to be missed is Robyn’s replica of herself on her hat, wearing her signature hat, standing in front of the working Ferris wheel.

Though they create new hats with a new theme each year, some things stay the same.  Amy’s hats always include the greasy pole and Robyn’s always feature the altar. All the references are local. Robyn points out a perennial figure, “This guy here is always on my hat. He’s Ambie, the sausage man. He’s also my UPS man. It looks just like him.  Made him out of some Legos, some Sculpey clay, and the left over umbrella from a Mai-Ti.”

Robyn describes the early days of Fiesta, “Way back when, when there was a huge fishing fleet, this was a huge celebration. The carnival wasn’t involved.  This was about people dressing their houses. They would put their old quilts out the window.  Fiesta has been going on for a long time. Same thing for the greasy pole competition. What they did was, they just paraded St. Peter up and down. It was about the feast.  It was about praying for people’s families and the safety of their men. . . St. Peter has been put around different areas. He used to sit in the old grocery store windows. As the fishermen would go out to their boats, as they went by St. Peter, they would pray to him. Just keep us safe. Bring us back home.”

The original life-size statue of St. Peter, which was brought over from Italy in 1927, remains the centerpiece of what has become a five-day celebration. Recently, Robyn was inspired to make her own statue of St. Peter. During the year, the statue of St. Peter is kept at the Saint Peter’s Club on Rogers Street; Robyn’s Saint Peter hibernates in her cellar.

I wonder aloud what the older, Italian generation of Fiesta think of this relatively new addition to their festival. “The old Italian women absolutely love these hats,” Robyn says. “The Fiesta committee [which is made up of mostly men], they recognize us as the crazy fiesta hat girls. Here we come. By no means are we mocking the Fiesta; we love this tradition.”

The Clayton sisters are elated to be coming to the Lowell Folk Festival this July, where  they will join a variety of other hat and shoe makers in the folk craft area. They plan on bringing plenty of hats, some handouts,  pictures of Fiesta over the years, and a huge cut-out of St. Peter for photo-taking opportunities. Their enthusiasm for hat making will be matched by their pride in representing Gloucester and St. Peter’s Fiesta. We’re honored to have them.

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Sophia Bilides. Photo by Valerie Catrow, 2009.

We have been trying to get this superb singer to the Lowell Folk Festival for many years, but she has always been away in Greece during the festival. Not only will Sophia Bilides be appearing at this summer’s folk festival, she and her trio will be performing for the Lowell Folklife Series, in an 8:00 p.m.  concert this Saturday, March 24th.

Sophia Bilides is considered the “foremost practitioner of the Greek singing style known as Smyrneika” (Boston Globe), the cabaret song tradition of the Greek Asia Minor refugees of the 1930s and ‘40s. She accompanies herself on santouri (the Greek hammered dulcimer) and zilia (finger cymbals), backed by master musicians Mal Barsamian on outi (oud) and kythara (guitar), and Mike Gregian on doumbeleki (hand drum). Although many in Lowell’s Greek community won’t need it, Bilides  provides translations and song contexts to help bring audiences into the intimate atmosphere of an Anatolian cafe-aman. Song lyrics, which are set to richly intricate melodies, Middle Eastern modes, and sensual rhythms, voice the universal themes of nostalgia for lost homelands, endurance, love in all its guises, and the celebration of life.

Consider joining us as we celebrate Women’s History Month and Greek Independence Day by attending this free concert on March 24th in the Visitor Center of Lowell National Historical Park. No reservations required.

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Jorge Arce performs twice today at Lowell National Historical Park.  At 3:00 pm, Arce gives an Afro Caribbean workshop as part of the park’s Kids’ Week activities.  Tis evening at 7:00 p.m., he performs for the Lowell Folklife Series in the Visitor Center theatre.

Expect an interactive experience featuring music, dance, lore, and stories steeped in the African ancestry of Puerto Rican culture. Try your hand with a Puerto Rican percussion instrument. Learn how to move to the beats of bomba and plena. Be surprised by two carnival masqueraders wearing typcial vejigante masks of the season.

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Joe Derrane is a living legend in the Irish traditional music community. Born in  Boston to Irish immigrant parents, Derrane developed an early affinity for the button accordion and Irish traditional music. At age 14, he was playing regularly in the ballroom dance scene that was booming in the Dudley Street section of Roxbury. At age 17, Derrane recorded the first in a series of 78-rpm recordings, which have since become legendary in the Irish music world. Decades later, Derrane’s musicianship is marked by his unique ornamentation, vigor, and flawless execution.  In addition to his virtuosity on the button box, Derrane is known for his tune compositions, many of which have entered the repertoire of Irish musicians on both sides of the Atlantic.

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YARY LIVAN, Cambodian ceramicist

An MCC Artist Fellowship also went to Yary Livan (Lowell, MA), master of traditional Cambodian ceramics and kiln building. His work draws on the rich heritage of Cambodian culture, including influences from ancient imperial Khmer kiln sites, such as Angkor Wat, and incorporates Khmer imagery, relief carving, and design. Livan recently served as master artist in MCC’s Traditional Arts Apprenticeship Program, passing on what he knows of kbach, the basic element of design in Khmer art, to apprentice Samnang Khoeun. The two are building a smokeless wood-burning kiln on the grounds of Lowell National Historical Park.

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In addition to these two Artist Fellowships in the Traditional Arts, four Finalist awards were announced.

VERÓNICA ROBLES, Mariachi musician

Verónica Robles has Mariachi music in her blood. “I first learned the traditoinal music of my home country, Mexicao, from my grandmother, whom I would spend hours with in the kitchen as she prepared dishes such as chicharron prensado, con calabazas, elote y nopales.  .  . ” It was in Mexico City’s Plaza Garibaldi, the cradle of Mariachi music, where Verónica was introduced to the Mariachi group led by El Chiquis. She began working with his group at age 15, learning hundreds of songs and musical styles. Robles has made Massachusetts home since 2000, where she specializes in performing for young audiences through school assembles, residencies and dance workshops. Her television show, Orale con Verónica, has been on the air since 2002.

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KHENPO CHOPEL, Tibetan torma maker

Khenpo Chopel was born in Tibet and became a monk at the age of 14. Holding the title of “khenpo” (a spiritual degree given after three years of intensive study in Tibetan Buddhism), Chopel is a master torma  maker and tantric practitioner.  Tormas (pictured above) are a traditional art form essential for everyday practice in Tibetan Buddhist monasteries and households. These ritual forms – in conical shapes of bright colors — are made both as an offering to a deity and as a representation of a deity.  Since 2009, Chopel has been living at the Drikung Meditation Center in Arlington, Massachusetts, where he serves as a master torma-maker and tantric practitioner.

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JORGE ARCE, Afro Caribbean percussionist and educator

Jorge Arce grew up in the Bélgica, a working class neighborhood of Ponce, Puerto Rico. Ponce is known as the wellspring of bomba, plena, and danza, traditional Afro Caribbean styles of music and dance. Born into a family of dancers and singers, Arce grew up with Plena folk groups and musicians.  Arce credits Don Rafael Cepda and family with expanding his knowledge of bomba. In addition to his life-long work in Bomba and Plena, Arce is an experienced actor, dancer, and cultural historian. He is considered an expert on the history of Puerto Rican’s African people and their descendants. Touring the United States since 1975 as a musician and educator, Arce continues to give workshops, lectures, residencies and performances at schools, festivals, and community organizations.

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DANNY MEKONNEN, Ethiopian American musician

By the time he was an accomplished saxophonist, Danny Mekonnen sought out master Ethiopian musicians to learn to play the traditional instruments of his Ethiopian heritage. In 2006, Mekonnen founded Debo Band, an Ethiopian music collective melding traditional East African polyrhythms, American soul and funk, and the layered instrumentation of Eastern European brass bands, to form a sound that is a jubilant reinvention of music that once rocked Ethiopia’s capital, Addis Ababa. He also performs for events within the Ethiopian community, such as weddings and adoption community gatherings for American parents of Ethiopian children.

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Are you interested in applying for a Traditional Arts Apprenticeship from the Massachusetts Cultural Council? Applications are now available.

Recent apprenticeships funded by MCC’s Folk Arts and Heritage Program include Puerto Rican musical instrument making, Irish fiddling, Cambodian kbach (basic element of design), Irish stepdancing, bladesmithing, and Puerto Rican dollmaking, to name a few. Check them out.

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Home cooks around the world rely on one essential ingredient to bring out food’s flavor: fat. Late January, when it’s cold and dark, seems the perfect season to sing the praises of fat. In our next Lowell Folklife Series program, we explore four forms of fat with deep cultural associations: schmaltz, the kosher poultry fat used in Jewish cooking; salt pork, the French Canadian ingredient so critical to fresh-made pork scrap and baked beans; olive oil, the healthy staple of Greek and Italian cuisine, and ghee, the clarified butter used in South Asian cooking.

 The free public event takes place Friday January 20th at 7:00 p.m.  in the Visitor Center of Lowell National Historical Park. Joining us for a lively discussion will be Sam and Gail Poulten, both of whom grew up in Lowell’s Jewish neighborhood where schmaltz was a staple, Lucia DiDuca of Framingham, a founding member of the Ciociaro Social Club, Kurt Levasseur of Lowell’s own Cote’s Market, and Yogesh Kumar, owner of Sai Baba Market in Chelmsford.

Come hear these culture bearers share their take on the flavorful fats in Jewish, Franco-American, Italian, and Indian cooking. David Blackburn, Chief of Cultural Resources at Lowell National Historical Park, will moderate the panel discussion, which is sure to touch on foodways traditions, family recipes, stories, and religious associations surrounding these fundamental culinary fats.

 P.S. — Jane Dornbusch, correspondent to The Boston Globe attended the event and wrote a wonderful review. To see the article, click here.

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It’s nice to see a mentoring situation continue after the formal Traditional Arts Apprenticeship has ended. Irish fiddler Laurel Martin was awarded an apprenticeship in September 2010 to work with home-schooled teen, Natayla Kay Trudeau. Beyond the learning of new tunes, special emphasis was put on gaining an understanding of the older regional fiddle styles associated with County Clare — a style Martin herself was taught by acclaimed Clare-born fiddler Seamus Connolly, in an apprenticeship more than 20 years ago. Trudeau also learned about fiddlers who were also known for their compositions, including tunesmiths Junior Crehan, Paddy O’Brien, Sean Ryan, and Ed Reavey.

By June 2011, Trudeau’s progress was audible; not only had she gained respect for the authenticity of regional fiddle styles, but her technique, musicality, and presence on stage were surprising for one so young. The two took part in a Lowell Folklife Series concert back in June at the Merrimack Repertory Theatre. Their music enlivened the stepdancing of Kieran Jordan and Kevin Doyle, along with their respective apprentices, Emerald Rae and Nicole Leblanc.

And though the formal MCC-funded apprenticeship with Laurel ended in June, Trudeau’s education as a budding musician has just begun. She will perform on December 12 at the Westford Museum  and will join Martin on stage at Club Passim (also on December 12) and the Java Room Coffee House in Chelmsford (February 11). Soon after, Martin and Trudeau are headed to Ireland for a week of seisuns, performances, and ceilidhs — a veritable immersion in the world of Irish fiddling. Lucky girl.

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