Untitled - Mariposa Folk Festival

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MARIPOSA TWENTY-FIVE 

Rob Sinclair, Executive Director 

Drago Maleiner, President 

through many hardships because for other organizations, and a facility 

people have believed in it. Believed in for new creative ideas to be explored. 

the important role an organization A centre would provide a physical 

like Mariposa is here to play: to identity, and a base from which to 

promote folk arts on a level that an build and broaden public awareness 

individual artist, a club, or a song of the vitality of the folk community. 

circle cannot; to operate on a level 

that provides visibility, credibility, Another dream in the process of 

and creative opportunity; to have a realization is the development of a 

community support base from which support base in Barrie. The enthusi- 

it can draw sustenance and thrive. astic involvement this year of the 

"Performance 

House" people and 

No one person is responsible for other local volunteers, coupled with 

Mariposa's longevity. Certainly the logistical problems of organizing 

Estelle Klein provided much of the a festival 100 km. from our office. 

leadership over many years, and her seems to necessitate the establish- 

contribution was immense. But ment of a more formalized sister 

many have thrown their names into organization in Barrie. Why not? 

the ring at various times, names such 

as Ruth Jones, Ed Cowan, Randy Last year's birth of the Ontario 

Ferris, Joe Lewis, Tom Bishop, Alliance of Folk Festivals has opened 

Marna Snitman, Chick Roberts, new lines of communication with 

Sheila McMurrich, Marilyn Koop, other folk organizations as well as 

Jamie Bell, Buzz Chertkoff, Lois with the Ontario Arts Council and 

Lilienstein, Don Malpass ... the list other government agencies. With 

goes on, into the thousands. This is properly directed energies, these 

what twenty-five years means to us. links promise to help us all play a 

No small achievement. No small more successful role in the growth of 

army. 

Canada's 

This is the power of people 

organizing to make something 

happen that is meaningful to their 

lives and to the world. Their potential 

has been realized time and again 

over the years. 

And more potential remains 

untailped ... dreams to be realized. 

One is a Mariposa Centre, a building 

not only for Mariposa activities but 

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MARIPOSA TWENTY-FIVE. 

What's in a number? 

cultural consciousness". 

The twenty-fifth birthday marks a 

watershed for Mariposa. Let there be 

laurels. but let them'not be rested on. 

We carry the past with us in our 

organizational history as much as in 

the tradition-based culture we aim to 

promote. Let's use it the way we use 

the old songs to help create the new. 

Out of the past, into the future. Join 

US, 

"l can't believe 

it's been that long!" many remark. 

How can it have survived through so 

much? The answer is in the 

thousands of individuals who have 

wanted it to be, and who have 

volunteered whole parts of their lives, 

their energy, and their spirit to put on 

twenty-five years of festivals and 

other programs. 

Sure the music, dance, crafts, etc., 

are what it's about, or at least its 

'raison 

d'6tre'. But there is so much 

about an organization like Mariposa 

that the music doesn't touch. The 

music brings the audience, and so 

initially does it bring the organizers, 

the volunteers. lt provides a common 

bond, a fire in the soul. 

That fire in the soul has survived 

TABLE OF CONTENTS...... 

Mariposa 25, by Rob Sinclair .. page 1 

How to get there ..... page 2 

Mariposa Site Map ... page 2 

I See By Your Outlit That You Are A Folkie, by lan Bell . page 3 

Thank You's . page 4 

Mariposa Around The Park, by lan Bell & Liz Wilson page 6 & 7 

Metropolitan Vibrations, by Wiiliam Laskin,'luthier' . page I & 9 

Meet The Makers ...... page 10 & 11 

Shultles and Shearg by ian Bell ..... page 12 

Fest,yat Pertormers . . . Pages 13, 14, 15, 16, 17 

Do-lt-Yourself Fun at Folkplay, by Sandy Byer .. pages 18 & 19 

Mariposa - More Than Just The Music, 

by Brian Grebow ..... pages 20 & 21 

Evening Concert Schedule .. page 21 

Sharda - A Unique Maiposa Performe\,by Fnnk Pausch page 22 

25 Years ol Mariposa .. pages 24 & 25 

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9ole Fqrbour N 

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Fogfrty s Cove 

ll Music Inc. 

& A 

to*' 

companies 

Two all-Canadian committed to 

publishing and marketing Canadian folk music. 

Albums and cassettes available from us by mailorder 

by such artists as: 

* Sfon Bogers * 

* Friends of Fiddlet's Green * 

* JudeJohnson * 

* TimHorrrison* 

* DauidPoitry * 

* GfitLaskin * 

* GarnetBogers * 

For information regarding these and other 

Canadian artists, contact: 

New Address - P.O. Box 8042, Dundas Ontario 

Canada L9H 5E7 (416\ 627-9808 

BAYVIEW DRIVE 

MA,IN1ATE 

'&-fviiE eeos3ra4rys-.-1 

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HOW TO GET THERE 

- 

Mariposa'85 

OI,TLY h d) Site Map 

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I SEE BY YOUR OUTFIT l uJ 

Y 

THAT YOU AREAFOLKIE 

and other Ramblings 

from the Artistic Director 

IT SEEMS THAT WHENEVER A FOLK MUSIC 

concert or festival is reviewed in the paper, that 

somewhere in the article will be mentioned the "folkies" 

who attended the event. I usually gather from the words 

used to describe these "folkies" as new wavers, systems analysts, carpenters, artists, and 

other normal types having a night out. In fact they all 

looked like citizens of 1985. 

The music is scarcely different. Folk was not invented 

that they are a by promoters in the 1960s, or any other era. lt is a global 

homogenous, mellow bunch, who live in a different world network of musical streams, flowing together, breaking 

than that of the journalist. 

apart, and occasionally drying up, the 

Perhaps I have been blinded by the ugly fact that I am 

one, but the truth is that I have a difficult time telling 

folkies apart from the rest of society. I've heard that it was 

easier in the past, that folkies once always travelled in 

quartets, and sported striped shirts and long-necked 

banjos (in more recent times, Indian print dresses and 

dulcimers). Still, whenever I find myself in a situation 

where I suspect there may be folkies present, I have a 

difficult time identifying them. I can onlyconcludethatthe 

folkies of the eighties are masters of disguise. The 

audience at a recent folk concert provided some evidence 

of this. This group of alleged folkies was variously attired 

"pop culture" of 

one generation becoming the heritage of the next. For me, 

the real glory of folk music is its unpredictability. Folk 

knows no master. Evolutionary changes come unbidden, 

and seemingly unlikely strains persist against all odds. 

This is what we are celebrating at Mariposa's 25th 

anniversary festival. 

At Mariposa you can take in an incredible spectrum of 

different musical styles. With a tour of the grounds you 

can hear old songs, new tunes, established traditions and 

developing hybrids. This is the music of 1985. Catch it 

now; it'll be different by 1986. 

WATCH 

Perry llason 

The Bob Newhart Show, 

Bonanza, I LoveLucy, 

Star Trek, Route 66 

Honeymooners 

O 

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(! 

\ON CKVR 

The Saint, High Ghaparral 

and many other 

TV GREATS... 

AII Day, Arl Night, AII tummer Long! 

3

4 

MARIPOSA NOTESSTA 

Editor: 

Business Manager: 

Advertising 

Representative: 

Copy Editor: 

Contributors: 

Photo Editor: 

Special thanks: 

Brian Grebow 

Drago Maleiner (416) 597-141 1 

Benjamin Sadavoy (416) 964-8700 

Ann Stafford 

Sandy Byer, Liz Dusome, Brenda 

Collins, Stew Duncan, Grit Laskin, 

Frank Pausch, Bob $tevens. 

Diana Tyndale. 

Brian Pickell 

lan Bell. Rob Sinclair, Lrz Wilson 

This festival program is volume 5 number 1 of Mariposa 

Notes. The Notes is published quarterly by the 

Mariposa Folk Foundation, 525 Adelaide St.E., Toronto, 

Ontario, Canada MsA 3W4. All rights reserved. Material 

mav not be reprinted without written permisston. 

This special edition produced and printed by the Buy & 

SelI newspaper; Art Director: Karen Dempstet, Coordingtot: 

Benjamin Sadauoy; Typesettingr Sheifo 

Pursgloue. 

OVER THE YEARS SCORES OF 

people have been involved in making 

Mariposa what it is todaY. To 

celebrate our 25th anniversarY 

without acknowledging some of 

them would be amiss, and we, the 

staff of this Program, thought we 

would provide sniPPets of remembrances 

about MariPosa sPrinkled 

throughout this book. The collection, 

"tWasn't That a Time!" will be 

indicated by the following symbol. 

I,YASN'T 

THAT 

A TINIE! 

back and contributed forward. 

Brian Grebow 

Editor 

THE NIABIPOSA 

FOLK FOUNDATION 

Wishes fo Thoink: 

CORPORATE 

SPONI ]ORS 

Molr;on 

Ontario Breweries I-td. 

CHFI-FM 

Yamaha 

Canada Music Lt 

- 

- 

coRPolSATE 

CONTRIBUTOR 

coRlPORATE 

DONI)RS 

n 

Tambrands 

Bell Canada 

cooer Tool Canada Ltd 

Kolmar of Canada 

Rockwell International 

Union Carbide 

]IAL THANKS TO: 

** 

Dr. R.G.N. Laidlaw 

Button 

Kramer & Associatr 

Mediacom 

Kwik Kopy 

Printing (1.D. APrint 

Inc.) 

Printin 

Performance 

House, Barri 

MARII ,OSA GRATEFULLY 

ACKNOWLE,DGES 

THE SLIPPORT 

OF: 

Touring Officerf 

the Canada Council 

lndian & Northt rrn Affairs Canada 

Ministry ot Citizenship 

& Culture throughWintarior 

Ontario Arts Cc,UnCil 

Ontario-Quebe< : Permanent Commissi< )n 

The Municipalit y of Metropolitan Tororrto 

The City of Toronto 

through the TororIO 

Arts Council 

Katimavik 

Jeff Piker 

Whiskey Jack 

Beverly Robertson John Jackson & Mar 

Bill Russell 

McMillan 

Donald Altman 

Donald R. Sinclair Christine Jewitt 

Bob Biderman 

Kathy & Rob Sinclair Margaret Keenan 

Michael & lris Boshes Joso Spralja 

Jack Keith 

Canadian Folk MusicMabel 

Stewart 

L.J. Kozlowska 

Society 

Paul Swartz 

Murray Kronis 

Rafli Cavoukian Don Thurston & He Bruce Lazerte 

Gregory Clapp 

Balph Lewis 

Austin Clarkson 

Diane Abbey Livingston 

Early Morning 

Janet Lunn 

ProduQtions 

Eileen & Bill Markwick 

Randall Ferris Foundation 

Thomas R. lvlccee 

Michael Galea 

Pollv McLeod-Evans 

Susan Goldberg 

John l\4edeiros 

Dr. W. & Florence George Auerbach Lanie & Andy Melamed 

Goodman 

John Baby 

Marili Moore 

CoIn & Karen Graham Sherri Bergman Eamonn O'Loghlin 

Norman Greer 

James Biseker Rebecca Peapples 

Howard & Karen Kaplan Albert Bisschop Nigel Pleasants 

David & Holly Kelleher Sandy & Phil Byer Chris & David Rosenthal 

Don Kennedy 

Margaret Church Jane Rotering 

Dr. R.G.N. Laidlaw Liz Chappel 

Rod & Jude Scott 

Kathy Lowinger Erik Chodak 

Toshi & Pete Seeger 

Drago Maieiner Colin Cranmer-Byng Ann Smlley 

Don Malpass 

Pat Dingle 

Andy Sos 

Jay Mowat 

Mary Gick 

Norman Steinhart 

Diane Myers 

Gael & Nathan Gilbert Lorraine Sutton 

Kate Murphy & Brian Patrick Gleeson Sarah Swartz 

Pickell 

Richard F. Green Prosper Terry 

Philadelphia FolksongMarsha 

Groves Rov Underhill 

Society 

Phil Hultin

MARIPOSA AROUND THE PARK 

By lan Bell and Liz Wilson 

AROUND THE FESTIVAL SITE, DURING THE DAY, IN THE 

evening, and after hours, there will be a kaleidoscopic arrangement of 

events and activities designed to strike a chord within, and nourish a 

variety of musical aPPetites. 

reffiE 

Over two dozen Canadian craftspeople 

will be demonstrating and 

selling their work in this enclave by 

the pond. Here You will find Pottery 

and potters, instrument-making, 

tatting, quilts and quilters, as well as 

the "village" blacksmith. Featured 

within the craft area is "Shuttles 

EErcIT 

On Sunday afternoon from 2:30 

until 4:00 at Cabaret Tent there will 

be a genuine old-time auction of 

anything and everything saleable. 

This is a fund-raising event for the 

Mariposa Folk Foundation. The 

auction will be conducted bY Reed 

and Needles, a well-known Toronto 

Shears", a demonstration and actor, musician and storyteller. He 

display centre presenting the skills also has an auctioneer's license, and 

and processes of sPinners and has served as auctioneer for the 

handweavers. Allow Yourself to be Market in the Park Auction in August 

lured by the looms. Observe the of 1983 and 1984. lf You have 

imaginative work of clever hands and something to donate or auction off, 

deft fingers creating rainbow contact tbe Mariposa office at (416) 

patterns and designs. Wander 363-4009. 

around all the exhibits from nofth 

and south and east and west; 

perhaps an idea, a work of art, or a 

twenty-fifth anniversary Mariposa For folk who like to sing those 

memento will capture your imagina- marvellous British Pub songs, or 

tion. 

enjoy unique vaudeville/music hall 

Ftfl .LLY NEAR 

f'# 

enteftainments, this pavilion will be 

hosted by Friends of Fiddlers Green 

and Poculi Ludique Societas each 

evening around eleven after the 

Concert. 

20 During the daY between eleven 

and three, this stage on the green 

sward southeast of Cabaret Tent is 

devoted to workshoPs. From three 

until six, the program will be 

turned over to Barrie's Performance 

House Folk Club who are coordinating 

an open stage area. Sign uP in 

advance if you want to do a set' 

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Continuous, ParticiPatorY dance 

activities will be offered in conjunction 

with the workshop Program 

features, and manY different dance 

traditions will be presented. Here, at 

this festival within a festival, there is 

participation for everyone, whether 

you are a beginner or an experienced 

dancer. Danielle Martineau, director 

of Les Danceries de Quebec, will be 

leading Quebegois dance stePs and 

figures with both the Messervier and 

Vilcartier bands. The dynamic trio of 

Dalglish, Larsen and Sutherland will 

be performing on hammered 

dulcimer, guitar, fiddle, concertina 

and flute, and playing for contra and 

square dancing. The Fiddle Puppets' 

Goat's Head Morris Dancers' and the 

Greenwood StePPers will demonstrate 

the changes that have 

developed in clogging styles overthe 

years - StePPing Across the Sea' 

And watch for the Goat's Head 

Dancers performing for everYone 

around the park. You just might see 

an English country garland dance.

EIE@IIEtr 

Every night after the Concert You 

will find a bonfire in the campground 

where campers can gather together 

and sing. The emphasis is on 

campers singing; songs we know 

and like; and/or songs with good 

choruses. About half Past eleven, 

search out the magic of the charmed 

circle, join in and sing out! 

re@tr 

The large blue and white tent on 

the west side of the park is a 

Workshop and Mini-Concert area 

throughout the day. From eleven at 

night until one in the morning it is 

transformed into a lively After Hours 

Club for performance and dancing. 

IiE@trll 

lnspired by the colourful open-air 

markets of the middle east this 

intriguing space, a Festival first, 

features interesting and unique, 

manufactured and hand made 

articles from Canada and other 

countries. Feel free to meander; 

maybe you will find yourself a 

treasure! 

EII@ 

This is an area for everyone. lt is 

the enchanted forest where anything 

can happen. There is a Performance 

Stage featuring music, dance, 

singing, storytelling and theatre. lf 

you think that there is no instrument 

you can either play or afford, think 

again. In Learn and Do, you can learn 

how to build your very own dulcimer 

out of cardboard with a kit, as well as 

how to play it. At Folk Arts, come to 

the Teddy Bear's Picnic and learn 

how to make your own teddy bear, or 

join the Lettuce (Let Us) Patch 

Puppets, and learn how to make your 

own puppets. Kits will be available 

for purchase at a modest prtce. In the 

Tattoo and Massage Parlour you can 

have your face "tattooed", 

questions, and tell some stories. 

Between sets at Cabaret Tent search 

the sky for the summer constellations 

such as Pegasus, Leo, Ursa 

Major (The Big Dipper), the Summer 

Triangle, and others. Stay longer to 

take your turn at gazing through,one 

of two telescopes to view the Moon, 

coming into fullness on July 31, or to 

see Saturn, some double stars, and 

perhaps the Andromeda Galaxy. 

The informal workshop setting 

provides an opportunity for some 

discussion and some music. lt is the 

place to share information, and learn 

about the many aspects of making 

music. For example, workshops in 

Songwriting, Gospel, Sweet Harmonies, 

Percussion, Exotic Rhythms, 

and Storytelling are being scheduled. 

They will occur between the hours of 

eleven and six on Saturday and 

Sunday on five different stages. Mini- 

Concerts given by many Festival 

performers will also take place 

during the day at these stage areas. 

Check your Festival Program insert 

for the various workshop/stage 

schedules and locations. 

COLLNS 

Monday, August 12, 8 p.m. 

Magic ... mystery ... 

''a 

one in a million 

voice 

WASHINCTON POST 

Judy Collins brings 

an eighties' sound to 

her gieat hits of the 

sixties and seventies. 

$19.50, $17.50, 

$r4.s0 _o_ 

xxtN 

sponsored by lZlBffT 

EVERY MUSIC SYSTEM HAS ITS POTENT]AL 

or receive 

Introducing 

BRYSTON .5B 

a neck and shoulders massage. In 

Free Play you will find a variety of 

games and play areas. Here you can 

make scarecrows, create celebration 

THE PREAMP WHICH FINALLY LETS YOU REACH IT! 

graffiti, dress up in costume, or curl 

up in the quiet area with a good book. 

EEEIEI 

John Kenny of the Mclaughlin 

EXPERIENCE THE DIFFERENCE 

Planetarium will bring the heavens to 

us on Friday and Saturday nights 

from around ten untilabout half past 

twelve just in front of the Canadian 

Pavilion. Come and join the relaxed 

gathering to stare into sPace, ask 

MMARKETINGLTD. 

57 Westmore Dr. Rexdole Ont., Conodo M9V 3Y6 

(4r6) 746-O3OO

METROPOLITAN VIBRATIONS 

The Musical Instrument Makers Of Toronto 

by Willam Laskin,'luthier' 

FOR MY LIVELIHOOD, I BUILD 

guitars. lfls my job to take pieces of 

trees and fashion them into a 

complex object with the capacity to 

move you to tears or make You 

unable to restrain Yourself from 

dancing. 

Following years of patient waiting 

for exotic rosewoods from Eastern 

lndia or ebonies from Gabon, Africa 

to dry and stabilize, succeeded bY 

weeks or months of concentrated 

effort cutting, shaPing and thicknessing 

to minute Portions of a 

millimetre, I produce a musical 

instrument. lt is an instrument 

capable of responding to a musician's 

need for a heart-melting sweet 

tone or a biting harshness in addition 

to the ability to reach Your ears, 

unamplified, in the back row of the 

concert hall. lt's little wonder that 

when a good musician, aware of a 

maker's achievements, finds an 

instrument that meets all her needs, 

she values it almost as one of her 

family. lt is common for such a 

musician to buy a second seat, when 

flying, for Ms Cello or Mr. Guitar as I 

did in the opening scenario. 

"You numerous guitar makers. The world 

made this?" 

"Uh-huh." 

renowned flutist, James Galway, has 

"God, stated that his Toronto made 

it's beautiful. You play it Goosman flute is the finest hand 

too?" 

"Sure made flute he's played. 

do." 

"You 

know I can't let you take it on 

How is it that a city in supposedly 

as cabin baggage." 

"Yes. 

I know. but that's not a 

conservative, non-arts supporting 

problem." 

Canada can elicit such admiring 

"OKthen. 

Let mesee... justthetwo comments from within musicians' 

of you travelling today?" 

and instrument makers' circles? 

"Yup." 

After all, we aren't like Cremona, ltaly 

"Do 

you know if Mr. A. Guitar 

with its centuries old violin making 

would prefer smoking or non- 

traditions. We're not kin to Paris, a 

city with a true claim to being the 

smoking?" 

"Non, 

please. And we'd like to sit 

world's first guitarmaking centre 

together." 

over one hundred years before 

"Fine." 

Spain. Barcelona, the Spanish city 

that is still a major classical guitar 

What they and most people in this 

centre we certainly are unlike. Yet, 

city do not realize is that Metro 

with only sporadic instrument 

Toronto, over the past fifteen years 

making events in our city's history, 

has emerged as the centre 

less even than in Montreal or Quebec 

of 

handmade musical instruments not 

City 

just for this country but for the whole 

continent. There are pockets of 

instrument makers scattered across 

Canada and the U.S., but no other 

single metropolitan area has both the 

variety and quantity of instruments 

being produced professionally, to 

world class standards, as do we. 

Without travelling more than half 

an hour in any direction from 

downtown, one can find makers of 

classical, flamenco and steel string 

acoustic guitars, electric guitars and 

basses, the entire violin family and 

their bows, mandolins, bouzoukis, 

banjos, appalachian dulcimers, 

lutes, violas da gamba, harpsichords, 

virginals, classical silver, gold and 

platinum flutes, steel drums and, if 

that weren't enough, the most 

innovative electric violins in the 

world are built not 5 minutes drive 

from my own shop in the heart of the 

city. 

- violin making centres during 

the first half of this century - 

Toronto has become home to 

instrument makers old and young, 

Canadian born and landed immigrant. 

And, outside of a portion of the 

music community, few seem aware 

of these artisans. 

Masa Inokuchi, a violin maker, 

emigrated f rom his native Japan after 

a decade of frustration over the costs 

of importing the curly maPle and 

spruce he needed. He simPlY chose 

to live nearer one of the sources of 

these materials, Canada. 

Matthew Redsell, a self taught 

harpsichord and virginal builder who 

came into prominence after eight 

years of full time work at his craft, 

was first a piano and comPosition 

student at the University of Toronto. 

However, as he stated it, "a 

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conscious evaluation of my abilities 

turned me to making, (rather than 

playing) the instruments." 

Were we to choose a person at 

random and ask them where they 

thought such high quality musical 

instruments were produced, would 

they answer ltaly? lf we prodded 

them for their guess as to the source 

of these painstakingly handbuilt 

things, the original locale of 

instruments capable of inspring such 

devotion from their owners that 

regularly paying for a second airfare 

is done unhesitatingly, would they 

suggest Spain? Maybe. Possibly. 

The name Stradivari might even arise 

but that would, pretty much, be that. 

A mandolin maker from Virginia 

once jealously admitted to me that 

Toronto was known, down his way, 

as "a real maker's town". A former 

student at Chicago's school of violin 

making confessed that while there 

he'd often heard Toronto labelled 

"guitar 

town" because of its 

Linda Manzer, a native Torontonian, 

is a maker ol arch-loP iazz 

guitars. She is one of the small 

number of people in the world who 

take the time to Produce these less 

common instruments as well as 

making regular steel string guitars.

Earle Wong, a Trinidadian living in 

Toronto since '1968, 

takes emPty 45 

gallon oil drums and hammers them 

into tonally subtle, mellow musical 

instruments. He is a maker and 

player of the steel drum or "pan". 

other 

Bernard Walke is a bow maker 

working alongside his brother 

Gregory, a maker of violins and 

violas. Bernard was influenced both 

by lrish fiddling and his brother's 

insistence to look at the bow as a 

more exacting building challenge 

than the furniture and masonry work 

he was then doing. 

T 

The impressively innovative Raad 

-t 

electric violin was designed, 

patented and is now Produced, after tr, 

a decade of research, by a grouP of 

musicians who were frustrated bY 

the consistently poor quality of violin 

and cello electric pickup systems. 

They, the brothers and sister of the 

Armin family, Jim Jones and John 

Borah are at the very leading edge of 

this technology. 

Kolya Panhuysen, a child immigrant 

to Toronto, originally from 

Berlin, carries on his uncle's trade of 

making concert classical guitars 

while sharing his shop with yet 

another guitarmaker. 

These seven people do not 

constitute even one quarter of our 

professional. instrument making 

community. Some among this grouP 

learned their trade by apprenticeship, 

some are self taught, others 

studied in scarce instituttons but to a 

person, they all struggled for manY 

years to master a craft that is its own 

unique discipline. No other pursuit 

blends the worlds of craft, art and 

science as does musical instrument 

making. 

On the creative side, no two 

professional makers' instruments are 

alike. Be it the body shape, interior 

bracing, rosette design (the decoration 

around the soundholes of 

guitars and lutes), f-hole shape or 

other trademarks, they all differ from 

one another. And each maker, 

accepting the challenge of Producing 

an ever more suPerior sound, 

will be endlessly alterinq and 

developing his instruments. For 

beyond the actual constructing, an 

instrument has an ultimate function: 

to yield music, to be the catalyst for 

musical creativity. In such circumstances 

it is required to perform at a 

higher level of precision and under 

more demanding criteria than anY 

"craft" object. Can you imagine 

Segovia or Yehudi Menuhin categorizing 

their instruments with their 

teapot or the wall-hanging behind 

their sofa? You might well ask why 

one person should gotoallthe bother. 

After all, there arefactoriesturning out 

some good instruments. Surely, you 

might say, modern technology can 

take us beyond centuries old 

processes. But, lcan thankfully 

respond that "it just ain't so." 

But, I can thankfully respond that 

"it 

iust ain't so." 

Ask any good musician and they 

will admit, openly or grudgingly, that 

a superior handmade instrument has 

the intrinsic subtleties of sound and 

physical feel that is above the best a 

factory can ever produce. Why? 

Primarily becuase one person is in 

complete control of every aspect of 

the construction process. He/she 

can alter the types and dimensions of 

the materials to better work with 

each other both structurally and 

when vibrating. He/she knows all 

things about that which is in front of 

them on their workbench. 

And it's high time that the 

inhabitants of this city, this country, 

knew more things about the gifted 

artisans who live and work in their 

midst. Each of the makers in the 

Toronto community has a story to 

tell but rarely is it heard. Their work 

may be respected around the world 

but without high production 

numbers, it is sometimes still a 

struggle to pay the rent and import 

necessary materials. Where is there 

time or money for P.R.? 

I feel certain that the more Toronto 

learns about the unique hive of 

instrument makers that has blossomed 

under its own unsuspecting 

nose, the more it will acknowledge, 

respect and suppotl their endeavours. 

P.S. lf you'd like to know more about Toronto's 

instrument makers, be on the lookout for 

William (Grit) Laskin's forthcoming book - 

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BE A MARIPOSA MEMBER! 

Individual: $16.00 

Family: $23.OO 

Supporting Member: $5ll.OO 

Patron: $f0O.0O 

MembershiP entitles You toi 

- a 20oro discount on all Mariposa events (except the 

''Woods 

) 

- a 200/0 discount on all lviarrposa-produced records. 

books and T-shrrls 

- a 100/o drscount on all other records and books 

- advance notice of Mariposa concerts and festrvals 

- a lree subscription to the Maripo$ Noles 

- access to the Mariposa ResourceCentreand library 

- special members evenls lworkshops. prcnrcs. 

concerts and dances) 

- the right to attend the annual general meeting and 

vote for the Board ol Drrectors 

HOW TO JOIN 

Complele lhe torm below and mail with your payment io: 

Marioosa Folk Foundation 

525 Adelaide St. East 

Toronto, Ontario, Canada M5A 3W4 

Telephonei {416) 363-4009 

323 F.nlly 

Regular membershrp benelits lor max. lwo adults and lhree 

children (12 & undef) 

350 

Suppodlng 

Regular family membefship benelits plus acknowledgement in 

each issue ol Mariposa Notes plus lax recerpl lor $30 

3100 Pal.on 

Regular lamily membersh'p benefrls plus acknowledgement in 

eaCh issue ol Marioosa Notes olus lree admrssron 

to members evenls plus tax receipt lor $80 

Donatlon 

I would like to make a special donalion to lhe Foundalion 

F ot mo rc i n l ot m at to n, w t il e tlt.tlps at : 525 A.laLlda S,. E .,, Toronb nSA 3Wa, 

or call g83.a00, 

Nleet the 

Nlo,kgrs.o... 

IN MARIPOSA'S CRAFT AREA, YOU WILL MEET 

artisans working on everything from lace to wrought iron; 

pottery to leather. They'll be on hand to sell and chat 

about their craftwork and many will be presenting 

workshops on the skills and processes of their craft. 

These demonstrations will occur at the individual booths 

and at the craft area stage. Check the schedule for the 

exact times. 

ANGEL'S TOUCH JEWELLERY ELDA BOWMAN-MILLER 

Silver, gold and brass are the Mariposa is pleased to have 

raw materials; rings, earrings and 

tiny instruments are the final 

ELDA at the festival this year. A 

member of the International Doll 

products of Angel's Touch Makers Association and the Doll 

Jewellery. Based in Thornhill, Artisan Guild, she has won 

Ontario, DOREEN and WOLF- countless comoetitions with her 

GANG BUCHIN's work is original 

and handwrought. All stones are 

hand cut and they will do custom 

work upon request. 

dolls in both the United States 

and Canada. Elda will be 

demonstrating her craft of 

porcelain doll-making in the craft 

area. 

BARNSTORM LEATHERS 

MariDosa welcomes back 

TERRY HUTCHINSON. He 

makes assorted leather goods as 

belts, bags, briefcases, boxes, 

guitar straps, sandals, purses, 

and so on. All his work is done 

with the utmost care and with 

great attention to aesthetics, 

function and quality. 

SUSAN CAIRNS 

SUSAN brings her craft to 

Mariposa for the first time. She 

will be exhibiting her clay clocks 

and other oieces of functional 

pottery. Susan has sold her work 

at Black Creek Pioneer Village 

TIM CLEMENT AND KATJA 

LUTTE 

TIM and KATJA come to 

Mariposa this year from the 

Madawaska Valley. Tim will 

display his unique candles 

featuring scenic impressions of 

the Valley as well as sandcast and 

hand-dripped candles. Katja 

makes wind chimes made of 

brass, copper, maple and cherry 

wood. Models used include 

ancient eastern types as well as 

church and oriental kinds. Both 

Tim and Katia will demonstrate 

their craft. 

and the McMichael Gallery. She 

has her studio in Toronto and 

when not tending to her clay, a. 

new baby Theo keeps her hands 

full. Drop. by her booth and meet 

the happy pair. 

ELIZABETH BLOCK 

ELIZABETH, another fine 

potter from Toronto, has been 

featured at Toronto's Outdoor 

BARNEY CUMMINGS 

BARNEY fulfills a dual role at 

Mariposa this year: a performer 

and our resident farrier in the 

craft area. As one of the few 

working blacksmiths in the 

Toronto area, Barney doesn't do 

his business 

Art Exhibition, the Canadian 

Craft Show and other exhibits. 

Working primarily in 

stoneware and 

porcelain, she 

specializes and is 

especially 

fond of 

creating 

animals for 

children. 

Drop by and 

say hello. 

"under the spreading 

chestnut tree", but bellows 

his trade with a mobile forge, 

travelling to whereever his 

services are heeded. Visit our 

smithy and see what the "ro- 

,fi'; 

mance" of this craft is all about. 

DOWNCRAFT PRODUCTS 

ANN ECKART will show her 

colourful hand crafted down 

articles this year. She creates 

comforters, pillows, vests, 

sleeping bags and the like. 

Weather permitting, Ann will 

demonstrate the soecial technioue 

of her craft.

EDGEWOOD ANGORAS 

LIVING WOOD 

JOANNA FRASER is a spinner PAUL MORRIS and CATHEand 

knitter specializing in RINE MOORE were at Mariposa 

homespun yarn made from last year and we're glad to have 

mohair and angora. She makes them back again. Paul is an 

sweaters, tams, mitts, shawls, instrument builder, specializing 

vests and other assorted items as 

well as selling the yarn she 

makes. Why not get into the act in 

in the mandolin. David Parry 

from Friends of Fiddler's Green 

plays one of his fine instrument 

a special workshop she will be 

giving at the Craft Stage. She'll be 

creations. Catherine, an instrument 

repairer and general 

harvesting angora wool from 

angora rabbits, preparing it for 

woodworker, makes small boxes, 

accessories and puzzles from 

spinning and actually spinning it. 

Check with her for the time. 

exotic hardwoods. 

VILLAGE CRAFTS 

TERRI PICHLER of Markham 

KATHY KILLINGER will demonstrate traditional and 

KATHY will display hand- original quilting in the Craft area. 

painted silks. With this unique Starting quilting on a part-time 

process she not only paints basis about 6 years ago with the 

scarves, but creates posters, encouragement of friends and 

clothing and cards, Having peers, she decided to design and 

graduated from the University of ouilt on a f ull time basis. Her work 

Guelph's agricultural school, she has been featured at the Canadi- 

draws from this subject area and an Craft Show, the Multicultural 

its natural influence to create Arts Festival and the Markham 

intriguing special designs. Arts Centre. 

f "')::u 6t 

$6 

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RITA FIROIS 

A spinner and weaver from 

Gravenhurst, RITA specializes 

with working in linen. She grows 

her own flax, the plant that 

provides the raw fibres for this 

fabric. At Mariposa she will be 

scutching and spinning flax, and 

weaving traditional woolen 

ceintures flech6es (French 

Canadian sashes). Look for Rita 

in the Shuttles and Shears 

oavilion. 

BRUCE JONES 

BRUCE first became interested 

in pottery through associations 

with crattspeople on a visit to 

England in the early 70's. Since 

then, he has developed a unique 

style. His work has been exhibited 

in the Spring and Fall Ottawa 

Guild of Potters' shows, various 

fall fairs and Christmas shows in 

the Ottawa, Toronto and Hamilton-Niagara 

region. Bruce will 

have his potter's wheel on hand 

and will display his craft. Be sure 

to stop by and see Bruce's 

"Pot 

MARY MOULTON 

MARY's interests range from 

film-making to live performance 

to poetry. At this year's festival, 

she will show her quilted 

playballs for infants and indoor 

games. Based in the Folk Play 

area, Mary will have kits on hand 

and hold workshoos for those 

interested in assembling playballs 

of their own. Why not come 

out and play? 

RITTERMERE-HURST-FIELD 

PAMELA DOWLING of King 

City will display some of the rughooking 

designs that make 

Rittermere-Hurst-Field the 

largest design and supply house 

in Canada. Pamela will bring 

some designs we will be able to 

do at home. Hands-on sessions 

will be orovided for those 

i nterested. 

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PAUL SIMPSON 

Located in the Folk Play area, 

Pile". 

PAUL is another artist who was 

LILLIAN KAY with us last year. His hand-made 

LILLIAN's artistry is leather. toys continue to delight young 

Her work has been awarded and old alike. Made from natural 

many prizes including the 1983materials, 

usually wood, many of 

The Honourable John B. Aird his creations are used to help 

Award and first orize in the CNE's handicapped individuals improve 

1982 Annual Juried Show. Lilliancoordination 

and motor skills 

also teaches leatherwork and has while having fun. Paul also builds 

been featured regularly in craft puzzles. Make sure you see Paul 

periodicals. Mariposa is pleasedbefore 

leaving the festival. 

she is participating in this year's 

craft area, and hope you'll enloy SHUTTLECRAFT TATTING 

her work which ranges from Tatting is a form of embroidery 

functional to sculptured items. practiced in England in the 15th 

century. DIANA YOUNG, a 

shuttlecraft tatterer, will display a 

mix of traditional as well as 

framed tatted brass rings for 

window hangings. She will be 

demonstrating th is traditional 

art. 

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SHUTTLES AND SHEARS 

by lan Bell 

..IF 

IT WASN'T FOR THEWEAVERS, WHAT 

would we do?" Until the invention of the 

power loom, the question posed by this old 

Scottish song was a serious one indeed. For 

centuries the handloom weaver was an 

indispensable member of any society living 

in a temperate climate. The changeover to 

mechanical weaving came fast and 

mercilessly with the industrial revolution and 

in all but the most remote area the 

handweaver became an endangered species. 

In the early days of weaving by steam or 

water power, hand-craftsmen sought to show 

their superiority through "John Henry" type 

exhibitions. Sheep would be shorn at dawn, 

and a completed woolen garment manufactured 

from the fleece over the course of a 

single day. One of thse feats.is outlined on 

the accompanying broadside. Eventually 

however, the quality of mechanical spinning 

and weaving improved sufficiently that hand 

weavers were supplanted for all save the 

most specialized tasks. In many places, the 

skills once so vital were forgotten and 

supplanted by the new technologies. Luckily 

they were not forgotten forever. In the late 

1gth century, at about the same time as the 

first major folk music "revival", 

interested 

individuals endeavoured to revive the textile 

arts of previous generations. Through their 

efforts new life was breathed into the old 

traditions and soon an active renaissance 

was underway. Since the demands placed 

upon the "new wave" of spinners and 

weavers were not of the proportions that their 

predecessors had faced, the work and 

technioues took on a somewhat different 

character than before, and new elements of 

art were introduced to a once strictlv 

functional craft. 

Weavers and sprnners today work in a wide 

variety of styles, ranging from traditional, 

functional work to decorative and sculptural 

pieces. For Mariposa's Shuttles and Shears 

project we have chosen to present one of the 

most basic applications of hand weaving, the 

manufacture of blankets. While this is not a 

'glamorous' proiect it requires a high degree 

of consistency in both spinning and weaving. 

II.LUSTRATr|rE 

o! 

IIIAIIUIICTUAIilO ffI,IAITT 

IITn.lr 

!u lrv|J 

tO PROVD TEE POSAIAIJrY O! 

CLOTH 

A.ND UADI IIr!lO A 

gatherings at which cloth is passed from 

person to person, around a large table and 

beaten on the table to the rhythmic 

accompaniment of Gaelic songs rserved 

expressly for that purpose. Primal Sanforizing. 

In addition to the work connected with the 

blanket there will be other skills and 

techniques being presented in this area. 

There will be demonstrations of natural dying 

(find out whv so many of our flags are red, 

white and blue), 65 well as the breaking and 

COAT 

spinning of flax fibre for linen, and the 

spinning of angora. 

The blanket completed by our craftspeople 

will be awarded as the orize in a raffle to be 

drawn on Sunday July 28, during theevening 

concert. You can buy tickets in the Shuttles 

and Shears pavilion lilD and other locations for 

$Uil$IT $1.00each, or a bookof sevenfor $5.00. A low 

price for the chance to take home a lasting 

and useful memento of Mariposa 

'85. 

Many thanks are due to the many 

individuals and groups whose enthusiasm 

AT rrvE O'CLOOE TE.A'T f,Oallxo 

and assistance has made this special project 

possible, particularly Alison Madden and the 

TWO SHEEP Huronia Spinners Guild, Helen Doherty and 

BBLOTODTO TO 

the Simcoe County Shuttle Racers'Guild and 

Adrienne Hood of the Boyal Ontario 

Btrt, Museum. Thanks also to Georgian College, 

WEBE IEEARID BY EI8 OWIg SEEPEERD 

for the loan of the loom used at the testival. 

$UilNI$I 

lItD WArCE WAs SUCOtaarlrLLy AOOOIPLTSEID o! 

Tll[$llll, tle 20t[ of JUt[, 

l8u. 

$ir Joln Tlroclnorton, 

TNAilGIS IIRUETT 

AITD TIIE WOOL OIVEN TO 

Ur. JOEII G0XETEB 

AT oBI,IIIgA.u TIrLg, NEAR 

il[WBUnI, D[[Sil[[r 

wEO EAD 

lbe WOOL Spun, The YARN Spooled. 

lllarped, Loomed, aod Wove. The 

CLOTH Burred, Milled, Rowed, Dyed, 

Dryed, Sheared, and pressed 

BY I'0UR, O'cLoCK - ALL the 

proceasea of IIANUFACTURE were 

performed BY HAND in ELEVEN 

HOUns. 

TIIE CLOTE es rh.! givcE to 

SHUTTLES AND SHEARS 

PARTICIPANTS 

SPINNERS OYER 

Alison Madden Frances Lightbourne 

Eleanor Andersson DROP SPINDLER 

Dawn Leggett Julie Barker 

Cora Bowman 

Erma Newhouse 

ADVISOR 

WEAVERS Adrienne Hood 

Helen Doherty CO-OROINATOR 

WASN'T 

THAT 

A TINIE! 

The blanket that will be created over the 

course of the festival will be of traditional 

Scottish/Canadian design, and will be 

worked on at the hexagonal wooden pavilion 

within the craft area. With the addition of 

related musical performances on a workshop 

stage the project will take on the festive 

nature of an old time "bee". 

ilr. ISMC WHITE, Tailor, of Newbury, 

On Friday evening, fleeces kindly provided 

by local sheep will be presented to our 

soinners. Out of consideration toward the 

sheep, we will not be shearing them at the 

festival. lmagine having to wearyour heaviest 

wool sweater until the end of Julyl 

Wto!. SoD, JM€s W'hib. cut tbe Cort out bal bsd it 

Erd6 uD eltbi! 

EVERY YEAR SINCE ESTELLE 

TWO HOURS AND TWTJ{TY MINUTES, Klein asked me to help out with the 

Wton tb6 Xsbr U&ufeture4 Ur. Joba Corot€r, 

prueDt d it to 

Festival, I've been saying yes to all 

the many other artistic directors. 

$ir Jo[n Tlmclnorton, Bart, Once again I've been asked. As in the 

,ho spporod rith ii oD bofore rD s.€bbly o? oooo spechtoE 

rho hrd cobe fs ud D€rr to dtDcrs thia ribgular past, ud 

I volunteer as one of the people 

uprocsdoDt6d 

porforEr!€ 

coEplatod iE in the Hospitality area. We look after 

THIRTEEN HOURS AND TWENTY MINUTES. the cares and needs of the performers. 

Right now (as of this writing) 

On Sunday afternoon the newly woven 

I'm 

cloth will be'f ulled'. This isa process in which up to my elbows in work. Hotel 

the cloth is soaked, banged, beaten, and rooms to be booked; transportation 

otherwise abused in order to tighten the arranged; where can I find a crib? 

During the day, on Saturday and Sunday, 

the wool will be spun into yarn by four 

spinners. This many wheels will be necesary 

to feed the loom of the weavers, who will 

weave the yarn into bolts of cloth about 36 

weave and mat the fibres together. Fulling 

also shrinks the fabric. Many handweavers 

today employ an automatic washing 

machine for this purpose. An older, and more 

entertaining method will be used at the 

What's that? Saul Broudy wants four 

rooms and a personal limo! No, I 

haven't got time to finish this article 

right now ... maybe after the Festival. 

inches wide. Two of these will be ioined 

together to make one blanket. 

t2 

festival. This is known in Cape Breton as a 

"Milling 

Frolic". These f rolics are social/work Chick Roberts

FESTIVAL PERFORMERS 

Listed in alphabetical order 

RICK AVERY AND 

JUDY GREENHILL 

BARE NECESSITIES 

This unioue trio from Boston and 

Washington is New England's finest 

English country dance band. Jacqueline 

Schwab on piarro Peler Barnes 

In the recent past this group oJ 

on flute, llageolet recorder and Undoubtedly one of the most resoectable amateurs has been 

$uttr -..J i!lJ.) -u- ur, li.ju'. . 'w eclectic musicians around, Ken variously known as the Temperance 

viola can play traditional dance music Bloom has become a Canadian Choir of the Willowdale Band of Hope 

like nobody else! Their repertoire festival favourite. There's not much and 

soans four centuries and draws on about American, European, Near 

everything from baroque and classical Eastern and Indian music that he 

to iazz and lolk styles. Even if you doesn't know, and he builds and plays 

think you have two le{t feet, Bare many of his own instruments, 

Necessities' catchy dance tunes, including Ukrainian bandura (nothang 

boldlv imorovised countermelodies to do with first aid), zither, tamboura, 

and loaring flights of fancy are Northumbrian smallpipes and sitar. 

i rresisti ble. 

Ken makes his home in New York, 

where lately he's been very active 

PETER BELLAMY 

building, repairing, teaching and 

performing on the bandura. 

"those people upstairs". lt is 

difficult to obtain information on this 

organization, as their leader, Prof. 

Chalupka, never appears in public 

and is in fact rumoured to be out of the 

province "on business". Their style 

has been described by those an the 

know as neo-Victorian surrealist. 

P.C.C.S.S. will be presenting their 

repertoire ol parlour ballads. temperance 

songs and patriotic ditties for 

the ediiication ol one and all. 

One o{ the most inlluential 

individuals to spring from the folk 

revival, Peter Bellamy has been a 

favourite at past festivals and 

Mariposa is happy to welcome him 

back this year. He hails f rom Norfolk, 

England, and initially rose to 

orominence as a member of the trio 

The Young Tradition. That group's 

harmony arrangemenls of traditional 

songs were a musical landmark on 

both sides of the Atlantic and 

soawned a host of like-minded folk 

groups. Since 1969 Peter has been 

performing solo, singing a cappella or 

accompanying himself in inimitable 

style on the concertina. 

NORMAN BLAKE AND THE 

RISING FAWN STRING 

ENSEMBLE 

Rick and Judy have been performing 

together since they first met in a 

Toronto folk club eight years ago. 

Specializing in Canadian folk songs, 

they have played hundreds of 

concerts and workshops for young 

and adult audiences across Canada. 

All of their concerts aim to entertain, 

inform and involve the audience 

actively, and as a result people tend to 

come away lrom a perTormance 

saying "trye were great" rather than 

just "fhey were great." 

has oerformed and recorded w,th the 

likes of John Hartford, Joan Baez, 

Johnny Cash and Bob Dylan. His own 

compositions have been recorded by 

dozens ol other artists. Accompanied 

by his wife Nancy on cello and James 

Bryan on fiddle, Norman brings the 

best of the American string band 

tradition to his "original 

underground 

musib from the mysterious South". 

Direct from Argyll, Scotland, 

Caoercaillie is one of the most 

exciting young bands on the Scottish 

folk scene today. The six members of 

the group (average age: .19!) 

KEN BLOOM 

have 

been together just over 2 years and 

have already released their first LP, 

Cascade. Their spirited renditions of 

traditional dance music and Gaelic 

songs are sure to wrn them many new 

fans at Mariposa. 

PROFESSOR CHALUPKA'S 

CELEBRATED 

SINGING SCHOOL 

ELDON COOPER 

Eldon is one ot the mainstays of the 

Southwestern Ontario dance scene. 

He runs regular dances and dance 

weekends in Simcoe, and is a regular 

guest caller at dance events in London 

and Toronto. Eldon soecializes in 

Contras and English country dances, 

but has been known to call Ontario 

old-time dances as well. Even if you 

don't know a reel from a hey, Eldon 

will have you on the f loor and dancing 

in no time flat. 

BARNEY CUMMINGS 

SAUL BROUDY 

Best known in folk carcles for his 

wizardry on the harmonica, Saul also 

sings and plays guitar. This bearded, 

bespectacled Ph.D. from Philadelphia 

is a modern-day troubadour wtth a 

reperloire ranging from traditional 

ballads to blues and '50s rock and roll. 

Saul has played at clubs, cofteehouses 

and colleges across Canada, 

the U.S. and Great Britain. and at 

virtually all the malor North American 

folk {estivals. As a sideman he has 

recorded with Steve Goodman. Utah 

Phillips, Loudon Wainwright lll, Jim 

Rinoer and David Amram. and has 

recdrded a solo album. Travels with 

Broudy. 

CAPERCAILLIE 

? I 

MARGARET CHRISTL 

lf you like old-time country music, 

Barney Cummings is your manl Last 

seen at lvlariposa in 1982. this fine 

singer-songwriter has been perf orming 

in and around Toronto foroverten 

years. His repertoire includes original 

material and early popular country 

music with its roots in Jimmy Rogers, 

the Carter family and Hank Williams. 

Barney will be doing double duty at 

the Festival: he'll also be seen in the 

crafts area, demonstrating his skills as 

a blacksmith and farrier. 

DALGLISH LARSEN AND 

SUTHERLAND (METAMORA) 

Margaret Christl's unforgettably 

pure, powerful voice and compelling 

stage presence have been applauded Norwegian {iddling on a country 

at clubs and festivals across North song? An lrish jig with a Balkan twist? 

America and beyond. A magnilicent a Gilbert and Sullivan meet the Lake 

cappella singer, she also accom- Champlain monster? You'll hear all 

oanies hersel{ on the mountain this plus a good dose of multi- 

dulcimer and Celtic drum. Equally at instrumental wizard(y and innovative 

home performing tender love songs, 3 part harmony from Malcolm 

melancholy ballads or bawdy rousers, Dalglish, Grey Larsen and Pete 

Maroaret is one of our foremost Sutherland. also known as Metamora. 

inte-roreters of traditionat ano They perform traditional and original 

contemporary songs lrom Canada 

material on hammer dulcimer, fiddle, 

and the British lsles. Margaret will be {lute, concerlina, guitar, banjo and 

accompanied at lvlariposa by Lindsay 

piano. The curative value of this 

Bucknell on guitar and Ron Casat on musical medicine show has been 

oiano and bass. 

praised from coast to coast. 

13

PERCY OANFORTH 

ART ELLEFSON AND 

THE HURON BROTHERS 

This upbeat jazz trio is a welcome 

addition to the Festival lineup. Born in 

Saskatchewan and now laving in 

Gravenhurst, Art Ellefson is a "post- 

Percv Danforth has done for the 

spare-rib what Segovia did for the 

ouitar. A master player of the bones 

Fercv 

bop" tenor sax player who has 

performed and recorded with Johnny 

Dankworth, Maynard Ferguson, Phil 

Nimmons and the Beatles! He's also 

worked as a member of the BBC 

Radio Orchestra and numerous 

symphonies. His style and tone invite 

comparisons with Stan Getz and Zoot 

Sims. Art is accompanied by the 

Huron brothers: Peter on bass and 

Joe on guatar. 

THE FIDDLE PUPPETS 

with STEVE HICKMAN 

What has eight legs and clogs? The 

bug we found in the drain at the 

Mariposa olfice, yes, but it also 

descrabes the phenomenal Fiddle 

Puppets. Not only are they fast and 

furious southern cloggers, but they 

teach and call dances Jrom a wtde 

range of traditaons, from waltz to Jive. 

Eileen and Eddy Carson, Amy Sarlie, 

and Rodney Sutton hail from 

Maryland and win flat-footing 

converts wherever they go. They will 

be accompanied at l\4ariposa by Steve 

Hickman. a remarkable fiddler who 

will be playing for performances, 

dances and teaching sessions. Steve 

is a mainstav of the dance scene in the 

northeastein U.S., and plays for 

Cathy Fink is a champaon banJo GOAT'S HEAD MORRIS 

player and concert performer ol Iolk 

songs, counlry songs, swing tunes, 

Appalachian mountatn songs, oldtime 

fiddle tunes and yodelling songs 

(these make for great sing-alongsl). 

Frcm 1974 to 1979 Cathy Performed 

with the late Duck Donald, sPecializing 

in old-time duet singing, and In 

1980 became the tirst woman to wan 

the prestigious West Virginia State 

banjo contest. Not bad for someone 

who never even knew bluegrass 

existed until she was 201 Cathy lives 

near Washington, D.C., where she is 

actively in.olved in art education 

programs al the Smithsonian Instatution, 

performing in concert and 

demonstrating the museum s collection 

of folk and popular instruments. 

FRIENDS OF FIDOLERS 

GREEN 

lf you hear the jingling of bells 

wafting toward you at the festival, 

chances are it signals the approach of 

the Goat's Head Morris Dancers. This 

London, Ontario group pertorms the 

traditional dances of the Cotswold 

and Northwest regions of England. In 

addition to Morris dancing they 

perform other traditional styles 

including garland dances and clog 

steps. They will be dancing around 

The Friends ol Fiddlers Green are the site over the weekend, and will be 

the resident singers of Toronlo's teaching their steps to young and 

Fiddlers Green Folk Club. Jorning us adult festival-goers in the Dance and 

for lvlariposa will be Doug Creighton, Folk Play areas. 

Tam Kearney, Grit Laskin, David 

Parrv. Lawrence Stevenson and Jim THE GREENWOOD STEPPERS 

Striakland. The Friends play an 

amazing array of instruments, 

including fiddle, guitar, mandolin, 

banjo, concertina, melodeon, Northumbrian 

smallpipes, drums, 

whistles, jew's-harp, harmonica and 

kazoo. Their repertoire ranges from 

songs old and new and recitations 

from the British lsles to mummers' 

plays, interspersed with a seemangly 

endless series of bad jokes. Everything 

they do is alive with joie-de-vivre 

and a wonderful (slightly twisted) 

sense of humour. Come and see for 

you rselfl 

GEORGIA SEA ISLAND 

SINGERS 

From the waltz clog to the French 

reel, the Greenwood Steppers (Julie, 

20; Paul, 18; and Jody, 14) have been 

stepdancing almost since they could 

walk. In 1983 they won the Canadian 

open group stepdancing championship 

in Dundalk, and appeared at 

Mariposa for the first time last year. 

The Greenwoods will be teaching as 

well as performing, so here's your 

chance to learn a few steps. 

hoofers of manv dif{erent traditions 

and styles. Look fo the Fiddle Puppets 

in our dance area, at workshops, and 

even at the gospel sing. 

MARIE-LYNN HAMMOND 

- who turned 85 this Year - 

learned to play as a Youngster in 

Washinqton, where his black netghbours 

used to sand-dance (softshoe) 

on the sidewalk under the gas 

street lamps to the Iascinating 

rhvthms of the bones. Now, after more 

than 70 years and careers as an 

architect, industrialist and educator, 

Percv can still "do the bones" like 

nobddy else, and he's eager to teach 

anvone who wanls to learn how to 

pla'y. Look lor him in the Folk PlaY 

atea. 

BLIND JOHN DAVIS 

Mariposa welcomes a living blues 

legend! Blues singer and pianist John 

Davis grew up in the 1920s in Chicago, 

where his lather owned a club. The 

young John, blinded as a child, was 

thus able to hear all the leading blues 

pianists of the day and to learn the 

characteristics of each ol their styles. 

John's own recording career began in 

1938, and over lhe next 15 years he 

worked with just about eve/y 

signif icant blues artist in Chicago. He 

plays a broad range of styles with 

great verve and conviction, and 

there's no one to match him lor a 

deep, rolling piano blues. 

CURTIS DRIEDGER 

AND THE CEE DEES 

What's a Queen Street dance band 

doing at a folk festival? To call the Cee 

Dees a rock band is to miss the fact 

that their roots lie hidden under all 

kinds of musical terrain, including 

many past [/ariposa Festivals. Since it 

was formed in 1979 the group has 

become a thrivrng part of Toronto's 

street/art culture 26 musicians can 

lay claim to having been in the Cee 

Dees at one time or another, but right 

now the Cee Dees are Curtis Driedger 

(founder, writer, singer, guitarist), 

Merrie-Ellen Wilcox (bass guitar) and 

Nick Kent (drums). Their original 

music features incasive, olten 

humorous lyrics set to a stimulating 

beat, drawing on everything from 

reggae to rock-a-billy, hick to heavy 

metal. 

t4 

CATHY FINK 

ff 

Frankie Sullivan Quimby and her 

husband Doug offer a unique glimpse 

into the rich Afro-American heritage 

of the Georgia Sea lslands, a group ol 

island communities olf the east coast 

of the United States. The songs, 

games, dances, gospel music and 

stories they perform with such 

warmth and joy date back to the days 

of black slavery before the American 

Civil War, and have been handed 

down through the generations for 

over two centuries. Audience 

participation is the keystone of a Sea 

lslanders performance: each song has One of Canada's most talented 

a chorus or clapping response, and singer-songwriters, co-f ounder and 

often audience members are invited lead vocalist of Stringband, Marieup 

on stage to learn a traditional Lvnn Hammond also Performs (in 

dance or game. When the Sea Eirglish and French) on her own and 

lslanders are around, everyone gets has two solo albums to her credit. She 

involved ! 

is also a writer: her f irst play, De beaux

qesles et Beautiful Deeds (a bilingual John Kenny is the lvlariposa 

;rusical theatre piece based on the Festival's resident astronomer 

fives of her two grandmothers) got 

rave reviews in Toronto and Winnipeg 

this season. Marie-Lynn consistently 

deliohts and moves her audience with 

her Elear, powerlul voice and sensitive 

lvrics Al f\4ariposa shP will be 

accompanied on the piano by Evelyne 

Datl, a vuisatrle kutDodrdist from 

Toronto who has worked with such 

artists as Craig Russell and Shirley 

Eikhard. 

Marie Hare ioins us from Strathadam. 

New Brunswick. Her clear, 

strong voice and superb style are wellknown 

in the Maritime provinces, 

where she is a qreat contributor to the 

Miramichi Folksong Festival. The 

traditional songs she sings, many ol 

which are ouite rare, have been 

handed down over manY generatlons 

and recall a way ol life that is fast 

disappearing. One really interesting 

feature is that some of her material 

uses a s-tone scale rather than the 8tone 

scale most of us are used to. 

Welcome to Mariposa, Marie! 

"lzvor" "spring" 

means in south 

Slavic languages, and this lively group 

certainly lives up to that image of 

f rom-the-source authenticity. The 

band plays and sings music from 

several Balkan areas (Bulgaria, 

Macedonia, Greece,'Serbia), using 

instruments appropriate to each 

region's distinctive style. lzvor will be 

performing in concert and playing for 

dance workshops conducted by Olga 

Sandolowich, a Macedonian dance 

teacher with over 30 years experience 

as a folk dance instructor. 

JOHN KENNY 

- you 

could call him our star performer. 

John is a producer at the Royal 

Ontario Museum's McLaughlin 

Planetarium, where he combines his 

experience as an actor and director 

with his strong interest in bringing 

astronomy and science in general to 

the oublic. He has written several 

articies, appeared as a guest on radio 

and TV shows, and recently hosted a 

series of programs on astronomy for 

CJRT-FM. John can betound nearthe 

Canadian Pavilion atter sundown, 

squinting through his telescope at the 

wonders above. Once again this year 

he will be conducting "starwalks" 

Stars ol stage, screen and vinyl, 

Kate and Anna McGarrigle are among 

for 

Canada's most widely acclaimed 

any and all interested stargazers. 

artists. They've toured Canada, the 

When you get tired of instrumental 

U.S. and Europe to unanimous critical 

music, here's your chance to listen to 

Arlene Mantle is now established as praise. they ve been the subJects ol an 

the music ot the soheres. 

a feminist singer/songwriter in the NFB d;, rnreirrar\ irirr aitJrrarvr-itve 

forefront of the movement for social hit albums to their credit. Among their 

change. Her music has inspired and besi_niiowii urigiildi 5uiigr diu irig 

encouraged audiences around the 

"Heart 

unforgettable Like a Wheel", 

world. With her songs of the struggles "The 

Work 

"Love 

Song", Over and 

of poor and working women, biting Over", 

social commentary and off-the-cuff 

humour, Arlene helps us make the 

connections that are so imoortant to 

our survival. 

EILEEN MCGANN 

tEnoch Kent is a long-time friend of 

the Marioosa Folk Festival, which is 

just about the only place you'll get to 

hear him, so difJicult is it to drag him 

away from his advertising job in 

Toronto. Enoch grew up in Glasgow 

with the music hall songs and ballads 

his father taught him,and by the time 

he emigrated to Canada he had 

established himself as one of 

Scotland's finest singers. He's a warm 

and entertaining perlormer whose alltoo-rare 

appearances are always a hit. 

"Complainte pour Ste- 

Catherine" and others too numerous 

to mention! As well, their material has 

been recorded by an impressive roster 

of contemporary artists including 

Linda Ronstadt and l\4aria Muldaur. 

Natives of Quebec, the Mccarrigles 

perform en anglais et en frangais, and 

their songs range from plaintive and 

sentimental ballads to hard-hitting 

satirical comments on lile and love. 

MURRAY MCLAUCHLAN 

Since hrs early days as a folkie in 

Toronto's Yorkville, [/urray McLauchlan 

has grown and developed to 

become one of Canada's premaer 

songwriters and performers. Over the 

past ten years he has won 7 Juno 

Awards and released more than a 

dozen albums; his songs have been 

heard in feature films, and the 1981 

lnternational Year ol the Disabled 

Person chose his "lf Born of an lrish father and a Welsh 

mother, Eileen McGann's Celtic roots 

run deep. Her repertoire highlights 

traditional folk songs from lreland, 

Britain and Atlantic Canada, though 

she's equally at home with contem- 

tr&r 

porary folk, old rock and roll and her 

own onginal compositions. Eileen's 

work as a songwriter is made up of 

sensitive and personal pieces in 

Hrf 

modern and traditional styles: ballads, 

love songs, and songs of the modern 

the Wind Could 

i'jY $ 

world, especially from a woman's 

point ot view. She performs both a Blow My Troubles Away" as its 

cappella and with guitar accompani- worldwide theme song. Murray has 

ffii 

menL 

performed on many TV and radao 

series and will be leatured on CBC-TV 

music special to be aired July 1. An 

old lriend of the Mariposa Folk 

Festival (in fact, he designed our 

logo), N4urray hasn't let his welldeserved 

success go to his head: he 

remains a warm and approachable 

perf ormer. 

THE MARCEL MESSERVIER 

Originally one facet of Toronto's 

"Latin 

American Cultural Workshop", 

a multi-disciplinary arts collective, 

lf you crave jazz, salsa, funk, Grupo Taller has survived thedisband- 

calypso and African grooves, you're in ino of the larqer orqanization as a live- 

for a real treat. Manteca is a highoi6ce qroup 

energy, 9-piece fusion ensemble 

that's oreat to listen to and even better 

to daice tol Founded in 1979, the 

band has played at concerts and 

festivals across the country. The 

A festival should always have a few 

members of Manteca are Matt Zimbel, 

surprises, and we have a good one tor 

Henry Heillig, Aaron Davis, Art 

you in the Marcel Messervier All- 

Avalos, Herb Koffman, John Johnson, 

Stars. As a 25th birthday present to 

Gary Boygon, Charlie Cooley and 

ourselves and to our supporters, we 

Rick Tait. and their instruments 

are bringing to lvlariposa a band that 

include congas, timbalis, saxophone, 

has never been seen before, and that 

flugelhorn, trumpet, keyboards and 

(rumour has it) will never be seen 

drums. Few bands can match 

again Marcel Messervier, an exlraor- 

Manleca for musicianship, energy 

dinary accordionist f rom Montmagny, 

and sheer fun. 

Ouebec. has assembled for the 

-with 

tdistinct voice of its 

bwn. V'ictoi and Claudio Saldivia, Juan 

San Martin, Raul Olivaand Julio Reyes 

perform the music and songs of Peru, 

Bolivia. their Chile, and other Latin 

American countries. Their material is a 

blend of traditional Andean music and 

what has been dubbed in Chile "new 

KATE AND ANNA MCGARRIGLE 

MARIE HARE 

ENOCH KENT 

MANTECA 

ALL-STARS 

music", a 2oth-centry hybrid of Latin, 

North American and European styles, 

often used to accompany incisive 

political lyrics. Grupo Taller employs 

an astonishing array oI instruments in 

their perf ormances, including Andean 

pan flutes, quenas, guitar, charango 

and percussron. 

15

Festival a group the likes ol which few 

of us have ever heard. The "All-Stars" 

come by therr title honestly: the ninepiece 

band is composed ol many of 

the best-known performers of 

Ou6b6cors traditional music, including 

five former members ot the 

group Eritage. The band consists of 

Marcel Messervier, Raymond Messervier, 

Baynald Ouellette, Vincent 

Ouellette. Gilles Robin, Francine 

Desjardins, Marc Benoit, Yvan Brault 

and Jean-Pierre Joyal. The basic 

instrumental lineuo will include twin 

fiddles, an accordion section, 

saxophone, piano, and bass. This 

Eric Nagler divides his time 

between Toronto and Killaloe, 

Ontario. He grew up in the heyday of 

tolk music in New York City in the'60s, 

and when he arrived in Canada in 1 968 

he founded the Toronto Folklore 

Centre, the first store of its kind in this 

country. Since he first picked uP a 

banjo at the age of 1 4, Errc has learned 

to play a prodigious array ol 

traditional instruments including 

mandolin, dulcimer, bodhran, psaltery, 

musical saw, bones, and others too 

numerous and obscure to mention. 

Over the years Eric's public concerts 

have become increasingly familyoriented: 

he apoears on CBC-TV'S 

series 

"The Elephant Shoe" and will 

be a guest on "Sesame Street" in the 

fall. Eric's music appeals to parents 

and children alike. 

BARRY O'NEILL 

Barry is a Toronto expatriate living 

in Chicago, and one of the best 

singers of Canadian traditional songs 

you'll hear anywhere. Barry sings a 

cappella or accompanies himself on 

the concertina. He is also a noted 

folksong scholar and Uillean (lrish) 

piper. Barry's enthusiasm for the 

folksonqs of his native land and his 

fine periormances at many Mariposas 

past have done much to encourage 

other singers to take up "the by lellow Newfoundlander Emile 

Benoit on the fiddle, and Frank Maher 

on the accordion, Jim and Kelly will be 

performing traditional and iontemporary 

folk music of 

cause". 

We are happy to have him back home 

again. 

"the Yank Rachell is a great blues 

mandolinist whose original style has 

influenced the likes of Ry Cooder. His 

strong performances recall over lifty 

Rock". years ot playing the blues, and for 

many years he performed with the 

POCUL! LUDIQUE SOCIETAS 

legendary Sleepy John Estes. More 

recently Yank has found an ideal 

musical partner in guitarist Peter 

Roller, who will be accompanying him 

at Mariposa. Together they'll serve up 

a real treat for blues tans at this vear's 

Festival. 

RARE AIR 

THE ORIGINAL HURDY 

GURDY MAN AND LADY 

promises to be high octane" music: 

fasten your seatbelt! 

The reunion of this imoressive 

group of musicians has been the work 

of M. Armand Labreoue of Montmagny, 

Quebec (left, in photo). Their 

reoertoire and instrumentation is an 

attempt to recapture the sound of the 

influential and popular Quebec City 

band, "Les Montagnards Laurentians". 

The 'Montagnards performed regularly 

on the radio and were 

immensely popular between about 

1940 and 1955. 

METAMORA 

see 

DALGLISH LARSEN 

AND SUTHERLAND 

No, they're not just a couple ol 

cranks! Donald and Anicet Heller 

bring back to life the entertainments 

of the troubadours and players of old 

Europe. Performing on hurdy gurdies 

and other early instruments, they 

stroll and cajole just like their 

mediaeval counterparts. Don't miss 

their fascinating presentations of 

shadow puppetry and all manner of 

other delightf ul diversions. 

Their Latin name translates looselv 

as "The Drinking and Playing Societf' 

and they're equally adept at both! The 

P.L.S. is a Toronto theatre group 

specializing in plays from the Middle 

Ages and the Renaissance. In its 20year 

history the group has delighted 

countless audiences locally and 

abroad with its often hair-raising 

recreations of early theatre spectacle 

- pageant wagons, angels, devils, 

fireworks and all - and its great 

outdoor productions ol colourful 

mediaeval plays. Knockabout comedy, 

dancing, singing, fighting and lots of 

audience participation give their 

performances timeless appeal. 

They're fast, furious and lots of fun! 

JOHN PRINE 

What can we say about a group 

whose publicity brochure promises to 

reveal 

"the ERIC NAGLER 

secret lile ot bagpipes" and 

inouires. 

"What 

music is hidden in that 

most violent of instruments, the 

Scottish Sten Gun, otherwise known 

as the Highland Snare Drum?" Rare 

Air (formerly Na Cabarfeidh) will 

demystify these and other mindboggling 

enigmas over lhe course of 

the weekend. Patrick O'Gorman, 

Grier Coppins, Dick Murai and Trevor 

Ferrier make up this unorthodox and 

dynamic group, whose arsenal 

includes Breton bombard and biriou- 

JIM PAYNE AND 

KELLY RUSSELL 

WITH EMILE BENOIT 

ANO FRANK MAHER. 

Newfoundland is a real treasurv of 

folk tradition, both instrumental and 

vocal, and it's thanks to the efforts of 

young performers like Jim Payne and 

Kelly Russell that more of it is now 

reaching the mainland. Jim and Kelly 

are both fine musicians, singers, 

songwriters, actors and dedicated 

folklore collectors who've been 

involved with Figgy Duff and The 

Wonderf ul Grand Band as wellas their 

own individual careers. Accomoanied 

Chicago-born, gravel-voiced John 

Prine has been dubbed 

'The American 

Storyteller" for his incisive, often 

humorous songs of ljfe, love and the 

human condition. His songs 

"Spanish 

Pipe Dream", 

"Dear Abby" and others 

have become country classics, and he 

draws large and loyal audiences 

wherever he oerforms. John's 

compositions have been recorded by 

such artists as Bonnie Raitt, David 

Allan Coe, John Denver, Johnny Cash 

and Don Williams, and he has 

appeared on TV music specialsforthe 

Home Box Office and PBS. He now 

makes his home in Nashville, where 

he is currently busy working with 

some of country music's finest 

songwriters. 

YANK RACHELL AND 

PETER ROLLER 

dffift 

koz, cittern, lrish flute, and, ot course, 

Highland bagpipes and snare drum. 

GARNET ROGERS 

Garnet Rogers comes from a family 

of talented singers and songwriters, 

and combines a repertoire of 

sensitive, oiten introspective songs 

with a deadpan, self-dePrecating 

sense of humour. He's an impressive 

guitarist and tiddler with a deep, clear 

voice and a line ear for a good song, 

whether traditional or contemporary. 

Garnet performs original material as 

well as classics by Canadian writers 

like David Wiffen, Doug McArthur and 

Archie Fisher, and occasionally a 

sonq or two bv his late brother Stan. 

Gar-net recenily completed a U.S. 

concert tour and wrapped up 

Mariposa's spring concert series in 

Toronto. 

PANDIT SHARDA SAHAI

Sharda Sahai ("Pandit" means 

"master") was born in Benares, Indaa, 

ioto a farhily with a long and illustrious 

musical tradition. He is a master of the 

tabla, a pair ot tuned goatskin drums 

played with the hands, the most 

imDortant and PoPular Percusslon 

instrument in North Indian classical 

g 

music. Mr. Sahai is much in demand 

as a soloist, as a teacher and as an 

accomoanist {or dance and instrumental 

music, and has toured 

Canada, the U.S. and Europe several 

times. His bold and imaginative touch 

brinqs to lite the amazing dynamic 

and-tonal range of the tabla Joinlng 

Mr. Sahai at the Festival will be Bob 

Becker (of the Percusslon grouP 

Nexus) on harmonium, and Neil 

Golden on tamboura. 

Svlvia Tvson is another of the 

Maiiposa Festival's original performers. 

One ol the first Canadian artists 

to gain internattonal recognition. 

Sylvia performed with lan Tyson lor 

several years, then went on to 

establish her career as a solo artist. 

With her band the Great Speckled 

Bird. she has captivated audiences 

around the world with her bittersweet, 

bluesy repertoire. Host and star of 

many TV and radio series (including 

CBCs "Touch What do a singer oJ old-time 

country m usic and a ragtime and )azz 

pianist have in common? Quite a lot, 

as Jane Voss and Hovle Osborne will 

show you. Now living in Albuquerque, 

they've been performing together for 

sevbral years with a repertoire that 

runs the gamut from satire to 

svmoathv and includes blues 

viudeville and country songs, and 

new songs by Jane and Jriends. In 

workshops and concerts theY 

combine all these influences lo create 

a style and sound that's uniquely their 

own. 

BILL USHER 

Bill Usher is a versatlle muslclan 

and a lonqtrme trrend of Marrposa (He 

editec lh; 1.4:1r;r'.13: 5.)i' a',, What 

Time I Am ln This World.) As a 

OefCussiOllrri i,s .s oi rruiirc In a 

startlrno varretv ol musrcar styles 

from Airican rhvthms to Celtic and 

Latin beats. His 

the Earth"), Sylvia has 

released half a dozen best-selling 

albums. Welcome backl 

"other SYLVIA TYSON 

continent and abroad both as a solo 

performer and as a member of vartous 

groups (including The Children, wath 

Bruce Cockburn). Between touring. 

giving concerts. teaching, playing on 

radio and TV and appearing at folk 

festivals, Sneezy is a busy man! He 

JON SIRKIS 

recently starred as the legendary 

country singer Hank Williams in the 

television 

.film 

and touring productaon, 

life" as a record 

Hank Williams: The Show He Nevel 

oroducer revolves largely around the 

Gave. 

breation of line, often folk-oriented 

children s recordlngs wlth perf ormers CHRIS WHITELEY AND 

f rom Canada and the U.S. Bill will be 

addinq his Percussrve element to 

works6op stages around the Festival 

and in our Folk Play area, and willalso 

be one of the instructors at this year's 

Marioosa in the Woods. 

THE FRANK WAKEFIELD BANO 

featuring SUMMIT 

VALCARTIER DANCE BAND 

Born and raised in the New 

Jersey/New York area, Jon lett home 

with his guitar at the age ol 15 and 

worked at a stunning variety of odd 

iobs ln order to support his habit ol 

Singing and wnting. At long last his 

habit ia beginning to pay {or itselll He 

writes in a varjety ol styles including 

swing, bluegrass, political satlre and 

something he calls "easy listening 

heavv lolk punk metal". Jon has 

appehred wrth such notables as Doc 

Watson. Tai Mahal and Tom Paxton. 

and is awaiting the release this 

summer of his Jirst album. 

MURBAY SMITH 

Watch, look and listen for MurraY 

Smith in our Dance Area MurraY is an 

old-time square dance caller whose 

extensive knowledge of traditional 

Ontario dances has made him one of 

the most sought-after callers in the 

Toronto area. SteP right uP and let 

Murray show you a Promenade or twol 

Frank Wakefield is a blueErass 

veteran, and a veteran of Mariposa to 

Here's a group that will have you 

boot: he first appeared at the festival 

dancing back to Valcartier, Quebec. 

with The Greenbriar BoYs in 1964 

Bernard Monaghan (accordion), 

Frank has been on the cutting edge of 

Keith Corrigan (accordion) and his 

the 

cousin Eric (fiddle) grew up in the 

early and mid-1900s in Valcartier, 

north of Ouebec City. All of them 

belonoed to inusical families, and 

neighdours would otten get together 

to tell stories, and play and sing the 

traditional music of their ancestors. 

Bernard himself has a collection of 

over 2,500 old songs - lrish and 

Scottish songs, songs ot the lumber 

woods, disasters, tragedtes, comlcal 

songs, you name it! TheY will be 

accomDanied on the Piano bY Llsa 

Ornstein, who hails f rom Quebec City. 

Danielle Martineau, director ol Les 

Danseries de Quebec (a dance and 

folklore school), will ioin them to 

teach the traditional dances of the 

Valcartier region; she'll also be calling 

dances for the Marcel Messervier 

Band. 

PETE & ELLEN VIGOUR 

Soecial quests tn our dance area' 

Pete and E-llen are a southern tiddler 

and square dance caller from 

Charlottesville. Virginia. They wrll be 

sharinq their extensive knowledge of 

old-tirie music and dance with any 

would-be hoofers. 

No stranger to Canadian folk lans, 

lan Tyson performed (with Sylvia) at 

the fi;st-ever Marioosa Folk Festival 

25 years ago. and wer€ very pleased 

and' proud to welcome hrm back He is 

currently based in High River, Alberta, 

and has recentlY released two 

successful albums ol songs celebratinq 

his cowboY roots. This rare 

Oniario aopearance will be welcomed 

by old and new fans alike 

JANE VOSS AND 

HOYLE OSBORNE 

"new acoustic music" since it was 

still old acoustic music "New 

CamDtown Races" and other Wakef 

ield briqinals have become classics of 

the nefrgrass rePertoire, and his 

innovative mandolin style has paved 

lhe way for the "dawg" Chris and Caitlin Perform contemporary 

country music in the great 

tradition of male-female two-part 

harmonies. Born in Kansas in 

communities iust 50 miles apart, they 

met vears later on the Montreal cotlee 

house circuit, and a great musical 

oartnership was born. Their special 

btend of oriqinal comPositlons. 

traditional country tunes and 30s and 

'40s 

swing have made them MariPosa 

Javourites. Proficient on gultar, 

harmonica and trumPet, Chris began 

hrs professional career with his 

brother Ken Whitelev and Tom Evans 

music of David 

in the jugband Th'e Original Sloth 

Grismdn and others. Frank has also 

Band. and has toured across Canada 

collaborated with muslcians ranging 

and the U.S. Caitlin combanes strong 

from JerrY Garcia to Leonard 

vocals with solid rhythm guitar and a 

Bernstein. At Mariposa this year he qift for harmony to glve the duo its 

will be PlaYing wlth a new Dano 

distinctive and versatile sound. 

includino Chris Lee (banlo/vocals)' 

Craig Va-nce (gultar vocals) and Steve 

,oa"o6 163ss/vocals) welcome DacK. 

Frank! 

JANET WASON 

Janet is a dance instructor and 

research assistant at the Unrversity of 

Waterloo. where she leads a Renaissancg 

dance group At l\ilariposa she ll 

be leading workshops In.1gth-cenlury 

Ontario dances. man/ of which come 

from a book Printed in Toronto bY 

dancinq mastei Professor Wrlson She 

will be-accompanied by Janet Smith 

on oiano. Come to Janet s workshops 

Whole Loaf Theatre s glant marlo- 

ancj learn to trip the light fantastic 

neltes are a colourful and delightful 

addition to the Festival. Founded an 

SNEEZY WATERS 

Sinqer, quitarist and actor, Sneezy 

Wateis ignores rigid detinitlons of 

popular music and gets right down to 

solid entertainment. His materlal 

ranges from country and folk to Jazz 

and rock n roll, and he romPS 

throuqh a set alternately surprislng 

cajoliig and always delighting the 

crowd.He began his career in Ottawa 

and Montreal when he was 15' and 

since then has travelled all across the 

1976, this unique Toronlo-based 

repertory companY Performs anYwhere 

people gather: in Parks, on the 

street, in schools and community 

centres, hospitals and prisons, at folk 

festivals and peace rallies. WLT's 

onginal productions adapt all kinds of 

different dramatic elements - 

IAN TYSON 

; 

WHOLE LOAF THEATRE 

commedia dell arte. mummers plays, 

puppetry, songs and mediaeval 

pageantry - to create shows that are 

nnovative, accessible lo everyone, 

rnd most of all, a lot of tun. 

t7

DO.IT-YOURSELF FUN AT FOLK PLAY 

by Sandy Byer 

AFTER TWENTY FIVE YEARS. 

Mariposa has evolved Folk Play - 

our version of an enchanted forest. 

Mariposa has always had children's 

concerts. ln 197 4, the begi nni ngs of a 

children's area evolved with concerts 

by Mariposa In The Schools. In 1975, 

children's programming expanded 

by offering "Under As the Children's Area expanded, 

our emphasis began to change. We 

no longer thought of it as simply a 

children's area. We found that many 

parents were staying with their 

children and enjoyed sharing 

activities with them. Our emphasis 

changed to family programming and 

The Trees", an the Play Area became the place 

opportunity to sing, dance or listen to where whole families could spend 

a story in an unamplified area. In the day. However, over the years, we 

1976, a stage was devoted solely to have also noticed that many adults 

the children's concerts. Program- attended without children. They 

med by Lois Lilienstein and Sharon came to play and enjoy themselves. 

Hampson, these concerts set the As a result, 

standard for children's areas at other 

festivafs. ln'1977, the Play Area was 

added adjacent to the Children's 

Stage. This provided children with an 

opportunity to play with puppets, 

dance around a maypole, dress up, 

join in a play party, or play a variety of 

games. In 1978, a Children's Craft 

Centre was added next to the Play 

Area. This was a place where 

children could make a varietv of folk 

crafts. 

"Folk Play" was 

introduced last year and organized 

by Sandy Byer, Caroline Parry, 

Camilla Gryski, and lsabel Fryzberg. 

Continuing this year with the added 

help of Carol Howe and Mary 

Molton, this festival within a festival 

offers people of all ages the chance 

to play, be challenged, learn things 

and participate. In addition to a 

programmed stage, a Play Area, and 

a Folk Arts Area, we introduced a 

Learn and Do Area - an opportunity 

isl NN 

ilT 

,,,!!!- 

Z 

. T 

lttt' x 

to learn about a variety of folk arts as 

well as do them. One of last year's 

highlights was being taught to play 

the bones by Percy Danforth. This 

year we are creating Percy's Porch, a 

permanent home for learning to play 

the bones. After last year's success 

with dulcimers, we are creating a 

separate space where people can 

assemble cardboard dulcimers and 

learn to play them. (Kits can be 

purchased at the Millwheel booth on 

site). We are also expanding our face 

painting to create a tattoo (face) and 

massage (head and shoulders) 

parlour, and will be initiating our 

H2O Pub, where folk players can get 

liquid refreshment (delicio0s water) 

i"l 

and entertain each other. You may 

even bumo into a clown or two. 

PERFORMANCE AREA: 

On thb grass; before a tented 

stage, children and adults can sit 

themselves down and enjoy a whole 

day's activities of music, dance, 

puppetry, storytelling, and much 

more. But that doesn't mean just 

sitting and watching. There will be 

lots of opportunities to sing along 

and create songs together, move to 

exotic Latin American rhythms or a 

lively Quebegois tune, participate in 

puppet shows and stories, and dance 

a Square dance or a Morris dance. 

Appearing on stage will be Mariposa 

In The Schools veterans Eric Nagler, 

Chris Whitely, Rick Avery and Judy 

Greenhill, Caroline Parry, Sandv 

Byer, The Whole Loaf Theatre, The 

Georgia Sea lsland Singers, Cathy 

Fink, The Goat's Head Morris, The 

Fiddle Puppets, the Original Hurdy 

Gurdy Man, Marcel Messervier 

Allstars, lzvor, and a host of other 

performers who know how to have 

fun and appeal to people of all ages. 

18

PLAY AREA: 

The Play Area offers a varietY of 

structured and unstructured activities 

in shaded and oPen settings' 

Hoops, marbles, hoPscotch squares, 

and skipping roPes encourage 

traditional play while new games will 

intrigue and challenge everyone to 

play creatively, hard and fair. Come 

and participate in our oPening and 

closing ceremonies, create a puppet 

show, dress up a scarecrow or 

yourself , and knock together a sound 

sculpture. lf You need some quiet 

time, relax by listening to a folk tale 

or reading a fairy tale under a tree. 

LEARN AND DO: 

Here's your chance to learn to do 

some of the things you've been 

seeing throughout the Festival 

weekend. You can learn from Cathy 

Fink how to make and PlaY a 

mouthbow, Practice PlaYing the 

spoons with Eric Nagler, learn to play 

the harmonica from Chris WhitelY 

and Saul BroudY and mountain 

dulcimer from Caroline ParrY, in 

addition to learning to play a variety 

of homemade and unusual small 

instruments. Camilla GrYski can 

teach you simPle string figures on 

Saturday and more comPlex ones on 

Sunday. lf you've wanted to learn 

how to Morris dance or steP dance, 

how to duel with quarter staffs, 

juggle, or tell a story, this is the place. 

Also, if you are just curious about the 

hurdy gurdy or bandura, hambone or 

juba, then come to the Learn and Do 

area. For PeoPle 5 to 500. Please 

Note: We can do more with learn and 

do and offer mini-group lessons if we 

know there is interest. lf you'd like to 

bring your instrument next year, let 

us Know. 

FOLK ARTS: 

Here, you can create traditional 

and contemporary folk arts in Your 

own, unique style. You can see, learn 

and participate in activities as varied 

as making jewellerY, simPle homemade 

musical instruments, masks 

and Let-Us Patch PuPPets. You can 

also purchase special kits to create 

quilted tea cozies, wooden toYs and 

Teddy Bears for the TeddY Bears' 

Picnic. Add your piece of graffiti to 

our Celebration of Peace, Living and 

Anniversaries, and Put Your hex on 

our hex tree - giving assistance. Activitieswill 

be 

structured and sPontaneousinvol- 

ving all ages. 

Discover and add to what hangs in 

the trees. Explore and experiment for 

yourself or ask our talented staff for 

guidance. 

PLEASE NOTE: WE ARE NOT PROVIOING 

CHILDCARE FOR THOSE CHILDREN WHO 

ARE TOO YOUNG TO BE HAPPY WITHOUT 

THEIR PARENTS. 

Opening exercises will begin at 10:45 and 

we will be operating until the closing exercises 

(which begin at 5:30 pm.) are over' Just 

look for our enchanted forest and create your 

own Festival! 

SANDY BYER 

Sandy Byer is a lolksrnger, musictan and 

storyteller. She enjoys her songs and stories 

with children of all ages and accompanles 

herself on guitar, banjo, mountain dulcamer, 

hammered dulcimer, concertina, autoharp 

and a variety of homemade instruments. As a 

perlormer with Mariposa In The Schools 

(MITS), she has been seen by thousands of 

chrldren in workshops and concerts 

throughout Southern Ontario, and has 

performed on radio and at a variety of festivals 

in North America and Great Eritain. She has 

helped co-ordinate the children's area (now 

Folk Play) since 1979. Sandy appears orr the 

MITS records 

to keeP the rain awaY' 

Paper, paints and Pens will also be 

available for those who want them, 

and this year we are introducing 

Toddler crafts. Experienced hands 

will be on site demonstrating and 

"Going Bananas" and "Banana 

Split" 

CAROLINE PARRY 

Caroline Parry got the first l\4ariposa 

Children's Play Area going in 1977 and has 

continued to be involved with the Festival and 

the Foundation ever since. This year she is a 

co-ordinator for the Folk Play Area and will be 

leading Maypole dancing around a symbolic 

tree in their "Enchanted 

Forest". Ask herabout 

her research on Maypoles or her forthcoming 

booR on Canadian seasons and festivals for 

Kids Can Press! When she's not working on 

her books - or sweanng at the computer - 

Caroline sings, plays and shares {olklore with 

audiences in and around Toronto. She is a 

member of Mariposa In The Schools and of 

the Inner City Angels. 

& 

"wii 

CAMILLA GRYSKI 

Camilla Gryski is a children's librarian and 

author whose pockets are always f ull of string. 

Since discovering string figures at a folk 

festival five years ago, she has written two 

books of string games: Cai's Cradle, Owl's 

Eyes, a book of string games and the new 

Many Stars and More Slring Games. Since 

strrng games, intricate designs woven on the 

fingers with a loop of string, are meant to be 

shared, she loves to teach them and talk about 

the lore and the stores that go with them. She 

does this frequently rn schools and libraries, 

on front porches and under shady trees. 

PROFESSIONAT 

MUSICIANS NEED 

PROFESSIONAL 

INSURANCE FOR 

THEIR 

INSTRUMENTS! 

AND NOW LIABILITY 

COVERAGE IS 

AVAILABLE 

WITH US! 

TELEPHONE 

rs191 966-2600 

[,[ptegUsle 

INSURANCE 

BROKERAGE 

LIMITED 

2471 QUELLETTE AVENUE, 

SUITE 202 

WINDSOR, ONTARIO 

N8X 115 

FOLK GAMES, DANCING, 

& SINGING 

also Dramatics, Weaving, Music 

for dancing, and Informal Art. 

FOR ADULTS. who like: 

TO PLAY 

TO PARTICIPATE 

TO INTERACT WITH OTHERS 

FOR FUN 

FOR LEARNING Leadership Skills 

to use with groups 

'Some 

suoervision for children 

EASTERN COOPERATIVE 

RECREATION SCHOOL 

August 24-September 1, 1985 

at Crystal Lake 

Hughesville, Pennyslvania 

lnlormation: 

ln Canada: 

Shelley Gordon (416) 489-7013 

In U.S.A.: 

Edward Moyer (717) 922-1342 

R.R.#1. Millmont, PA. 17845 

Brochure on literature table. 

t9

MARIPOSA _ MORE THAN JU 

by Brian Grebow 

upcoming Mariposa events. Dinner Dance and Mari- 

Help could mean selling posa Birthday Party, the 

tickets, tend bar, set up or annual sell-all, sell-any- 

whatever else has to be thing to music Market in 

done. 

the Park, and the Mariposa 

Then, of course, there folk camp otherwise known 

are Mariposa's ongoing as Mariposa in the Woods. 

- programs and activities. A 

tJJ glance Y at last year's calen- Mariposa also publishes 

dar reveals an impressive a quarterly 

d 

tabloid, cleverly 

z number and variety of folk- titled Mariposa Notes. lt 

oriented happenings. The 

t 

contains information about 

dl Sunday afternoon family folk arts, Mariposa, and the 

t concert series presented 

d) 

folk community at large, 

the zany Washboard featuring brilliant articles of 

r Superclub, the creative general interest and a 

T 

(L talents of Whole Loaf comprehensive listing of 

..MARIPOSA? 

Theatre, wonderful Michael 

THAT'S people who love 

local 

to listen 

concerts, courses, 

to Cooney, Kim and Jerry 

the big summer folk festival, and play folk music. 

resources, workshops, 

Brodey, the delightful and record reviews and events. 

right?" 

The most' im portant entertarntng Jacolry l-utr- 

Right - 

Articles, photographs, and 

but that's not all Mariposa support compets and Robert Munsch, graphics are always wel- 

Mariposa is. The summer mittees and their resoonsi- the one man whirlwind of come; if you'd like to help, 

Festival is undoubtedly the bilities are Membership action, words and silly contact the Mariposa office 

most widely-known and (promoting and maintain- sounds. The regular even- at 363-4009. 

visible of Mariposa's activiing membership, organizing concert series brought 

ties, but it's really just the ing special member events); us such popular artists as Mariposa in the Woodsis 

tip of the iceberg. The Fund-Raising (self-ex- Rita McNeil, Doc Watson, a truly special annual 

Mariposa Folk Foundation planatory, and absolutely Battlefield Band. Eclectrici- event. This year it will be 

promotes folk music and vital!). Fund-raising is done ty, Leo Kottke, Valdy, Alan held from August 7 to 11 in 

folk arts all year round, and through direct appeals to Stivell, and Garnet Rogers. Aurora. The Woods com- 

provides as many different qovernment, corporations Specially featured in asbines classes in singing, 

ways to get involved as it and individuals, and sociation with Gibson and dancing and instru- 

does events and programs. through fund-raising events House were Victorian ment playing with semi- 

The Foundation 

such as 

operates 

concerts, dances Amusements including nars, dance parties, con- 

and 

out of a cheerful office at 

sales); Public Relations Rule Britannia by David certs and singalongs, all 

(promoting 

525 Adelaide Street East in 

awareness of Parry, the Band of Hope, jammed into four days. 

Toronto. Our Executrve 

Mariposa activities and Elizabethan Orations by Whatever you do for the 

Drrector and 

events 

Oftrce Man- 

in particular, and Reed Needles. a Ceilidh rest of the year, this 

ager, the only full-time paid 

folk arts in general); and with Margaret Chisholm, m usical extravaganza 

staff, keep things 

Volunteer 

running 

Coordination Alice Kern and Cathy relaxes, rejuvenates, ex- 

(these 

smoothly and coordinate 

are the folks wno Labelle and Les Grandes hausts and entertains you. 

recruit 

the various committees 

new volunteers and Chinoises shadow pu ppets. On hand are professional 

give 

whose energetic volunteers 

them interesting and Member's activities in- pert or mer /teachers who 

organize a wide range 

enjoyable 

of 

work to do). cluded a heart, if not body are committed to sharing 

activities. 

warming winter outing; a their knowledge and sense 

The centre of volunteer glorious picnic prior to the of excitement about folk 

Like most non-prof it activity is Thursday volun- festival right here at Molson music with others. The 

organizations, Mariposa teer night. Volunteers meet park; an Open House with padicipants live on the site 

relies heavily on volunteers. at the office and help by all the necessary accoutre- in motel-like rooms, a 

The reasons people initially sending out mail, updating ment and the Annual dormitory or in their own 

bgcutrre vLiiuntcers lor mailing lists, tidying the General Meeting - not to tents; mouth watering 

Mariposa vary. Some take resource centre - all this forget to mention country meals are provided 

purely 

by 

a philanthropicand 

more in an atmosphere dances, song circles and Harry Paine and Leslie 

approach: they join be- of fellowship and friend- lots more. Special events Nanos of Winnipeg Folk 

cause they want to lend a ship. Through conversa- happened too. Examples Festival fame. 

helping hand to what they tions and the office bulletin are the Canadian Folk 

feel is a worlhwhile organi- boards, volunteers can Music Society Conference, This year, seven staff 

zation. lf a poll of volunteers keep up on what's going on the March Warm-up (gotta members will be heading 

was taken, however, by far in the folk community and do something musical the classes and workshops. 

the most common reason find out about and, if they during those winter Leading the escape from 

is the chance to meet other so desire, help out with months), a Valentine's Day the late summer heat to the 

20

woods will be KathY Anderson, 

enthusiastic, gregarious 

dance teacher, 

who can get the best out of 

the worst of the two leftfeeted 

people among us; 

Ann Lederman, dYnamic 

performer and collector of 

Ontario traditional music 

who fiddles, sings, mandolins 

and pianos her waY; 

Shelly Posen, fantastic, 

funny blended Performer 

with a Ph.D. in folklore; 

Sally Rogers, well-known 

singer, songwriter to Canadian 

folk enthusiasts; 

Cindy ThomPson, energetic, 

spontaneous steP 

dancer; Bill Usher, innovative, 

skilled Percussionist 

with an interest in African 

rhythms; and Ken WhitelY, 

versatile, all round teacher 

and performer with a joYful 

spirit. Special guests will be 

Woods veteran Michael 

Cooney and one of the 

Woods' founders, Lanie 

Melamed. The combinations 

possible with this 

talented group are almost 

limitless; when You add the 

skill, knowledge and interests 

of the Woods 

participants, the energy 

multiplies and the f un 

never stops! 

For more information 

on this Year's Woods 

the key to both learning 

and enjoyment; their workshops 

and concerts are 

informal, so that students 

can interact with the 

performers directly, participating 

as wellas listening. 

MITS offers a wide range of 

programs - Canadian 

songs, Celtic music, storytelling, 

creative songwriting, 

string games, folk 

dances and home-made 

instruments are only a few! 

- in a way that is both 

informative and enjoyable. 

As one young participant 

enthused, 

program, fees and accommodation,'Phone 

the 

Mariposa office at 363- 

4009. 

Last, but not least, is 

Martposa In the Schools. 

Originally the educational 

arm of the MariPosa Folk 

Foundation, MITS was 

incorporated as a seParate 

organization in March, 

1983,and brings together 

some 30 performers assisted 

by folklore sPecialists, 

teachers, librarians and 

business PeoPle. EverY 

year the MITS Program 

introduces thousands of 

children in schools and 

libraries in and around 

Toronto to the meaning 

and magic of Canadian folk 

tradition. The MITS PeoPle 

believe that particiPation is 

"l EVENING CONCERT SCHEDULE 

Ffidqy, July 26 

Ken Bloom, Friends of Fiddlers Green, Chris Whiteley & 

Caitlin Hanford, Rare Air, Jane Voss & Hoyle Osborne, 

Normon Blake & The Rising Fou.,n Sfring Ensemble, 

Syluia Tyson & The Great Speckled Bird, John Prine. 

Saturday, JulY 27 

really liked Datglish Lqrsen & Sutherland (Metamora), Margaret 

your performance this Christl, Frank Wakefield Band, Cathy Fink, The Marcel 

morning. lt was lots more Messervier A/l-Sfqrs, lan Tyson Band, Manteca. 

fun than math, spelling, 

Sundoy, July 28 

reading and recess!" 

Yqnk Rachell & Peter Roller, Jim Payne & Kelly Russell 

with Emile Benoit & Frank Maher, Sneezy Wqters and 

For more information 

his Excellent Bqnd, Mqrie'Lynn Hammond, Cqpercaillie, 

write to Mariposa In The 

The Georgia Seo /slond Singers, Garnet Rogers, Kate & 

Schools, 525 Adelaide 

Anna McGarrigle, Murray McLauchlan. 

Street East, Toronto MSA 

3W4, or call 366-2320. 

So there you have it:the 

Mariposa Folk Foundation 

in all its multi-faceted 

splendour! lf you'd like to 

become involved as a 

volunteer, or if you want to 

become a member of the NEII'INCANADAED 

Foundation (your annual 

membership fee of $16 wonl.D FAIIOUS 

(individual) or $23 (familY) r KEITUCKY IIANDOIIIIS * 

entitles you !o discounts on 

AS PLAYED BY DAVID GRISMAN 

Mariposa and other records 

and books, a free subscriP- i GOLDSTIB BANIoS * 

tion to the Mariposa Notes, 

AS PI,AYED BY J. D. CNOVE 

and access to the MariPosa 

music resource centre and * BIUERIDCE GUITANS * 

SCALLOP-BNACED LIKE THE GOOD OLD DAYS 

library), write to the Mariposa 

Folk Foundation, 525 * TNIilITY COLTEGE INISH HARPS * 

Adelaide Street East, 

PRICED UNDER '4OO.OO 

Toronto MsA 3W4, or call 

the office at 363-4009: or r Hf,IIIUENED DUTCHERS * 

PNICEDUNDER S35O.OO 

just show up at one of our 

regular Thursday volunteer * LUTHIER'S SUPPLIES * 

nights. See you there! 

I{IGHEST QUALITY BANJO, MANDOLIN AND GUITAR PANTS 

Special thanks to Diana * rilE vlotN Bows * 

Tyndale, Wendy Duggan, 

SEE YOUR DEALER ORWRITE: 

Pauline Greenhill, Clarke 

Mackey and KathY Sinclair. 

ITETCH 

HANBOUB 

MUSIC LTID. 

P. O. Box 3004. Halifax South 

Halifax. Nova Scotia. Canada B3J 3G6 

; 

.l 

.1

SHARDA: 

A unique 

by Frank Pausch 

IN THE 16th CENTURY THE MOGHULS 

invaded northern India. They were lovers of 

the arts and it was in their courts and palaces 

the Persian, Arabian and lndian cultural 

synthesis took place - resulting in a style of 

northern Indian music (after almost two 

centuries of Moghul rule) that was distinctively 

different from that of the south. 

The first major court was built in Delhi, 

where the roots of bai, the oldest style of 

northern Indian music, can be traced. 

Lucknow was next to host a Moghul court. 

Sharda, one of Mariposa's featured 

performers, has his family roots in Benares, a 

town to the south and east of Lucknow. Since 

they were musicians at the time, Sharda's 

ancestors sent representatives of their family 

to Lucknow to try and earn a place in the court. 

One was a child prodigy on the tabla (lndian 

drums), impressed all those who listened and 

was much in demand as a performer. As he 

grew, he also began to compose virtuoso tabla 

works popular to both inside and outside the 

courts. He had a special way of playing and of 

composing. These unique styles have been 

passed on orally from his generation to ours 

and are considered the "Benares 

As with any instrument, there are many 

levels of playing tabla, from the simplest folk 

tunes that can be learned in days or even 

hours, up to the most complex 

style". When 

you listen to Sharda's music, listen carefully, 

for those melodies, rhythms and instruments 

have existed, with little change, from the days 

of Moghul court life up until the present. 

Sharda's ancestors were not the only ones 

to develop their own style based on a master, 

During the Moghul rule, families from the 

same caste all over India sent artisans to the 

courts to try and gain prestige and earn their 

living. From this influx of talent rose other 

master musicians who also had their own 

style. The musicians did their best to please 

those who employed them, so styles tended to 

be somewhat different from court to court and 

from region to region. 

Over time and with the demise of the court 

system musical influence most styles died out 

or merged. The rise of radio and easier 

transportation greatly contributed to 

dissolving regional differences while the 

pressure to incorporate all styles into a 

homogenous whole increased as musicians 

tried to reach a wtder audience. 

There are now six major styles in existence, 

The first, as already mentioned, originated in 

Delhi. The second style is the Benares style. 

The most common, or at least the most 

listened to internationally, is the Pun.labi style 

which is what Ravi Shankar's son plays. This 

style originated in the area now called 

Pakistan. The form and function of the music 

itself can be compared in some respects, to 

Western jazz. In both kinds ot music, there are 

major forms and standard ways of performing 

them. In tabla music each composition 

presents a given amount of material. lt is up to 

the performer to present this material in the 

most interesting manner possible. Within the 

bounds of the piece, the artist can rearrange 

portions of it to suit his taste and technical 

ability. 

22 

"classical" 

works, comparable perhaps to Liszt's piano 

music. When an audience hears Sharda play, it 

is the height of Indian classical music they 

hear - something that takes a lifetime to 

practice and perfect. 

One common structure in north Indian tabla 

music is similar to our ballad form. A B A' B. 

where A can be considered a verse and B is the 

refrain.Themes can be introduced in the A 

section and in the A'section can be amplified 

and extended. The B section is a version of the 

theme in A. How the theme is added to and 

changed is up to the performer, but there are 

strict guidelines to this. In big band jazz, a 

Derson can solo for a certain number of bars 

and then return to the main body of music. lt is 

the same with tabla music - the oerformer 

can "spontaneously 

compose" (to quote Bob 

performance practice is that the player never 

crosses hands; the left one always plays the 

baya, the right one uses the tabla. 

Sharda's concert at Mariposa this year is a 

must for aficionados of rhythm and melody. 

Do not be intimidated, for there is much in 

common with Western music. Although there 

is no functional harmony, the beat is strong 

and constant, and much of the material is 

repeated at some point. A common rhythmic 

form to listen for is the taki, which is usually an 

ending cadence. lt is a phrase repeated three 

times with a gap between each phrase. A good 

taki is the mark of a good player, for it always 

ends on a downbeat, whtch means it has to be 

prepared well in advance of the actual end ot 

the piece. So listen and enjoy! 

(Special thanks to Bob Becker for his 

i nval u able assistance.,) 

Becker) on a certain theme for so many beats 

before returning to the unaltered theme or 

themes can be repeated any number of times, 

so that one piece of music can last for qurte a 

while. The ability to rearrange the material to 

develop a theme, without adding new material, 

is a necessary requisite for any competent 

tabla player. 

Each composition is made up of a certain 

beat pattern that is repeated throughout the 

piece. This is similar to, say, a twelve-bar blues 

which repeats every twelve bars. The 

rhythmic/melodic pattern ranges from six to 

sixteen beats. These patterns are called tala, or 

lal (singular). Tala are used in virtually alltabla 

music, with regional or family differences. 

The actual tal cycle is fairly slow, even 

though rhythmic embellishments can be 

amazingly fast. This makes the lahara or 

melody very important. lt is normally played 

on the sarangi, an Indian strrnged instrument, 

or on a violin. For Sharda's concert at 

Mariposa, Bob Becker, of Nexus fame, will 

play the lahara on harmonium. The lahara is 

the exact length of the tal cycle, repeated 

without alterations throughout the entire 

piece. Although the tabla player is the one to 

listen to, the lahara's rise and fall serves as a 

reference point by which the audience can 

determine where the per{ormers are in the 

cycle. The other per{ormer on the stage is the 

tamboura player who playes the drone notes 

which are unchanging and constant. 

The drums themselves can be considered 

woi'ks of art, without even being played. The 

right hand drum is called the tabla and the leit 

hand drum is the baya. These drums are not 

like the Western instruments, for they are used 

both melodically and rhythmically. Notice the 

black oatch on each drum head. This is 

actually a small packet with some heavy 

material, like iron powder, used to lower the 

oitch of the drum and tune the overtones. lt is 

permanently attached to the tabla, but on the 

baya it is sometimes put in different spots, 

depending on the situation. An interesting 

I,YASN'T 

THAT 

A TIIYIE! 

FOLK MUSIC MEANS TO ME 

people having a good time playing 

music together. To me, Mariposa 

meant a chance to see singers, 

musicians, dancers and craftspeople 

who learned their skills from 

friends and relatives, 

"in 

the good old 

way." The festival inspired and 

encouraged as well as entertained - 

so people would want to be where 

music was being made for fun, and 

maybe even to make some themselves. 

So we looked for performers 

who reached the heart and mind as 

well as the feet. We wanted the best, 

old and new, not the most. We 

weren't trying for standing ovations; 

we were trying to get people to think, 

"Maybe 

I could play like that," and, 

"Boy, 

that was fun!" As a performer, I 

want listeners to feel what I felt when 

I first heard the songs; as an 

organizer I want festival-goers to feel 

the excitement, magic and inspiration 

that I first felt at festivals, 25 

years ago. Mariposa did it for me - | 

try to pass it on. 

by MICHAEL COONEY

1 

I 

j 

CAESAR'S PALACE 

Home Of The Valcartier 

Dance Band 

THE THREE SENIOR MEMBERS OF THE VALcartier 

Dance Band come to Mariposa from a very special 

place. Valcartier, north of Quebec City, is a smalltown in 

an area settled largely by lrish and Scottish immigrants in 

the early years of the nineteenth century. Surrounded by 

the culture of the province's French-speaking majority, 

Valcartier is home to traditions and customs that are 

singularly and beautifully unique to that region. 

Many of these traditions live on at Caesar's Palace, a 

square-timbered structure dating back to 1875. The 

house was originally the home of William Smith. When 

built it was reputed to be quite the finest in the area, and 

Mr. Smith resided there until his death in the 1940s. For 

the old house, the following years included a period of 

vacancy, and a brief residency by tenants less fastidious 

than Mr. Smith, while the building was serving as a 

chicken coop. 

Eventually the deteriorating house was purchased by 

Leonard Thompson of Loretteville. A visitor, noting the 

condition of the building is said to have 

"Why, 

commented 

this is a real palace!" Several weeks later the new owner 

was surprised to find a wooden sign, prominently 

displayed on his property, on which were engraved the 

words "CAESAR'S 

PALACE". The name stuck, and from 

that day it has come to be known in Valcartier simply as 

"The 

Palace". 

Since then considerable repairs have been done to the 

house, and the Palace is now a place of recreation. The 

walls ring with the sounds of traditional music of the area, 

and the steps and figures of dancers shake the floor. Area 

residents see this not so much as a "revival", 

PHOTO BY: Y. ALLEN 

Older inhabitants of the village recall that it was always 

a good spot for a card party, or a dance, and stories are 

told of local farmers leaving the old house just in time to 

work in the hay fields the next morning. 

At the heart of the current renaissance are, of course, the 

local musrcrans. Among these are 

but merely a 

"temporarily 

continuation of activities, 

suspended". 

"I'he Dean" - Bernie 

Monaghan, accordionist, fiddler, and raconteur, Keith 

Corrigan, (a fine accordionist whose playing harkens to 

that of his friend and teacher Yves Verret), fiddler Eric 

Corrigan, and accordionist Billy Corrigan. As well as 

these natives of the region, two special newcomers have 

been welcomeo to tne loro: Ltsa Ornstern, ttddler, pianist, 

and accordionist, and dance teacher and caller Danielle 

Martineau. There are many more besides. On one recent 

occasion the rafters rang to the music of no less than 16 

musicians. This is a Iar cry from the nights many years 

ago when no musicians were available, and a resourceful 

gentleman known as Uncle Stuart would take charge and 

"jig" 

(lilt) tunes for the dancers. 

The Valcartier people are very proud of their musicians, 

and are pleased to have them come to Mariposa. They are 

sure that you will like them; so am l. 

This article was adapted by lan Bellf rom a piece sent by 

Mr. Leonard Thompson, proprietor of Caesar's Palace. 

Caesar's Palace, 207 Redmont Road, Valcartier, Quebec. 

Summer 

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(u+,oblocks East of 'Vloodbine)

25 YEARS OF MARIPOSA 

"The 

history of Mariposa is not any 

one person, it's the history of an idea. 

Changing hands over and over 

again, Mariposa becomes like a folk 

tale ... the myth survives and 

continues to fire the blood." 

C. Roberts 

ONCE UPON A TIME, ON 

August 18, 1961, in a town called 

Orillia, Mariposa was born. lt entered 

the world, blessed by the name 

Stephen Leacock had penned for its 

birthplace, and was placed on its 

tottering legs to survive and grow to 

become a legend. Dr. Casey and his 

wife, Ruth, with Pete McGarvey and 

all those who gathered in the name of 

folk music nurtured Mariposa 

through its early stages. lts first year 

drew an audience of 2,000. lan and 

Sylvia, Bonny Dobson and the 

Travellers as well as Jacques 

Lebrecque, Allan Mills and Jean 

Carigan played to ecstatic crowds. 

By its third year, with an audience of 

over 10,000, Mariposa was already 

too big for Orillia. This wonderchild, 

barely steady on its feet, had reached 

national prominence - not without 

some notoriety - and was to leave 

Orillia to begin its nomadic history. 

The early organizers, among them 

Estelle Klein, Syd Dolgay, lan Tyson, 

Edith Fowke and Ed Cowan. and 

later Marty Onrot and Randy Ferris 

and all those who came to preserve 

what Mariposa stood for, learned a 

painful lesson. Vicissitudes of 

weather, cold temperatures, difficulty 

in acquiring a suitable location, as 

well as lack of personnel, funding, 

and the absence of "commerciality" 

all conspired against the successful 

growth of Mariposa. Yet those who 

strugg led with the cause f elt 

satisfied. 

"lt would only go on to be 

bigger and better, not in the sense of 

size or artistic content, but just in the 

fact that it would continue to exist. lts 

future was no longer in doubt", said 

Randy Ferris. In '1965, 

PHOTO BY: BRUCE COLE 

sophistication began to emerge. 

Contemporary and traditional, 

international and home-grown, 

workshop and concert music played 

side by side. lt was no surprise that 

by 1967 Mariposa was now a fullblown 

3-day festival presenting more 

than 50 artists in a daytime and 

evening schedule. 

"Here 

was an event where you 

could play your guitar under the 

trees, share the politics of Joan Baez, 

learn about African dance and enjoy 

Cape Breton fiddling." Full-scale 

crafts, ethnic group representation 

and dancing added to the enticing 

atmosphere of the lush, green 

Mariposa on the Toronto lslands. For 

12 years, Mariposa was to make the 

Toronto lslands its home. 

As part of Mariposa's growth, a 

group of performers in 

he and Marty, 

along with Estelle and Joe, moved 

Mariposa to Innis Lake. 

During the next two years, a 

further coming of age began. 

Mississippi John Hurt and Reverend 

Gary Davis played the blues. Gordon 

Lightfoot hit the spotlight, as did Joni 

Mitchell, Phil Ochs, John Hammond 

and Leonard Cohen. A level of 

24 

'1969 

formed 

"Mariposa 

in the Schools" to bring 

folk music into the classroom. Raffi, 

Sharon. Lois & Bram and Sandra 

Beech gained much of their early 

experience through "Mariposa 

in the 

Schools". The annual festival served 

as a stepping stone in the development 

of many of Canada's prominent 

musicians, and has always been the 

fulcrum of Canada's heritage and 

traditional music. lt has also been a 

showcase for stars such as Joni 

Mitchell, James Taylor and Joan 

Baez. Even Bob Dylan came to join 

the fun in 1972. Although the 

emphasis has always been away 

from the "star" festival were produced. Children's 

programming emerged. Research 

projects sprung up Labrador and 

Newfoundland, bringing a contingent 

of craftspeople and musicians. 

Mariposa was now of age. 

Having expanded to its full size, a 

radical change was called for. 

Mariposa began to take another 

snape. 

1980 kicked off an innovative 

concert at Massey Hall with David 

Amram conducting a 40-piece 

orchestra, interspersed with traditional 

folk artists. This began a new 

phase of year-round concerts with 

an emphasis toward a strong base of 

members. 

aspect of entertainment, 

Mariposa during the 70's 

attained a reputation that was of 

international stature. Launching of 

new projects began: A Native 

Peoples area was developed under 

the supervision of Alanis Obomsawin. 

The crafts area gained 

reputation as one of the best in the 

country. Live recordings of the 

"Mariposa 

Notes" becamea 

valuable vehicle for the folk 

community. Mariposa Mainland, a 

weekly concert program at Harbourfront 

brought folk artists to Toronto 

all year-round. Three new programs 

began in 1982: the Spring Tune-up, 

an all-Canadian festival and 

Mariposa in the Woods. These have 

spawned new small-group activities: 

country dances, song circles, gospel 

singing sessions, and regular jam 

sessions. 

"The ii;f 

M 

secret of Mariposa's 

success is and has always been the 

die-hard devotion on the part of fans, 

musicians, and organizers. Keeping 

the spirit alive is what Mariposa's all 

about." (R. Sinclair). 

I 

-l 

5 

x 

m 

= 

I 

m 

c 

x 

Mariposa lives on. Thanks to all of 

you who attend each year Thanks to 

the music-makers. Thanks to the 

support from sponsors, government, 

members, volunteers. Thanks to the 

dancers, and craftpeople and artists. 

To all those who gather together in

the spirit of celebration of Mariposa's 

25th birthday, thanks., lt takes most 

of us about 25 years to grow up these 

days. Mariposa has grown up. 

(Editor's note: parts of this article 

were liberally borrowed from "For 

THE TENDENCY OF TIME TO 

blur detail, change perceptions and 

colour events is probably the best 

reason for me NOT to put Mariposa 

circa 1964-67 into a 1985 perspective. 

So when asked to contribute a PithY 

memory or two to this celebratory 

publication I thought it appropriate 

to add some (perhaps) unusual 

names to the long list of sung and 

unsung heroes who contributed to 

the survival of the Festival in those 

most desperate of times. 

ALLAN LAURENCE. A young 

member of the provincial Progressive 

Conservative government in 1964. 

His political future was bright and he 

needed to go to bat for me and 

What I am in this World", a Mariposa Mariposa like he needed a contagi- 

publication, available in the ous disease. But bat he did, opening 

Emporium.) 

doors to government people who 

sING 

eventually agreed to let us try again. 

NORMAN BOOTH. A young lawyer 

with a practice in Orillia. Despite the 

intense negative local feeling about 

Mariposa that he was made to feel 

professionally and personally, 

Norman provided valuable and 

ne6essary strategic legal advice 

during all the struggle for survival. 

The Folk Song Magazine 

Sharing Songs Since 1950 

Sing Out! Magazine provides a 

uniquely diverse and entertaining 

selection of traditional and contemporary 

folk music. 

Each issue is a collector's item 

including at least 15 songs with 

over 4 score pages, record and book 

reviews, instrument "teach -insj' 

feature articles, and in-depth 

interviews. PLUS regular columns 

by Pete Seeger, Stefan Grossman, 

and Michael Cooney. 

4 Times a Year 

SINC OOT E SIGN OP NOW- 

S 1 3.50 ( 1 year) * S26 (2 years) .S37.50 (3 years) 

U,S, FUNDS ONLY 

SING@(IT! 

The Folk Song Magazine 

Box 1071 

Easton, PA 18042 

WASN'T 

THAT 

A TIIVIE! 

PETE & TOSHI SEEGER. Though 

fully aware of Mariposa's notoriety, 

they allowed me over the course of 

several telephone conversations in 

1965 to convince them that the 

festival was worth saving. Pete's 

commitment to appear sent a signal 

to performers in particular and 

folkies in general. lt practically 

guaranteed the festival's new stature 

and stability. 

SAM AND ELINOR SNIDERMAN. 

Each in their own way provided 

badly needed emotional and 

practical sustenance to this then 23 

year old broadcaster cum Mariposa 

Folk Festival entrepreneur who 

seemed to begin and end each day 

with his stomach in his mouth. 

Randall A. Ferris 

Missing 

out on 

royalties? 

lf vou're a songwriter you should 

receive royalties when your 

works are performed in public 

and your records are sold. 

PR.O. Canada has, sirrct' its 

beginnings in the 1940s, welcomed 

new songwriters even 

before their works are published 

or performed in public. Take the 

time now to visit one of our f ive 

off ices across the country and 

learn what we can do for you. 

Our role is to collect licence 

fees f rom the "users" of music, 

on your behalf, and distribute 

performance royalties to you 

when your music is performed. 

In addition, we can assist you 

with mechanical royalties. 

You don't pay us; we pay you. 

P.R.O. Canada has a wide variety 

of competitions to assist young 

composers. f rom its annual 

awards. presentation to cash 

pnzes lor concert-muslc compositions. 

Our "advance" policy, 

based on your track record, is 

known to every songwriter of 

substance in Canada. 

We invite vou to inquire about 

the benef its of aff iliating with 

PR.O. Canada, benef its that 

have attracted more than 17,500 

composers and publishers, 

making us the largest performing 

rights society in Canada. 

Call or come in: 

PlRl) 

0nttl|l 

sDll 

J 

Performing Rights 

Organization of 

Canada Limited 

4'l VaIleybrook Drive 

Don Mills, Ontaricr 

M3B 256, 

(416).1.15-8700 

25

DISCOGRAPHY 

by David Warren, Stew Duncan and Bob Stevens 

ARTISI 

BICK AVERY & JUtlY GREEI{HILL 

see also 

BABE TIECESSITIES 

PETER BELLAMY 

as member ol THE Y0UllG TRA0lTlt|lt 

see also 

lroRMAt{ & l{A}tcY EIAKE 

lwith JAfilES BRYAl{l 

1{0RMA1{ BLAKE wilh SAM BUSH, 

UASSAB CLEMET{TS, etc. 

Eee al$o: 

JAMES 8RYA]{ 

KEII BL(l(lM 

SAUL BR{lUtlY 

CAPERCAILLIE 

MARGARET CHBISTL 

BARI{EY CUillMril0S 

llALGI-ISH, LARSEI{ AI{II SUTHEBLAl{t| 

MALC(ITM OALGLISH & GREY LABSEI{ 

PETE SUTHERLAl{O 

BTINtl J(|HII OAUIS 

also s8e: 

PETER & CAROL I]AUIS()I{ 

CURTIS ORIEGEB & THE CEE OEES 

26 

REC(lRtl I{AME 

Songs ol Eastern Canada 

Land ol the Silver Birch 

Christmas is Coming 

Going Bananas 

Banana Splil 

English Country [lances 

Mainly l{orfolk 

Fair England's Shore 

tlak. Ash & Thorn 

Won't You Go My Way 

Merlin's lsle ot Gramarge 

Tell it Like it Was 

The Fox Jumps 0ver lhe Parson's Gate 

Bo(h Sides Then 

Peler Bellamy 

The Eanack-Room Ballads 

The Transports-A Ballad 0pera 12 lps.| 

Keep on Kipling 

Fair Annie 

Younq Tradition 

So Cheerlully Round 

Salleries 

Chicken on a Raft 

The Young Tradilion Sampler 

Galleries Bevisiled 

The Young Tradition Compilation 

The Firsl Folk Review Record 

English Garland Sampler No. I 

The Tale of the Ale [2 lps.l 

The World ol Folk, Vol. 2 

Eack Home in Sulphur Springs 

Full Moon on the Farm 

Bising Farren String Ensemble 

Whiskey Belore Breaklast 

Blackberry Elossom 

ilorman Blake 

Fields ol l{ovember 

()ld and l{ew 

0irections 

Live al Mc0abe's 

Super Jam Session 

Philadelphia Folk Festival 

Lookout Blues 

Ken Bloom 

Travels with Broudy 

Capercaille 

The Barley Grain lor Me lwith lan R0bb & Grit Laskinl Folk-Leqacy 

Jockey to the Fair 

Woodshed 

looking Towards Home 

Logan'E Line Records 

Hearl Full ol Love/Holy Moly 

Malc0lm 0alglish, orey Larsen, P0te Sulhorland 

Banish Mislorlune 

The Fksl of Aulumn 

Thuriderhead 

Poor Man's llream 

Stomping on a Salurday Night 

t|riginal Slolh Band 

{|ld Counlry Fiddle Tunes 

Friendly Fiddle 

Fiddlin' for Folk 

Home Sweet Home Fiddlin' 

Green Green Grass ol Home . 

Cee l|ee 

LAEEL 

J&R Records 

J&R Records 

J&R Records 

Mariposa in the Schools 

Mariposa in the Schools 

Varrick Records 

Transallantic XTBA 1060 I 968 

Transallanlic XTRA 1075 t908 

Argo 

ZFB II 

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Argo 

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rER 2089 1975 

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Free Beed 

Fnn0n/2 | 977 

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r 982 

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t7zlVSD 79295r 

968 

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Vanguard 

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Topic , 

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Free Reed 

tRF/| 023/24 I s77 

Ango 

sPA 307 

Rounder 

Rounder 

Rounder 

Bounder 

Flyinq Fish 

Flying Fish 

Flying Fish 

Flying Fish 

Takoma 

Takoma 

Flyinq Fish 

Flying Fish 

Rounder 

Flying Fish 

Adelphi 

Five Records 

0ynasty Records 

Sugar llill 

June Appal 

June Appal 

Flying Fish 

Flying Fish 

Alligator 

Troubadour 

Arc 

Lofty Records 

Snocan Fecords 

Arc 

NUilIBER 

JR t)()I 

JR 583 

ilR r84 

illtTs 0079 

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vR 0t3 

RB0t2 

RR 0144 

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FF M4 

tF 0t0 

7064 '1052 

lr0s 701 

FF 27064 

RR 0l 75 

FF (l5I 

A0 201 I 

FSC 62 rS76 

ws 009 1978 

wRct 3529 1984 

0Y1t 30t tgSl 

sH il31 

JA 0t6 t977 

JA tI26 

FF m6 1982 

FF 336 tS84 

ALL 470S tS84 

TR 000 1978 

AS 835 

scr{ 5r9 

c0 l 

YEAR C{IITIMEIITS 

I 981 

| 983 

r 984 

r 979 

| 984 

1977 

cassetlo only 

drlste 

delete 

dslets 

delste 

dolsle 

casss{le only 

dBlote 

delele 

TBA delete 

delele 

delel8 

delele 

dolots 

delsle 

delsle 

single 

available lrom 

P.0. Box 882 

Pembroke, (lnt 

delelc

t" 

l' 

l, 

CATHY FII{K 

also: 

FflIEi{tts (lF FIOtlLER'S GBEE}I 

lndividual mgmbers: 

GBIT LASKIil 

rAil R08B 

see also: 

tlAVIt) PABBY 

GE()RGIA SEA ISLAITllEBS 

laccompanying BESSIE J0NES) 

see also: 

MARIE HABE 

EIIIICH KETIT 

as a member of THE EXILES 

see also: 

MARIE.LY}II{ HAMM(lITl| 

as a member of STBIil(i BAil0 

MAI{TECA 

KATE & A}IiIA MCGAflRIGLE 

MUFRAY MCLAUCHLAI{ 

ERIC IIAGtEfl 

lwith MABTY i{AGLER 

and/or THE BEEBS FAMILYI 

see also: 

JIM PAYTIE & KELLY BUSSELL 

wilh EMILE BEN0IT 

I'm 0onna Talk 

Likeable 

02 

Kissing is a Crime 

Likeable 

0l 

Cathy Fink and 0uck 0onald 

Posterity/Woodshed P'r/s 010 

[|oggone my Time 

Boosler 

800s lr9 

Grandma Slid 0own lhe Mountain 

Bounder 

RD8 8010 

That's lilhat I Believe [accompanying llera Johnsonl 

sml 

This Side ol the 0cean 

Songs ol the lron Trail 

[accompanying Bany Lutt and Tim Rogersl 

Unmasked 

The Barley Grain for Me 

lwith lan 80bb and Margarel Christll 

Hang the Piper 

0wen Sound Summerlolk Festival Live 

The Earley Grain for Me 

lwilh Grit Laskin and Margarei Christll 

tF0RTHC0MilGl 

Fogarty's Cove FCM 006 

Selel Records 

Fogarly's Cove 

Folk Legacy 

sEF 83lT0l 

FCM M5 

FSC 62 

| 984 

1976 

Folk Legacy FSI 7l 

Georgian Bay Folk Society WRCI 1216 

Folk Legacy FSC 62 lS76 

Cole Harbour 

So Glad I'm Here Rounder 8B 2015 

Slep lt 0own Rounder RR 8004 

American Folk Songs for Children Atlanlic S0 1350 

Georgia Sea lslands I Prestige/lnternational PZStFl 

GGGGGeorgia Sea lsland ll Preslige/lnternational P25ffi2 

0eep South... Sacred & Sinlul (Southern Journey Seriesl Preslige/lnternalional P 25005 

Been in the Storm So Long Folkways FS 3842 

John's lsland, Soulh Carolina - lt's Pe0ple & Songs Folkways FS 3840 

Moving Star Hall Singers & Alan Lomax - Folkways FS 3841 

Sea lsland Folk Feslival 

Marie Hare Folk Legacy FSC S 

lcassetle reissue 0l FSC gl Canadian Folk Music Sociely CFMS $8503 

Folksongs l0 lhe Miramichi: Lumber & Biver S0ngs Canadian Folk Music Sociely FM 4053 

hom the Miramichi Folk Feslival, l{.8. 

Johnny Remensky [tl5l 

The Butcher Boy 

7 

Freedom Come All Ye 

The Hale & the Hanged 

llew Voices from Scotland 

A Prospecl 0l Scolland Sampler l{0. 5 

Bonny Lass Come 0'lhe Burn 

Folk Songs Sampler l{0. I 

Bevival in Brilain, Vol. I 

lv|arie-Lynn Hammond 

Vignettes 

Calico Cat 

Canadian Sunset 

llational Melodies 

Thanks to lhe Follouuing 

The Maple Leaf 0og 

Livel 

Across Russia by Slage 

Manteca 

Slrength in llumbers 

Kate & Anna Mccarrigle 

Dancer with Bruised Knees 

Pronto Monlo 

Enlre La Jeunesse el la Sagesse 

Love 0ver & 0ver 

Love 0ver & ()ver 

Boulevard 

Hard Rock Town 

Greatesl Hils 

Inlo a Mystery 

Storm Warning 

Windows 

Timberline 

Heroes 

Fiddle ljp a Tune 

A Biqht & Proper tlnrelling 

Beers Family 

The Gentleness in Living 

Going Bananas 

Banana Solil 

Bellona 

Topic 

Ace of Club 

Topic 

Topic 

Topic 

Topic 

Topic 

Topic 

Folkways 

Black Tie 

Black Tie 

llick 

ilick 

llick 

ilick 

ilick 

l{ick 

Beady Becords/CBC 

Beady Records 

Warner Brolhers 

Warner Brothers 

Warner Brolhers 

Keleec 0isc 

Polydor 

Polydor 

True ilorth ICBSI 

True l{orlh 

True l{orth 

True l{orth 

True l{orth 

True llorlh 

True ilorlh 

True l{orth 

Jim Payne & Kelly Bussell 

Pigeon Inlet 

Tradilion: A Sampler 0f l{ewfoundland Traditional Music Pigeon Inlet 

S0ngs 0f lhe llewloundland (lutports 

Pigeon Inlet 

Emile Benoit - lt Comes lrom the Hearl 

Pigeon Inlet 

4+BL 2773 

l2 Tt43 

l2 Tt64 

r2 Tt33 

TPS t6S 

12 1128 

TPS I t4 

FW 8728 

BTB I(){|I 

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ilick I 

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l{ick 4 

ilick 5 

t{ick 6 

ilick Cl 

LR ()I7 

LR ()5() 

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BS 3014 

BSK 3248 

K0 ss{| 

242+2N 

2l 4r-504 

Tl{ 25 

Til 29 

Ttt 35 

Til 4l 

Til 44 

Ti{ 43 

Til 54 

Tl{ 59 

Elephant LEl{ 8206 

Barnswallow BS 1002 

Biograph 12033 

Philo Philo l0l0 

Marioosa in the Schools MITS 007S 

Mariposa In The Schools MITS 0084 

PtP 7314 

PtP 7316 

PrP 73r9 

PtP 731 | 

| 966 

| 967 

r965 

| 90s 

rs62 

IS50sl 

r s82 

| 984 

delele 

delete 

delols 

delete 

dBleto 

deletg 

dolcl8 

delelo 

dsloie 

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delsts 

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delele 

delsle 

delels 

delels 

I 2" single

YAI{K RACHELT 

BARE AIR 

GARIIET B(lGEBS 

accompanying STAI{ BocEBS 

tAl{ TYS(|]{ 

as IAil & SYLUIA 

$ee also: 

SYLVIA TYStlN 

as lAl{ & SYLVIA 

see also: 

JAr{r u0ss & H0YLE osBouRilt 

JAt{E V0SS 

FBAI{K WAKEFIELO 8AI{ll 

SNEEZY WATERS 

CHBIS WHITELEY & CAITLII{ I{A}IFIIRO 

CHRIS WI{ITELEY [with KEll WH|TEIEYI 

0s a member ol $e 0RlGll{AL SL0TH BAI{0 

see also: 

28 

John Prine 

0iamonds in the Bough 

Sweel Revenge 

Common Sense 

Prime Prino l8est o0 

Bruised ()ranges 

Plnk Cadillac 

Slorm Yt,indows 

Aimless Love 

Mandolin Blues 

Yank Rachell 

Stick ll ln Your Ear 

]{a Caleerfeidh [as ila Caleerfeidhl 

Mad Plaid 

Garnel Rogers 

Fogarty's Cove 

Turnaround 

Betwsen the Breaks ... Live 

ilorthrvesl Passags 

For lhe Family 

From Fresh livaler 

lan Tyson 

(lne Jump Ahead ol the 0evil 

0l' Eon 

llld Conals & Sagebrush 

lan & Sylvia 

Four Strong llrinds 

ilorthern Journey 


Early Morning Rain 

Play llne More 

The Best ol ... 

Grealest Hits 12 lps.l 

Greatest Hils Uol. 2 12 lps.l 

lan & Sylvia 

Greal Spsckled Eird 

You Were 0n My Mind 

Lovin'Sound 

Full Circle 

Greatesl Folksingers 0l the Sixties 12 lps.l 

Woman's World 

Cool Wind kom the ilorth 

Satin on Stone 

Sugar lor Sugar. Salt for Salt 

lan & Sylvia 

Four Strong Winds 


Early Morning Rain 

Play (|ne More 

The Eest ol ... 

Greatest Hits 12 lps.l 

Greatest Hits Vol. 2 12 lps.l 

lan & Sylvia 

Great Speckled Bird 

You Were 0n My Mind 

Lovin'Sound 

Full Circle 

Grsatesl Folksingers 0l the Sixties 12 lps.l 

Get lo the Heart 

Pullin'Through 

An Album ol Songs 

Blues Slay Away From Me 

Frank Wakefield & the Good ()ld Boys 

End ol th€ Rainbow 

Country Cooking 

You've 00t Sarvdusl 0n lhe Floor 0f Y0ur Hean 

Sings Hank Williams 

Lovin' in Advance 

Chris Whitely & Caitlin Hanford 

Junior Jug Band 

Hustlin' & Eustlin' 

| 978 

Whoopee Alter Midnight 

Goin' Bananas 

Eanana Split 

Atlantic S0 82go 

Allanlic S0 7240 

Atlanlic S0 7274 

Allantic S0 18127 

Atlantic S0 18202 

Asylum 6E 139 

Asyfum QEEZZ? 

Asylum XOE 286 

0h Boy Becords (|BR 02 I s85 

0elmark 

Blue Goose 

0s 606 

BG 2010 

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Studio /shop by appointment onlY 

I,YASN'T 

THAT 

A TIIYIE! 

IT DOESN'T SEEM POSSIBLE 

that it is twenty-five years since that 

first Mariposa Festival in Leacock's 

Mariposa town. I think I have been at 

all the festivals since, and I have 

enjoyed them all. In several I was a 

participant as well as a listener: 

introducing a session of traditional 

singers, taking part in a discussion 

on the nature of folk music, or 

hosting a workshoP on Ontario 

songs. I remember the pleasure I got 

in seeing old Mr. Abbott sing at an 

early festival, and hearing Tom Kines 

lead the performers in "The Poor 

Little Rich Girl of Ontario". ln recent 

years I have comPlained about the 

lack of my kind of folk songs, but 

despite the increasing emphasis on 

contemporary music I have still been 

able to find sessions that lwanted to 

hear. 

Edith Fowke 

MARIPOSA FOLK FESTTVAL'a' 

is produced and operated by the Mariposa Folk Foundation, a registered, non-profit, 

charitable otganization dedicated to the preservation and promotion of folk arts in 

Canada. 

President: DRAGO l\ilALEl NER 

Executive Direclor: ROB SINCLAIR 

FESTIVAL CO-OROINATORS 

Artistic Direclor: IAN BELL 

Execulive Director: ROB SINCLAIR 

Feslival Committee Chairman & 

Public Sales Coord.: DAVID WARREN 

Stage Production Coord.: DAFIYL AUWAI 

Site Co-ordinators: BRIAN HIBST & TERRY HAWTIN 

Public Relations Co-ordinator: DALE SUTTON 

Cash Comptroller: DO MING LUM 

Sile Services Coord.: JEFF WEED 

Hospitality Coord.: CHICK ROBERTS 

Oftice Manager: MAUREEN O'DONNELL 

SUPPORT & OPERATIONS COMMITTEE CO-ORDINATORS 

Folk Play: SANDY BYER, CAROLINE PARRY, CAIVI|LLA GRYSKI, ISOBEL FRYSBERG, CAROL HOWE, i,4ARY 

I\,4OULTON 

Crafts: LIZ DUSOIVIE, MARY ANN FARRELL 

Dance: KATHY REID, PETER SUSSI\iIAN 

25th Anniversary Displays: DIANE |\,4YERS, GAIL FERGUSON, ELENE FREER 

Performance House: DON CAI,4ERON 

Site: RON BBOUGHTON, ULDIS FOGELS, PHIL ROtvlAlN, REG COTTLE, JEFF PIKER, NORN,4 GREER 

Technical: JEFF ENGLISH. KEN HAWKINS, DON BARBOUR 

Staqe: AMITA DANIELS 

Coi'trol: TED SONE. MARIE MARCEAU 

Volunleer Committee: BEV MADDOCK, JOAN MARRINER, KATE LUNN, l\,4AX KNELLER 

lnfo Eooth: ROD "SCOTTY" SCOTT 

Tickets: RAY DUSOME 

Emporium: BOB STEVENS 

Bars: JOHN N,ICGREGOR 

Bazaar: BARB l\,4URPHY 

Auction: DIANE |\,4YERS, HENRY CHARNEY 

Pubticity: LESLIE BECK, DIANA KROFCHICK, PETE i\.4CGARVEY, ED DILLON, ENOCH KENT 

Media Cenire: DIANA KROFCHICK 

Program Book: BRIAN GREBOW 

Poster Design: BURTON KRAI\,IER & ASSOCIATES 

Brochufe & Ad Design: IAN BELL 

Documentaiion: ERIC LUNN, BRIAN PICKELL 

Accreditation: ANN Sl\,4lLEY, DAVID WARREN 

Fund Raising: ANN SMILEY, SANDY BRACALANTE, BARB RUDOVER 

Security: KARL McALONEN 

Camping: JOHN lvlclNTYRE. STEVE PRITCHARD 

Parking/Trallic: KELLY McALONEN 

Environment DIANA TYNDALE 

Transportation: CATHY STATULEVICIUS, DAVE COOMBS 

Lock-Up: GIL N,lcGlNNlS 

Backstage: t\rAGG I E COOIVl BS 

Airport: JUDY ROBERTS 

Oflice: MAUREEN O'DONNELL, BOB STEVENS. JANETTE DAVID, DELF HOHMANN, DON CAMERON, THE 

KATIt!4AVlCTll\,4S. and with lots ol help lrom JOHN N,ICGREGOR, LIZ DUSOT!4E, DIANE L4YERS, ROB 

ENGLEHART, ALANA BROWN, and a dozen others. 

And a llnal blg ,hanks lo lhe mote lhan 200 yolunleers hetping oul ln large and small ways lo make lhls 25th 

annivercary leslival a succass. 

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Ten new classics in both laminate and solid tops, including 

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For many years the standard in popularly priced folk guitars, 

there are over 20 new models to choose from, in Dreadnought, 

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GREA7 OUAL'TY ON 

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'TEXT DRAW - FRIOAY SEPT. 2OlA5 

74I PHARMACY AI'ENUE 

M/C Visa OrderDept. f $ 

"The best children's album this year!" 

TORONTO SIAR 

EAnArLr sPLrT 

Available at the Festival record store or at 

the Mariposa ln The Schools otfice. 

Nloifiposcl In The 

Schoots brings to1t 

Coino,digln folk 

performers into 

schools oind librqfies - 

(3... oirr excellent 

plrogroimme thqt left 

children ornd their 

teachers with a song in 

their minds oind q beoit 

in their feet!" 

For more inlormation: 

Mariposa InThe Schools 

525 Adelaide Street East, 

LEI i;nto,'onE rio MsA 3w4 

ry(a6)s66-2320

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I,YASN'T 

THAT 

A TINIE! 

YEAR ONE 

THE IDEA FOR A FOLK MUSIC 

festival in Orillia was hatched in the 

front parlor of Ruth and Casey 

Jones. Ruth, an avid Ed McCurdYfan 

and local Orillia enthusiast, thought 

that a folk music event in the area 

would be great and a Project she 

could put her heart into. 

It was the fall of 1960 and the folk 

music craze had begun - paperman. That was where planning 

began for the first MariPosa (for 

Belafonte 

and The Kingston Trio had unleashed 

bands of roving guitar and banjo 

players all over Norlh America. The 

Newport Folk Festival was launched 

and Toronto's coffee houses were 

turned from chess to folk music. 

During the winter of that Year a 

meeting was'held in a small loft 

apartment above a women's wear 

store across from the UniversitY 

Avenue theatre. Present were Jones, 

singer lan Tyson, PsYchologist and 

banjo player Ted Schafer and myself, 

then a music promoter and news- 

Leacock) Folk Festival. 

Jones would co-ordinate the 

Orillia end, I would Produce the 

festival, Tyson would give artistic 

direction and all the graphic material, 

and Schafer would write and be the 

MC. Ted's brother designed the 

stage set, eventually went on to 

become one of Canada's leading set 

designers - Peter Wyborn, the Travellers, Alan 

Mills, Jean Carignan, Bonny 

Dobson, Tom Kines, Omar Blondahl, 

Finvola Redden, Al Cherney, Mary 

Jane & Winston Young, and Merrick 

Jarret. lt was a grand weekend 

complete with a symposium, a free 

Lawrence Schafer. children's concert, folk music films, a 

Offering consulting advice were street jamboree and finishing with a 

Edith Fowke and Estelle Klein of gala hootenay. 

Toronto, and radioman Pete 

McGarvey in Orillia. 

Many of the performers have since 

passed away leaving behind not only 

Over those two days in August of the memories of the music they 

1961, twelve acts Performed for wrote and performed, but the 

approximately 9000 concefigoers. lt remindei'of that first Mariposa Folk 

was purposely an all-Canadian Festival. Little did any of us realize 

event, spanning all types of music in that twenty five years later, after 

the folk spectrum. Perf ormers many changes of venue and style, 

included Jacques Labrecque (with the festival would survive 

Clement Laplante and Emma 

Castor), the York CountY Bluegrass 

Band, lan & Sylvia, Alan McRae and 

- and why, 

isn't that what folk music is all about? 

by Ed Cowan

Norman Kennedy, Malvina Reynolds, 

Taj Mahal, and a much loved (and 

WASN'T 

now missed) Steve Goodman. The 

Boys of the Lough, Sukay, Afro- 

THAT 

Caribbean Theatre Workshop. Vera 

A TIME! 

Johnson, Jean Carignan, Martin 

Carthy, Alanis Obosawin, Beautiful 

Crafts and dedicated craftspeople. 

THERE MUST BE SOMETHING Caring co-workers, and a warm and 

of lasting value. For me, it is the sense receptive audience. Hundreds of 

of connection that comes with deep names are an inextricable part of my 

interest and involvement in folk. A Mariposa memory. I remain 

continuum exists that is logical and connected. 

comforting. The bonus is pleasure as 

well as insight. Basics common to by ESTELLE KLEIN 

people everywhere manifest themselves 

in an honest way in folk I REMEMBER RIDING UP TO 

tradition. Artifice has no place here. I Innis Lake on my old 

like that. 

Mariposa allowed me to participate 

in more rain storms than I care 

to remember, but it also allowed me 

to meet people I will never forget. 

And the sun always came through. 

How can I forget the first impact of 

the Georgia Sea lsland Singers or 

Sweet Honey in the Rock? The Inuit 

Throat Singers and Drum Dancers. 

Les Danseurs du St. Laurent and 

Philippe Bruneau. Joni Mitchell, 

'56 Bob Dylan, Joni Mitchell and Neil 

Young showed up. They didn't want 

to be stars, they wanted to play, so 

Bruce Cockburn and I gave over 

sorne of our workshops and huge 

crowds came. There were some dark 

mutterings about big stars and egos; 

rather sadly I thought. 

The Red Guard types were trying 

to crash the gates, screaming 

flat-head 

Triumph motorcycle not really 

knowing what to expect. Recent 

memories of rioting students and 

mountains of empty beer cans had 

somewhat sullied people's impressions 

of folk music. 

What I found were new friends; 

Joni Mitchell, Buffy Ste. Marie, more 

types of music than I knew existed 

and more important, the opportunity 

to stretch my fledgling wings in front 

of more people than I'd ever seen in 

one place. 

The last year I played Mariposa, 

"Music 

belongs to the People." Things were 

getting a little out of hand and after 

that the festival was never quite the 

same. 

So I guess festivals, like people, 

have their ups and downs. 

I'm grateful to Mariposa for giving 

me a place to start and grow, and 

looking forward to seeing how 

Mariposa has evolved and grown. In 

a certain sense, I guess the Red 

Guards were quite right. Music is for 

the people. 

by MURRAY McLAUCHLAN 

The 25th Anniversary 

MAN'POSA FOLK FESTTVAL 

is dedicated to 

ESTELLE KLEIN 

whose vision, dedication and strength guided Mariposa 

for more than a decade and a half. Mariposa, 

and folk music in Canada, owe her great thanks. 

32 

TRCBAE IfISITTUR OF R€(ORDNG ATS 

Los Angeres Vancouver Tor0nto Ottawa Montreal 

410 Dundas St. East, Toronto 

0ntario Canada M5A 2A8 (416) 966-3066 

" 

developing people fror the music industry 

through training sance 1979"' 

vISIr 7ffiililil 

MARIPOSA'S 

Wffi 

RECORD €iTAP.E L_r.{np 

Qmpori,uru 

just south of info booth 

HUNDREDS 

of hardtofind 

FOLK RECORDS 

Mail-order 

catalogue: 

525 Adelaide St. E., 

Toronto, M5A 3W4 

also auailable: 

Suntan lotion, film, toiletries, etc 

VISA/MASTERCARD 

I C A T M A G A Z T N E 

Cong ratulations to Mariposa 

for bringing folk musicians 

and fans together tor 25 

wonderful festivals. May the 

music never end! 

Fast Folk delivers folk music 

to your door in stereo, ten 

times ayear. Each issue 

includes a 12-cut album of 

primarily new songs and a 

magazane covering the folk 

scene. 

1 yr. (10 issues) 

1/z yr. (5 issues) 

Single issue 

U.S. For. 

$50 $70 

$30 $40 

$ 7 $ 9 

Fast Folk Musical Magazine 

178 West Houston, Suite 9 

New York, New York 1OO14 

Subscribers outside the U.S., 

please send payment in U.S. funds, 

payable on a U.S. bank.

TilE MIIIIIilEEI 

2 Elm Street, 

Toronto, Ontario MsG 1G7 Tel: (416) 597-1411 

* ,.,.i'' 

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3:00 

3:30 

4:00 

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---v 

Nlaniposa Wishes to Thoink ... 

POND STAGE CABARET TENT Union 

WELCOME TO 

FOLK FESTIVAL 

Saul Broudy - host 

Jane Voss and 

Hoyle Osborne 

Peter Bellamy 

Curtis Driedger 

The Original 

Hurdy Gurdy Man 

and Lady 

Yank Rachell 

and 

Peter Roller 

GARNET 

ROGERS 

i.ii:.:.ii:.i!ii!:.:Ilrr,H{fsti.rir;fit+zti*:*iff/'riii.'di*r*:i*:iiiiiii:.iiiiiiii 

Please consider ioining! 

Menrbers receftte: 

CAPERCAILLIE 

FRANK 

WAKEFIELD 

BAND 

BLIND JOHN 

DAVIS 

TRIO 

A sub$riDtion to the Camdian Folk Must Bulletin which is a mgazine published Cwry three 

months containing rews, reviews and f@tures. A great @y to find out about curent 

dewloprents in Canadian folk music. 

A fre copy of our Mail Order Catalogue which contains listings of 250 records, cas*ttes and 

bmks of Canadian folk music. as wll as exclwive and substantial di*ounts on all items 

listed in the catalogue. 

A sub*ription to the parly Camdian Folk Musk Jouml which contains articles, refererce 

lists and comrcntary on current reearch in Canadian folk music. 

A free copy of the annul Camdian Folk Festival Directory whic h contains listings of owr 200 

events f€aturing folk music from acros Canada. 

Memberships are $15.00 (Canadian) per par for individuls ($20.00 for institutions, $10.00 for 

students). Send cheque, money order or Ms number (plus expiry date) to: 

Cenadien Fotklft|sic Society Po Ed/rlr',s.ffi c c.trEr'^Ib6ac{trd' rzttNt 

Manville Canada 

Tambrands 

Carbide 

Volkswagen Canada 

SPECIAL HELP 

Canadian Broadcasting 

CIIRP(IBATE Il(lI{(lRS Corporation 

B.A.S.F. Arthur Black 

Bell Canada Camille Brochu 

Bikeland Canadian Tire Corp. 

Canada Cup Ed Cowan 

Computron Crissa Bakery Ltd. 

Continental Inn Wayne Doyle 

Cooper Tool, Canada Ltd. Harbord Bakery 

Corah Ltd. Lorraine Hardy 

Cycle World Jack Hayes 

Elephant Records Gail Kenney 

Fibracan Kodak Canada 

Genpak Joe Lewis 

The Hitch House Ron Marshak 

Keystone Cash Register Metropolitan Toronto 

Toronto, Ltd. Library 

Kids' Records Mike's Milk 

Kolmar of Canada Moldex 

Llly Cups Paul Morris 

Len's Photo Murals National Film Board 

Ontario Hydro Pickering Reed Needles 

G.S.B. 

Lisa 0rnstein 

Radius InternationalRecord 

Gallery 

Radio Shack Lynn Reist 

Rockwell International Roblan Distributors Ltd. 

Safety Supply Co. Benjamin Sadavoy 

Toy Circus Brent Scrimshaw 

Troubadour Records Kathy Sinclair 

True North Records The Twelfth Fret 

WADE HEMSTII'ORTH 

Wade Hemsworth, the bard ol Morin Heights, Quebec, occupies a 

special place in the ranks ot Canadian songwriters. His travels through 

northern Ontario, Quebec, and Newfoundland provided him with a 

remarkable reryrtoire of traditional songs and a range of experiences 

that have found expression in his own writing. 

Hls songs, including "The Blacklly Song" and "The Log Drivers' 

Waltz", have become standards and are sometimes even thought to be 

traditional themselves. rt is easy to trace the musical rcots of many of 

this country's most popular "folk" songwriterc to the work of this 

influential artist, who has done so much to create and promote a truly 

Canadian songwriting style. Mr. Hemsworth was one ot the pertormers 

who appeared at the first Mariposa Folk Festival. We are honoured to 

be able to present him again this yeat.

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concert begins 6:40 P.m. 

MOLSON SINCEI!!? 

@YAMAHA 

SaturdaY, JulY 2T 

concert begins 6:30 p.m. 

KEN BLOOM 

RARE AIR 

THE FRIENDS OF 

DALGLISH LARSEN & 

FIDDLERS GREEN SUTHERLAND 

JANE VOSS & HOYLE OSBORNECHRIS 

WHITELEY & 

YANK RACHELL & PETER ROLLERCAITLIN 

HANFORD 

CATHY FINK 

MARGARET CHRISTL 

NORMAN BLAKE & RISING FAWN FRANK WAKEFIELD BAND 

STRING ENSEMBLE MARCEL MESSERVIER 

SYLVIA TYSON & THE GREAT ALL-STARS 

SPECKLED BIRD 

IAN TYSON BAND 

JOHN PRINE 

MANTECA 

stq2 

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CHFIFA,f 98 

9ulrfrW 

Sunday, July 28 

concerts begins 6:30 p.m. 

JOHN DAVIS TRIO 

PETER BELLAMY 

JIM PAYNE & KELLY RUSSEL 

with EMILE BEN0IT & FRANK MAHER 

SNEEZY WATERS & HIS BAND 

MARIE-LYNN HAMMOND 

CAPERCAILLIE 

GEORGIA SEA ISLAND SINGERS 

GARNET ROGERS 

KATE & ANNA MCGARRIGLE 

MURRAY MCLAUGHLAN 

CABABET 

TElIT 

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SAWDUST REVUE SOUARE DANCE 

host NIGHT TO VAUDEVILLE 

host 

CHRIS WHITELEY DOUBLE HEADER 

SNEEZY WATERS 

CAITLIN RARF REED NEEDLES CELESTIAL 

HANFORD 

KEN BLOOM PETE & ELLEN FRIENDS OF TOURS OF THE 

'.Tffi''* ^'cnEtc-rrrcc host CHARABANC 

THE HURON 

WHOLE LOAF With 

.IRHi VOSS ANO VIGOUR FIDDLERS GREEN HEAVENS 

H0YLE 0SB0RNE ARNIE NAIMAN BARRY 0'NEILL with ,o**tf,1?rr,_, 

FRANK PETER SUSSMAN MARGARET JOHN KENNEY 

WAKEFIELD ELDON COOPER CHRISTL 

BAND MALCOLM PETER BELLAMY 

SAUL BROUDY DALGLISH ENOCH KENT 

& GREY LARSEN EILEEN MCGANN 

STEVE MILES CATHY FINK 

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--'TlL1:OOAM. 

ENJOYING THE FESTIVAL? 

Trysomeofour@ 

MARIPOSA IN THE WOODS 

Aug. 7-11 at Woodland Trails Centre, Aurora 

Mariposa's renowned mu$c & dance camp, FEATURING: Kathy 

Anderson, Anne Lederman, Shelly Posen, Sally Rogers, Cindy 

Thompson, Bill l-Jsher and Ken Whiteley, with great food by Harry 

Paine. SPACES Sf/LL AVAILABLE! 

FALL CONCERTS 

ARCHIE FISHER & GARNET ROGERS 

Sept. t3 at St Vtadimir's Hall,620 Spadina Ave., Toronto, S:00 pm 

Tickets at the info. booth. 

MARIPOSA SUNDAYS 

FAMILY FOLK SER/ES 

AT 'NN'S COLLEGE TOWN HALL, TORONTO 

Sept.22 Michael Ross, Magician 

Oct.27 Kel Watkins, Australian Singer & Storyteller 

Nov. 17 Ken & Chris Whiteley, Junior Jug Band 

Jan. 19 Circus Bizarro 

Feb. 16 Puppetmongers Powell, 

"Brick Brothers Circus" 

Mar. 23 Rick & JudY, Canadian Songs 

r?J-v.E1nii 

KENNE 

SATURDAY, JULY 27 

11:00-12:00 Wearable Kinds and Finds - Doreen Buchin 

12:00-1 :00 Lettuce (Let Us) Patch Puppets - lsabel Frysberg 

1:00-2:00 Teddy Bear Picnic - Elda Bowman-Miller 

2:003:00 Playballs & Play Pins - Mary Moulton 

3:004:00 Miniature Quilts - Terri Pichler 

4:00-5:00 Puzzles and Perplexia - Paul Simpson 

SUNDAY, JULY28 

11:00-12:00 Wearable Kinds and Finds - Doreen Buchin 

12:00-1:00 Playballs & Play Pins - Mary Moulton 

1;00-2:00 Teddy Bear Picnic - Elda Bowman-Miller 

2:00-3:00 Lettuce (Let Us) Patch Puppets - lsabel Frysberg 

3:00-4:00 Miniature Quilts (Tea Cosies) - Terri Pichler 

4:00-5:00 Toymaker's Magic - Paul Simpson 

FOR TICKETS AND INFORMATION 

ON ALL EVENTS,VISITTHE FESTIVAL 

INFO. BOOTH OR CALL MARIPOSA 

AT (416) 363-40()9.

Untitled - Mariposa Folk Festival

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