Untitled - Mariposa Folk Festival

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).
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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