Untitled - Mariposa Folk Festival

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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
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Page 13 and 14: EDGEWOOD ANGORAS LIVING WOOD JOANNA
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Untitled - Mariposa Folk Festival

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