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Trio Nouveau
http://www.kristio.com/music-trio-nouveau.html


DjangoFest NW 2010
A production of Whidbey Island Center for the Arts
Sept. 22-26

"Songs for a Culture of Peace," gypsy music, a musical puppet show and Earth Gym shenanigans.

SingPeace! Earth Pilgrimage for Peace and Global Harmony gypsy wagon joins the Djangofest, gathering musicians and singer/songweavers for a truly amazing world community gathering.

Nymbol's Secret Garden, a fanciful puppet and costume crafting shop welcomes SingPeace! to the heart of Langley. Look for the wagon on the grass next to Langley City Hall, across from the post office.
Performing at WICA:





Angelo Debarre Quartet with Ludovic Beier



The manouche musician Angelo Debarre
started playing the guitar within his family at eight. After early
professional beginnings, he swapped strings for drums. In 1984, he returned to its favorite instrument and creates his first “Angelo Jazz Quintet”. Since 1985, he has been a regular of the famous Parisian cabaret "La Roue Fleurie" (now closed) and takes part in many tours in manouche jazz and Gipsy styles. He feels quite comfortable in both repertories, and before long he has played alongside Pedro Ivanovitch,
Arbat, Raya, Serge Camps, Bratsch as of Boyan Zulfikarpasic, Xavier Desandre-Navarre, Florin Nicolescu or Moréno, Bireli Lagrene, Jimmy Rosenberg, Romane…

Indisputably a member of the growing family of Django's
heirs, Angelo developed a solid personality. His style, fueled by a staggering technique, is constantly enriching with musical encounters, in the finest Gipsy tradition Angelo's music and personality conquered our Canadian cousins: they bought the rights to Caprice – which may be eventually marketed the way it deserves; are cooking up a new CD recorded on the spot with accompanist Matcho Winterstein; and have been providing him with numerous venues since the Summer of 2000... more.




A jazz musician at heart since his early childhood in Auvers-sur-Oise, Ludovic Beier is a fan of the West Coast sound. As a child, he discovered his idols (Chick Corea, George Duke, Charlie Parker, Miles Davis, George Benson…) who influenced him during the years of its musical education. He started to compose very young, studding his albums with some of his own themes, from ballads to be-bop…

During a concert in Washington in November 2002, a journalist presented Ludovic Beier in these terms: "Since the arrival of
Ludovic Beier's accordion on the musical scene in France, we can proudly say that this instrument is not dead and, on the contrary, enjoys a certain revival. Ludovic Beier belongs to the eager cognoscenti who are always out to try out new sounds and techniques. Not only does he compose, write and arrange, but he also is at basis of the revival of accordion: jazz, West Coast music are new directions taken by this instrument, but always rooted in the French heritage, in his skillful hands."... more.

Paulus Schäfer with Tim Kliphuis



Paulus Schäfer (born 1978) is one of the most talented Gypsy Jazz guitarists from The Netherlands today. Born into a Dutch Sinti (Gypsy) community he learned to play the guitar at a very
early age. Besides listening to fellow Sinti and records of his idol Django Reinhardt, it were Wasso Grünholz - a legend of his own within the community - and his nephew Stochelo Rosenberg from whom he learned the most. After a short period of time, in which Paulus briefly took over the lead guitar of Jimmy Rosenberg in the Gipsy Kids, he formed his own group and recorded his debut album “Into the Light” in 2002,
followed by many concerts and numerous – headlining - invitations to jazz festivals: Sziget Festival Budapest (H), Khamoro Prague (CZ), IGGF Gossington (UK), Django Reinhardt Festival Samois-sur-Seine (FR), Gipsy Festival Anger (FR), International Gipsyfestival (NL), Amersfoort Jazz
(NL), Haarlem Jazz (NL), Folkwoods Festival (NL) to name a few.


Being a musician in high demand, Paulus is often to be found on stage with other musicians, like The Rosenberg Trio, Tim Kliphuis, Prisor Jazz Band, Andreas Öberg, Jimmy Rosenberg and can be found on many albums. He also recorded two more albums with his own group in 2006, ‘Desert Fire’
and ‘Live at the NWE Vorst’ with the Paulus Schäfer Gipsy Band and The Tilburg Big Band. Paulus has a particular sound, easy recognised, and although all Paulus’ albums are true to a distinctive Gipsy Jazz/Swing sound, Paulus is always looking for a new modern sound. Not only to broaden his own horizons, but also a more representative Gipsy Jazz sound for the 21st century. New releases are already scheduled for 2010.


Discography:
“Into The Light” (2002, w/ Paulus Schäfer Gipsy Band) “Desert Fire” (2006, w/ Paulus Schäfer Gipsy Band) “Live at the NWE

Vorst (2006, w/ Paulus Schäfer Gipsy Band and Tilburg Big Band)



Dutchman Tim Kliphuis is one of the top jazz fiddlers in the world, and has been dubbed Stéphane Grappelli's successor. After his long-standing collaboration with gypsy guitar legend Fapy Lafertin, he worked with Angelo Debarre, Stochelo Rosenberg, RIchard Galliano and many others.

A soloist in his own right since 2004, Tim now has a reputation which transcends the Gypsy Jazz scene. His trademark mix of
Jazz, Classical, Folk and World music has taken him all over the world.

An acclaimed tutor in Grappelli's Jazz Violin style, Tim has released best-selling tuition book "Stéphane Grappelli Gypsy
Jazz Violin" with Mel Bay and 2 Hot Jazz Violin DVDs with HyperHip Media... more.

John Jorgenson Quintet



John Jorgenson Quintet - bio coming soon

Howard Alden with Bucky Pizzarelli and Bria Skonberg



Howard Alden - bio coming soon



John Paul Bucky Pizzarelli is an American Jazz
guitarist and banjoist, and the father of jazz guitarist John
Pizzarelli. Pizzarelli has also worked for NBC as a staffman for Dick Cavett (1971) and also ABC with Bobby Rosengarden in (1952). The list of musicians Pizzarelli has collaborated with over his career includes Les Paul, Stephane Grappelli, and Benny Goodman. Pizzarelli acknowledges Django Reinhardt, Freddie Green, and George Van Eps for their influences on his style and mode of play... more.



At age 26, jazz trumpeter and vocalist Bria Skonberg
has been performing on stage for over 20 years. Originally from Chilliwack, BC, she now resides in Vancouver where she has completed a Degree in Jazz Performance from Capilano University. Since getting into jazz ten years ago Bria has been featured as a bandleader and guest artist all over North America, Europe, China and Japan playing alongside
such greats as Warren and Allan Vache, Bucky Pizzarelli and Howard Alden. In July of 2009 she was one of four performers selected for an International Young Artists’ Showcase at the Jazz a Juan Festival in Antibes, France. She has been the recipient of the CBC Jazz Award of Merit (2006), and the Kobe Jazz Street Friendship Award given at the Breda Jazz Festival in Holland in 2007. Early in 2008 Bria was a guest on Riverwalk Jazz with the Jim Cullum Jazz Band representing the “Next Generation of Jazz”. In Vancouver she leads and manages Bria’s Hot Five and The Big Bang Jazz Band,
and performs as a soloist and vocalist with Canadian icon Dal Richards and his Orchestra both live and on his last two albums. She is a co-founder of the groundbreaking all female jazz group, Mighty Aphrodite, comprised of members from the US and Canada. In 2009 Bria released her first solo album Fresh that features original songs and arrangements of jazz and mainstream standards. She is an active advocate for young musicians, working as a teacher/alumni at the Sacramento Jazz Camp and Camp Heebie Jeebies in Port Angeles, as well as programming, narrating and performing
educational school shows for students ranging from Kindergarten to College. Intent on giving back, she is also active on the Board of Directors for the annual Chilliwack Jazz Festival... more.

Hot Club of Detroit



More than seven decades after the innovations of the Quintette du Hot Club de France, featuring guitar virtuoso Django Reinhardt, combos called Hot Clubs carry on the gypsy jazz sound around the globe -- in Tokyo, San Francisco, Seattle, Sweden, Norway, Austria, and many other locales. None, however, offers a fresher take on the tradition than does the Hot Club of Detroit, led by fast-fingered Reinhardt disciple Evan Perri. Unlike the instrumentation of original Paris-based quintet, comprising Reinhardt, violinist Stephane Grappelli, two rhythm guitarists, and a bassist, the current Hot Club of Detroit is made of guitarist Perri, accordionist Julien Labro, soprano and tenor saxophonist Carl Cafagna, rhythm guitarist Paul Brady and bassist Andrew Kratzat. The fibrous accordion tones of Labro, a native of Marseilles, France, links the Detroit quintet to the French musette style from which gypsy jazz
partially sprung, while Cafagna’s robust saxophone work introduces bop and post-bop elements to gypsy jazz... more.

Pearl Django



Entering their sixteenth year of performing Pearl Django continues to be one of America’s most respected and busiest Hot Club style groups. Though still strongly influenced by the music of Django Reinhardt, Pearl Django’s repertoire now includes many original compositions. Their music reaches out across the divides of taste to a wide variety of audiences. The band's fervent followers include Django Reinhardt and Stephane Grappelli fans, guitar enthusiasts (and guitarists!), lovers of string music, including bluegrass devotees, who
relish nimble, clean, intricate picking, "world music" fans drawn to French and Gypsy accents, plus jazz buffs and aficionados of the new swing music. Transcending simple categorization, Pearl Django packs in enthusiastic audiences at dancehalls and nightclubs, at folk music festivals and jazz festivals alike... more.

Troy Chapman, Guitar; Ryan Hoffman, Guitar; David Lange, Accordion; Michael Gray, Violin; Rick Leppanen, Bass

Robin Nolan Trio



Robin Nolan Trio - bio coming soon

Gonzalo Bergara Quartet



Gonzalo Bergara Quartet - bio coming soon

Kruno with Ludovic Beier



Kruno - bio coming soon

Alfonso Ponticelli and Swing Gitan



Alfonso Ponticelli and Swin Gitan - bio coming soon

Caravan - Marc Atkinson Trio with Daniel Lapp



Marc Atkinson Trio - bio coming soon

Van Django



Van Django is an acoustic string ensemble made up of four of Canada's most talented and eclectic musicians; violinist Cameron Wilson, guitarist Budge Schachte, guitarist/cellist Finn Manniche and bassist Brent Gubbels. Van Django's music is punchy, driving and rhythmically inventive,
combining a wealth of musical influences while maintaining their roots in the gypsy jazz made famous by the 1930's Quintet of the Hot Club of France. Since the group’s formation in 1998, they have toured extensively in Canada as well as international forays to the USA and Europe. The group has had repeat performances at Djangofest Northwest
(DFNW) where in 2008 they shared a double bill concert with the John Jorgenson Quintet and in 2009 they opened for the legendary gypsy jazz guitarist Romane and his group. They look forward to a return visit this year (2010) to DFNW for a double bill concert with the Mark Atkinson trio. Van Django is slated for their second European tour in early September of this year (2010)... more.

Hot Club Sandwich



Hot Club Sandwich - bio coming soon

Billet-Deux



Billet-Deux - bio coming soon

Douce Ambience



Douce Ambience - bio coming soon

Doug Martin Avatar Ensemble with Annie Staninec



Doug Martin Avatar Ensemble - bio coming soon

Nick Lehr Quartet featuring David Seriff



Nick Lehr - bio coming soon



The Festival Staff.

Nicholas Lehr, Artistic Director; Stacie Burgua, Executive Director; Deana Duncan, Production Director; Jason Dittmer, Director of Marketing; Tyler Raymond, Technical Director; Jeanette Eveland, Volunteer Coordinator; Ann Deacon, Facilities Manager; Dorothy Ferguson, Shirley McClure, Karen McInerney, Linda O'Brochta, House Managers

Read more…



1778 N. River Rd., Cosmopolis, WA



A teaching gathering for ceremonial/devotional singing circles, dancing, and music
We change the world as we transform ourselves with songs of light, love, peace on earth, and goodwill to all beings.




What is Singing Alive?
Now in its 4rd year, Singing Alive is about bringing people together who feel called to awaken, and nuture their spiritual life thru communion with songs (and prayers, chants, blessings, and so om) of celebration of life in this benevolent universe. Such songs clarify our lives, strengthen our communities, and foster personal and planetary renewal. At Singing Alive we gather to share them, and ourselves, in a safe, welcoming environment. Our goal is to open hearts, and the songs are the keys. These songs are multi-cultural, coming to us from many eras and lands far and near.
Together they tell a perennial story, a Gaian dharma, so often forgotten, yet so joyfully remembered, of the Great work of spiritual evolution, of earth-conscious living and peaceful co-existence. By
singing this story we come home to Ourselves and perform the Dream of re-Creation we have so longed to live. Singing Alive is intended to hold space for this Dream to emerge and manifest, to give people the resources, and support for this initiatory transition we are ALL, consciously or not, with grace or in denial, going thru.



The old paradigms of domination, exploitation, and war are fitfully, yet inexorably, crumbling, and a new genre of songs have (re)emerged that reflect and celebrate the new paradigm of love, light, and the pursuit of blissful service to the world. By engaging our hearts in song, we help actualize this paradigm in ourselves and the collective. This is subtle activism, nourishment for a spiritually hungry world.


Our intent is to invite singers and musicians who can share songs of this genre, which work in the format of communal singing. This is not an entertainer / audience gathering; ‘rather it is a participatory event, a co-prayformance, where we all sing together, and work together to make this happen. Those who don’t think they can sing are encouraged to come and claim the birthright of a singing species!!



Teaching and Sharing Circles at Singing Alive
Voice & Breathwork
Dances of Universal Peace
Playing Musical Instruments
Bardic Legacies and Storytelling
Creating & Sharing Songbooks & Songbook
Art Whole-Group
Singing Circles & Small Song-Circles
Midwiving New Languages & Reclaiming the Ancient Ones


Song Traditions (Song Tribes) Rainbow, African, Shamanic, Daime, Orisha, Osho, Native American, Amma, Sufi, Gospel, Kirtan, and omward . . .
Song Themes and Invocations
World Peace, God/Goddess Exaltations, the Elements, Fairies & Devas,
Blessings, Gratitude, Grief & Praise, Planetary Acupuncture, Human Flowering, Children Circles,
Harmonic Toning, & Song On


This gathering was conceived on July 16, 2005 by Michael Pilarski (Skeeter) & Morgan Brent (M.T. Xen). Skeeter is a wildcrafter and gardener, permaculturalist, educator, and the founder of many
gatherings, such as the Okanagon Barter Faire, the Northwest Herbal Faire, and the Human & Fairy Relations Congress. M.T. is an educator, organizer and song enthusiast who specializes in
prescriptive teachings of medicinal plants (Nature’s plan to save humans). He shares these teachings through Creation-story style sacred song circles.


What is the key to untie the knot of the mind’s suffering?
Benevolent thought, sound, and movement.
The Gft, 14th-century Sufi poet Hafiz


Read more…

Singing Tokitae Home


8/4/2010 8:28:00 AM
Remembering Lolita
(Tokitae - Salish name)
Wallie V. Funk / Pacific NW Studies Collection, WWU <br / Orcas churn in the waters of Penn Cove during the capture of orca Lolita in 1970. Of the seven whales captured that day, only one – Lolita – is still alive.

Wallie V. Funk / Pacific NW Studies Collection, WWU

Orcas churn in the waters of Penn Cove during the capture of orca Lolita in 1970. Of the seven whales captured that day, only one – Lolita – is still alive.
cleardot.gif
Wallie V. Funk / Pacific NW Studies Collection, WWU Workers using a bucket loader remove a dead orca whale from a beach in Penn Cove following the 1970 roundup. Several orcas that had been killed in the roundup were later found with their bellies slit and filled with rocks, chains and anchors to keep the deaths from public knowledge.

Wallie V. Funk / Pacific NW Studies Collection, WWU

Workers using a bucket loader remove a dead orca whale from a beach in Penn Cove following the 1970 roundup. Several orcas that had been killed in the roundup were later found with
their bellies slit and filled with rocks, chains and anchors to keep the
deaths from public knowledge.
Save the date

The Orca Network is organizing a commemorative event on Sunday, Aug. 8 in Penn Cove.

At 3 p.m., boaters are invited to attend a wreath-laying ceremony at the site of the capture.

From 5-6:30 p.m., a reception is planned at the Coupeville Wharf with former dolphin trainer Ric O’Barry and displays of the orca capture.

At 6:30 p.m., a silent auction will be held to benefit the Orca Network.
Dessert and coffee is followed by guest speakers including Ric O’Barry,
Howard Garrett and eyewitnesses to the capture. Coupeville Performing
Arts Center, 501 S. Main St. Visit orcanetwork.org.

By Sue Ellen White
Examiner Staff Writer

Forty years later, the plaintive cries of young orca whales reverberating across Penn Cove is still vivid for John Stone of Coupeville.

“You could hear the whales squealing when they pulled them out,” Stone said. “It drove my cat crazy.”

Working a summer job at the Captain Whidbey Inn, Stone became an intimate witness to an infamous event: the 1970 capture of orca whales in Penn Cove by entrepreneurs engaged in the then-legal business of
selling the wild marine mammals to aquariums and theme parks.

Stone transported newspaperman Wally Funk out to the whale hunters’ raft to photograph the capture. His parents owned the inn and the site where the whales were trapped was just a third of a mile away.

“My gut reaction was this was the wrong thing to do,” he said. “I was not alone, but I was not in the majority. These were ‘killer whales.’”

On Aug. 8, 1970, Stone was scheduled to work the evening shift in the restaurant, but was off during the day. He remembers the noise, airplanes and high-speed boats that arrived in the cove, driving about
90 whales before them.

It was a superpod of the combined family groups or pods, named “J,” “K” and “L,” belonging to the Southern Resident orcas whose home range is the Salish Sea. The area encompasses Puget Sound and the Northwest
Straits in Northwest Washington and British Columbia’s Gulf Islands and
Georgia Strait.

The whale families, which normally are separate, congregated for genetic diversity in mating, Stone believes, when Seattle Marine Aquarium owner Ted Griffin and Don Goldsberry of SeaWorld, ensnared them
at the San de Fuca end of Penn Cove.

“The fact that the whales were here was a fluke,” said Stone.

The hunters had first tried to herd the superpod into Holmes Harbor, but they escaped, according to Stone, and headed up Possession Sound.

“They were able to corner them in Penn Cove,” said Stone. “They got a net around half the whales and a smaller net inside of it, trying to isolate the adolescents. They isolated whales and then hauled them out
at the old Standard Oil dock at San de Fuca.”

That’s when the new little captives issued their cries, heard all across Penn Cove, with answering calls from the adults. The roundup took place over about a week, Stone said. Of the approximately 90 whales,
seven young orcas were captured and one adult female died as the result
of net entanglement trying to reach her calf. According to written
accounts, four babies also drowned.

One of the bodies was netted by a fisherman in November 1970, while the others washed up on the beach. They were found to have had their bellies slit, then filled with rocks and weighted with chains and
anchors to keep the deaths from public knowledge.

The whale hunts continued until Washington’s Secretary of State, Ralph Munro, witnessed a 1976 whale roundup and was motivated to urge state legislation outlawing the capture of orcas.

It is estimated that the Southern Residents lost between a third and a half of their population during the years trapping was allowed.

Most of those were young whales whose reproductive years were ahead of them. Juvenile orcas were preferred by the hunters because they were smaller to transport and thought to be easier to train to do aquatic
tricks at the marine parks they were sold to.

Of the seven orcas captured that August week 40 years ago, only one, Lolita, whose native name was Tokitae, and who was six years old at the time, is still alive. She has been at Florida’s Seaquarium for 39 years.

Six historic hours

The most dramatic record of the orca capture is the photographic collection of Wallie Funk.

Funk was the owner of two Whidbey newspapers at the time and got around a lot for a local boy. He said he has photographed five U.S. presidents, the Beatles, Mick Jagger and numerous historic events. But
his work recording the chaos and action at the Penn Cove capture site is
among his most vivid memories.

Funk arrived in the afternoon of Aug. 8 at the Captain Whidbey, encountered Ted Griffin and Don Goldsberry, and told them he would really like to go out to the walkway raft next to the net pen and do
some photographing. They agreed and Stone took him out in a 12’ aluminum
boat with a 3 hp motor to the center of the operation.

“They were entrapped in a small area, they were flailing in the air,” Funk said. “You could hear a high-pitched squeal and they were communicating with many, many more that were outside the net in Penn
Cove.”

“I was the only press allowed on the raft. At the time I was there to record a scene. Every once in a while I would run out of film and one of the Stones would get more film for me. I was out there for about six
hours. I ran through 30 rolls of film,” Funk said.

It was only later as he developed the film that Funk stepped back from his role as a photojournalist to react with outrage at what he had recorded.

Killer whales

At the time, recalled Stone, the marine mammals were known as killer whales and thought to be extremely dangerous to humans, though there are no recorded instances of orcas in the wild attacking people.

While some pods hunt large prey such as seals and sharks, the Southern Residents are fish eaters. Some fishermen considered them pests and unwanted competition.

People quickly found out about the hunt and lined the road above the Penn Cove capture site, more out of curiosity than objection, said Stone.

Five years before, a male orca had been caught in a fisherman’s net in Namu, B.C. He was sold to Ted Griffin, who named him Namu, brought him in a floating pen to Seattle through Deception Pass and installed
him at his aquarium.

Namu and Griffin made headlines, but the orca – the second to live in captivity – died in 1966, a year after it was captured.

Free Lolita

Forty years later, attitudes have changed. Whales capture is not allowed in the United States and organizations have formed to free captive whales.

Lolita is the only captive whale alive from the 1970 Penn Cove trapping. Organizations such as the local Orca Network say that she has served humans long enough and should be repatriated from Miami’s
Seaquarium to her home waters. They add that the Deepwater Horizon oil
spill may pose a new threat to Lolita.

“The awful possibility that plumes of oil mixed with highly toxic chemical dispersants could reach Miami in mid-August, as predicted by NOAA, and be pumped into her tank water, adds urgency to our 15-year
long efforts to retire her in her native waters,” said a recent press
release from the Orca Network.

John Stone agrees that Lolita should be freed. He had his own close encounter with an orca during that week that still gives him pause.

The young man was going out to the raft at the net pen to pick up Funk and he saw the massive male orca known as J1 or Ruffles headed right toward his little skiff.

“This huge whale was coming to me on the surface on a collision course,” said Stone.

He was not sure what to do, but did not want to confuse the whale by changing his course. So Stone held steady.

“Just before he got to me, his huge dorsal fin goes right under me and came up just on the other side of the boat. My heart was in my throat,” said Stone.

The orcas were being terrorized and young ones trapped and though J1 might easily have attacked Stone, he did not.

Stone has not forgotten. He will pilot his 58’ ketch, the Cutty Sark, out on Sunday, Aug. 8 to the spot where the whales were captured 40 years ago for a commemoration of the capture.

The outing is being organized by the Orca Network – people intent on making sure the rest of us don’t forget either.








Reader Comments

Posted: Saturday, August 07, 2010
Article comment by: Ralph Munro

My wife karen and many others deserve most of the credit for stopping whale
captures in America. The Penn Cove capture was followed by the Budd
Inlet Capture in 1976. We were less than 100 yards away on a sailboat.
It was gruesome.

Karen Munro, Bill and Penny Oliver, Put Barber and Valerie Lynch , Dr Paul Spong, PI reporter Mike Layton, Attorney
General Slade Gorton, et al all led the charge to stop whale captures
in Washington Waters. They all deserve lots of credit.


Posted: Friday, August 06, 2010
Article comment by:
Connee Robertson


She must be released. She is desperately needed by her pod, being one of the only
breeding aged females left. She has a little sister that is too young to
breed and many in her family disappeared a couple of years ago. Her
captivity and continued captivity is panamount to a human living in a
bathtub for all of those years. This is horrific abuse and cannot be
tolerated anymore. Orcas are becoming very endangered because of the
huge amounts of pollutants in the ocean. Let her go!!
Read more…


…to the Spiral of "The Work That Reconnects" as developed by Joanna Macy

Songs for Going Forth

Songs of Gratitude

Songs for Seeing With New Eyes

Songs for Honoring Our Pain for the World


The Great Turning is a global change of heart and ways of living, a more nurturing, appreciative and sustainable relationship with the Web of Life, a shift toward a life-enhancing human presence on Planet Earth. Songs, especially when sung together and in harmony, are a vital tool in the Great Turning and a great enhancement to the interactive group processes developed by Joanna Macy known as the Work That Reconnects. They help us experience in the body our connection to each other and the planet, summon our collective courage, enliven us and inspire us to play our part in creating a life-sustaining society.

We present here a collection of songs that are easy to learn and sing in groups, at "Work That Reconnects" gatherings, in our work in the world, in our daily lives. They are grouped thematically around the four points of the
Spiral, a conceptual guide used in Joanna Macy’s practices.

Click on a song category in the spiral above to see a list of songs exploring that theme, or use the pull-down menus above to go directly to a specific song. The individual song pages feature lyrics and recordings of the songs and each of their parts, so that you can learn them, teach them and pass them on. Soon this website will enable you to recommend songs to add to the collection and help grow this site into a worldwide resource to sing in the Great Turning!


Read more…

By John Sifferman at "Physical Living"

http://physicalliving.com/watch-the-barefoot-sensei-in-action/

Mick Dodge, a former Marine, is someone that we can all probably learn something from. He’s questioned the conventional model of physical living and found it severely lacking, and he has taken drastic action on that. Mick is someone who has a truly unique perspective on health, movement, and fitness, and I think we would do well to listen to him.

This is a collection of clips shot at a recent “footcamp” seminar he taught on Whidbey Island, WA. As of a couple weeks ago, Mick is walking through Washington into Oregon and California, “stealing shoes” and talking about getting back into one’s senses through being outdoors and also being barefoot. He’s teaching and distributing the Antidote for our modern predicament, which is a set of general principles for healthy living that will increase your vitality, health and exuberance. Watch

Mick in action…


Mick Dodge – The Barefoot Sensei

Some of what Mick says may sound like mumbo-jumbo – you know, connecting your spirit to the land, and all that. But I’ll tell you one thing. Taking your shoes off absolutely makes you PAY ATTENTION. Your general awareness increases and perception sharpens, and with practice it becomes much more than a physical activity. Nothing is performed in isolation, even fitness training. Our physical health and conditioning has a direct correlation to our thoughts, feelings, and beliefs. Our entire being is intimately connected – mind, body, and spirit. They cannot be separated, which means they can’t be isolated. I don’t think it’s a stretch at all to say that taking your shoes off will profoundly affect your thoughts, feelings, and beliefs. It sure has rocked my world this past year!


You can learn more about Mick’s journey here:

http://exuberantanimal.com/mick/index.php


Read more…
SingPeace! Wagon
Friday through Monday
Folklife Commons


"The SingPeace! Wagon is the realization of a lifelong dream of Pushkara Sally Ashford to have a traveling symbol of communal tranquility and musical harmony. It has traveled to events and gatherings all over the Pacific Northwest and was hand-lovingly constructed by a community of volunteers. Ashford will eventually live in the wagon as she pulls it along throughout the journey she calls 'Sing Peace! Earth Pilgrimage for Peace and Global Harmony.' ”

The SingPeace! wagon was one of 7000 entrants in the 2010 NW Folklife Festival. Now in its 39th year, the festival attracts anywhere from 250,000 to 500,000 visitors each Memorial Day weekend. A full-time staff now administers the festival and 1300 volunteers are on the grounds to support the event.

The concept of the festival is to provide a high-quality public forum where the traditional and ethnic communities and artists of the Northwest Region of the National Park Service (Alaska, Washington, Oregon, Idaho, and Western Montana) can present their music, dance performances and crafts. All performers were asked to contribute their participation in an event with no admission charge as an opportunity for community celebration and sharing. As such, it is the largest such festival in the country.

As one of the founders of Seattle Folklore Society, the first producer of Folklife, I performed and conducted workshops in the 70's. When I lost my voice in 1979, I dropped out of the "folk scene." Except for the "25th Coffeehouse Singers Reunion" in 2003, I'd not been on hand for over 30 years.

The inspiration in 2008 to share "Songs for a Culture of Peace," put me in mind of a lifetime of singing and performing folk music. I enrolled in the course in "How to Build a Gypsy Wagon," at the Port Townsend School of Woodworking in May 2009, where I designed and commissioned the building of the vardo or gypsy wagon. At the same time, a team of singers and song weavers from around the region began forming around the SingPeace! Earth Pilgrimage. Some spoke of it as a "movement." I was reassured by their response that this journey would not have to depend upon my singing voice for its success. Emailing old friends still active in the Seattle Folklore Society, I was greeted by a warm welcome. They bridged the gap for my application to NW Folklife.

Laurence Cole and Deborah Shomer, both from Port Townsend, WA, Rob Tobias from Eugene, OR, Sara Tone from Portland, OR, and myself formed the core of our team. These folks generously shared a repertoire of songs that powerfully reflect the culture of peace that we wish to see and be in the world, songs that honor Mother Earth and reminding us of our essential unity and commonality. Mick Dodge, the Barefoot Sensei, added the dimension of the "Earth Pilgrimage," pointing the way to activism: walkable communities, land and old growth conservation, tree planting, barefooting, exuberant play and Earth Gym activities.

A pilgrimage is a quest. It begins with a question. It assumes an attitude of innocence, of not knowing. Indeed, life itself is a pilgrimage. Undertaken consciously, with humility, honor and humor, a pilgrimage is a process of revelation and discovery.

I wondered: "What is a culture of peace? Is it attainable? Is it inevitable?" During my lifetime, the world has seen many wars. Armed conflict as a way of life is intensifying in every corner of the globe. Collectively, we have arrived at the brink of annihilation. With the potent impressions of war, violence and abuse written on the mitochondria, the cellular memory of the body, of nearly every being on the planet, would we recognize and respond to a different drumbeat?

The "Singing Revolution" that took place in war-torn Estonia, occupied during WWII by both the Germans and the Soviets, suggested to me that we may also have an ancestral memory of peace and that singing may be a way to access it. The Estonians had not forgotten their cultural heritage. Without raising a fist or aiming a weapon, they took back their country and their lives, even after decades of violent oppression.

Neuroscience tells us that music and singing stimulates the hemisphere of the brain that recognizes the joy and unity in all things. Words - the songs' lyrics - we know, form sentences and outlooks that shape our attitudes and life experience. Our team's shared a vision of local and regional gatherings - "singing villages" - could, perhaps, bring communities together to collaborate and co-create "Songs for a Culture of Peace."

In the months leading up to the NW Folklife Festival, the SingPeace! gypsy wagon became a meeting place and staging area for such gatherings. Though distant, at times, in hours and miles, we moved in tandem toward learning and strengthening a common repertoire that we would share when we met at Folklife. Our efforts gained momentum as we met in Cosmopolis at Singing Alive, in Port Townsend for the inaugural of the SingPeace! wagon, at the Seattle Folklore Society Song Circle and at Seattle's Interfaith Community Church, at the SFS Song Circle's Rainy Camp in Carnation, at the Yoga Lodge, on Earth Day and for the "Trees and Memories" Trillium Land Purchase arts gala produced by butoh dancer,Maureen Freehill, all on Whidbey Island.

By the time we reached Folklife, our numbers had increased and were enhanced by Melanie Rios and Janice Medvin, Eugene, Yana Viniko, Seattle, Sharon Abreu and Mike Hurwicz, Orcas Island, Dinah Stinson, Seattle, Rick Aydelotte, somewhere up north, as well as, several members of the Port Townsend Songlines Choir, among them, Laura Martin, Gretchen Sleicher and Deanna Pumplin. They are pictured in the NW Folklife Festival photos at the SingPeace! website, along with other folks who happened along - including Dr. Peter Keating and his children who played fiddle and cello on a Russian gypsy song.

At each location, the SingPeace! wagon has seen a steady stream of visitors. This "tiny green home" piques the imagination and brings smiles to everyone's faces. Its small footprint, 12-volt solar voltaic panel, LED lighting, composting toilet and on-demand propane water heating systems suggest a simple, yet, gracious way of life. I keep the names and contact information for those who want to stay in touch and in some way contribute their support to the mission of the SingPeace! Earth Pilgrimage. They will be hearing from me, soon.

I wish to honor and thank Jim Tolpin and Steve Habersetzer, who taught the course, and Steve, who beautifully crafted the wagon to my specifications, Laurence Cole who did the carving, Don Tiller who did the painting, Stan Price and his team at Covenant Glass for the stained and etched glass art, and to Susan Leinbach, seamstress, and Jeanne Moore, Potpourri, both of whom helped with the interior furnishings.

The challenge of towing and moving the SingPeace! wagon about the region has been willingly met by several friends, folks with big trucks who are also competent drivers. Offering a low and grateful bow to Steve Habersetzer, Richard Epstein and his crew person, Gary, to Kevin Rio Kipur and to Steve Swalwell. Hugs, too, to friends Rob Adamson and Jan Swalwell for their loving and playful support!

The SingPeace! wagon awaits alternative technology in a tow vehicle consistent with its "green" message. This is doubly and triply true since the BP oil spill in the Gulf of Mexico. As I mentioned, for the time being, we are concentrating locally on foot camps and walkable communities. More of this focus in future blogposts.

The SingPeace! website is a place where we can meet and share songs, photos, videos, blogs and event information. I encourage you to join us there and participate in future events.

Read more…

Snag or a Sign?


SingPeace! is stalled. The wagon and journey are in limbo following 4 days at the 2010 NW Folklife Festival over Memorial Day weekend.

No mistaking the intention for the earth pilgrimage for peace and global harmony; it remains strong. The "old woman," grandmother Pushkara Sally Ashford, is keen to carry on.

The hitch, quite literally, is in the hitch.

Locally, we've been challenged to arrange for a tow vehicle and driver every time we want to move the wagon. SingPeace! doesn't have a heavy-duty vehicle that can pull a couple of tons. We've hitched the wagon to four different trucks and drivers in as many events. And we've had to change out the hitch each time we hitch to a different truck.

Globally, we're looking at the sorry situation in the Gulf. The oil spewing from Mother Earth turns a petty "snag" into a "sign." How can we ignore Her message? How can we go on mindlessly, greedily consuming Her life's blood? And immediately in the face of President Obama's declaration about the necessity and efficacy of off-shore drilling! I guess She told us! There is no minimizing the impact; every life form on earth is affected. It's likely that I will not see a satisfactory resolution to the long-term consequences of this catastrophic spill in my lifetime. I wonder, too, about my grandchildren's lives.

Did I say, yet, that I got locked out of the wagon? With the generous-hearted help of a longtime and dear friend, Steve, who responded to my 11th hour SOS, we delivered the wagon to the NW Folklife Festival on Thursday night. I arrived back at my island home at midnight. I discovered the keys were missing the next day as I unloaded my car at the Seattle Center. I put in a call to another friend, Mick, who scoured my house for them. They'd vanished. Today, I called every lost and found number I could imagine to discover where in the world they'd got to. On Friday, of course, I had to call a locksmith who replaced the locks.

Things like the keys slipping away can and do happen when habits and patterns are in flux, especially for an old girl and event planner with too many details cramming her mind. But in the context of the big picture, taken with the other hitches and delays, I'm taking in the cues and biding my time.

At the moment, the wagon is at the garage, awaiting yet another modification to the hitch (electric, brakes, etc.).

Until an affordable, alternative and renewable truck technology comes along, preferably with a competent driver, it seems likely that we will SingPeace! more locally than regionally or in distant localities.

Mick is encouraging "the old woman in the shoe" to step out of it. He suggests parking the wagon in a strategic location - preferably in range of Tokitae! - the land where the solstice gathering will take place. "Let folks come to you, the grandmother," is Mick's advice. He points out the extent of event planning and costs of each as another good reason to rethink the pilgrimage. He's encouraging me to "use my words," to write and post blogs as a way to draw people to the mission of SingPeace! Mick is a clear mirror reflecting certain realities.

There are others. At Folklife, I received an invitation from a Unity minister in Port Angeles. Another man from the Fellowship of Reconciliation invited me to Olympia, saying, "We have a huge peace movement there and the students at Evergreen State University are going to be very interested in the wagon and in what you do." I met two young men and some elderwise women who are candidates for Mick's Foot Camp. How in the world would these folks find me and us if I were not on the road?

Coming up is an entire calendar of festivals and gatherings we could participate in - with the wagon!

Truth is, I don't know what to do. That's got to be okay, for now. I'm in limbo, awaiting surrender to "what is" and/or clear direction for the changes I feel are coming. Calling to mind the old adage: "When fishermen can't go to sea, they mend their nets."

Laurence asked me to transcribe my new song: "It's Songlines Choir material," he told me. I can do that.

Mick is urging me to write to get my message out.

Thank God for the foot and Earth Gym training as I need prospects for action and being in community. The computer and the isolation of the "ivory tower" have their limitations.

Even with the obvious hitches and delays, the SingPeace! wagon has been greeted by warm and loving hearts. Folks are getting it, rapport is there. I will post photos and details of NW Folklife in a future blog.

In the meantime, SingPeace!
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Welcome to Exuberant Animal

Exuberant Animal is an innovative life philosophy that promotes health, vitality and physical happiness. We offer a comprehensive,
multi-disciplinary approach that's invigorating, liberating and
life-changing.


Exuberant Animal training will transform your body, your organization and your community. By combining the study of human
performance with play-based movement training, Exuberant Animal
provides an experience that's exciting, inspirational and intensely
meaningful.

Our seminars and publications are ideal for

  • physical educators, trainers and PE teachers
  • physical therapists and athletic coaches
  • team leaders, managers and cultural innovators
  • yoga teachers, dance teachers and martial artists

Exuberant Animal is the creation of Frank Forencich, author of Play as
if Your Life Depends on It
and Exuberant
Animal
.

http://www.exuberantanimal.com/




In partnership with WildFitness wf_log0_300.gif









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Thoughts of a Crystal
Written by Jessica Mystic

Here is how a seven-year-old crystal child sees the issue of war and soldiers. He speaks in the first paragraph, and then his parents interpret his words in the
remaining paragraphs.

To prevent war, we must imagine the soldiers happy in their homes and doing what they love. If no soldier wants to attack, then there is nothing to defend, and the
soldiers are happy to avoid the risk of killing or dying. And everyone
loves them because they do not want to hurt, and they refuse if they are
sent out to hurt. People do not want war, and the soldiers do not want
to die or attack, but on TV it is being said it is necessary, but that
is not true.”

In its apparent simplicity, the power to imagine all the world’s soldiers at home being happy and doing what they like is in the best tradition of Anastasia´s
imagery. Although we have been bombarded with images of war for eons,
this archetype is now being removed from the conscious mind. This
archetype has been around for millenia on the material plane and has
been manifested consistently, reaching its apotheosis in the recent
world wars. Then it was implanted in the minds of humanity so that
almost all the population justified the war and its dire consequences as
necessary and even glorious and heroic.

Since then, the consciousness of the planet has evolved. Gradually over the following decades, voices began to be heard protesting the wars. Thanks to this
elevation of consciousness, large numbers of people around the world
began to forget the war experiences of their ancestors, and subsequent
generations began to heal. They began to reject the idea that violence
is inherent in human nature, and so therefore it was not possible to
have any more large-scale wars. To keep the archetype of the war in the
consciousness of these populations, the leaders have used a variety of
media including film, television, and more recently, videogames.




The purpose is clear: to manifest a war, it is necessary to get a momentum of hatred and fear in the collective unconscious. They have to project and sustain these
images and feelings in enough people over a period of time sufficient to
permit its manifestation on the physical plane. These images must be
sufficiently focused and aligned so that the demonstration does not
dissolve in contradictions. That is why certain images, emotions, and
sounds of war are repeated in all the audiovisual media. An entire
generation grew up reading Life magazine and having black and white
images of war implanted in their minds. Young people today live trapped
in the archetypal world of video games and movies, and their minds are
also being implanted with images of violence.

The archetype of the good soldier waging war to defend against "evil" is one of the most revered figures in countries with long military traditions. We are taught that
the soldiers play a primary role, always ready to defend their homeland
and all those good citizens who are fortunate enough to live where
freedom, justice, and equality reign.

This archetype of the soldier waging war is a corruption of the archetype of the champion of justice. The noble feeling from pursuing justice and defending the weak
finds its fullest expression within a community where some injustice or
abuse of power has occurred. Soldiers should have the right to stay
where they would be really useful, living a peaceful and harmonious
existence within their communities.

If we imagine our soldiers happy within their communities and doing what they love, that is, what they want by calling, we would then have brave people in every
community. We would have very capable and just men and women who would
be responsible for peacefully mediating conflicts within the community.
They would also keep an eye on local authorities to prevent any abuse or
corruption. In many cases, they could provide an effective recourse to
slowly grinding justice. These highly organized teams of men and women
would also be very useful for dealing with natural disasters or
extraordinary contingencies. These soldiers could use their natural
talents in their communities, feeling integrated and useful all the
time. The figure of the used and discarded war veteran is no longer
relevant to a society that has learned to positively channel the needs
these people have for delivering justice and necessary defense.

To imagine soldiers all over the world returning to their communities and refusing to continue offering their bodies and souls to the service of vested interests is
certainly within our grasp. It is an act that can have a huge impact if
enough people decide to eradicate all the previously implanted mind
images of war. (Thankfully, most people today have not actually
experienced war and do not have these images in their present memories.)
It does not cost the civilian population that much to get rid of these
images, but for those who belong to the vast military machine it can
cost a bit more. To achieve this end, soldiers would have to feel the
civilian population’s permission and mandate to refuse to obey war
instructions. They would also have to feel loved within their
communities and feel appreciated for their talents as society offers
them tasks and responsibilities according to their capabilities.

Can we imagine this?

http://www.jessicamystic.com/









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Thanks For TREES & MEMORIES, a blog post by Maureen Freehill







This was an evening to remember always; a day of great challenge, adventure and triumph for all participants and patrons at the "For TREES & MEMORIES" gala benefit and MomoButoh Dance Company. We gathered to raise funds and awareness for Whidbey Camano Land Trust's effort to purchase and save from 664 acres of Whidbey's last contiguous forest land forever. We raised just shy of 4K, just about 1% of what is needed to buy it. It feels great to have gathered with such a strong positive energy and intention for highest good and give it our all in the face of some very challenging circumstances.

I had to do the majority of the cleaning and preparation of this wood mill on my own (many thanks to my mom and student Evan who helped!). The sound guy cancelled a day before, the video guy got the flu and could not do it. The dressing room just about killed us; we had nearly no time left for rehearsal and some performers
decided to make directorial decisions at the last minute adding a touch of spicy chaos to an already interesting techno soup. More audience members showed up than expected and they all participated with such enthusiasm and respect. The abundant and delicious food & drink were prepared and served with such care and generosity by my mother and her partner.

The SingPeace! folks with Pushkara, Laurence Cole and Mick Dodge, along with Harmonica Pocket's Keeth Apgar and Nala Walla, gathered and built our community spirit by giving birth to new songs to honor the trees under the blue sky before we entered the hall. Dennis Zimmerman the DJ showed up at the last minute to save the day and was amazing at jockeying both the sound and film projection as it illuminated all over the wood filled hall, even though he had never been a VJ before. Wow! Christine Tasseff helped with much needed equipment and took up the task of documenting the event on video. Here are some of the results to give you a little peek into highlights of the festivities.

The most amazing thing for me was the Live Edge Woodworks space itself donated by Kim Hoelting and adorned by Deborah Koff-Chapin's drawings that surrounded us in wooden slabs and magical images inspired by the trees and forests. We were all reminded of how the trees are not only important for our physical survival but also to nourish our souls.

Read more…

Tsunami Books Song Circle report

A very sweet circle of 30+ folks gathered on Sunday for an afternoon of singing and mingling. The ages ranged from 5 months to 80 years. The 80 year old had quite the story to tell... she grew up in Estonia... where she had to flee the Nazis in 1940 at age 10... leaving behind family who mostly lost their lives in the war. The 5 month old didn't have stories but did light up when we were singing our names and we sang his name to him. Another highlight came from a 7 year old who offered up a song with lyrics like... "I am a lonesome traveler, I'm hungry and I'm tired"... very deep from such a youngster... the song also included a clap at the appropriate time. I tried a new sing and mingle tune called, "Wandering" where we wander for a bit..."Wandering, wandering, wandering, wander here, wander there, wander there, and wander here, wandering, wandering, wandering." then we find someone to sing to "One day we'll find it, One day we'll be at home, We will be at home".... then we wander some more. I think it worked out OK... with one comment about home being an inward journey rather than an outward journey. I think that was what I what I was after. Rich offered "Move Spirit", Karly led "When I breathe in", Melanie brought out "When I come into my calling", Janice got us to do the children's round "Wheels of the Water", I led SaraTone's "Bless All The Land" and Laurence's "One Heart Beating" along with some of my favorites like "Starlight Vision" and "That's How The Light Gets In". We ended with Laurence's "Out of a Great Need" holding hands and spiraling... a good time was had by all. Peace, Rob
Read more…

Thursday, April 8, 2010


More on Hoh River Trust:

www.hohrivertrust.org

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The Hoh River Trust was formed to own and manage river lands along the Hoh River on Washington’s Olympic Peninsula with an objective to conserve, restore, and enhance these lands for the benefit of fish, wildlife, and people.


The Trust’s work is focused in three areas; restoration, stewardship, and outreach. We are working to restore the industrial timberland to a more naturally evolving condition that will enhance
habitat for the dependent species. We oversee the condition of the
property and ensure that its uses are compatible with our conservation objectives. And we engage the community in a meaningful way to ensure that this land retains its recreational and cultural vitality, and that ultimately the community has a true sense of ownership and stewardship over these lands.

Explore our website to learn more about the Hoh River and our work to help preserve this ecological treasure.


Hoh River Trust featured in recent Seattle Times article.

Recently the Seattle Times ran a feature article on the work being done by the Hoh River Trust. It described the work being done by the Trust as "one of the largest single conservation efforts in Washington".

We would like to thank the Seattle Times for taking the time to recognize the work of the Hoh River Trust.


Conservation victory: 7,000 acres along Hoh River permanently protected By Lynda V. Mapes

Seattle Times staff reporter

To view the article click here.



Preserving Habitat for Endangered & Threatened Species

As you stand along the Hoh River as we did last week and the bright sun filtered through the lush green canopy it is easy to stand in awe of the beauty of the river and the surrounding landscape.

However, we are constantly reminded that our forest stewardship extends far beyond preserving the visual beauty of this ecosystem. Home to Northern Spotted Owl, Marbled Murrelet, Pacific Chinook Salmon and
wild steelhead the Hoh River and Valley represents one of the last great
places to insure these species don't become extinct.

'Preserving a Last Great American River' means a lot more when you think of it in these terms.


Read more…

Gifts of Grand Mother Maple

4/7/10


Gifts of Grand Mother Maple




















In late March I gathered with
Mick Dodge, Pushkara Sally Ashford & her son, David, for a singing celebration just before her maiden off-island voyage of the new SingPeace Gypsy Wagon.

There is an immense grandmother maple tree in Pushkara's front yard that
I was immediately drawn to dance with. Mick filmed and pointed out a
huge dead branch hanging on its last limb over our heads. Mick was
musing happily for the day when "Maple would gift this beautiful staff
in her own time."

Well, with last Friday's crazy wind storm, the time came and Mick salvaged the limb and began fashioning staffs, including one for me. When I went to visit him today, I was feeling cold, stiff and in need of motion and building heat. He started a fire in his tent wood stove exclaiming how much he loved "freeing and receiving the gifts of sunshine, wind and rain from the burning wood."

As I listened to his orally transmitted teachings, I began a daily dance to
explore and train with the gifts of grandmother maple's staff and the
fire's heat. I had never so consciously attended to receiving the
elemental gifts of heat & light from the stored energy of the sun as
they were released though wood burning. My body and soul were warmed by
the physical heat as well as the living poetic story of it all. I felt
my connected place in a larger context and community of all life. Mick
showed a manuscript from his friend's book-in-progress about how
changing our bodies can change the world. He told me that he never
trusts the written word or "talk" of an author till he can see the life
and "walk" that s/he lives. I was honored that he continued to say my
blog writing worked well for him because he sees that it arises from the
way I LIVE and share directly from this embodied experience and not
from disembodied LOGOS--intellect, logic and rational ideas from the
thinking mind alone.

In the film below, you can listen to some of the teaching he delivered in the
way he prefers-- directly, spontaneously and orally. He is also
sometimes called "the barefoot bard" because he naturally exudes and
transmits poetic expression of his inner life and wisdom derived from
decades of practice and experience of inner and outer wilderness
landscapes. I am grateful for our growing collaboration, understanding
and support of one another's gifts and intentions to walk our talk
because this path can be a challenging and sometimes isolated one.

I look forward to seeing the carved maple wood staff emerging as an empowered
object over time and practice with it. Much as indigenous people have
done for ages with their sacred tools, this training object will contain
and reflect the lessons and gifts I receive while working with it and
eventually it will be passed on to the next generation full of this
wisdom. There is a clear grace and rightness to this natural progression
of passing on gifts.This practice has been lost in much of our modern
social life and education if we forget to honor elders and ancestors for
their profound contributions-we are literally living extensions and
transmissions of them. I hope I can continue to remember and receive
inspiration from grandmother maple, Sense Say Mick, Kazoo Ohno, and all
my relations that have truly walked their talk before me.


The theme sentence of the upcoming event sponsored by MomoButoh Dance
Company and LiveEdge Woodworks
upcoming event is "Ask not what the trees can do for you, but...." You are not what you think say or do...you are the sum total of your actions, ideas and words that come TRUE. What are YOU doing for the trees? If you are going to be anywhere near S. Whidbey Island on Friday May 7 do not miss the amazing benefit for Whidbey Camano Land Trust's Trillium Land Purchase at Woodland Hall. Contact Momo TODAY --entry by reservation only through MomoButoh info at maureenfreehill dot net!


video video

music: rachels

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"When Will They (WE) Ever Learn?"



I have had the great good fortune to see
Pete Seeger play up close numerous times,
Sometimes with Arlo Guthrie side by side.

"Where Have All the Flowers Gone" is a
Haunting song I remember from my earliest
Days of music awareness on this planet.

I had heard vague whisperings of its origin,
And today I become aware of more, much more
Thank I knew before.

All because of a response I received
Related to the post on the mining disaster.

Some people learn, and it's usually a slow
Process or a lightning bolt to the head.

I love this version of Pete Seeger performing the song...

Does not fail to bring a chill and tears every time.

Hope you enjoy it...
Thanks to....:

Thespadecaller February 18, 2008 — On July 26, 1956, the House of Representatives voted
373 to 9 to cite Pete Seeger and seven others (including playwright Arthur Miller) for contempt,
as they failed to cooperate with House Un-American Activities Committee (HUAC) in their attempts to
investigate alleged subversives and communists. Pete Seeger testified before the HUAC in 1955.
In one of Pete's darkest moments, when his personal freedom, his career, and his safety were in jeopardy,
a flash of inspiration ignited this song. The song was stirred by a passage from Mikhail Sholokhov's novel
"And Quie Flows the Don". Around the world the song traveled and in 1962 at a UNICEF concert in
Germany, Marlene Dietrich, Academy Award-nominated German-born American actress, first performed
the song in French, as "Qui peut dire ou vont les fleurs?" Shortly after she sang it in German.
The song's impact in Germany just after WWII was shattering.
It's universal message, "let there be peace in the world" did not get lost in its translation.
To the contrary, the combination of the language, the setting, and the great lyrics has had a profound effect
on people all around the world. May it have the same effect today and bring renewed awareness to all that hear it.


To that I add my voice and hope.

Read more…
Central to the SingPeace! Earth Pilgrimage are the ElderWild and ElderWise women, the Grandmothers who are finding their voices and singing out on behalf of their children's children and future generations. I will be sharing more of their role in coming posts.

Meanwhile, in the aftermath of the March full moon sweat lodge for women which took place this weekend, I noted a significant change within myself. This experience prompts me to share the following:

The misty moon was radiant and full before our small band of women walked out to the sweat lodge. An altar stood beside the door of the lodge, long streamers of black, red, yellow and white cloth draped on boughs. We stood around the fire blazing nearby where the stones for our sweat were warming. We then offered our prayer ties, laying them together like a garland around the base of the altar.

Earlier, each of us had made and infused our prayers into 28 tiny tobacco pouches - 7 each in the colors on the altar: black (west), red (north), yellow (east), white (south) tied on a string. My heart and soul were poured into these prayers, though at the time, I hardly knew what I was praying for. The tears and the deep feeling that came with them informed me that something out of the ordinary was taking place, something outside the reach of words and thought.

I felt lifted and cleansed as sage was lit and passed around our bodies in preparation for entering the lodge. Two of the women stayed near the fire to assist with bringing the stones into the lodge. The others of us found our places, crawling in clockwise direction around the circle inside the lodge that had been crafted just that day. I smelled and touched the fresh cedar boughs, the damp earth beneath me, and felt the womb-like comfort of the sweat lodge.

Our guide entered the lodge and began chanting. He spoke prayers aloud in his native language, calling on the ancestors to honor us with their presence. He explained that his prayers were to the Grandfathers. He had asked them to invite and escort the Grandmothers to this sweat lodge ceremony. "Some are already here. Many more are coming," he told us. In an earlier meeting, he said, "The Grandmothers have the last word." Today he is turning his attention and working with a Grandmother Spirit that nudges him to support, honor and celebrate women stepping more fully into our power as creative healers and carriers of sacred ways."

In alignment with the intention of 13 Moons and as a grandmother who has been called along with other "elderwise" women to the SingPeace! Earth Pilgrimage, I was invited to attend the first of the eighteen sweat lodges.

We waited as the blazing fire began to reveal the stones piled in its center. With shovels, the two women waiting outside took turns bringing the stones which glowed like hot embers, placing them, one by one, in the center hole circled by rocks inside the lodge. When all of the stones had been retrieved from the fire, they entered the sweat lodge and the door came down. We were in darkness. A sprinkling of rain could be heard on the tarp overhead. Great Spirit was pleased.

After several more chants and spoken entreaties to the ancestors, we were asked to call in the family of Great Grandmothers and Grandmothers of our maternal ancestral lineage. We invited them to sit and converse with us. I was surprised by how little I knew of these women who were the cause of my being alive in the first place. It seemed as I sat in the lodge that I still relate as a child to my Grandmothers, Dada and Grandma Hull and step-Grandmother Vivian. I could recall only one Great Grandmother who was known in her time as "The Little General." I wanted to learn more of each of their lives.

As water was ladled onto the hot stones, the temperature inside the lodge rose higher. Waters were also pouring forth from every orifice of my body. A sweat is like being inside a giant neti pot, the cleansing is inevitable. From time to time the flap over the entrance to the lodge was raised, to relieve some of the heat and smoke.

I was lying with my head close to the ground, where the heat is less intense, when we were asked us to sing a song, "any song." I sat up. We went around the circle. When it came my turn, half a dozen songs flooded my mind, but the one that won out was a Sanskrit hymn to Saraswati, Vedic goddess of knowledge, music and the arts. "Grandmother" of another ilk, I'd done puja, honoring to her for years in India, considering her my "patron deity." In the sweat lodge, I sang for the women in the circle as the creative force that the Goddess Saraswati embodies. With each one's song offering, I felt a tender closeness with the ancestors and among the women gathered in the lodge.


At the end of the sweat, we were invited to return to the house. I was aware of the lodge door opening, but had to be nudged to leave. I had not seen nor heard the women exiting to my left. Grandmother Moon had slipped behind the clouds. It was after midnight. The air was still.

Most of us were wearing light dresses that covered our shoulders and knees. One of the women, a sun dancer and grandmother, guided me beforehand in the ways of the sweat lodge. She'd loaned me one of her dresses. By now, it was soaked. We changed out of our wet clothing and made ready for a meal.

When all were gathered in the house, around a candle, we lit and passed around a very long, beautifully carved pipe.

After the pipe ceremony, we ate the ample food we'd brought to share. All of us had worked up quite an appetite by then. We said our thanks and goodbyes; I drove home and crawled into my bed just before 3 a.m.

On Tuesday, I woke in a lighthearted mood. Reflecting on the day before, I realized that a major shift had taken place within me. I wept with the newfound sense of communion and support from my maternal ancestral lineage. What's more, it was clear to me that a major obstacle to writing had dissipated like smoke in the heat of the sweat lodge. I'd spent hours on Monday easily writing and posting a blog to the SingPeace! Earth Pilgrimage website. The creative river, Saraswati, was flowing, unimpeded by former mysterious and seemingly impenetrable blocks. What's more, I've walked about in a state of stillness and Grace, a kind of open-eyed and eye-opening meditation, since then.

A flooding of feminine, goddess energy, is forthcoming, now, to balance out the masculine energy of domination and dominion that has held sway on earth and perpetuated war as a solution to conflict for millennia. One delightful and unexpected consequence of designing and building a gypsy wagon for SingPeace! Earth Pilgrimage for Peace and Global Harmony has been the men it attracts. Men of mastery and skill, who recognize that the time for this rebalancing is now, have come forward with offers of help and support to the women in making their voices heard and heeded. Our Grandmothers sweat lodge guide is one of these. Mick Dodge, the Barefoot Sensei, who shares his practice on this website is another. We find brothers among singer-songweavers, Laurence Cole and Rob Tobias. While all of humankind are in this boat together, these enlightened men are proving the mast for the women's sails. Together, we are crossing the great water, making our way home.
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Namaste, SingPeace! friends,
With the SingPeace! gypsy wagon on the road, we are counting in smiles, not miles. As the journey begins, each of our recent short trips with the wagon has had a celebratory air, full of surprise encounters, challenges and fun.



Steve Habersetzer, the master craftsman who built the wagon, kindly towed the wagon across the water with his '57 Chev pickup. We've posted photos of Steve and Susan Leinbach, the seamstress who stitched the lovely interior furnishings - cushions, pillows, duvet cover, curtains and flouncy valance - for the wagon. We were met at the Port Townsend ferry dock with smiles, curiosity and comments of well-wishers: niece, Gabriella Ashford, and her three children, Ella, Nathaniel and Everest rode their bikes down to see us off. Deborah Shomer, one of our singing angels, was on hand to bless our launch. Richard Rhydes and Richard Epstein, members of the Whidbey Island cheering section for the SingPeace! project since the outset, happened along at just the right moment, on their way to a sushi lunch and a movie at the Rose, a charming Port Townsend theater.

Once on the ferry, Steve went over key points of the wagon's working systems, which I'd piled into a kind of manual. Propane, the tiny hearth and cook stove, water, outdoor shower, composting toilet, hitching mechanism: these were clearly going to take more than a cursory once-over, but there was no time like the present to begin learning what I'd need to know when we're the road.

I was reminded of bringing my first-born home from the hospital. 'My God,' I thought, 'what an awesome responsibility this is. And it's my call!' Birthing the wagon from conception and design, and nurturing every phase of it's construction to get to this point, was nothing compared to actually being charged with its daily feeding and care.

On the Keystone side, I jumped in my car to lead Steve and the wagon to Yoga Lodge. We were slow going on the highway, 40 mph in a 55 mph zone; I pulled to the shoulder a couple of times to let traffic go by. But the red sports car in my rear view mirror didn't pass with the other cars. What was that about? I finally got a view of the "Exuberant Animal" sign posted on the car's passenger door. Mick Dodge, the Barefoot Sensei, was bringing up the rear. He'd come to welcome the wagon home! Our little caravan made its way with ease and grace the short distance to Yoga Lodge, with one hitch: Steve's truck could not haul the wagon up the steep rise in the soft surface of the road. We tried 3 times and spun out 3 times. We all agreed, it would take a 4-wheel drive truck to get up the hill. We had to unhitch in the lot below and leave the wagon for the time being.

That same afternoon, I met with Wendy Dion and her husband, Dan, attending to other matters - namely, connecting up the projector and speakers for the film: "Sound of the Soul," which we planned to show as part of our homecoming program. Technology got the better of us; we would have to to work out the kinks with expertise none of us had. That, too, would have to wait for another day. Wendy agreed to take that bit on.

Fortunately, we had the cushion of another day or so to work out the wrinkles in our plans. Richard Epstein, who is a local contractor, wasn't expecting my SOS call for a tow, but he and Greg, one of his crew members, met me at lunchtime. We (they) managed to hitch the gypsy wagon to Richard's 4-Wheel drive truck. That was all we needed to get my 3500-lb. baby up the hill and in place for the weekend. Richard and Greg had some great practical suggestions to me about hitching and unhitching for the long-term as we get out on the road.

By the next day, Wendy had worked out the film projection dilemma. We'd also found a solution to transportation questions. We'd rent a shuttle to make the 2-mile trip from the Park & Ride to cut down on traffic and parking volume on the private road to the Yoga Lodge. This latter turned out to be a non-problem, but the article, "Giving Peace a Chance," in the newspaper announcing our coming had stirred some alarm among Wendy and Dan's neighbors; we were in "peace-making mode" on all counts.

Our homecoming at Yoga Lodge was to be a two-day encampment, with our out-of-town guest singer-songweavers, Laurence Cole, Rob Tobias and Sara Tone and friends staying overnight at the Lodge. We would be serving a few meals for program contributors on the weekend. Having worked out details of the menu beforehand with Wendy Dion - I would take the dinner meal. Wendy, with her Bed and Breakfast expertise, would handle the morning. What a bargain! Much relieved by the easing of various hitches and glitches, I went home to cook.

My daughter, Wendy Ashford, who has kindly photographed and helped to video the SingPeace! events, came up from Seattle on Friday night. Deborah Shomer arrived to help around noon on Saturday. Laurence Cole and his partner, Deanna Pumplin, already on the island, stopped in to say hello. Dizzied by details, but with the help of a thorough list and two able helpers - Deborah, Wendy - I (we) managed to pack up the car and get on the road in good time.

Next stop, the car rental place where we rented the van that Deborah offered to drive up island. It would serve as shuttle. Deborah and another friend, Lee Compton, agreed to make alternating runs. We had folks on the road, as well, directing drivers away from the private road to the Park and Ride. Making peace is not a pastime; we were quite literally going the extra mile to keep it.

By dinnertime, the cast of thousands was assembled. Wendy Dion had enlisted some competent volunteers to help out in the kitchen, and in other ways. We gathered around the table, about 14 of us, for a welcome and blessing - going around the circle, singing our names and hearing them echoed back several times by a musical, if goofy, choir of voices.

Having ample time to settle in, laugh, sing, to warm to each other, and to share food together are luxuries that I want to nurture as part and parcel of the SingPeace! journey. Nothing hurried; at ease and in harmony, on the ground and in good company wherever we go: these are pieces of the peace inside of the huge commitment and effort that comes with making such a pilgrimage. Not exclusive to those who came together around the table that evening, we seek to embrace in harmony and joy those we meet.

More than that, we have talked long about how folks should be able to take something home with them that they can share with their families and communities. While our "Songs for a Culture of Peace" -- those shared this weekend by Laurence, Rob and Sara -- hint at what it could mean to live in unity with nature - our own and our Earth Mother's, I have to ask: "Why am I not singing my song?" I want to hear everyone's voice; I want to hear everyone's song and story.

The great spur for me in making the SingPeace! Earth Pilgrimage is a yearning and call that never went away - to sing out and to tell my story. This blogpost is yet another attempt. Among those who know my story of having searched for my voice for decades, I find more and more are seeking and finding their own voices. "You may not know the impact you're having," one person told me, "but because of what you're doing, I found my voice today."

I'm not interested in spectatorship. We've lived too long listening to other people's songs and forsaken our own. SingPeace! is a collaborative effort to reawaken and rejoice in each other's song.

You can see from the Yoga Lodge photo albums that we hosted a small but enthusiastic crowd both days. I saw sheer delight in their eyes as we sang together on Saturday night. At the end of the evening, we showed clips from the Sacred Music Festival from Fes, Morocco. Sunday got a lazy start, but Mick Dodge enlivened the afternoon miming a computer "powerpoint" presentation. Half of the group stayed inside to sing while the other barefoot bunch followed Mick outside for Earth Gym practices with sticks, stones and tree weaving. I got a chance to do a little of both, hanging upside down from a tree for the first time! Thanks to Marianne Aylmer, who was along to help, I made a safe, if somewhat ungracious, descent. A less happy fate fell to 4-year-old Everest, who in the photo is seen flipping and rubbing his noggin.

I haven't said much about the gypsy wagon. There was a moment on Saturday afternoon, as we were setting up, that I pulled out my guitar and sang a blessing I'd learned in India. Laurence happened along with his drum. A few others were about. I watched Mick do a little celtic whirl as he danced down the path. Over the course of the weekend, the wagon was explored and crawled about by all in attendance, with much appreciation for the craftsmanship, beauty and sheer fun of it.

I haven't yet mentioned Kevin Rio Kipur who offered to haul the wagon with his 4-wheel truck. Rio is the perfect driver, experienced and fun. He throws his arm out the window, his fingers forming the victory sign, shouting, "Peace!" More about Rio in a later post, but you'll see him in the photos with the kids and his dog.

At the end of the second day, it took a while for our band to gather together, but we caravanned in the late afternoon into the center of town in Freeland, sang a few songs, met some old friends, and gave some tours of the gypsy wagon. Then, we drove into Langley, the sweetest little seaport town on Puget Sound. By now, it was getting late and cold. There was no legal way to park, so we pulled up in an intersection. While Rio kept his eyes out for the sheriff (he's been arrested in Langley for skateboarding on the street), the songs of Sara, Rob, Laurence and Deborah attracted a small group of tourists from India who ran over to us and began dancing around the gypsy wagon. They had a quick tour as we shared some memories of Mumbai and the Indian state of Maharashtra. Then, we were off!

The last feat of the evening was Rio's skillful hauling and unhitching of the gypsy wagon - in the dark - at my home. In all of the months of building, I'd never once imagined this moment. I live at the foot of a very steep hill. I had no plans to bring the wagon to my house. I had no plan for it anywhere on Whidbey Island! In my mind's eye, it and I would always be on the road.

Not so fast. The dream is one thing; the physical reality of having this wagon, what to do with it and how to do it is a different matter entirely. Every day reminds me of that. This is another wake up call - one that I hear and am responding to. I'm finding the courage and stamina to take the next step and the next as the vision moves from dream to actuality.

More to come in further posts, but let me not forget to thank you, all of you, who are participating in this SingPeace! Earth Pilgrimage for Peace and Global Harmony. I am much humbled and very grateful for your presence. The journey is ours; we make it together. Bless you.

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