Hayden Haynes is an antler carving artist working deeply in cultural arts revitalization and teaching. Born in Claremore, OK, Hayden grew up on the Seneca-Cattaraugus Territory in Western New York. It is from here where he draws inspiration related to land, history,...
Lalita Ramnauth was born and raised in Guyana where, at a young age, she and her family discovered her natural talent for singing. Having moved to the United States from Guyana in 1992, she eventually relocated to Schenectady. Lalita possesses a large repertoire of...
Musicians Mateo Cano and Maria Puentes Flores are founders of the musical ensemble, Pulso de Barro, or "pulse of the clay," that performs the Son Jarocho music from the Mexican state of Veracruz. Son Jarocho is a highly rhythmic musical style that came about through...
Karen Sell is a modern practitioner of
the age-old craft of wig making. A native
of Singapore, Karen studied hairstyling in
England, where she also took a course in wig
making. She worked as a stylist for the Vidal
Sassoon salons in London, then later in New
York when she immigrated to this country in
the late 1980s. In New York, she also worked
as a stylist at a salon that made wigs. There,
she styled and maintained wigs for clients,
then established her own wig-making business
about fifteen years ago.
A Call to Action.
Just before the new
year, along with hundreds of arts nonprofits across
the state, the New York
Folklore Society received
alarming news. New
York State’s deficit reduction
plan instituted in December 2008 included
extensive cuts to a number of state programs—
including the grants budget of the
New York State Council on the Arts. The cuts
to NYSCA meant that pending requests for
fiscal year 2008–9 funding, including the New
York Folklore Society’s request for general operating
support, could not be considered.
Images of jugglers appeared on the
walls of Egyptian tombs more than four
thousand years ago. They are the first known
representations of an ancient craft that
continues to entertain and fascinate. The
English word “juggler” derives from the Old
French jongleur, and these performers have
been common at public events, carnivals, and
on the streets since time immemorial. These
days, jugglers appear at circuses and variety
shows, as well as in public places.
I was born in 1950 in Doylestown, Pennsylvania.
I started carving at age twenty-two,
when my father gave me a gift of a
painted wood-carving he had made of me
at the farm where I grew up. This gift from
my father inspired me to begin to make my
own carved and painted pictures. Since then
I’ve made more than one thousand pieces in
thirty-five years. I think of my pictures as a
visual diary that helps me make sense of the
events and feelings of my life.
The articles featured
in this issue of Voices
contain a variety of
voices whose messages
are “traditional”—in the
surprising, the comforting,
and even the most
alarming senses of that disciplinary keyword. In the photo essay “Carving Out a Life:
Reflections of an Ithaca Wood-Carver,”
self-taught carver Mary Michael Shelley describes
how she responded simultaneously
to her Northeastern farm family heritage,
liberal arts education, and the emerging
feminism of her time to claim a form of
man’s work—carpentry and carving…
Garrett Oliver, 47, is the brewmaster for the
Brooklyn Brewery, a regional brewery in the
Williamsburg section of Brooklyn that turns
out 310,000 gallons of beer annually. A native
of Queens, Garrett became interested in the
finer points of beer consumption when he
lived in London in the early 1980s. There he
discovered pub-brewed beers that were very
different from the “industrial-style” brews
that he’d known in the United States.
This issue of Voices offers readers a cornucopia of food for deep thoughts on New York. We experience the transcendent freedom of Vodou dancing in the city, survey the shape-shifting history of Rip van Winkle stories, and wend our way through the psychological landscape of a post-9/11 urban legend. We also encounter Afro-Colombian music in Queens and Native New York handcrafts.
The earliest head coverings were probably
animal skins and were used primarily for
warmth, rather than style. Over the millennia,
however, women’s hats have reflected
contemporary fashions, as well as the hairdos
that were in vogue. During Greek and Roman
times, women’s headwear included headdresses
made of metal and ribbons intertwined in
elaborate coiffeurs. In more modern times,
women’s hats have gone in and out of style,
but there has always remained a niche for
milliners to create and modify women’s hats.
I was raised in a small community called West Mountain, in the southern Adirondacks of New York. Family and friends all lived near one another, giving me a great out-of-the-way place to grow up. I am a third-generation quilter and fourth-generation seamstress. My grandmother, Viola White LaPier, taught me at a very early age how to make crazy quilts. I remember at age five or six going to my uncles’ lumber camp. While she cooked meals for the lumbermen, I would sit next to the wood stove stringing quilt triangles that she had cut out of old, worn wool pants. My great grandmother, Fanny Newton White, made the family’s clothing by hand, without the aid of a modern-day pattern. She could cut out and construct a dress just by looking at another one. I’m fortunate to have inherited some of those skills.
I explained that I built the barrel
myself, and he promptly explained I
could not have, as there were no coopers
in New York State. I explained that he
was wrong, that I had built it and dozens
more, sent him to my web page to see the
photos of them being built, etc.
…,His name was Angus
McDonald, and he was the master distiller
at Coppersea Distilling. He had been
looking for years for someone to build
him barrels for his distillery.
John Michael Vlach (1948–2022) served as the Director of the Folklife Program at George Washington University (GWU) for over 32 years. He was a giant in the field, a Fellow of the American Folklore Society, a leading expert on folklife, folk arts and craft, vernacular architecture, and cultural history …
The focus on suffragists from upstate
New York was a conscious decision that I
made, based on my own research and desire
to highlight lesser known people within the
movement. I was inspired to put faces to
the over 70 names I had uncovered in meeting
notices and articles in Warren County
newspapers by creating embroidered portraits
of suffragists throughout New York
State. So far, I have embroidered six Warren
County women.