interview Tag

15 Jun

Posted at 14:06h in Work/Study & Host Program
[caption id="attachment_10900" align="alignright" width="244"]Host Bonnie - Chard Bonnie wearing her favorite hat and gathering rhubarb from the Vegetable Garden for her Cooking Class.[/caption] The hosts at the Folk School keep the show running smoothly. Unlike the year-round staff who go home at night and the regular students who are here for only a week, they are fully involved in the daily life of the School for a four month period. Without further ado… Let’s get to know a little bit about our current senior host, Bonnie Lenneman! CP: Where are you from and what do you do there? BL: I am originally from Michigan, but most recently I was working for a non-profit in Portland, Oregon. CP: What about the Folk School appealed to you before you first came? BL: Last spring I was leaving my job at the non-profit and I wanted to do something new & different that engaged both my artistic/creative side and also involved doing something outdoors. The Work/Study program was a perfect fit!* The Sing Behind the Plow motto also appealed to me - the idea of working more closely with the land and celebrating the simplicity and satisfaction of our labor. (*Bonnie came here first as a Work/Study in Fall 2013, now she is host)

22 Apr

Posted at 12:36h in Instructor Voices, Stories: Blacksmithing, Work/Study & Host Program
[caption id="attachment_10387" align="alignright" width="232"]Sing Behind the Plow lampshade by Ron Nichols Sing Behind the Plow lampshade by Ron Nichols[/caption] Blacksmith Work Week is an annual Folk School tradition, bringing 20 professional blacksmiths/instructors from around the country together to volunteer their time for the purposes of 1) beautifying the Folk School campus with functional ironwork; 2) repairing and creating new tools and infrastructure for the Blacksmithing program; and 3) spending a week learning and exchanging in the company of peers and mentors.Work Week was started by Clay Spencer (namesake of the new blacksmith shop) in the early 1990s and is currently coordinated by Paul Garrett, resident artist blacksmith. I had the chance to visit the shop and interview some of the blacksmiths as they put finishing touches on their projects and reflected on their connection to this very special community and yearly opportunity to participate in Work Week. Leah Dolgoy: Paul, how’s it gone this week? What were your priority projects and what’s been accomplished during Work Week? Paul Garrett: There were many priorities this year. One was making chandeliers for upstairs. They won’t get done this year but we’ll keep working on them next year. The shop is named after Clay Spencer so I gave Clay free reign on the design and he chose something very contemporary and out of the ordinary. Other priorities included work in some of the studios. We mounted some equipment for the Jewelry studio. We built a pot rack for the cooking studio. And we finished installing the door latches I made for the main door to the new blacksmith shop. We made two treadle hammers, and two treadle torches. We fixed a lot of tools – hammers and tongs, punches and grips. We also do whatever else pops up. I really wanted to do the Keith House door so that got done this year. We etched and epoxied the bathroom floor in the shop so that housekeeping can come in and clean it more easily now. Then there are all the little things that come up. I have these little job sheets that I put out and I find that works well. People pick their jobs based on their area of interest and expertise. LD: What does it mean to be the coordinator of this thing that everyone regards as so special? [caption id="attachment_10391" align="alignright" width="232"]New door hardware for the Blacksmith Shop made by Paul Garrett New door hardware for the Blacksmith Shop made by Paul Garrett[/caption] PG: For me, it’s an honor and a privilege to be a part of Work Week. I just love having everyone here. As the coordinator, it’s up to me to make the most of it. We have 1000 hours of volunteer labor every year. My role is to keep everyone else working, and to make sure that they can get what they need to get the job done. Funny story - 13 or 14 years ago I came here as a student, and I asked Clay if I could come to Work Week. And basically he said no, because he had enough people and he didn’t really know me that well. (laughs) It wasn’t to be mean or anything. He just had his team that he needed. I understand that now that I am on the other side of it. I believe this is my 10th year as the Work Week coordinator.

25 Mar

Posted at 21:26h in Community, Stories: Dance, Stories: Music, Work/Study & Host Program
[caption id="attachment_10289" align="aligncenter" width="480"]Cory Cory and fellow Tinsmithing student play music in the Community Room after Show and Tell[/caption]
In the spring, the Berea College Bluegrass Band comes down from Kentucky to charm the Folk School Community with a Friday night concert and a jumpin' Saturday night dance. I had the opportunity to have a good porch sit with Cory Shenk, a former Work/Study, Sticks in the Mud Dancer, and former man-about-Brasstown. Cory left Brasstown to pursue his undergraduate degree at Berea College. He is a member of the Berea Bluegrass Ensemble who will be playing at the Folk School April 4.
[caption id="attachment_10295" align="alignright" width="228"]Cory-Hay Laying on the hay in the Folk School field[/caption]

CP: When were you a Work/Study?

CS: March 14 – May 15, 2010. I remember the date clearly because I recall being mesmerized by the St. Patrick’s Day Party at the Murphy L & N Train Depot. Dale’s imitation of a leprechaun trapped in a brown paper bag - I thought that was brilliant!

CP: What have you been up to since your W/S session?

CS:I am currently a student at Berea College. I have been there for three years pursuing my undergraduate degree. I’ve also done a bit of working and traveling. I went to Ireland and Japan with the Berea Bluegrass Band. For a while before I went to Berea, I was working with Meredith Dahle (former host) at Sugarboo Farms in Blairsville. That was great because I could still be involved at the Folk School.

23 Mar

Posted at 12:44h in Work/Study & Host Program
[caption id="attachment_10249" align="aligncenter" width="475"]DSC_4288-475px Leah and Aubrey Atwater play "Red Rocking Chair" on the Music Studio Porch.[/caption]

CP: Welcome back to the Folk School. What’s it like to be back as a second-time host?

LD: It has been so incredible to be back in this community. It’s a bit like coming back to folk-craft-musical-dance wonderland. Some of the cast of characters has changed, but the heart of the matter is the same. 

[caption id="attachment_10266" align="alignright" width="215"]Karen Mueller and Leah Dolgoy Karen Mueller and Leah Dolgoy[/caption]

CP: How is the Folk School different than your regular life?

LD: I think the best way to illustrate this is by telling you about what I’ve been up to between my last host term and my return to the Folk School. I finished my last host term in August 2011 and went back to school that September. Conventional school. Graduate school in Occupational Therapy. I remember the first day I went to get my ID card. I went to a computer and used a touch screen to print out a number. And then proceeded to wait in line for hours while cranky people all around me played on their iPhones. I remember thinking to myself, “when you register at the Folk School, a work study greets you, hands you a map, tells you how to find your housing through the woods, and directs you to the room with the freshly baked cookies.” Having just finished conventional school, it is so nice to return to a Danish Folk School model of learning. 

I arrived at the Folk School for my current host term on Christmas Day. I walked into Keith House, and was just struck by the comforting familiarity of everything around me. The smell of the wood, the creaky floors, the feeling of the Jr. host room at the top of the stairs. Then Winter Dance Week started. Suddenly I was in a literal embrace with all of these dear lovely folks I hadn’t seen in two years. I would run into friends in the contra dance line. I very quickly became re-acclimatized to the rhythm of how things are around here – morning song, ringing the bell, the exact time it takes to walk from any point on campus to the dining hall and not be late.

11 Mar

Posted at 12:00h in Instructor Voices, Stories: Dyeing, Stories: Knitting & Crochet, Stories: Spinning

I stopped by the Yarn Circle on a Monday afternoon to speak with Martha Owen, our beloved longtime Resident Artist in Spinning, Knitting, Dyeing and Felt Making. We talked about many things including fiber arts, raising sheep, travel, artistic process, Fair Isle, her rich history with the Folk School, and more. Enjoy our interview!

[caption id="attachment_10134" align="aligncenter" width="480"]Martha-SheepLine Don't ever lead your sheep with feed! A student photo op pic by Bonnie Shearer[/caption]

CP: How did you become involved with the Folk School?    

MO: There was one year when I was a wee lass that I came to Little Folk School. I must have been 8, 9, or 10. I grew up in Pennsylvania, but my mother, Mary Porter Fain Owen came from Murphy. I would spend the summers here with my grandmother. At that time there was only one group of kids in Little Folk School. I learned to dance and I still sing the song I learned.

[caption id="attachment_10131" align="alignright" width="284"]Martha-Archives Photo shoot for Early American Life Magazine: Spinning near Festival Barn, August 1988 - That's Emolyn drinking a "grape coke" and trying to be good[/caption]

The next time, I was in college and I came for dancing again. I was doing volunteer work with a local church and we came to the dance one night. One summer my mother gave me a spinning wheel she had gotten from my great aunt and said: “Look! You always did like weird stuff.” She put the wheel down in front of me walked off and I thought “Well, I don’t know how to work with this thing.” My grandmother was reading the Cherokee Scout and saw an ad that the Campbell Folk School had a two-week class in Spinning and Dyeing. She said "Why don’t you go down and learn?" I said “Well, maybe I will.”

The full craft program that we have now had started in the '70s. The class was taught in Open House by Pam Strawn. We would card and spin and then do a dye pot when we had a pound of yarn between all of us. From that I made my first vest and I wore it for years to prove to my students that you should make something for any yarn you spin, you don’t have to wait until you spin “perfect” yarn.

My whole life turned left after taking that spinning class. That was 1978. I married my enabler, David Liden in 1979, and I had sheep by 1980.

CP: Tell me about your first sheep.

MO: I bought two ewes with lambs by their sides. One of the lambs was called "Maw Maw" and was the same age as my oldest daughter, Annie Fain. Maw Maw's portrait is hanging in our house. She was a pretty important sheep and I learned a lot of things from her. She lived to be 17.

CP: Do you have tips for beginning sheep owners?

[caption id="attachment_10141" align="alignleft" width="237"]MarthaDavidandPups Ro-bear and Julliet, our current Great Pyrenees dogs - they weigh at least 125 pounds each now and live with the sheep (Oh, and Martha and David!) - Photo by Charlotte Crittenden[/caption]

MO: Now I have 35 sheep, but you've got to start small. Sheep reproduce quickly. While you are learning about things like housing, worming, and hoof trimming, etc, the fewer sheep the better. Security is also top priority. Sheep don’t have a way to protect themselves besides snorting, stomping, and running away which is very attractive to dogs. The biggest problems you have are neighbors' dogs and strays. Try security animals like llamas, donkeys, or Great Pyrenees. I have two Great Pyrenees right now. I haven't had any predator problems since they have been here. We are on our fourth generation. A border collie's job is the tell the sheep what to do, but the Pyrenees protect the sheep. They live with the sheep.

CP: As a current resident artist, one of your duties is to schedule teachers for the knitting, dyeing, felt making and spinning classes at the Folk School. How do you find them?

MO: Every possible way you can think of. We need someone who is passionate about what they do, someone who has done their craft a lot, but is a good teacher. I am always looking around and listening.

28 Feb

Posted at 17:17h in Instructor Voices, Stories: Basketry, Work/Study & Host Program
When I found out Pattie Bagley (Resident Artist for Baskets, Brooms, and Chair Seats/local mischief maker) was teaching an introductory rib baskets class, I knew I wanted a spot in the class. Right before coming down to the Folk School to begin my term as a second-time host, I completed my masters degree in Occupational Therapy (OT) – a rehabilitation profession that focuses on working with people to regain function and get back to meaningful occupation (self-care, leisure and work) after illness, injury or disability. Traditionally OTs have used crafts such as basket-weaving as a way to work on rehabilitation-related goals. There is also a strong connection between OT and the Folk School. Murray Martin, who was integral to the growth and success of the Brasstown carvers, was trained as an occupational therapist.  For all these reasons, I knew it would be a special week for me. What I didn’t know was that Jan Stansell, an expert basket-maker, long-time Folk School instructor, and recent stroke survivor, would be one of my classmates.  Jan agreed to sit down and have a chat with me at the end of our week together. [caption id="attachment_10067" align="alignnone" width="350"]Jan on the Keith House porch. Jan on the Keith House porch.[/caption] LD: Tell me about your history with this craft. What kind of baskets do you like to make best? What is meaningful to you about basket weaving? JS: Oh gosh – I probably started 30 years ago just as a little hobby. It was one of those hobbies that became a small business.  I learned initially from someone in the town where I was living. Generally people who have made baskets as long as I have tend to specialize in one kind or another (whether it be Nantucket, or naturals etc). I never did. I always called myself a basket generalist. Whatever class was going on that sounded interesting, I would come and try it, and generally incorporate it into my work. I guess what’s meaningful to me about baskets is that along with pottery, it is just such an old craft and an old way of doing things. You can also go in so many different directions with it – the artistic end, the functional end. You can use traditional materials or go to something else entirely. [caption id="attachment_10069" align="alignnone" width="232"]DSC_0604 Jan working on the finishing touches of a basket.[/caption] LD: I understand you have a very long history with the Folk School. Can you tell me more about your relationship with JCCFS? JS: My very first class here was 26 years ago. It was a white oak baskets class and was fairly advanced. It was so exciting to discover a whole other way of life and that there were people who just loved to be together and make things, and make music. At the time, I was not a person who made a lot of long-term goals in my life. I would go to these seminars at work and they would say “you’ve got to set goals, you’ve got to do this or that.” And I thought to myself “if I had a goal, what would my goal be?” And I thought “I know! My goal will be to teach at Folk School.” So I started thinking to myself about what I would have to do to make that happen. I suppose I’d have to get a portfolio together, volunteer to assist in a class and make myself known. And then as I was mulling this over I was at a craft show, and a woman who happened to be in charge of programming at the Folk School approached my booth. She asked if I ever taught at the Folk School. I said “No.” She asked if I’d like to. I thought to myself – this goal-setting thing is a cinch! If I had known that, I would have been setting goals years ago! It was at a time when the Folk School was actively looking for instructors so I started coming up as an instructor 20 or 25 years ago. Over the years, I have met so many wonderful people. Coming here is not like going away; it’s like coming home. I used to cry going home from Folk School (laughs).

05 Feb

Posted at 10:58h in Instructor Voices, Stories: Music, Work/Study & Host Program
As a host at the Folk School, sometimes really incredible opportunities come your way. Karen Mueller is an innovative, virtuosic musician and highly sought after music educator. I recently took Karen Mueller’s intermediate-advanced autoharp class and weekend beginner mountain dulcimer class back-to-back. At the end of our time together, she agreed to sit down with me and answer a few of my questions about her life, career, and relationship to the Folk School.  [caption id="attachment_9805" align="aligncenter" width="480"]DSC_0531 (1) Leah Karen Karen Mueller & Leah Dolgoy in front of the hearth in the Music Studio, Davidson Hall[/caption] LD: How did you get started playing the autoharp and the dulcimer? KM: I have played both instruments since high school. I started because there was a bluegrass festival that I discovered in my hometown of Winfield, Kansas. I wasn’t raised with bluegrass music. I knew folk, rock, pop, and classical music, but the more I was around bluegrass and old time, the more I liked it. I saw people playing these instruments really well, doing things I didn’t know you could, which piqued my curiosity. My dad and I built my first dulcimer and I taught myself to play both instruments from recordings and just by watching people whenever I could. [Karen also plays guitar, mandolin and ukulele.] [caption id="attachment_9814" align="alignright" width="228"]karen-mueller-dulcimer Karen and her dulcimer[/caption] LD: When you were a kid, what did you want to be when you grew up? (laughs) I had no idea! I was really into art. I was thinking about visual arts, but I did well academically too. I didn’t see myself being a professional musician. I loved music more than anything, but I didn’t want to pursue the classical arena. I had really intense classical piano studies until I was about 15 and then I was ready to take a break. I picked up the classical guitar just as intensely. Once I picked up the strings, I really felt more in touch with that than with the piano. To pursue music at college would have required I go to the conservatory and take the classical route and I was just done with that. I didn’t see a career as a folk musician being a viable option. That career just had to gradually develop over time. When I was in college at the University of Kansas I tried to meet other musicians in the community even though I was studying all the time. I met some people that I played with regularly and we formed a band. When I graduated, I thought I would take that proverbial year off and decide whether to pursue grad school and in what discipline (I was in Art History and English, with a minor in Fine Arts and had done journalism too). So I took a year off and got a job with a jewelry maker doing really high-end gold and silver smithing and still played pretty seriously with my band from college. I also got a Celtic band going. Both bands rehearsed twice a week, and gigged on the weekends, so I learned the craft of being in a working band: the playing as well as the administrative end of it. Meanwhile I still had the security of a full time job. I was earning more with the band than I was with the full time job so I just kept going with that. When I moved to Minneapolis, I hooked up with a music school and music store to give lessons and still did temping and office work while I was building up my student base. I started touring more as a solo artist, was quickly playing in 4 bands, and then gradually I realized that I had enough students that I didn’t have to do the other stuff. I had no illusions that it was going to be easy or that it was going to happen because I said it was going to happen. It really was a day-by-day thing. I get a lot of calls now inviting me to events, so I don’t have to do the same kind of outreach anymore. And your network of contacts keeps spreading so you get more ideas of where and how to set up things over time.  LD: If you could collaborate with a musician living or dead, who would it be? I’ve covered songs by Sting, and now he is playing the lute too. That would be a trip! I would add Maybelle Carter, Eliza Gilkyson, and the Swedish band Väsen to that list too.  

29 Jan

Posted at 18:12h in Instructor Voices, Stories: Knitting & Crochet, Themed Weeks, Youth

Margaret Radcliffe is teaching two Knitting classes next month at the Folk School: My First Sock (Feb. 28 - March 2 / Weekend) and the Easiest Sweaters in the World (March 2-8). Come learn new techniques to take your garment knitting to the next level (or the first level if you are new to socks and sweaters). I chatted with Margaret about Knitting, the Folk School, and what it is like to write about Knitting. Enjoy our interview!

[caption id="attachment_9786" align="aligncenter" width="480"]Radcliffe_KN_13_01_BIO Sweater by Margaret Radcliffe[/caption]

CP: Where are you from?
MR: I grew up in Williamsburg, Virginia, and now live in Blacksburg.

[caption id="attachment_9788" align="alignright" width="233"]Radliffe-IMG_3099 Community Knitting Project[/caption]

CP: How long have you been coming to/teaching at the Folk School?
MR: Since 1997. I was starting out as a knitting designer and teacher and saw an ad for the Folk School in Knitters Magazine. I got a catalog and discovered that there was one week in the summer, Little/Middle Folk School, when I could come with my daughter. She was just old enough (seven), so that summer we both came. We loved it so much, we kept coming back. It was actually years before I even approached the school to teach-I was too busy learning. That summer was the beginning of a tradition, attending Little/Middle with my kids, that lasted 15 years. I started teaching knitting, both adult classes and during Little/Middle in 2004. A few years later I expanded to add dyeing to my classes.

15 Sep

Posted at 21:18h in Instructor Voices, Stories: Glass
[caption id="attachment_8858" align="aligncenter" width="450"]Karen Karen teaches "Classical Stained Glass Panels" in the Jewelry Studio at the Folk School.[/caption]

CP: Why do you like glass?

KR: Glass is a magical, magical, magical medium. Never a liquid or a solid, glass is always in between those two states of matter. Through heat, you can control its characteristics. I believe that there are endless possibilities in glass as a creative medium. It is a wonderful combination of "science meets art." The way you see glass is all about the light.

CP: What made made you want to be a glass artist?

[caption id="attachment_8864" align="alignleft" width="184"]Bargello-inspired piece Bargello-inspired piece[/caption]

KR: I was into many crafts and I especially loved quilting - piecing things together. For Valentine's Day in 1981, my husband gave me a pair of grozing pliers and a glass cutter and encouraged me to try glass. Working with glass filled my soul, so I started my love affair with cold glass techniques (like stained glass) etched under 1000 degrees.

From there I wanted to try it all, so I learned warm glass techniques (like fusing, fritting, and ground glass) and plastic glass which is glass at a temperature above 1650 degrees (like beading). Now I have been working and teaching glass for over 30 years. My studio out of Huntsville, AL is Earthstar Glass.

CP: What inspires you?

[caption id="attachment_8866" align="alignright" width="192"]An example of Powder Painting by Karen Reed. An example of Powder Painting achieving a watercolor look by Karen Reed.[/caption]

KR: Creative challenges. I take inspiration from other media, like oil painting, watercolor, pastels, quilting, and think: "I would like to figure that out in glass."

I also take technique driven inspiration from different cultures around the world, I get lost in a subject. For example, I look at Balinese Folk Art and wonder "how can I make that in glass?"

CP: Functional or Decorative?

KR: It's a balance. As an independent studio we need to do functional work and custom pieces to fund our other more conceptual and creative pieces. My creative work is what goes in the galleries, the functional and smaller-sized work pays the bills. Small will sell better, but I love doing the big pieces.

CP: Who is your favorite glass artist?

KR: Harry Clarke (1889 -1931) a master of stained glass from Ireland.

CP: What’s the most meaningful piece you’ve ever made?

Reed-Chapel

KR: The 57 fused glass panels for the chapel in Madison, AL. In 2012, I was commissioned by three siblings to create an installation piece in a hospital chapel to commemorate their parents. Because of a lead ban, you cannot put lead in a hospital, so the siblings had a hard time finding an artist to hire. I have been fusing glass over 25 years and was honored and delighted to be able to work on such a commission. I loved every second of it! They wanted something soothing, non-denominational and artistic with nature as a theme - a place of retreat for everyone to enjoy.

02 Jul

Posted at 08:32h in Instructor Voices, Stories: Dance, Stories: Music
Atwater_BIOUsing clogging, music and storytelling to charm Folk School audiences since 1996, Aubrey exudes a talent, grace, and humor unique to only the most tenured and talented of performers. Aubrey returns to the Folk School this September to teach two dynamite classes: Singing with Clawhammer Banjo (Sept. 8-13) and Clogging (Sept. 13-15 - Weekend). She is also scheduled to perform in special Thursday night concert, Sept. 12, 7 p.m. Don't miss out on this opportunity to learn to play, laugh, sing, and dance with Aubrey this fall! I recently checked in with Aubrey to talk to her about her upcoming classes, the Folk School, tunes, heroes, dance moves, folk music, the Phoebe, and more! Here's what we talked about: CP: You teach quite regularly at the Folk School. How did you find the Folk School? When did you teach your first class? AA: I got the idea to apply to the folk school in the mid-90s when I saw that one of my dulcimer player mentors, Lorraine Hammond, from Boston, was working there. I got in touch, sent materials, and was invited to teach my first class in 1996. I thought I had died and gone to heaven-what a unique, beautiful, nurturing, and exciting place! Teaching a 30+ hour dulcimer class felt daunting back then for my younger self. I was nearly quivering on the plane as I travelled to the Folk School. I have learned a lot over the years teaching at the Folk School. The luxury of time in the week-long class has been a great opportunity to refine and expand my teaching. CP: Do you think anyone can learn to sing? Do you have to know how sing well to take your classes? AA: YES to first question - I think anyone can learn to sing. Absolutely NO to second question - you do not need to know how to sing well to take my classes. This question reminds me of college when I took a few drawing classes at the Rhode Island School of Design. I realized that maybe I didn't have a deeply inherent gift, but I learned the skill quite well. Some people can easily SING and it is beautiful, like when they are three years old. Some people don't have the gift quite as well, but I have never ever denied someone who wanted to sing or learn to control the pitch of their voice better. I think of two students in particular over the years who considered themselves "tone deaf" and we worked together, trained, and over time, I heard each of them sing on pitch. There were tears. It was quite a moment, very moving! [caption id="attachment_8338" align="alignleft" width="234"]Aubrey charms audiences of all ages! Aubrey charms audiences of all ages![/caption] CP: What came first for you, playing music or dancing? How did you learn clawhammer banjo? How did you learn to clog? AA: I started playing piano by ear at about 5 years old, then my parents started me on piano lessons. I quit at 13 and then picked up the guitar at age 15. I had a defining moment that summer in 1979. I figured out how to play two simple chords to a Beatles song and then I sang along and voila! I could play a song and then I was off and running and have never looked back. It was a major turning point in my life. From there I learned to play the tin whistle, mountain dulcimer and in my late 20's, I went to Eastern Kentucky and started to learn clawhammer banjo and to dance. My friend Cari Norris taught me. She is the granddaughter of the legendary Lily May Ledford, leader of the first all-female string band, The Coon Creek Girls, in the early radio days, so I got to learn from a wonderful lineage of women. When I wasn't with Cari in Kentucky, I'd commission her to send instructional recordings (cassettes!), and she walked me through tunes by ear that way. That same time frame, I learned a few clogging steps (aka Flatfooting) and then over time, I learned traditional freestyle clogging by imitating and collecting steps from percussive dancers I would meet on the road. It was a wondrous and quite traditional way to learn. More than ten years later, somewhere in my 40's, I said to my husband Elwood, with some surprise, "I'm a dancer!" I had never taken dance as a child. CP: Do you have a favorite tune right now? AA: Yes, always. It is often whatever song I am learning at the moment. I am always having some kind of a love affair with a song. Two right now are: "The Jamestown Homeward Bound," a 19th century seafaring song and "Mornin's Come, Mariah's Gone," a Jean Ritchie song. Another song I have sung to myself all year is the beautiful hymn "Resignation" written in 1719 by Isaac Watts. Pete Seeger is famous for saying a song can change the world and I believe that songs help heal our broken hearts. My father died last year and we lost a bunch of other old friends and family members nearly all at once. That one quiet and beautiful song has rescued me over and over again in the last year. CP: As a musician who has performed multiple times at the Folk School, do you have a tune you always include in your set? How many times have you performed at the Folk School? AA: I have performed at the Folk School about every year since 1996. It is one of my absolute utter favorite places in the world to play, teach and visit. When I am on that stage and looking at that roomful of smiling, warm, and, now, many familiar faces, I am in one of my happiest places. I often, but not always, play "The Devil and the Farmer's Wife" at the end of my shows. It's a silly, centuries-old song about the devil who comes up from Hell to talk to a dimwitted farmer about taking one of his family members back with him. The farmer says, "Don't take my son, I need him on the farm. But you can have my wife."  Then we see how things turn out for the DEVIL. It's a very funny song, still, to this day!  Someone captured in on video last time I was there: