Category Archives: Uncategorized

Oregon Folklife Network is excited to announce award of a 2-year National Endowment for the Arts (NEA) research grant to study the impacts of traditional arts apprenticeships on past awardees and the cultural communities they serve, with a near-term goal of improving national data collection and reporting from an equity perspective. In total, 30 NEA Research Labs are operating nationwide. OFN is one of only two new Research Labs recommended for funding this round.

NEA Research Labs are grounded in the social and behavioral sciences and support transdisciplinary research teams investigating the value and impact of the arts for the benefit of both the arts and non-arts sectors.  OFN’s research design includes partnerships with Texas Folklife, New York Center for Traditional Music and Dance (contributing data), Live Oak Consulting (analyzing data), and Western States Arts Federation (producing the final report).

Cici Becker (image provided by Cici Becker)

The Oregon Folklife Network regularly hosts Graduate Student Interns who are a part of the Masters in Folklore program at the University of Oregon. Below is an interview highlight of a recent graduate. 

How did Oregon Folklife Network help you develop your skills, talents, and identity as a folklorist? 

“I attended the University of Oregon for a Masters in Folklore. My terminal project involved website design and editing, and I needed to learn some website editing skills to move my project forward. OFN was serendipitously in the process of moving its website from one platform to another and could use some assistance. So, it was a no-brainer for me to reach out to OFN and see if I could help them both in this process and learn the skills I needed for my project. And I am so glad I reached out!  

Working at OFN was one of the most rewarding experiences of my life. I learned so much about the public side of folklore that I hadn’t focused on much during my course selections, and I got to work on some very interesting projects with the best people. I learned something new every day at the OFN office!”

How do you practice as a folklorist in your current job position or day-to-day life? 

“I just started my new job as a Veteran Service Coordinator at the University of Wisconsin-Madison. I have family who are currently serving in the military, and I am sensitive to the unique culture and traditions that come with being a part of the military.  I want to highlight the accomplishments and culture of our military-connected students and create programs that would help create a community for our military-connected students. I think there is a lot I can do in the future within this position and as a folklorist to assist my students.”

If you are interested in learning more about the University of Oregon’s Graduate Studies in Folklore and Public Culture Program, or about how the Oregon Folklife Network’s office operates, contact ofn@uoregon.edu or call (541) 346-3820.

March 27, 2024

A call out for all Oregon traditional artists / culture keepers:

Oregon Folklife Network, on behalf of the Oregon Library Association, invites you to participate in the Oregon Library Association Presenter & Performer Fair from 1:30 – 4:30pm on Wednesday, April 24^th at the Salem Convention Center in Salem, Oregon. This isn’t a performance time, but rather a chance to connect with librarians around the state of Oregon who are interested in booking educational arts & culture programming.

As a participating performer/presenter, you will be provided a 6-foot table for displaying your traditional arts. Librarians in attendance from around the state of Oregon are looking to meet YOU and contract you for future programming at their local libraries. Oregon libraries are interested in diversifying their programming and meeting performers/presenters in their communities who are NEW to working with libraries.

Oregon Folklife Network will be hosting a table at this event and will be present to support you directly should you need any assistance during the day. This is not a paid opportunity; you will not be compensated for your time or travel. Oregon Folklife Network has provided feedback to the Oregon Library Association requesting that in future years a stipend and travel compensation be provided for traditional artists.

If you are interested and would like more details, please contact Kait Glasswell, Oregon Folklife Program Coordinator, at kaitg@uoregon.edu -OR- Anna Bruce, one of the coordinators of the Oregon Library Presenters Directory and the contact person for this event: csdshowcase@gmail.com. You will need to fill out a Google Form as soon as possible to be considered for a spot.

Participants of 2019 Master Artist Gathering in Bend, OR. Photo from Oregon Folklife Network.

In mid-April, Oregon Folklife Network will host a “Roster Artist Gathering” in Bend’s High Desert Museum.  Twenty-five traditional artists with profiles on OFN’s Oregon Culture Keepers Roster responded to our invitation to convene for a weekend to build community, share traditions, and discuss values and concerns affecting culture keepers today. Fifteen Oregon counties will be represented along with nineteen unique cultural arts/traditions. The Oregon Folklife Network is looking forward to hearing directly from culture keepers how we can provide better programming and resources to Oregon’s diverse cultural communities.  One product of the event will be the creation of a Culture Bearers Advisory Board — an advisory council of traditional artists and cultural services administrators to help guide our 3-year strategic plan and 10-year vision of statewide folk and traditional arts programming. Resources produced during this event will be available to all artists on OFN’s Oregon Culture Keepers Roster later this spring.

This activity is made possible by the Oregon Cultural Trust, the Oregon Arts Commission, the National Endowment for the Arts, and the Western Arts Federation.

This is an event closed to the public; however, if you are a traditional artist and opportunities like this event are of interest, contact Program Coordinator Kait Glasswell at kaitg@uoregon.edu and we can ensure that you are made aware of opportunities like the Roster Artist Gathering in the future.

Hobe Ktyr plays banjo in his home. Photo courtesy of the Oregon Folklife Network.

To highlight the work of traditional artists in the state of Oregon, the Oregon Folklife Network is reaching out to culture keepers across the state to hear their story and what recent work and/or community events they have been recently involved with.

Hobe Kytr is one of the 280 traditional artists featured on the Oregon Culture Keepers Roster. Kytr is a musician and folklorist, and culture keeper. Here are a few words Kytr shared in a recent interview:

“I’m a native Oregonian, and a traditional musician, playing guitar and old-time banjo.

My specialty is songs and stories of the Northwest, with a focus on the history and folklore of northwest Oregon (which I describe as the ear of Oregon). Traditional songs from this area are rare, but there are wonderful stories to tell. So I have been writing songs in traditional style for most of the past fifty years to share these stories.

I’ve played in many old-time stringbands over the years. One of those bands back in the mid-1970s was called Timberbound, an Oregon stringband. We played a lot of original material in the old-time style, which was very well-received. Even though that band was short-lived, the songs we performed have taken on a life of their own with another band of the same name, featuring Joe Seamons, Kate Sandgren, and Gavin Duffy, giving the music new currency for a younger generation.

I see my role as a collector, transmitter, and sharer of community memory, whether the songs are old or new. And in that spirit, I have been performing at the annual FisherPoets Gathering in Astoria for the past 27 years. We convene in the historic fishing port of Astoria each year on the fourth weekend in February for a celebration of commercial fishing in poetry, prose, and song. It’s become a major event in the seasonal round both for the commercial fishing community and for Astoria as well.”

If you or someone you know would like to be considered for the Oregon Culture Keepers Roster —an ever-expanding, juried selection of folk and traditional artists—contact the Oregon Folklife Network at ofn@uoregon.edu or by phone at (541) 346-3820.

2024 TAAP Awardees; Clockwise from top left-hand corner: Gayle Oram, Patti Jo Meshnik, Tetyana Horner, Tetyana Zelyanovska, Jennifer O’Dell, Jason Villa, Arturo Zavala, Prekshita Jain, Jayanthi Raman, Beth’Ann Gipson.

Five traditional artists in Oregon will receive a $3,500 stipend to teach traditional art forms to apprentices from their same cultural communities, Tribes, sacred, or occupational groups. The Traditional Arts Apprenticeship Program (TAAP) is one way the Oregon Folklife Network supports traditional artists, or Culture Keepers, in Oregon. The stipend supports mentor artists in sharing their knowledge, skills, and expertise with apprentices of great promise who will be empowered to carry on and strengthen Oregon’s living cultural traditions.

A state-level honor of great prestige, TAAP awards are often a precursor for traditional artists to be nominated for the National Endowment for the Arts National Heritage Fellowship award. Funding for TAAP comes from the Oregon Arts Commission and the National Endowment for the Arts. Applications are accepted annually until October for funding in the following calendar year.

The artists to receive awards are:

Beth’Ann Gipson with Jennifer O’Dell – Cow Creek Band of Umpqua Tribe of Indians Basket Weaving

Beth’Ann Gipson is a basketmaker, drummer, traditional regalia maker, and member of the Cow Creek Band of Umpqua Tribe of Indians. Gipson is heavily involved in revitalization efforts for her Tribe, from drumming and singing to powwows to dance. Gipson is proud to be carrying on basketmaking traditions that are gradually making their way back into her community. Gipson’s apprentice, Jennifer O’Dell, is also a member of the Cow Creek Band of Umpqua Tribe of Indians. She is honored to accept this apprenticeship position and is very excited to start a new basket. She is a hard worker, proud Culture Keeper, and has learned the art of patience when it comes to weaving basketry. She hopes that she will teach alongside Beth’Ann Gipson in the future.

Gipson and O’Dell’s artist profiles and samples of their work can be found at: https://mnch.uoregon.edu/bethann-gipson

Tetyana Horner with Tetyana Zelyanovska – Ukranian Weaving

Tetyana Horner was born in the former Soviet Union and grew up in post-Soviet Ukraine. In 2013, Horner sought out weaving classes at the Multnomah Arts Center. From there, she continued to learn, practice, source instructional books, and practice some more. Horner is slowly building her home studio so that she can begin teaching Ukrainian weaving to a more intimate audience. Horner’s apprentice, Tetyana Zelyanovska, lived in Ukraine until just four years ago. Since moving, she has tried to keep Ukrainian traditions alive in her family.  She was given a tapestry loom by a neighbor and taught herself some basics of tapestry weaving. She likes to make things by hand and has passion to continue to learn traditional Ukrainian weaving on a horizontal loom.

Horner and Zelyanovska’s artist profiles and samples of their work can be found at: https://mnch.uoregon.edu/tetyana-horner

Gayle Oram with Patti Jo Meshnik – Norwegian Rosemåling

Gayle Oram’s Norwegian Rosemåling painting career spans more than thirty years. Oram first encountered Rosemåling in 1977 in Petersburg, Alaska (a Norwegian fishing settlement with Rosemåling painted on the store fronts). Over the years, Gayle has conducted seminars, local classes, and has published eight books about Rosemåling. Oram’s apprentice, Patti Jo Meshnik, was first introduced to Rosemåling in June of 1980 in Montana. Her mother, the daughter of Norwegian emigrants, invited her to take a class with her. She had no idea at the time that Rosemåling would become such an important part of her story. Meshnik is eager to deepen her skills as a Rosemåler in efforts to preserve her Norwegian heritage. After this apprenticeship, she will continue the tradition by teaching Rosemåling classes.

Oram and Meshnik’s artist profiles and samples of their work can be found at: https://mnch.uoregon.edu/gayle-oram

Jayanthi Raman with Prekshita Jain – Nattuvangam, Rhythmic Structure of Bharatha Natyam Classical Indian Dance

Jayanthi Raman is an acclaimed performer, choreographer, and master teacher of the classical Indian dance form Bharatha Natyam for over the past four decades. She is a reputed scholar of her art form and an acclaimed nattuvangar (orchestra conductor of the live orchestra accompanying a dance recital). She has performed and toured in US and internationally, reaching wide audiences, some of who had never seen this genre of art. Raman’s apprentice, Prekshita Jain, was born in the culturally rich city, Bangalore, South India. Being from a traditional South Indian family, Jain was exposed to a lot of classical music and dance forms early in childhood. Growing up in musical family, Jain has a natural instinct for rhythm. However, the beat cycles in Bharatha Natyam are unique, complex, and require training to understand.

Raman and Jain’s artist profiles and samples of their work can be found at: https://mnch.uoregon.edu/jayanthi-raman-0

Arturo Zavala with Jason Villa – Mariachi Trumpet and Musicianship

Arturo Zavala is an acclaimed Eugene-based mariachi trumpet player. Zavala is a second-generation mariachi musician – his father, a professional mariachi himself, taught him and his brothers. Currently, Zavala plays locally with Mariachi Monumental, a group he formed with his compañeros (bandmates) in 2012. He also teaches mariachi to local high school and middle school students. Zavala’s apprentice, Jason Villa, is a first-generation Mexican American who grew up in California. Music has been a part of Villa’s life story from an early age. He plays saxophone, trumpet, and guitarrón. Villa is excited to further his knowledge of trumpet and mariachi so that he can pass it on to the next generation. After his apprenticeship, he will take what he’s learned and apply it directly to his career as an instructor.

Zavala and Villa’s artist profiles and samples of their work can be found at: https://mnch.uoregon.edu/arturo-zavala

by Emily Hartlerode

Each year we ask culture keepers to please review your personal artist page for accuracy. Here’s how:

• Visit the Culture Keepers Roster
• Type your name into the Name box and click Search. Your profile should come up.
• Review your contact information, fees, and programming, then fill the roster survey to indicate your approval or request any updates or corrections.

Approving your profile keeps the Roster current and user-friendly, which helps all tradition keepers earn paid opportunities to support your collective work preserving Oregon’s rich cultural heritage.

I couldn’t be prouder of what we’ve all accomplished. Thank you for participating in the Roster and giving us your feedback!

by Emily Hartlerode

OFN is helping Osher Lifelong Learning fill three dates with a few short programs (from 1-3pm) for retired professionals passionate about engaging with community and pursuing active learning. The program starts with a 30-minute introduction by OFN explaining our mission and how to use the Culture Keepers Roster. Your one-hour artist presentation or demonstration to follow can be informational, hands-on, or both. In the final 30-minutes I will facilitate an audience Q&A for the selected artist. $700 is all-inclusive of your artist fee, meal allowance, and transportation to their Portland (Tigard-area) facility.

Click this link to submit your brief proposal and indicate your availability. Please indicate every date you are available. Osher Lifelong Learning will review artist proposals for selection.

In partnership with the Craft Emergency Relief Fund (CERF+), Association of Tribal Archives, Libraries, and Museums (ATALM) is launching a dynamic six-month program that will empower, nurture, and celebrate 20 talented Native craft artists.

For the purpose of this program, “craft artist” is defined as artists who create or reproduce handmade objects for sale and exhibition using a variety of techniques such as weaving, pottery, beadwork, needlework, jewelry making, and other forms.

Key Program Features:

• Funding of $10,000 for each of the 20 chosen artists.
• Tailored training sessions to enhance business practices, including the production of a business and marketing plan.
• Access to a wealth of resources, including materials, workshops, and tools.
• One-on-one coaching from artists with successful careers. Coaches will receive national recognition for their leadership and generosity.

Applications for Craft Artists and Coaches/Mentors are now open through September 30, 2023.  Accepted artists will be announced on October 26 at the ATALM conference. Questions may be directed to grants@atalm.org.

As always, we are grateful for our partners and funders who make these life-changing programs possible. Thank you, CERF+ and the Ford and Windgate Foundations, for believing in the power of Native artists to foster creativity, preserve and advance cultural traditions, and ensure the longevity of Native craftsmanship.

From February to April 2023, OFN helped bring 6 Ukrainian artists to the University of Oregon campus, providing UO students and the larger Eugene community with an opportunity to learn about Ukrainian culture and its role in the current Ukrainian resistance towards Russian invasion. The series featured folksinger and traditional dancer Inna Kovtun, bandura player Valentyn Lysenko, pysanka artist Kristine Mushkevych, weaver Tetyana Horner, petrykivka artist Marina Malyarenko, and filmmaker and illustrator Sashko Danylenko. For many UO students and Eugene residents, the series presented a unique chance to discover both traditional and contemporary Ukrainian arts, which are often understudied in the US. For Ukrainians living in Eugene, these events became a place to reconnect with their culture and find other Ukrainians.

Kristine Mushkevych. Photo by Iryna Stavynska

OFN graduate employee Iryna Stavynska (from Ukraine), was the main organizer of the series, who credits the help of many others, including fellow OFN Graduate Employee Elise O’Brien (from the U.S.). Read on as they share their impressions of being involved in organizing the series.

Iryna Stavynska, Folklore MA student, Fulbright scholar from Ukraine & Graduate Employee at OFN:

“It was one of the most meaningful things that I got to do during my time in the U.S. For 2 years living in Eugene, I never saw any Ukrainian events, or any other opportunities to learn about Ukrainian arts. I did not feel like there were places where I could really be Ukrainian here – not fully. But until the full-scale Russian invasion in 2022, I never really thought about why things were this way. Seeing the war unfold, however, I realized that it was not a coincidence that Ukrainian culture is so underrepresented and understudied in the U.S. The same things that Russia is doing now – killing Ukrainians, occupying our land, and purposefully trying to destroy our culture by murdering Ukrainian artists, forcing Ukrainians to abandon our cultural practices and our language, and stealing and appropriating our heritage – it has done many times before, when Ukraine was part of Russian empire and USSR. For centuries, Russia has been an imperial power that was in the position to silence Ukrainian voices both through physical, brutal force and through cruel policies that forbade practicing Ukrainian language and culture. In the context of this centuries-long history of oppression, it is especially important that we recognize and amplify Ukrainian voices now. Events like this not only give much-needed support to Ukrainian artists (many of whom use their art as a way to raise awareness and fundraise in support of Ukraine), but also the very fact of uplifting Ukrainian culture is in itself an act of resistance, as it helps to sustain the very thing that Russia is trying to destroy – Ukrainian identity, culture, and dignity.”

Tetyana Horner. Photo by Iryna Stavynska

Elise O’Brien, Folklore MA student & Graduate Employee at OFN

Firstly, I want to thank Iryna so much for putting on this series and for having me involved in my small way. The series was impactful; I have learned so much from the Ukrainian artists who have presented. So much makes sense now after learning from Ukrainian personal experiences. In highlighting what I have learned, most importantly, I want to emphasize that folk art is an active resistance to imperialism and oppression.  

I was able to attend and assist with three Ukrainian artist presentations: Tetyana Horner, a weaver, Marina Malyarenko, a petrykivka artist, and Sashko Danylenko, a filmmaker and illustrator. Their presentations covered historic folk-art traditions in Ukraine as well as their modern counterparts. They emphasized folk arts’ role in resisting imperialism. Imperial powers have three goals: to dehumanize the population they are invading, to destroy that population’s cultural heritage and identity, and to remove the connection of people with their landscapes. Because folk art is rooted in place, in connection with the landscape, and uses materials sourced from the landscape to create art and craft, the connection of people with place is also part of cultural identity. When you support folk arts and traditional knowledge you reinforce cultural heritage and unique identity, and in this way, you are also actively resisting imperialism. If the argument of legitimacy of Russian invasion is that Ukraine has no unique culture, Marina, Tetyana and Sashko are the counterargument. 

Marina Malyarenko. Photo by Iryna Stravynska

Tetyana Horner and Marina Malyarenko practice weaving and petrykivka respectively, two Ukrainian folk art forms rooted in centuries of tradition. While,  Marina started her floral painting traditional art form about 5 years prior to coming to the United States, Tetyana dove into Ukrainian weaving after moving to the US. I think it is important to highlight that Tetyana and Marina are both self-taught for much of their craft, finding instruction in related fields and through online study. Even without immediate access to traditional teachers, they have still become incredible traditional folk artists. 

Sashko Danylenko. Photo by Iryna Stranvynska

Sashko Danylenko is more modern in his art. His presentation was centered on a series of comic book style illustrations featuring everyday Ukrainians who became extraordinary after the invasion of Ukraine by the Russian military. In his stories, he shared how ordinary people become folk heroes. He told the stories of the Ghost of Kyiv, the Witch of Konotop, a man surfing a Russian tank, and of a postal worker who shot down a fighter plane. He shared with the audience videos of ordinary Ukrainians that went viral: small acts of disrespect and resistance to Russian troops that created a cascading effect worldwide. At the JSMA presentation, Sashko’s prints of everyday heroes were available for sale along with t-shirts and totebags. Half of all his profits go to individuals and organizations in Ukraine.

Marina and Sashko are part of a creator’s collective organized to partner creatives in the U.S. with projects and organizations in Ukraine. These are projects that actively support Ukrainian resistance, support the people of Ukraine, and raise money for Ukrainian organizations. These projects range from illustrations for tactical medicine apps to auctioning off fine art. Sashko’s film work includes animations for children suffering from anxiety from the war. 

Helping Iryna with her presentation of Ukrainian folk artists was the most informative and rewarding part of this school year.