State Legislators Recognize Traditional Artists

Picture4On November 16th, the OFN recognized 28 master artists and four years of our Traditional Arts Apprenticeship Program with an award ceremony hosted at the beautiful Oregon State Library in Salem. Legislative representatives and senators presented framed certificates to artists from their districts and acknowledged their important contributions to Oregon’s living cultural heritage.


Master artist Esther Stutzman opened the ceremony with a traditional Kalapuya story. The audience of artists, family members, legislators, state officials, and University of Oregon administrators were also treated to Alex Llumiquinga Perez’s performance of traditional Andean music on his handmade charango and cajón, rapper and hip hop emcee Michael “Mic” Crenshaw’s powerful spoken word poems, and Antonio Huerta’s impromptu charrería rope-twirling.


Several representatives from OFN’s operational partners also took part. MaryKay Dahlgreen (State Librarian, Oregon State Library) welcomed everyone. Brian Rogers (Executive Director, Oregon Arts Commission & Oregon Cultural Trust) and Eliza Canty-Jones (Editor, Oregon Historical Quarterly; Director, Community Engagement, Oregon Historical Society) said a few words of appreciation for the artists and took a hand in presenting certificates. Doug Blandy (Senior Vice Provost for Academic Affairs) represented the University of Oregon, which provides OFN with so much support.



The afternoon began and ended with a reception and OFN’s latest exhibition, which features Oregon’s Traditional Arts Apprenticeship Program and the artists from 2012-2016. OFN’s exhibit developer and folklorist, Lyle Murphy, curated this beautiful portrait of the e exhibit, which will be on display through January, 31, 2016 at the State Library. Make sure to bring your friends and family to view it!

FisherPoets Exhibit On Display

Julie Meyer


In September, OFN opened the exhibit “Shifting Tides: Women of the FisherPoets Gathering” in our Knight Library office Window Gallery on the University of Oregon campus. This exhibit highlights the creative work that women fishermen Moe Bowstern, Erin Fristad, and Tele Aadsen perform at the annual FisherPoets Gathering in Astoria, Oregon. The FisherPoets Gathering encourages commercial fishermen to share their occupational experiences through their creative expressions. The Gathering offers women fisherpoets a space to begin disrupting the underrepresentation of women working in a predominantly male occupation.


The exhibit consists of three cases and two wall panels. The first case provides a brief history of the FisherPoets Gathering, while the second provides an excerpt from Moe Bowstern’s “Subcutaneous Layer of Fat,” a prose work that addresses sexist expectations for women fishermen. Copies of the FisherPoets Anthology, Anchored in Deep Water, and Bowstern’s XTRATUF zine line the bottom of the case.


The final case displays fishing gear, commercial grade rain gear, netting, a slide show of women fishing in Alaska, and various other objects that exhibit coordinator and folklorist, Julie Meyer, gathered during her fieldwork on commercial fishing in Bristol Bay, Alaska. A final panel provides excerpts from Erin Fristad’s poem “Advice to Female Deckhands” and Tele Aadsen’s prose piece “Being a Female: An Unwelcome Reminder” both of which deal with issues of inequality that women fishermen face. The exhibit will be on display through mid-February 2016.

Fieldnotes: Columbia River Gorge Folklife Survey

Nancy Nusz

To understand how the land and environment help to shape traditions that people use in their daily lives, one simply has to take a trip to Sherman and Gilliam counties. Steep rolling hills, defined by narrow, winding ravines with swift flowing rivers, limited rainfall, and constant wind are steadfast companions of those living in the region. Over generations, people have learned how to fashion a living out of this land and how to enjoy the shear uniqueness of their place. They use the knowledge and skills passed down to them by their grandparents, parents, friends, co-workers, and neighbors to preserve a way of life that is full of history, crafts, specialized work, fun, stories, and so much more. Here are a few of the ranchers and farmers who make up the population of these north central Oregon counties.

Jamie Wilson and Cathy Brown

Jamie Wilson and Cathy Brown; photo courtesy of Nancy Nusz

Cathy Brown’s parents were wheat and cattle ranchers in Bakeoven, her father’s community. Her mother came from Dufur where her grandparents ran cattle. Cathy’s early memories of working on the ranch include typical tasks children would do such as feeding the farm animals, driving tractors, and preparing the lunches for work hands. As she got older, Cathy took on more responsibilities such as gathering the cattle, birthing calves, and eventually, doing the most technical and difficult jobs on the ranch. During her teens, Cathy was active in 4-H where she became friends with Jamie Wilson.

Jamie Wilson with leatherwork; photo courtesy of Nancy Nusz

Jamie Wilson with leatherwork; photo courtesy of Nancy Nusz

Jamie Wilson grew up in Grass Valley on a few acres where the family kept horses, chickens, and other animals. She got her first horse when she was five years old. Her mother was from a long line of ranchers but her dad’s family moved to Oregon from Michigan. He spent his younger years near Antelope and as a young man worked for local ranchers and wheat farmers until eventually he bought a couple of ranches. Jamie started working cattle with her dad when she was a kid. She particularly loved going with him up to the old Payne Place that he had purchased. Here, on a high ridge facing Mt. Hood and Mt. Jefferson, Jamie worked hard learning all the cowhand skills it takes to run that ranch today with her friend Cathy. After high school Jamie thought seriously about becoming a saddle maker so she attended a three-month course at Sierra Saddlery School in Bishop, California; while there, she made two full saddles. When Wilson returned she couldn’t find a saddle maker to apprentice with but she kept doing all sorts of other leatherwork including queen chaps for rodeos. Today, she spends much of the winter months making chinks, chaps, horse tack, and many other items, mostly custom ordered.

Ron Wilson with leatherwork; photo courtesy of Nancy Nusz

Ron Wilson with leatherwork; photo courtesy of Nancy Nusz

Ron Wilson works in his leather shop in the back of the Ace Hardware store in downtown Arlington. Ron’s family originally came from Pennsylvania then settled in Wallowa County where he was born. He grew up on a small farm but learned basic leatherwork from Arlene Rucker, who taught a 4-H class. Ron kept his tools and got them out during the winter months to make leather items. About 12 years ago he got back into full time leatherwork after a friend convinced him to repair something that he needed. Ron keeps busy making chaps, chinks, belts, purses, rodeo queen outfits, tack, and just about any other type of leather goods. Even though he doesn’t make saddles, he always has one or two around that he repairs for cowboys. Ron and his wife, Marta Mikkalo, are active members of the Arlington Saddle Club, which puts on the annual Arlington Jackpot Rodeo.


Arlene Rucker shows a piece of her wheat weaving; photo courtesy of Nancy Nusz

Arlene Rucker shows a piece of her wheat weaving; photo courtesy of Nancy Nusz

Arlene Rucker is someone people across Gilliam County know by name, face, and reputation. Born in Nampa, Idaho, she moved with her family to Oregon during the war years when her parents came to work in the defense industry. Once grown, Arlene married a local wheat farmer with whom she’d gone to high school, and moved with her new husband to the farm where they lived for 35 years. With wheat a constant in her life, Arlene took a wheat weaving class in the 1970s from Sandra Greenfield, a local Condon wheat weaver. Arlene had seen wheat weavings and thought that since she and her husband were raising it, she would like to know how do make something out of it. Many wheat weavers use wheat bought from Nebraska but Arlene insisted on making her items out of the wheat from her own fields. She also learned quilting from her mother and became so proficient that her peers now recognize her as a master quilter.

Paul Bates showing wheat farm equipment; photo courtesy of Nancy Nusz

Paul Bates showing wheat farm equipment; photo courtesy of Nancy Nusz

Paul and Donna Bates live on Paul’s father’s farm, where Paul grew up learning farming and ranching skills. As a youngster he was involved in 4-H and did projects with pig, heifer, and other livestock breeding, and much more. In 1983, the family quit raising cattle to focus solely on wheat production. Paul has seen many changes in farming since boyhood, especially in the mechanization of farming. Today he has a large assortment of highly specialized equipment that he and his family use for the various stages of wheat production. During a particularly bad year, the Bates family briefly considered getting out of farming; at that time, Donna decided to diversify their income by creating a healthier snack food. After lots of trials and errors, Donna developed six different flavors of what she calls popped wheat berries. These unique products are grown and made right on the farm at her Wheat Springs Bakery.

Sam Seale at White Elephant Ranch; photo courtesy of Nancy Nusz

Sam Seale at White Elephant Ranch; photo courtesy of Nancy Nusz

Sam Seale owns the “White Elephant Ranch,” which might sound like a strange name for a ranch located north of Condon; the story of how it got its name is part of his rich family lore. As a young man, Sam’s dad bought a piece of property to raise sheep and cattle. There were several other homesteads nearby, and during the Depression their neighbors couldn’t hang on to their ranches. Sam’s dad starting buying them as they came up for sale. Because the country there is high and dry, rendering it difficult to grow anything, his dad used to say that all those properties weren’t anything but white elephants. The name stuck. Sam has many stories about his father and his own years growing up on the White Elephant Ranch.



Frank Bettencourt builds wooden miniatures of farm equipment. Bettencourt moved to Gilliam County in 1948 to work as a farmer and cowboy. He worked on someone else’s ranch until 1967 when he and his wife Garnet bought their own 2,500 acres place. In 1981, they sold their ranch and now live in Condon where Frank has a large woodworking shop in a separate building next to their house. Frank’s grandfather was a builder in Portland, and, as Frank says, he “just grew up with it.” The objects that he makes are done without patterns and come directly from his imagination. He visualizes something then makes it. Many of his pieces are replicas of equipment like combines that Frank once drove on the farm. His birdhouses often resemble old western buildings or churches; and the one in his backyard is almost an exact model of the huge grain elevator that stands directly behind his and his wife’s house. Frank’s wooden vehicles have moving parts, which leave visible the grain and uniqueness of the wood.

Nancy Nusz is an independent folklorist who has been conducting fieldwork for the Oregon Folklife Network’s Columbia Gorge Regional Folklife Survey, which is funded in part by a grant from the National Endowment for the Arts, Art Works.

New Exhibit: Buckaroo Traditions of Oregon

by Adrienne Decker

Photo courtesy of Douglas Manger

Photo courtesy of Douglas Manger

The Oregon Folklife Network (OFN) is proud to present its new exhibit Buckaroo Traditions of OregonThis exhibit celebrates the continuity of occupational traditions in rural Oregon and encourages audience understanding and appreciation of art forms arising from ranching practices. The exhibit was made possible by funding from the National Endowment for the Arts and the fieldwork of folklorists Douglas Manger and LuAnne Kozma. Featuring artists from Malheur, Harney and Lake counties, the exhibit traces the development from vaquero to buckaroo and promotes the work of some of Oregon’s finest gear makers.

Cowboys have made an enduring mark on the American popular imagination, but not every cowboy is a buckaroo. What sets them apart? In addition to their sense of style and self-sufficiency, buckaroos work almost exclusively from horseback in the manner of their vaquero predecessors. In the Great Basin, knowledge of many vaquero and buckaroo traditions have been passed along through families and become integrated into the lives of working ranchers and horsemen. Buckaroos are unique in their use of extensive horse training techniques and custom handcrafted gear, including traditional saddles featuring intricate leather- and silverwork as well as mecates (ropes) made from horse mane hair and braided rawhide reatas (lassos).

Some of the most vibrant examples of buckaroo artistic traditions are thriving in rural eastern and southern Oregon, despite their decline elsewhere. Buckaroo Traditions of Oregon features a hackamore from the workshop of Bill and Teresa Black, mecates by Merlin Rupp and Helen Dougal Corbari, and the tooled leatherwork of saddle makers Steve McKay and Len Babb. Each of these pieces represents a unique blend of hard work and artistry.

Buckaroo Traditions of Oregon is on display now in the OFN exhibit cases on the second floor of UO Knight Library, Room 242.

It’s a Hard Duck Life

by Jules Helweg-Larsen

Living in Eugene, it is impossible to escape Duck Pride as Oregon football fandom. Church sermons invoke the Ducks and refer to the team’s hard work and dedication. Grocery store transactions and chats at local cafes or gas stations conclude with “Go Ducks!” Fans wear school colors and jerseys, as well as shirts stating “QUACK ATTACK” and “Come to the Duck Side”.

In January, Eugene was buzzing with excitement over the first College Football Playoff National Championship with UO Ducks taking on the Ohio State Buckeyes. On and off campus, there was a constant chatter about the game from both fans and normally disinterested residents. Social media posts and tweets were fast and furious as fans and friends cheered on their team. Trending hashtags included #DucksvsBucks #GoDucks and, after their defeat, #OnceADuckAlwaysADuck.

So what is it about sports that promotes such loyalty, not just from students and alumni, but also the city and state at large? Is it only the pride and national recognition, or is it something deeper? “Being an Oregon Duck is not about winning,” said Emma Oravecz, a graduate student in the UO Folklore program. “It’s not about trophies or points. Being a Duck is about being part of a community that reaches far beyond the scoreboard.” This community of students and players is one that she is “proud to be a part of and will continue to support throughout my entire life.”

Becoming a duck can be as simple as attending the university, living in Oregon, or being a dedicated booster. Duck mania is everywhere and inescapable here in the land of the webfoot—the old name for an Oregonian. Whether we win or lose, Duck pride is integral to Oregon identity—part of our community folklore. Tell us about your favorite Oregon Football Fandom moments with a comment on our Facebook page!

Photo from the University of Oregon Libraries shows the Quack Ops logo seen in town. No longer operating, Quack Ops was a student-run business for "underground apparel for ducks, by ducks," where fans took their representation into their own hands.

Photo from the University of Oregon Libraries shows the Quack Ops logo seen in town. No longer operating, Quack Ops was a student-run business for “underground apparel for ducks, by ducks,” where fans took their representation into their own hands.

Tribute to Mark Lewis, Storyteller

by Adrienne Decker

Tall tales, jokes, and mythical stories are some of our oldest and most beloved forms of folklore. OFN recognizes the legacy of one of Oregon’s greatest storytellers, Mark Lewis, who passed away unexpectedly on December 7th. Lewis inspired confidence and a deep appreciation for the power of the imagination, promising to always be the supportive “angel in the audience” for the hundreds of students and budding performers he mentored throughout his career. An actor and professional storyteller, Lewis won two Emmy awards for a televised performance of his signature piece “Word Pictures.” He also taught highly popular classes at the UO School of Journalism and had long worked with a variety of educational and recreational programs for youth throughout the state.

On January 10th, hundreds of students, teachers, fellow performers, family and friends attended a memorial service in Lewis’s honor at South Eugene High School, all of them eager to share stories of their encounters with Lewis. Guided by Lewis’s quintessential bit of performance advice to always “Keep Breathing,” the speakers lead the audience through this emotional celebration with humor and grace. Sharing words of gratitude in honor of a man who knew how to live and love well, their stories were punctuated by a few musical moments in which the audience joyously participated. The service was a fitting tribute to the wonder Lewis created through his own storytelling.

Lewis’s passing has inspired an outpouring of anecdotes and photos from the many lives he touched with his personal magic. You can learn more about these cherished memories and share your own at

Register-Guard Obituary

Community Day at OHS with FisherPoets!

Come on out for a FREE Community Day featuring fisherpoets Moe Bowstern, Jon Broderick, Jay Speakman, and Cary Jones on Saturday, December 13 at the Oregon Historical Society. OFN is proud to co-sponsor this event with our partners.

Community Day takes place on Saturday, December 13 at the Oregon Historical Society (1200 SW Park Avenue, Portland) with activities from 11 a.m.–3 p.m. Admission is free all day (10 a.m.–5 p.m.). Help OFN and OHS celebrate this important legacy with a day full of activities sponsored by Portland General Electric.

Community Day schedule:

• 11 a.m. – Special writing workshop with FisherPoet Jon Broderick (open to all ages; space is limited).
• 1-3 p.m. – Performances by some of Oregon’s finest FisherPoets including Cary Jones, Moe Bowstern, Jon Broderick, and Jay Speakman.
• 11 a.m.-3 p.m. – Hands-on activities for the whole family including knot tying lessons.

To learn more, visit OregonLive’s event spotlight for photos and videos of the fisherpoets in action.

The annual FisherPoets Gathering (Astoria, Oregon) celebrates the occupational traditions and stories of commercial fishermen throughout the Northwest with performances of poetry, prose, and song. Providing opportunity for reunions, activism, and community discussion, the Gathering is a key cultural experience for men and women involved in the Northwest commercial fishing industry and provides an opportunity to learn more about the danger and beauty of working on the Pacific.

OFN at Confluence “Day of Sharing”

By Adrienne Decker, OFN Assistant Folklorist
On November 1, the Oregon Folklife Network joined Confluence for a “Day of Sharing” at Fort Vancouver. Confluence is a multi-year endeavor to complete public art installations     at significant points along the Columbia River, a collaboration between Pacific Northwest tribes, renowned artist Maya Lin, civic groups from Washington and Oregon, and other Northwest artists. The Day of Sharing offered a unique opportunity for native teaching artists to share their traditional art forms and stories with public school teachers to encourage classroom participation in Confluence’s “Gifts from our Ancestors” program. The Oregon Folklife Network’s participation was provided in part by the National Endowment for the Arts, which awarded OFN funding to document the cultural traditions in the Columbia River Gorge region and to partner with the Confluence Project to foster collaborations between traditional artists and educators.

Lindsey Howtopat (Yakama) shares basket making techniques with teachers.

(Lindsey Howtopat (Yakama) shares basket making techniques with teachers.)

“Gifts” is a collaborative program between K12 schools and indigenous artists from both sides of the Columbia River. The program engages students and teachers in experiential learning through native arts, promoting interdisciplinary curricula with an emphasis on cultural and ecological stewardship. This year’s Day of Sharing featured cultural artists and tradition keepers Lillian Pitt (Warm Springs), Ed Edmo (Shoshone-Bannock), Toma Villa (Yakama), Lindsey Howtopat (Yakama), Patricia Whitefoot (Yakama), Lavina Wilkins (Yakama), and Joann Smith (Warm Springs).

Oregon Folklife Network joined new site partners at the meeting, including the Sandy River Basin Watershed Council, National Park Service, and Washington State Parks, for one-on-one interaction between artists and organizers. The meet-up sparked new ideas for further collaborations and engagement at the Confluence commemorative sites along the Columbia that highlight indigenous history and social justice. Colin Fogarty, Executive Director, offered valuable insight on several new Confluence initiatives that will continue to foster connection to place through arts education, including a call for “focus artist ” proposals that center on social science, social justice, or art projects.

Programming ideas for the Celilo Falls site became a major topic of discussion. Celilo Park, set to open in Fall 2016, will recognize the pivotal role that Celilo played as the primary Northwest destination for indigenous salmon fishing, trade, and gatherings for thousands of years. The Day of Sharing offered Oregon and Washington teachers the chance to listen to artists and discuss ways to integrate indigenous knowledge of environmental science, land and water management, and sustainable resource stewardship while teaching culturally inclusive histories in the classroom.

Celilo Falls was the oldest continuously inhabited settlement in North America until 1957, when the ancient falls were flooded by the US government’s construction of The Dalles Dam. Several teachers want to know how to broach this highly sensitive subject with their students, both native and non-native, whose families hold living memories of the personal and political struggle that transformed this once-thriving, thousands of years old sacred gathering site into a hydroelectric powerhouse; the clashing cultural values still resonate in nearby communities today. In response, renowned native artist Lillian Pitt and Warm Springs elder Joann Smith led a discussion of the important – and often misunderstood – sociopolitical issue of tribal sovereignty. They spoke about sovereignty in relationship to history, as well as contemporary traditional arts and cultural practices, asserting that younger generations benefit from the a pedagogical approach that integrates ancient wisdom with Common Core educational standards. The result is a “groundedness” in education that cultivates a strong sense of place, history, and culture. Confluence is invested in catalyzing discussions like these as necessary to promoting connection across cultural groups, between tribes, and among organizations and individuals dedicated to the well-being of all Columbia River communities. This year’s Day of Sharing ended with artist demonstrations and marks a promising start for future collaborations.

Ed Edmo (Shoshone-Bannock) sharing stories with Confluence teachers.

Ed Edmo (Shoshone-Bannock) sharing stories with Confluence teachers. Photo courtesy of Adrienne Decker.

EMU Tribal Flag Raising

By Nikki Silvestrini

In late September, a flag raising ceremony at the EMU amphitheater saw the flags of Oregon’s Nine Confederated Tribes go up. I sat down with Gordon Bettles, the Many Nations Longhouse Steward, to follow-up on the project. The flag raising was a student driven project that started two and half years ago when Famery Yang, Orion Falvey, Hannah Mixon-Gilliam, Michael Johnson, Tucker Lokendah and Tetsuya Mishagwho – students at the Lundquist College of Business – came together to increase tribal visibility on the UO campus. This student group collaborated with the Many Nations Longhouse, the Native American Student Union, and the Native American Law School Student Association to make the project a reality. Student leaders Falvey and Mixon-Gilliam stayed with the project from beginning to end. Despite some struggles with time constraints and bureaucratic regulations the students involved have left something lasting. Bettles says, “The Native American students that have gone and seen them or participated are very empowered to see a Native American presence on campus.”

What was Bettles’ favorite part? “Seeing my flag go up…. on equal footing with the other tribes…. No other people in the state of Oregon have the status that we do as Oregon’s first inhabitants and that sets us apart and makes us unique but it also shows that no matter is thrown at us we have the will to survive as a people.”

It is Gordon’s hope that UO will inspire other universities across the nation to represent their local tribes. “Being first in the Pac-12 means a lot. We should worry about our own neighborhoods first…. Let’s influence them and see what their response is going to be,” says Bettles. It might not look the same in each state. Bettles acknowledges that not every campus has a central location like the EMU to display tribal flags like, but the recognition of tribal nations is a step in the right direction.

The flags that now fly over the EMU will be part of an ongoing project. Some of the current flags that fly above the EMU are indoor flags and are waiting to be replaced with sturdier outdoor flags. “That’s called learning by doing and that’s further strengthens our relationships with the tribes because we had to get permission from them to order their own flags. The project is by no means finished and nor will it ever be.” Bettles hopes that with the funding they raised for the project there will be enough left over to place a kiosk in the UO Fishbowl detailing the project and each tribe’s history.

Ultimately, the collaborative effort of the students involved in the flag-raising project has created a legacy. Bettles said “I can see the residual effects it’s going to have on the students over a long period of time and hopefully every one of them will get a chance to slow down, take a look up, see the flags, and look at the base and start becoming interested in Oregon’s first inhabitants.”

Documenting Tradition in Klamath and Lake Counties

Documenting Tradition in Klamath and Lake Counties
By LuAnne Kozma, contract folklorist, Southern Oregon Folklife Survey, funded in part by a grant from the National Endowment for the Arts

I returned to southern Oregon for the Oregon Folklife Network’s Southern Oregon Folklife Survey and traveled the high desert, along Lake Klamath, and in the downtowns and storefronts of Klamath, Lakeview and other smaller places on the map, always meeting interesting and talented people.

Meats and outdoor cookery seem to go together here, with the Lakeview Locker providing sausages, smoked meats and fresh cuts. Meals cooked over an open fire by dutch oven cooks Patty and Keith Barnhart are the special attraction of  their Willow Springs Guest Ranch outside of Lakeview. Longtime horsepeople, the Barnharts began dutch oven cooking over 25 years ago, sharing their culinary talent with friends on trail rides, which eventually led to their home-based business.

Traditional arts are the basis of several other occupations in Lake County, such as saddlemaking, rawhide braiding, leatherwork, and silversmithing. Well known in western art circles, Ricarda McCleary Clause, of Lakeview, has been silversmithing for decades, making bits and spurs, western silver jewelry and belt buckles. Her work has been noted by the Western Folklife Center and public television, and she is appreciated locally as well. Two Lake County saddlemakers were a part of the survey–Len “Peanut” Babb III, from a three-generation saddlemaking family and newer resident Mario Hanel, originally from Sublimity, who has been building western “California” style saddles for over 10 years. Husband and wife team Bill and Teresa Black, from Plush, work together in their backyard workshop full time making western gear, Bill making hackamores and horsehair stitched items and Teresa on leather goods, while learning the horsehair hitching from Bill. Another horsehair hitching artist is Becky Tocol, also president of the Christmas Valley Chamber of Commerce. Becky worked on ranches and studied the art with other horse hair hitchers, and has made thousands of beautiful horsehair stitched items such as quirts and stampede string lanyards.

Old-Time Fiddle music is alive and well in both Klamath and Lake counties, with Phil Fry making fiddles and keeping the local jams going there with wife Sheila, and the McLain family of Lakeview. Old Time fiddle monthly jams take place in Lakeview and Klamath and an upcoming regional jamboree in Merrill. Newcomers bring their instruments and are invited to join in the sharing of songs and  tunes, as every musician joins in. RosaLee McLain’s vocals, accompanied by her sons rhythm guitarist Larry McLain and fiddler Terry McLain and joined by others in the group, are an evening not to be missed.

In all, over 60 individuals were documented in 39 recordings and about 2,000 photographs. For more information about the project, contact Riki Saltzman and the OFN staff.

All photos by LuAnne Kozma.