Kef Times

Location: New York, N.Y.

Occupation: Student, 10th grade.

Connection to Balkan music/dance: I am a member of 101 Kaba Gaidi New York, which is a project of Young Bulgarian Voices New York. I play kaba gajda. Our purpose is to preserve Bulgarian culture and spread it to a diverse audience.

Number of times at Balkan camp: This was my first time.

Studied at camp: There was not a kaba gajda class at camp this year, but there were a bunch of players, so I played with them. I also took lessons in Greek clarinet and played clarinet as part of Čoček Nation.

Memorable moment at camp: Since we had recently lost Vassil Bebelekov, all week there was organizing for a memorial. The way we all came together at the end with bagpipe playing, everybody dancing, created a general sense of unity in the face of loss. We played for over 30 minutes. Even on such a sad occasion it turned into something enjoyable and meaningful.

Location: New York, N.Y.

Occupation: I am an architect, working for a firm based in New York City.

Connection to Balkan music/dance: I am Bulgarian, from the Rhodope Mountains. Growing up, I was very visual and interested in other forms of art but not necessarily folklore. I discovered my interest in Bulgarian folk dancing years after I left Bulgaria, while in grad school in Cambridge, Mass. A friend at MIT had invited me to an event where Nikolay and Donka (Kolevi) and both of their daughters were performing. Martha Forsyth showed up with the Zdravets dancing group and I actually encountered the EEFC community for the first time. I was impressed with both musicians and dancers and quite surprised and intrigued by the discovery of this American community so interested in my culture. Initial curiosity gradually grew into more serious interest and eventually I started dancing with Cathie Springer’s group, Bosilek. I have been with them for 4 years already.

I am also involved with the Bulgarian cultural organization Young Bulgarian Voices New York since its creation. Initially the organization started as a language school and children’s choir. Looking for an opportunity to raise our son Kamen, who was born in the U.S.A. bilingual but also is aware of our Bulgarian cultural background, we enrolled him in the school that meets every Sunday. [Ed. note: Kamen is now 15 and also attended camp on scholarship this year; see his story here]. YBVNY is a nonprofit run by volunteers, and naturally both my husband and I got involved in the running of the organization. Over the years the needs of the growing Bulgarian community evolved and with them our organization. Today it offers a rich and engaging environment for both children and adults to learn not only the language and Bulgarian singing but also traditional dance and instruments such as kaba gajda and tupan. One of our special projects is 101 Kaba Gaidi NY, which brings together bagpipe players from all kinds of backgrounds.

Number of times at Balkan camp: This was my first year at camp.

Studied at camp: I took singing classes with Tzvetanka Varimezova (intermediate Bulgarian singing) and beginning level class with Elitsa Stoyneva as well as kaval class with Valeri Georgiev, and as many dance classes as I could fit in my schedule.

Memorable moment at camp: I very much enjoyed the time after dinner between 7:00 and 8:00 when everybody goes to their porch to rehearse and improvise.

Location: Toronto, Ontario

Occupation: I’m a professional violinist. I play with a lot of orchestras and small ensembles and with the Niagara Symphony Orchestra. I also play Baroque violin, bass viola da gamba, and violin in an early jazz band.

Connection to Balkan music/dance: I dance with a Macedonian performing group called Zdravec and also go to international folkdance evenings whenever I can. I am also trying to learn the kaval.

Number of times at Balkan camp: This was my first time at camp.

Studied at camp: I didn’t really have a main focus at camp—I did Bulgarian singing, played kaval in the Macedonian village band, and took dancing and beginning gudulka. I wanted to do even more. The frustration of not being able to do everything never left me the whole time there!

Memorable moment at camp: I LOVED every minute of camp, so it’s hard to pin down one thing. I was impressed to see how many people were there at the evening dance and, before I adjusted to camp’s unique no-sleep time zone, amazed at the crowds at the kafana. I loved the intensity and familiarity of everyone’s connection to Balkan music and dance. But most of all, my mind keeps going back to the wonderful image of people practicing on cabin front porches in full hearing of other groups practicing different music on neighboring porches . . . while others sat on the steps enjoying it or taking a nap. Total chaos but passionate chaos!

Location: Monticello, N.Y.

Occupation: I am an orchestra and general music teacher at an elementary school.

Connection to Balkan music/dance: My band, Madárka (Hungarian for “little bird”), plays klezmer, Hungarian and Balkan music. We play at restaurants, farmer’s markets, libraries and other venues in the Hudson Valley. I recently attended Golden Fest in Brooklyn, N.Y., where I had the chance to practice some dancing and meet up with friends from Balkan camp. It was a lot of fun.

Number of times at Balkan camp: This was my first time.

Studied at camp: My main focus of study at camp was to learn Balkan music on my violin. Beth [Bahia Cohen] offered Greek Island music in both her ensemble and violin class, so I mostly learned that style. I also played violin in Raif [Hyseni]’s Albanian ensemble and attended the beginning gudulka class with Ivanka [Paunova].

Memorable moment at camp: One experience that surprised/touched/impressed me was being part of a “blender band.” I really enjoyed getting to know the different people in my band that I might not have otherwise had the chance to meet. We ended up playing a mix of Russian klezmer, Balkan, and Korean pop at our performance. It was refreshing and fun to work with all kinds of musicians, ranging in background, experience and age, to create something unique that we could all relate to and then have the chance to perform for an audience.

Location: Elkins, W.V.

Occupation: I attend Davis and Elkins College. I am a senior set to graduate in Spring 2017 and will receive a B.A. in American Vernacular Dance (the only program of its kind in the world)!

Connection to Balkan music/dance: I tour with the college’s group The Appalachian Ensemble, which presents all varieties of traditional Appalachian music and dance around the East Coast. The only current opportunity I have to connect with Balkan music and dance, given my geographic location, is through brief trips to Pittsburgh or by reviewing recordings I have taken from my trip to Bosnia this past summer as well the East Coast Balkan camp 2016. Even though we have a heritage center in my town (the Augusta Heritage Center) it is a good three-hour drive to anywhere with a live Balkan atmosphere.

Number of times at Balkan camp: This last year was my first time at camp and what a gem! I cannot wait to go back.

Studied at camp: My main focus at camp was singing and I thoroughly enjoyed the Bulgarian and Greek singing courses I was blessed with. The magic of it all!

Memorable moment at camp: In particular my favorite moments were at the end of the day when I had the last session [Greek singing] class with Sandy Theodorou, when I would just let the songs ooze in and out of my heart. Maybe it was that time of day when exhaustion from the rigor of hours of listening, singing, dancing and being present lent to the warmth of the learning or maybe it was Sandy’s own technique that did it, but somehow those moments in the day sealed in the song. What a trip. The fervor of it all and the many hearts of people who care about these particular traditions were astounding. (Even the zurlas grew on me.)

Location: New York, N.Y.

Occupation: I’m a music producer, singer and arranger. I am also involved in creative arts therapy work as a certified sound and music practitioner and a performance wellness coach. Within my publishing company I coordinate music projects that are focused on traditional Croatian music, jazz or both.

Connection to Balkan music/dance: As a performing artist, and a born-and-raised Croat, most of the work I do revolves around my culture and its music.

Number of times at Balkan camp: This was my first time.

Studied at camp: I was primarily interested in exploring this community of musicians and seeing how my culture is being taught and represented in this part of the world. And I was, naturally, very curious about finding like-minded Croatian musicians.

Memorable moment at camp: As I prepared for this camp in my mind I was expecting to find a community of majority Balkan-born-and-raised people such as me, but soon after arriving, I was quite surprised and impressed to find that this culture is being cherished and treasured by people who have mainly spent time as visitors in the Balkans, at least in most cases. But among them I met so many young people, under 25, who were so sincere and passionate in their desire to know more about my culture and history, and this impressed me because it showed that they are not just fetishizing our Balkan culture, but are genuinely devoted and respectful of it as they study it and perform. The questions they asked me about my country were so smart and on point and revealing of their own generosity and love.

The most touching moment, or rather, MANY moments were those that I spent sharing thoughts and songs with the amazing Bosnian singer and accordion player Mensur Hatić and his wife Mediha, as we share the same bittersweet nostalgia and homesick feelings, which only music can heal.

Location: Ann Arbor, Mich.

Occupation: Musician, educator, businesswoman, secretary, band leader.

Connection to Balkan music/dance: I play trombone, sing, play Bulgarian kaval, and perform and record with the ensembles I have helped create in Ann Arbor, Mich.: Rhtya Musik and OrnâmatiK. The music we play invites the community to experience original compositions and uniquely arranged Eastern European folk music that fuses together cultural traditions with individual experiences and modern sensibilities. In addition, I rehearse regularly with a local study group, Priyateli, that I co-founded with Doug Allen and Abby Alwin, in which we continue our study of traditional Bulgarian music on traditional instruments. I am also a composer and continue to write music that is heavily influenced by immersion in Balkan music, dance and culture.

As someone who works with children, I also intersect with Balkan music and dance as a role model and teacher. I teach twelve students trombone privately and share music from Eastern Europe with them, many of whom are beginner players. I encourage performances in the schools and at local events, to share music and dance with our local community and teach open-mindedness and cultural awareness. I also nanny young children, ages toddler through pre-teen, and share Balkan music and dance with them through listening and playing, as well as simple things like oiling the Bulgarian kaval together.

Finally, I am drafting a proposal to arrange grant money for a local Ann Arbor program that supports musicians and builds healthy relationships through an accessible, free, family-friendly weekly program that promotes mindful exercise and a range of live music, including Balkan and Congolese local artist performances.

Number of times at Balkan camp: I’ve been coming to camp since 2011.

Studied at camp: My main focus was Bulgarian kaval, singing, Albanian ensemble, and brass band.

Memorable moment at camp: In years past, I have been able to travel with my band, OrnâmatiK, to Balkan camp and we have performed together at kafana, the late-night performing venue and eatery at Balkan camp. This year, though, OrnâmatiK’s drummer—Drew Schmieding—and I were the only two band members able to attend camp. Because I did not travel with an ensemble, I was not planning on performing at kafana. But then several people at camp asked me, “When are you performing at kafana?” and when I responded “I’m not, this year,” the answer I received back was “You have to!” So I was already touched by this enthusiasm and started looking at a way to make a performance happen.

I asked many performers and teachers, as well as peers, whom I deeply respect, if they would perform together with me at kafana, and they agreed! Thus, I organized the ensemble, “Bethanol & The High Octanes,” which consisted of Polly Tapia Ferber on doumbek, Raif Hyseni on accordion, Adam Good on guitar, Paul Brown on bass, Drew Schmieding on drum set, Tim Allen on saxophone, and Abby Alwin on cello. This was such a wonderful cast! I was so honored to work with such masterful artists together and deeply touched that everyone made rehearsal possible and stayed up to perform even at 3 a.m.—and my mom also drove four hours to attend the performance! It is a very heartwarming memory for me and I am so grateful to everyone who made it happen!

Location: Los Angeles, Calif.

Occupation: Mushroom cultivator and tincturist; cooperative founder, Permaculture Design

Connection to Balkan music/dance: UCLA Bulgarian choir. World Music singing class. MJT events committee. Kypseli Greek dancing.

Number of times at Balkan camp: 2006, 2012-15

Studied at camp: Remedial santouri 😉

Memorable moment at camp: This was my first year offering something for the auction (I know, for shame!) and it was a really great experience. I decided to offer a tasting of my tinctures and although it was kind of touch-and-go, it gave me a chance to talk with a cross section of camp that I probably wouldn’t have otherwise. Bringing something to offer that is the result of my personal health struggles gave me a window into the lives and passions of other Balkanophiles and ways that they are active agents of healing and change for themselves, their friends and families, as well as animals and the environment. Although perhaps 90% of us still got the post-camp virus (after all, you can’t bottle sleep), it felt good to know that I brought as much as I could to help everyone get an advantage over it, and in sharing my own story, gained access to others’ stories and strengths.

One other thing that may or may not be what you want to hear from a scholar but was, to me, lovely proof of true community: Many folks know that last fall I had a terrible case of poison oak that basically overtook my entire face and body for the most of a month. It was pure hell, and there was a good week when I could barely sleep. Needless to say I was also losing my mind. Since then, I have been vigilant any time when going into nature, so coming to camp felt somewhat more fraught, as I heard each exposure can be exponentially worse. Toward the middle of the week my paranoia started to overtake me, as friends definitely were exposed to poison oak and had rashes and I was myself battling an inexplicable rash despite obsessive showers at any hour of day or night and strategic organization of clothing and bedding. Finally I decided to take the advice of several wise campers and talk to our medic, Sommer [Halligan]. Although she did give me something for the rash and advice on managing it, the compassion and empathy that she and Dr. Norm [Rosen] showed me really helped me to completely reset and reconnect with the camp experience I so love and needed.

Knowing that they and others were there and looking out for my well-being, offering resources, not only physically but as a person, even though we may travel in different circles at camp, was remarkable to me. After that point, I could come to them with elation and relief to say, “I think I have a parasite!” and feel understanding and acceptance. It turned out my cabin mate was also experiencing some itching and the rash resolved easily post-camp. Phew!

Location: Tbilisi, Republic of Georgia

Occupation: I am a research analyst who specializes in the study of counterterrorism. I am currently working for a think tank in Tbilisi, but will be returning to the United States (Washington, D.C.) to continue working in a similar capacity.

Connection to Balkan music/dance: When I am back in my hometown, Boston, I enjoy attending the various Balkan dance events held by the Folk Arts Center of New England and other groups. Whenever I’m in a different town, I always try to find the Balkan recreational dance group. When I’m out of the country, I enjoy listening to Balkan and other types of folk music. In Tbilisi, I’ve loved going to Georgian folk music and singing concerts and hearing traditional music in its natural settings (usually at feasts, accompanied by copious amounts of Georgian wine).

Number of times at Balkan camp: This was my first time at camp, but hopefully not the last!

Studied at camp: I came to play çifteli in Raif [Hyseni] and Merita [Halili]’s Albanian ensemble and learn some tunes on the Macedonian tambura.

Memorable moment at camp: My parents are avid Balkan folk dancers in the Boston area and I was basically taken to events since I was in a stroller, but had never attended Balkan camp before. On behalf of a generous scholarship from the EEFC, I was finally able to attend last summer. People in Boston and D.C. who had attended for years told me that 1) I would never hear more awesome Balkan music in a one-week period than I would at Balkan camp; 2) the (in?)famous kafana parties are a marathon, not a sprint; and that 3) I would absolutely love it.

After attending camp for the first time, I can confirm that all of those reviews were 100% true. Every night, multiple all-star performers of Balkan music would play incredible sets for dancing in the main hall and the kafana. My favorites were the Pontic Greek sets, the zurla sets with Milo [Destanovski] and Jessica [Ruiz], and getting to hear younger musicians rock it out with Čoček Nation. Despite spending basically all night in the kafana every night, I was motivated to wake up to attend daytime classes taught by awesome musicians like Raif Hyseni, Milo and Jessica, and an amazing series of classes taught by one of the masters of Greek dance, Yvonne Hunt. In short, I loved every moment of Balkan camp and am itching to go back!

Location: Brooklyn, N.Y.

Occupation: I work in restaurants and do music every now and then.

Connection to Balkan music/dance: I was born in Skopje, Macedonia, so it is part of life. Everyone is around it and aware of it. I got more seriously into it, trying to learn the music and folklore, in college in my early 20s.

Number of times at Balkan camp: Three or four.

Studied at camp: I am interested in Macedonian music and playing traditional instruments: zurla, gajda, kaval. I actually got the scholarship for Mendocino and I was supposed to go there as a student, but then they asked me to teach. [Ed. note: Staff member Mark Levy had to cancel and Vedran was hired at the last minute to teach Macedonian village ensemble and Macedonian gajda.] I did take the Čalgija ensemble class. Then I attended the camp at Iroquois Springs on the scholarship.

Memorable moment at camp: In general, it’s a great time. This year at Iroquois Springs was a little better because the weather was phenomenal and I spent more time in the pool. California was also really amazing. Learning a bunch of new things, hanging with different musicians, playing a bunch of music, the food was phenomenal on both coasts. I come there with a purpose; there are really great master musicians that play great Macedonian music or Macedonian style of music, and that’s most of what I go there for. There are a lot of really amazing people. At the East Coast camp by now, I’m familiar with everyone; the West Coast camp was also very unique in its great people.