Kef Times

Location: Gainesville, Fla.

Occupation: Professional musician and music teacher and software developer.

Connection to Balkan music/dance: I am working on putting together a Balkan brass band. Our first songs will be a few of the songs I learned in Eva Salina’s Romani singing class. I also play the davul in non-Balkan settings but I do get a lot of questions about it and let people know of its origins and connections to music in Turkey and the Balkans. I am also learning Turkish makam, integrating concepts from Christos Govetas’ improvisation class and Adam Good’s makam theory class. I have been performing Rast taksim at my weekly cello solo gig. I perform regularly for a yoga class at Flow Space in Gainesville, Florida.

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

Studied at camp: I wanted to focus on using the upright bass in as many ensembles as I could but I could not find a good setting for it. Ultimately I ended up playing Macedonian tambura more. I prioritized taking Eva Salina’s class because I enjoy her teaching.

Memorable moment at camp: This was my first year traveling without friends from my hometown and I was afraid that I would feel lonely. However, I had made so many connections at camp the previous years that I actually felt quite connected, welcomed and included.

Location: Tarpon Springs, Fla.

Occupation:  Student of microbiology at the University of South Florida

Connection to Balkan music/dance: I am part of Levendia Greek Folk Dance Group of Saint Nicholas Cathedral in Tarpon Springs, where I co-direct the high school/college group. I also now have six students for Greek folk violin as part of the Greek Folk Music Ministry I started last year.

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

Studied at camp: My main focus was on learning a greater repertoire with the violin, as well as increasing my ability to play it. I also branched out with the gajda this year.

Memorable moment at camp: It is highly difficult to choose just one experience, but something that felt different this year was my kafana experience. If one stays up late enough, they are able to experience all the great performances that take place in the kafana, as well as enjoy the fun and relaxed environment. The environment this year especially felt like I was back in a taverna in Greece.

Location: Goleta, Calif.

Occupation: I am a first-year graduate student in ethnomusicology at UC Santa Barbara.

Connection to Balkan music/dance: I’ve been playing in a Balkan music meet-up group this year led by Chubritza members Linnea Mandell and Craig Kurumada. Once a month, musicians and dancers unite for a night of Balkan music and dance in Arcata!

Number of times at Balkan camp: This was my first time at camp. But most certainly not my last. Studied at camp: Gudulka and Bulgarian music in general.

Memorable moment at camp: I was impressed by people’s willingness to step outside their comfort zones and into their alter egos. Everyone was encouraged to try everything. Musicians could dance. Dancers could pick up an instrument. Gudulka players could even try their hand at Albanian music! It took me an embarrassingly long time to realize that the same Ruth Hunter of Dromeno doubled as the diva lead singer of The Fetatones. But when I put two and two together, it made complete sense: Balkan camp is a place for experimentation, more importantly, FUN! As a first-time camper, I felt instantly at home because of this supportive and fun-loving environment.

Location: Eureka, Calif.

Occupation: I teach part time at Humboldt State University, in Sociology and Politics.

Connection to Balkan music/dance: I am involved with Balkan music in a couple of ways. For the past couple of years I have been attending the Balkan meet-up hosted by Craig Kurumada and Linnea Mandell in Arcata, Calif. Craig and Linnea generously host this meet-up to introduce and teach Balkan folk songs to interested musicians and singers. When their teaching meet-up is not happening, I host a weekly Balkan meet-up in a yurt in my backyard. I also occasionally play with a local group called The EthniKs. This group plays mostly Balkan folk songs and once every couple of months we play for the local folk dance group. There is a pretty consistent group of local musicians who are interested in Balkan music and so I hope to continue to play with and learn from them.

Number of times at Balkan camp: This was my second time at Balkan camp and I definitely plan to keep coming if at all possible. This past year was marked by some financial disasters for me, so it was very helpful to have a scholarship to Balkan camp. I hope to be in a position to pay my way next year.

Studied at camp: My main focus at camp this year was Macedonian tambura and the Greek strings and rebetika groups. I also play Bulgarian tambura and I intend to take classes in that at future camps. I am also interested in drumming and singing classes, and possibly other instruments, if I have the time.

Memorable moment at camp: The opportunity to play in ensembles for dancers is really a highlight of Balkan camp, especially because there are so many enthusiastic and talented dancers and musicians. But I have to say that for me the most amazing part of camp is the sing-alongs. Particularly the one led by Michele [Simon] and also the one led by Christos [Govetas]. Perhaps is the simplicity of people singing together, or the intensity of the camp experience, although more likely it is the combination of these along with the pure beauty of the songs that make the group sings so moving. Michele is an excellent song leader. She divides the group into parts for harmonies or diatonic parts and with so many voices the room resonates with sound like a rung bell. Bringing those songs to life through our singing is the heart of Balkan camp for me.

Location: Portland, Ore.

Occupation: Full-time musician

Connection to Balkan music/dance:  A lot of the Balkan music I have learned over the years I have been able to integrate into current working repertoire with my band Three for Silver. We mostly focus on original composition, but my style of writing and playing is heavily influenced by traditional world folk music. We have recorded a few of these traditional pieces on past albums and plan to do the same on our next album (release date set for Jan 2019).

Before Three for Silver I worked with the band The Underscore Orkestra for eight years. The focus with this ensemble was primarily traditional folk music of Eastern Europe and the Balkans as well as klezmer and swing manouche. There are links to their music on SoundCloud via www.theunderscoreorkestra.com.

Balkan music has played a major role in collaborations I have done with many musicians around the world, in professional settings and casual.

Most recently I have been able to integrate my love for learning and performing Balkan music with the U.S. Embassy Arts Envoy Program, a U.S. State Department cultural promotion program through the Media Relations Department, and the Portland–Khabarovsk Sister City Association. With these programs I have been able to perform in official settings for city officials, in classroom settings for music students in grades ranging from elementary to high school seniors, in college auditoriums, as well as in more typical music venues, and in doing so demonstrate how the integration of folk music with original contemporary composition helps to preserve the relevancy of musical heritage in today’s professional music scene.

Number of times at Balkan camp: My first year at camp was in 2007. I was not able to return until this past year.

Studied at camp: My main focus was accordion and vocal technique.

Memorable moment at camp: For me there were many moments at camp that left a strong impression. I’m not sure how best to single any one of them out. I will say that at the time I was going through a really difficult moment in life, experiencing a lot of doubt about my career path as a musician and was feeling a lot of heartache. The interactions I had, the conversations, the insight and encouragement I received, all of this was immensely validating. And inspiring.

One of the most memorable and joyful moments was being present from start to finish for Raif [Hyseni] and Svetlana [Spajić]’s spontaneous performance at the smokers’ table on the night of Raif’s birthday. That was pure joy. It’s amazing to me the extent of these teachers’ repertoire, that they can pull songs out of each other’s heads and play for two hours straight with barely a break between songs. They all know so much, it’s just incredible.

Location: Vancouver, B.C.

Occupation: I am a professional musician, plus I work several part-time jobs to fill in the blank in my income stream.

Connection to Balkan music/dance: I perform with several groups that have varying levels of Balkan content:

http://www.balkanshmalkan.com/

https://www.facebook.com/somethingaboutreptiles/

https://teapotinthetuba.wordpress.com/

Number of times at Balkan camp: This was my first

year.

Studied at camp: Accordion and voice.

Memorable moment at camp:

Practicing with the Albanian orchestra ensemble in the woods

Sleeping in the beautiful old historic cabins

Deep conversations with new friends over beautiful food

The campfire late at night with impromptu music by the uber-talented teenager/young adult players

Becoming hypnotized by the power of the circle dancing at night

The kafana.

Location: Santa Fe, N.M.

Occupation: I teach music K-6 at Turquoise Trail Charter School, and perform in a few bands around Santa Fe.

Connection to Balkan music/dance:  I play with the band EVET with Polly Ferber, Melinda Russial, Paul Brown, Willa Roberts and Nick Kunz. Last summer, after Mendocino, Billy Giaquinto and I started playing in a small brass band in Santa Fe also, which we call Korvin Orkestar.

Number of times at Balkan camp: I first came in 1999. It was a year that Esma Redžepova brought her band.

Studied at camp: Instruments—Thracian and Rhodope gajda, Macedonian Roma trumpet with Nizo Alimov; and Albanian accordion with Raif Hyseni.

Memorable moment at camp: I was very touched to be able to be included in the Rhodope set with the Gajda Mafia. It was the first time I had been to camp since Vassil Bebelekov passed away, and we had a little circle for him. I was struck by the spirit of playfulness that continues in his memory. I worked hard to learn the melodies at Mendo, and now continue to work on learning the intricate ornaments of the kaba gajda. Thanks to Craig [Kurumada] I was able to purchase one and bring it home!

Location: Hayward, Calif.

Occupation: Teaching Credential Candidate at Cal State East Bay and Middle School Science Teacher

Connection to Balkan music/dance: I have been involved with Greek folk dance from a young age—performing at local festivals as well as the national Greek folk dance and choral competition known as FDF. As a college student, my involvement with Greek dance continued when I prepared a youth group for FDF. Furthermore, I have played the Cretan laouto and mandolin for over 10 years now, performing at FDF and various other occasions throughout the year. In the near future, I plan on learning to play the askomantoura (bagpipe).

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

Studied at camp: Since I arrived at camp later in the week, I was not able to regularly attend a specific workshop.

Memorable moment at camp: The entire experience was overwhelmingly inspiring. The vast amount and diversity in musical abilities and types surely broaden my scope. Being surrounded by so many wonderful people and soaking in the music played by so many talented musicians was so inspiring.

Location: Vancouver, B.C.

Occupation: I am a full-time music student! It’s the best thing ever!

Connection to Balkan music/dance: I sing and play violin with Zlatna Mountain. Our repertoire is mostly Macedonian. I also play occasionally with Grupa Dunbarov, the Vancouver Balkan folk dance band that Kate and Erika Gerson started over 20 years ago.

Number of times at Balkan camp: 2018 was my 6th year.

Studied at camp: I always take a mix of violin, singing and ensemble classes. Whenever Jessaiah [Zuré] is teaching I try to squeeze in a couple of her classes too.

Memorable moment at camp: I passed a lot of milestones this year: leading my own kafana set, singing with the brass band in the dance hall a couple times; and I helped out with the auction, which was way more rewarding than one might expect.

I also collaborated with a couple very special people I met for the first time this year. Finding new music buddies at camp is like discovering treasure. Those moments of open-hearted sharing are so very precious, and for me I think that’s what making music is all about.

Location: Arcata, Calif.

Occupation: Musician/Carpenter/Handyman

Connection to Balkan music/dance: I play in the accordion duo Balkan Bellows with Linnea Mandell, and the Macedonian village ensemble Muglagrad with Linnea, Craig Kurumada and Randy Carrico. We usually gig once or twice a month, both to sit-down audiences and to dancers.

I recently did some gigs on tupan and doumbek with the Bay-Area group Arcana, with the likes of Greg Jenkins and Joey Friedman.

I have begun teaching a beginning doumbek class in Arcata that is growing!

I have been the stage manager for Kolo Festival in San Francisco. I have played with the international dance band Chubritza at Veselo Festival in Eugene, OR; and at the Tamburitza Extravaganza in LA.

In the last couple years I have spent every free moment of my life practicing accordion, tupan and doumbek, and learning Balkan languages.

Number of times at Balkan camp: I have been to camp three years.

Studied at camp: My focus this year was all things accordion.

Memorable moment at camp: By far the best thing that happened to me at camp was when Milen Slavov took me aside one day and had me play a little for him. He told me my biggest weaknesses, and charged me with working them out by next year. I can think of no greater gift (aside from a new accordion).