LOCA ROSA (Wild Rose)

Approval Type

Community Based

Artistic Discipline

Folk Arts Performing

Program Type

Performances, Workshops, Residencies, Lecture/Demonstation

Populations/Areas of Interest

Pre-Kindergarten, Grades K-6, Grades 7-12, In School, After-School / Out-of-School, Young Adults, Adults, Older Adults, Intergenerational, Persons with disabilities, At-Risk, Underserved

Artistic Approach

My artistic specialty is the Ashkenazi (Eastern European Yiddish speaking) folk songs and stories of my Jewish ancestors from Russia. I am first generation Canadian raised in a Conservative Jewish family in Southern Alberta and grew up hearing the Yiddish, Hebrew and Russian speech of my parents, grandparents, great-grandparents, other immigrant relatives, and members of my Jewish community. My paternal grandfather carried on his grandfather's Sephardi heritage from Turkey and Spain so I also include Ladino folk songs and stories from those countries, as well as, of course, the Hebrew folk songs of Israel. As a former Canadian, I also have the influences of Irish, English, Scottish and French cultures and have included folk material from those countries in my performance repertoire. And, as a new American citizen after a 30-year residence in Arizona, I feel I am carrying on the traditions of the integrated immigrant heritage as well as keeping my family heritage alive.

I have always been a singer. As a child I heard and participated in the ritual cantillations at synagogue services; I performed at all family celebrations and community festivals where I also learned our folk culture; I continued as a folk singer in my teens; and, I have performed professionally since my early twenties. My mother was the story teller in the family which is where I learned that craft. I have a trained background in piano and music theory and use that skill to write original songs in English and Yiddish. I perform many of the songs I was taught by my immigrant relatives and I am constantly researching and learning new material to include in my repertoire. I have added other ethnic instruments to my keyboard and guitar playing to give authenticity to my folk repertoire. I have arranged specific themed programs that include folk songs and stories geared toward that topic. I practice my instruments, I vocalize, I take language classes for pronunciation and translation, and I am constantly learning and perfecting my artform. My goal is public performances and educational programs offering audiences the opportunity to develop a deeper understanding and tolerance of the vitality and diversity of Jewish heritage, especially Yiddish folk songs.

Teaching Artist Approach

Public performance is the cornerstone of my Community Based programs. The workshops, presentations, one-day events, and lecture/demonstrations I have conducted have also been performance oriented with Presenters occasionally requesting a performance program with some educational content.

My performance (and teaching) philosophy is to bring audiences to an awareness of cultures with which they are not familiar. I feel the more diverse experiences people have, the more tolerant they become. While my performances may include a variety of cross-cultural folk songs and stories, I can concentrate on the specific traditional performing folk arts of my Russian-Jewish heritage if the Presenter requests that. These traditions speak to me of a time that will be lost forever if we forget them. One of my goals is to give students the opportunity to develop a deeper understanding of the vitality, the diversity, and the contributions that Jewish culture has made to our modern lives.I like to bring these ideas to my audiences; to show them an appreciation for different cultures and their respective languages; and to promote cultural diversity for self-enlightenment. This way, they can connect other cultures with something from their own family, experiences, culture, or heritage and carry on the folk tradition. By getting to know each other through the universal language of music, we may find the common ground of friendship.

Program Management Strategies

I am very organized and flexible. This helps in planning and following through on performances as well as educational programs. I cooperate without sacrificing creativity and I enjoy communicating my art. I have over 30 years of performance experience and can provide a variety of themed programs for entertainment and education. I am constantly practicing my art form, doing research, learning new material, sending out publicity and net-working. Presenters usually contact me by phone or email. I very seldom get a chance to meet them in person before a program but can do that if requested. When I am contacted by a presenter I always inquire where they heard of me and ask for their contact information. I have specific questions I always ask before I accept a performance, workshop, presentation, event or lecture/demonstration. These questions include: theme of event; date, time and location; length of performance; indoors or outdoors; other performers in event or vendors; audience size and age group; free event or tickets sold; acoustic or electric and equipment supplied; set-up time; dressing room; parking and unloading.

I have a current State of Arizona Department of Public Safety Fingerprint Clearance Card.

I always use a Performance Contract that must be signed by the presenter and myself. It includes: date; time; place; address; theme; performer fee and when payable; technical needs; independent contractor, income tax and cancellation information. My performances, workshops, presentations, events or lecture/demonstrations can be learning-oriented if the Presenter requests that. For performances, audience management is up to the Presenter. If the audience is a younger crowd, I request that the Presenter give a short pre-performance talk on correct audience behavior. I have a Program Evaluation Form that the Presenter and audience members may fill out.

Program Description

My programs contain entertaining and educational performances that introduce audiences to the Ashkenazi (Eastern European Yiddish speaking) folk songs, stories, history, geography, culture, crafts and customs of my Russian-Jewish family heritage. I can present performances of any length for any size and any age of audience. I have arranged many themed, variable-length performance programs that may contain in-depth and cross-cultural educational content if requested by the Presenter.They include and are not limited to:
* Russian-Jewish Folk Songs & Fables
* Jewish Festival Songs & Stories
* Fall Harvest Festivals: Old World Traditions in Folk Songs & Fables
* Old World Year-End Winter Festivals
* Snegurochka: The Russian Snow Maiden
* Red Hill Holiday: European Spring Festivals from England to Russia
* Russian Folk Tales: Baba Yaga; The Fool & the Flying Ship; & more
* Rhythms from the Global Village: Cross Cultural Folk Songs & Fables
* Jewish Shtetl (Village) Stories: Yingl Tsingl Khvat; Why Dogs Chase Cats; & more
* Children's Game Songs & Stories of Old World Cultures
* American Songs from the Old World
* Jewish Songs of American Folk Singing Icon Woody Guthrie & His Jewish Mother-In-Law, Aliza Greenblatt
* Loca Rosa Goes Hollywood: Old World Songs from the Movies
* Songs of a Russian Gypsy
* My Old Canadian Home: Folk Songs from the Great Lake Waters to Vancouver Island
* 'Tis the Renaissance Way: Folk Songs & Stories from the Old, Old World

I expose audiences to the diverse cultures of Eastern Europe which encourages a tolerance and an appreciation of ethnic folk songs, languages, culture, and customs. I do this by relating my ethnic folk songs and stories to material with which they are familiar. For example, for younger audiences, I connect the fun-to-sing, 17th century English cumulative children's poem (set to music in 1951 by Canadian folk singer Alan Mills) 'I Know an Old Lady Who Swallowed a Fly' to a fun-to-sing Yiddish cumulative children's song called 'Hob Ikh A Por Oksn' (I Have A Pair Of Oxen), and teach them to sing the chorus in Yiddish with me. For teens, I explain 'The Folk Process in Action' or how folk music evolves, by singing 'I Know an Old Lady Who Swallowed a Fly' folk style, and then singing an updated, punk rock version of the same song by the San Francisco punk rock band FLIPPER. They especially enjoy singing along with the second version. I can also show my own personal 'Folk Process in Action' by singing English and Russian lyrics I have composed to a Russian folk dance instrumental melody called 'Troika,' and by performing other original songs I have written in Yiddish and English.

I engage my audiences by talking to them and looking at them. If audience interaction is specifically requested by Presenters, I involve audiences by encouraging them to sing along, and to use body movement and finger play during special songs. I use the time-honored and traditional Old World method of sing-song repetition and keep it simple. I always either explain my foreign language folk songs or have an English singing translation. I also can bring audience members on-stage and teach them to play ethnic rhythm instruments to accompany me on a song.

People who attend my performances are curious about other people and countries so I try to connect to that. By relating my repertoire to material with which the audience is familiar, I hope to develop in them an understanding of and connection with other cultures. My cross-cultural performances show inter-relationships of folk music, cultures and countries, and how people around the world influence each other and borrow folk songs, stories, culture, crafts, customs, rituals and festivals from each other. My performances nurture cultural diversity for self-enlightenment. I hope this will expand the audiences' world view and instill a tolerance of those who are different.

Technical Requirements

If my performance is acoustic, I only need what I bring with me. If it is a staged performance with electronic amplification I discuss my needs with the presenter. For a solo performance I would require three hour set-up time; a private dressing room; adequate stage lighting; access to electrical outlets and hook-up to school PA system; my personal or school PA system including two microphones on stands; music stand.

Space Requirements

For my solo performances I would require stage or floor space at least 10 ft X 15 ft. If I have to leave equipment, musical instruments and other items at the venue, I would require them to be kept in a secure area.

Supply Requirements

The Presenter should supply a map or directions to the venue, contact person at the location, unloading dock, and parking. Performance stage or floor area needs to be clear of furniture. A dressing room or bathroom should be available. The performance area must be shaded if it is outside.

Special Considerations

I can present a performance of any length for any size and any age of audience. Accommodations for special needs groups must be discussed and agreed upon during contract negotiations. I charge more for my performances if I have to bring my own amplification PA system. Audience management is the Presenter's responsibility. If the audience is a younger crowd, I request that the Presenter give a short pre-performance talk on correct audience behavior. I have a Program Evaluation Form for the Presenter and audience members to fill out.

References

Margaret Terry, Music Teacher/AIR Arts Coordinator, Desert Shadows Elementary School, 602-493-6080

Ken Bus, Director, International Education Program, Glendale Community College, 623-845-3136

Miki Safadi, Event Coordinator, Or Adam Congregation, 480-945-2026

Fees

COMMUNITY BASED PERFORMANCE & PROJECT FEES:

Fully Staged Concert Performance- Costume Changes, Multi-Instruments, Folk Songs, Stories: $1,250 (90-120 min)

Community Special Event Performance- Costume, Instruments, Folk Songs, Stories: $400 (60 min or portion thereof)

Weekly Teaching Artist Fee: $2,000 (4 Class Workshops per day for five days: 45-60 min each)

One Day Teaching Artist Fee: $500 (4 Class Workshops: 45-60 min each)

Add $100 to fees if artist supplies amplification PA system with speakers, microphones, stands, etc.

Out-of-town travel expenses (mileage, lodging, meals, etc.) are NOT included in fees and must be negotiated separately.

Educator/Staff Training

My experience with staff/educator training is pre-Residency Teacher In-Service Meetings. For Community Based performances, I provide Presenters with my artist's publicity well ahead of the performance for press releases and media coverage. I also provide the Presenter with a typed introduction for my performances so they can be well-prepared to introduce me to my audience. For Community Based educator/staff professional development, I may use my Education Based material such as my Teacher Study Guide.

If staff wants a professional development workshhop, I can give them training in many specific categories of folks songs in the languages of my Jewish cross-cultures. For instance, if staff has a specific need for dancing songs, I could teach them a Yiddish dance song 'Shvartse Karshelekh' (Ripe Black Cherries); a Hebrew dance song 'Mayim, Mayim' (Water, Water); a Turkish dance song 'Rampi, Rampi' (Tra-La, Tra-La); a Ladino dance song 'Yo Kon La Mi Kusuegra' (Me With My Mother-In-Law); and a Russian dance song 'Kokobushka' (Peddler's Pack). I can do this in the many universal categories of folk songs such as; lullabies, game songs, counting songs, riddle songs, festival songs, poverty songs, protest songs, and more.

How Arizona State Academic Standards are Addressed

If I am performing in a school or other educational setting, I can connect my repertoire with student curriculum and/or the Arizona Arts Standards. I do this by discussing my program with the Presenter or Arts in Education Coordinator and integrate my performing folk art, heritage, history and culture into student learning. This better prepares students to live in our diverse, multicultural world. If the Presenter is only concerned with an entertainment program I address those objectives as well. I have developed specific seasonal and topical programs that can connect with the venue's multicultural festivals and special events.

I expose audiences to many diverse folk cultures especially those of Old World Europe. I hope this encourages a tolerance and appreciation of the ethnic folk songs, languages, and customs of different cultures, and promotes cultural diversity for self-enlightenment. Audiences who attend my performances are there to learn about other people and countries. By relating my repertoire to material with which audiences are familiar, I aspire to develop in them a broader world view and an understanding of different cultures. I try to connect my performing folk art with something from their own family, experiences, culture, or heritage so that they can carry on the folk tradition.