TALKIN’ ABOUT ECOSEX—IN ART, THEORY, PRACTICE AND ACTIVISM

A conversation with Elizabeth Stephens, Annie Sprinkle and Kara Rooney

[editor’s note: Annie Sprinkle is an artist and a feminist adult film star with a PhD in human sexuality. She and her life partner and collaborator for 13 years, filmmaker Beth Stephens, came to Bloomington as guests of the Kinsey Institute for the fall show, “For Love or Money,” Kinsey. Some of Annie’s photographic artwork was included in the exhibition. Both Annie and Beth were featured guests at the Sex Salon and their film, Goodbye Gauley Mountain–An Ecosexual Love Story, was screened at IU.
“Our film is about the tragedy of mountain top removal mining,” Beth says, “and it is also a love story about the Appalachia Mountains and the people who live in them.” It has screened at international film festivals and major museums; it’s still making the festival rounds and soon it will be released for pay per view by the distributor, Kino Lorber. Sprinkle and Stephens are “so totally thrilled to show the film at IU.”Stephens’ family has worked in mining since the 1600’s beginning in Cornwall, England. Born in Montgomery, West Virginia, she says she was raised to marry into the coal business. Instead she moved to California, became an artist and professor at University of California, Santa Cruz, and married Annie. The two women produced, directed, and star in the film together.
Goodbye Gauley Mountain was three years in the making. This documentary introduces some surprising moments, such as a wedding to the Appalachian Mountains and the gals singing the state song to the police. Earth First Journal’s Russ McSpadden writes, “Without compare, this is the sexiest nature documentary and one of the most profound films to deal with the beauty and tragedy of the Appalachian Mountains in the age of King Coal.”

“Our goal,” say the filmmakers, “is to spread the word about serious environmental issues, and also to make the environmental movement a little more sexy, fun and diverse.”]

 

KARA: Lets start with one of your art projects. You two did a series of nineteen weddings as performance art in nine countries. How do you bring a very private or intimate experience such as a wedding ceremony and its associated connotations into the public sphere, and what was it like to share those encounters for the first time with an audience?

BETH: We started doing the weddings as a form of protest, because it pissed us off that we weren’t allowed to get legally married. Not that we wanted to. It just wasn’t fair.

ANNIE: We had both done a ton of work about sex, so we wanted to try being ‘radically traditional’ and explore ‘love’ in a non-Hallmarky way. Our weddings were big love fests, which were quite humorous and irreverent, of course.

BETH: We married the Earth and other nature entities; rocks, soil, the sea, the sky, a lake in Finland…. Our first wedding was at the Harmony Burlesque theater, which was a lap dancing place on Broadway just below Canal street.

ANNIE: We had about 120 people there. We started out small. We sent out invitations and asked for no material gifts but invited people to help co-create the weddings. We had a procession, then about 20 3-minute performances; then the vows, the rings, the kiss, recession, and a ‘reception’ with more performances. When we got to the part where the officiant says, “does anyone object to this marriage,” our friend Barbara Carrellas objected. She hates weddings and marriage. So every wedding there after always had a couple of people perform objections to the marriage. When we did the kiss at the first wedding, we activated a tesla coil.

BETH: We wanted to do our first wedding of the series in Manhattan, even though we were living in California at the time, because that’s where we met, and where we both started our art careers. It’s where a lot of our close friends and former lovers were. Annie did her first one-woman show at the Harmony Burlesque, so the theater had sentimental value. Plus, it was in 2003 and not that long after 9/11.

ANNIE: Our friend, artist Sheila Pepe, described that first wedding as, “Broadway meets Fluxus in a whorehouse.”

KARA: The first wedding took place relatively soon after 9/11. Was that a coincidence, or were these performances meant to act as group healing sessions in some regard?

ANNIE: When the war in Afghanistan broke out, we thought, “hell, we can get along, let’s just make a commitment to work things out if there’s conflict. If we as individuals can’t work things out, how do we expect countries to get along?” We felt the personal was political, and that we were going to set an example somehow. But it was also a call for love; it was about wanting to generate more love in the world. We definitely wanted to bring some love to Manhattan after 9/11.

BETH: There were three different impulses that came together to create the wedding performances. The first one was that Annie and I got hitched up in a domestic partner ceremony so that Annie could get some health insurance.. I had a job as a professor, with benefits, so it was like sharing health insurance. Then the war in Afghanistan broke out. We realized that the wedding ritual was a great platform for transmitting a message, a feeling, a performance, whatever. At our domestic partner ceremony the press was there and we spoke out against the war and we were on the news all over the USA. If you present something as a special ritual, people seem to pay more attention.

KARA: Would it be accurate then to say that these performances acted for each of you as a therapeutic vehicle, or was this curative element a byproduct of their production?

ANNIE: We have done seventeen of the big weddings and only three were about people, the rest were about marrying nature. So for me, I always wanted to feel more connected with nature. I grew up in LA, lived in Manhattan 22 years, then San Francisco… The ecosexual weddings definitely connected me with nature. We have a video that is ten minutes long that shows highlights from some of our weddings. You can watch it on this web page: http://gauleymountain.com at the bottom of the page.

BETH: That’s where we first became really involved in environmentalism. We thought if there were a way to heal the earth that incorporated the kinds of issues we are looking at, and if people are part of the earth (people are nature) – then we would like to heal that binary system that separates people from nature.

ANNIE: If you think about it, people really are made of water, minerals, even stardust! So if people are made of the stuff of the Earth, therefore they are Earth. So when we married the Earth, that shifted everything for us. We followed our muses and ended up exactly where we are supposed to be today: developing ecosex art, theory, practice and activism. We’re trying to make the environmental movement more sexy, fun, and diverse, and make it a place for queers, sex workers and weird performance artists to feel comfortable. Hey, we don’t all fit into the Sierra Club. We hope our film, Goodbye Gauley Mountain—An Ecosexual Love Story entices other people to love the earth more.

Beth: We started shooting our next film, which is about water issues in California. Working title is Water Makes Us Wet. There’s more info at www.theEcosexuals.org.

KARA: This question of who profits or who benefits has been at the heart of the feminist debate, especially around the sex industry, for quite some time. In opening the picture up, you’ve taken that binary way of looking at the system of exploitation versus empowerment, or oppression versus liberation, out of the equation. You’re moving the conversation beyond these poles, presenting something very different in that regard.

ANNIE: To a lot of Americans, sex is about what sex toys you have, what lingerie you wear, what porn you have. Some people think you can’t have great sex unless you have the right strap-on. As ecosexuals we want to send a post consumerist message. We’re even saying “Stop making and watching porn! Let’s bring back the live sex show! Porn watching is using up so much electricity.” To be honest, I still do love lingerie and strap-ons. But that’s not the be-all end-all. There’s a whole world out there!

KARA: Annie, what you were saying before about the sex industry and its commodified entrenchment, in many ways it can be argued that the technological models we utilize mirror our relationship and needs to art, that our contemporary comfort zones are now to a large degree located either behind or in front of the camera instead of face to face. In your opinion, how does the sensibility of this mediated interface effect the consumption of erotica, porn, art, and other spheres of aesthetic or sexual interest?

ANNIE: From a historical perspective, human sexuality changes and goes through phases and has popular and unpopular styles. I believe everyone is at the right place at the right time. With the Internet, we are definitely exploring and discovering really interesting new territory. Who is to judge what’s better or worse, having computers or not? Now I’ll contradict myself. I’d argue that its important to keep making porn, because is it’s kind of an historical record. If you look at porn from the 1800s or the 1920s, sex was different then. Even blow job techniques change. Each person is an erotic universe unto themselves. We all have more to learn, and we all have something to teach. That’s what is so great about sex as subject matter, its endless, and there’s more to discover and create.

KARA: So this mediated interface does not affect the way that you approach your work or the consumption and reception of it? Whether it’s face-to-face or encountered via the television screen or the computer monitor, it’s –

ANNIE: It’s definitely best to experience our work live, in a group, to actually come with us for a weekend ecosex workshop and camp out and participate and interact with nature.

BETH: But ecosex includes technology too. We do love our social networking interfaces.
There is something ecosexy about computers, and ecosexy about cities too.

KARA: Annie, can you speak to how your prior experiences in the sex industry and the way that technology might have been used in those settings is different or is similar to the way that it’s used in the art world now? Perhaps not in your performances per se, but in other performances that you’ve been a part of, or that you’ve been witness to.

ANNIE: I totally loved combination of having sex and at the same time, shooting a film. It’s a great combo. Sex and creativity are so linked, They are one and the same impulse. With sex, and with creativity, or technology, some days are better than others, some days you just don’t go very far. Sometimes you’re a lead balloon going nowhere, and sometimes you fly. In our last theater piece, Earthy; an Ecosex Bootcamp, we use technology, video, lighting, and computers, to give the impression we are out in nature! That’s crazy. After we did that show, we redid it, we got another director and took it outside and made An Ecosexual Walking Tour which we just performed in June and will do in Central Park on September 16th. Much nicer to do a show about nature outside,

KARA: In terms of the way that you’re engaging with nature, especially in regards to your more recent work, there seems to be an invocation of the goddess in the texts that you’re employing and your physical presentation of self —

ANNIE: If anything, we think of the Earth as transgendered, actually multigendered – we’re not so into “lesbian” either. The word and concept of “lesbian” and “goddess” seems old fashioned, sort of quaint and nostalgic.

BETH: We’re definitely going with more of a punk rock edge these days.

ANNIE: The idea of having making love only with people seems really limiting, when you can make love with a tree, a rock, the ocean… So even this idea of “heterosexual” or “lesbian” or even “bisexual” – bisexual? Why only two? It all seems very limiting compared to what we imagine, which is a transgendered ginormous Universe with, gazillions of erotic and sensual possibilities.

BETH: It’s not just transgender, it’s transgenital.

ANNIE: Yeah, its totally beyond genital sex! But it includes genital sex of course. We love genital sex too. All sex is really ecosex!

BETH: I think a lot of strategies and tactics towards different kinds of political liberation have been viewed as having a narrow horizon – the horizons have narrowed for certain things, and I think with ecosexuality we’re really opening up the spaces of hopefulness that something else could move in a different way because we’re politically very clear about what we’re trying to do. We’re really trying to shift this metaphor around the Earth from ‘Earth as mother’ to ‘Earth as lover,’ to get people to engage in a more mutual way of being in and thinking about the world. But we’re not punitive, you know? We’re not “you’re either with us, or against us”. You can still maintain your heterosexuality and be ecosexual, or gayness, or your bisexuality and be ecosexual – it’s not an exclusive sexuality. It’s also not an exclusive viewpoint of the world. We hope our kind of ecosex engenders more passion, empathy and intimacy with nature, but also a wider vision as opposed to a narrow, gathered vision.

KARA: You’re not requiring people to identify with one state of being in the world; you’re actively challenging those codified norms.

BETH: Yeah, it’s really a campaign of attraction; if you want to be part of it then hey,
everybody’s welcome, but if you don’t, that’s fine too, bye bye.

* Kara Rooney is an artist and critic based in New York, where she currently serves as the Managing Art Editor for The Brooklyn Rail.

Lotus Festival 2015: A Global Block-Party

 – by Paul Sturm & LuAnne Holladay

 

“You don’t know about me but I’ll bet you want to; Everything will be alright if we just keep dancing like we’re 22.”  -Taylor Swift

Over the course of four fast-flying days (September 24-27), the 22nd annual Lotus World Music & Arts Festival will fill our downtown streets and B-town hearts with fab musics from across the globe.
For the uninitiated, the annual Lotus World Music & Arts Festival is an outrageously enjoyable music festival; one of our nation’s oldest and best-known world music gatherings. Artists from literally all over the world vie each year for a spot on the festival itinerary, so the talent is always impressive and performances are consistently inspiring.
This global shindig commingles a dizzying variety of world cultures presented through a broad range of sounds and musical styles. Lotus has booming party music, thoughtful chamber music, rowdy street bands, intimate solo and duo performers, emerging artists and experienced masters, acoustic groups and totally-wired amplified acts to enliven even the most aloof listener’s inner booty-shaker.

Festival performances are staged within a network of outdoor tents and indoor venues selected for their close-knit proximity. Which means that Lotus also delivers an exuberant, nomadic street scene with sidewalk food vendors, corner buskers, impromptu aesthetic experiences, and the perfect setting for endless social hookups and ‘BF’ hobnobbery.
Music is the main fare, but visual art and participatory activities abound for those who crave multiple ways to celebrate internationalism. Beginning August 28, the Ivy Tech John Waldron Arts Center Galleries will once again devote exhibit space to a Lotus-related exhibition of festival textiles (on view Aug.28-Sep.26, free & open to the public). Athena boutique (on Walnut) will host its usual hand-drum jam sessions in front of the shop.
On September 24, launching the 4-day festival is the annual Thursday night “Kick-Off Concert” at the Buskirk-Chumley Theater, this year featuring Baltic Crossing and Sierra Maestra: two of the strongest ensembles in the Lotus-22 lineup. Admission is $15 advance, $20 day of show. Closing the festival on Sunday afternoon is the traditional “World Spirit Concert” at the BCT, featuring Maarja Nuut and Şirin Pancaroğlu, both making their Lotus premiere. Admission is the $5 Lotus pin (a cool keepsake!).

The Lotus Arts Village is moving from 6th Street to Kirkwood Avenue on the south side of the square (in front of Fountain Square Mall). The Village’s usual visual art displays and interactive play spaces will be accompanied by an assortment of food trucks providing delectable street munchies on Friday and Saturday. And fans of public revelry will delight in the return of a Lotus parade on Saturday night led by the members of Fanfaraï, giving our human caravan a lively North African flavor.
More free fun can be had at the annual “Lotus in the Park” family friendly fête on Saturday afternoon at Waldron/Hill/Buskirk Park (aka 3rd Street Park). Concerts, workshops and ‘make-it-&-take-it’ craft tents will be joined this year by four craft artists appearing as part of a partnership with Traditional Arts Indiana and its Indiana Bicentennial arts series. The artists – members of TAI’s Rotating Exhibit Network – provide demonstrations of their traditional craft alongside a free-standing 3×7-foot panel that features engaging photos and info describing the folklife practice. Also joining the Lotus Park action on Saturday will be Bloomington’s Ryan Academy of Irish Dance and a Filipino dance group from Indianapolis, both offering demonstrations.
Looking at the Friday-Saturday Artist Showcase nights, the ‘talent-nova’ will blow your mind and elevate your aesthetic ch’i. Ireland’s all-star Brock McGuire Band returns to provide that dash of Celtic music no Lo-fest would be complete without. The renowned Heritage Blues Orchestra will be in town for one night (Friday) in a set that will irrefutably affirm the power of the blues. On the opposite end of the size-spectrum, Korean duo Su:m will absolutely thrill those who love expressive chamber music performed on traditional acoustic instruments.

Lotus has booming party music, thoughtful chamber music, rowdy street bands, intimate solo and duo performers, emerging artists and experienced masters, acoustic groups and totally-wired amplified acts to enliven even the most aloof listener’s inner booty-shaker.

This year’s festival includes two performers who use electronics with spectacular musical results: Maarja Nuut and tUnE-yArDs demonstrate masterful digital looping technique, and tUnE-yArDs also offers a hefty dose of superb old-skool synth work. Where Maarja’s soundscapes are lushly harmonious, tUnE-yArDs’ loop-jams are lively and invigorating. If you seek unforgettably wonderful musical memories, these two acts are on the must-see list.
Lovers of rich polyphonic choral music will want to see Zedashe from the Republic of Georgia. Their close harmonies and pronounced vocal techniques are the stuff of sonic beauty. The emotional power of great singing also will resonate in many solo and ‘feature’ vocal performers: Bhi Bhiman, Ester Rada, Jessica Fichot, Karolina Cicha & Bart Pałyga, Lula Pena, Martha Redbone, and Nano Stern.
All in all, this year’s Lotus Festival includes 24 different musical acts, with only 6 returning bands; so it’s a perfect year to purchase a 2-night Festival Pass…there’s just that much brand new and superb musical talent to be heard and seen. And only a third of the performers are booked for single sets, which increases your odds of catching every artist by juggling performance venues and artist rosters across two nights of stone-cold sonic bliss.
Lotus Festival tickets for all admission-based events can be purchased in person at the Buskirk-Chumley Theater Box Office, by phone at 812-323-3020, or online at bctboxoffice.com.

Complete artist profiles follow:

Aziz Sahmaoui & University of Gnawa (Morocco, Senegal, France)
Moroccan Aziz Sahmaoui’s musical passions are rock, fusion, and Gnawa, the trance music of Northern Africa. His voice, swinging between the inflexions of bluesman, muezzin, and crooner, pulls the audience into his poetic universe where jubilation is the order of the day. With his talented squad of musicians – his ‘University of Gnawa’ – Aziz will funk your junk with hot tunes, rousing choruses, and an unstoppable beat to drive your feet. Pulsing Gnawan rhythms act as groundwork for inspiring musical improvisation by the high-flying instrumentalists of the University. As Aziz says: “The groove, you’ve either got it or you haven’t.” Ain’t that the truth!
Lotus premiere

Baltic Crossing (England, Finland, Denmark)
The soaring, joyous music of Baltic Crossing comes from the folk scenes of England and Scandinavia. This young quintet’s musical prowess and love of old dance traditions make for brilliant sets of jigs, polskas, waltzes, schottisches, and other tunes. Ian Stephenson (guitar) and Andy May (Northumbrian bagpipes & piano) hail from England; the Scandinavian side is represented by Danish musician Kristian Bugge (violin), and Esko Järvelä (violin) and Antti Järvelä (mandolin & double bass) from Finland. Baltic Crossing’s repertoire is mostly instrumental, often playful, and always tuneful. Fans of Frigg will recognize brothers Esko & Antti, and will find a lot to love in Baltic Crossing.
Lotus premiere

Bhi Bhiman (USA)
American singer-songwriter Bhi Bhiman is known for his fine guitar playing, his clever and edgy lyrics, and a remarkable voice that has earned comparisons to such artists as Nina Simone and Bill Withers. His most recent album, Rhythm & Reason, explores the immigrant experience and the politics of race. The American-born son of Sri Lankan parents, he says that “My sense of place was, is, not limited to my county or my state or my country. It’s…an international feeling of community.” His stylish covers of classic songs make excellent companions to his original material, and Bhi is equally comfortable performing at Bonnaroo, Carnegie Hall, or on a Lotus stage.
Lotus premiere; ONE SHOW ONLY

Brock McGuire Band (Ireland)
Last seen at Lotus in 2011, the Brock McGuire Band returns to town performing Irish music with passion and precision. Founding members Paul Brock (button accordion & melodeon) and Manus McGuire (fiddle) now live in County Clare, and both are award-winning masters of Irish traditional music. The band also includes Dublin-based Garry O’Meara on banjo, mandolin, & vocals, and Limerick-based composer and arranger Denis Carey on piano. Their repertoire emphasizes Irish music; but don’t be surprised if they toss in a few arrangements of American old-time, bluegrass, French-Canadian, and other Celtic tunes. Discover why the Irish American News calls them the Instrumental Band of the Decade.

Delhi 2 Dublin (Canada)
A Delhi 2 Dublin set is possibly the only place you’ll see a fiddle player rocking out with a kilt-wearing Korean, flanked by two Bhangra percussionists and a vocalist who looks like he would be at home in a Bollywood music video. The group began in 2006 as a one-off performance in a Vancouver club, and they’ve been at it ever since, throwing Bhangra, Celtic, dub, reggae, and electronica into a musical blender. Match that multiculti fearlessness with electrifying live performances and you have a perfect Lo-fab dance storm. They brought the funk, the sweat, and a hard-rocking tent scene at their solitary Lotus show back in 2012; this year, make D2D your last-call party stop on Friday and Saturday to find out why one reviewer called them “the United Nations of rock and roll.”

Ester Rada (Israel, Ethiopia)
Ester Rada was born in Israel to Ethiopian parents, and her cross-cultural sound builds on that dual heritage. Her band’s instrumentation and arrangements reflect Israeli music, the influence of Ethiopian jazz, strong rhythmic drive, and a multicultural sensibility. Listen to her powerful, confident vocals and solid grooves, and it’s also easy to trace Ester’s influences to divas of classic and contemporary soul and R&B: Aretha Franklin, Pattie LaBelle, Erykah Badu, Jill Scott. Members of the band come from Yemen, Poland, Morocco, Iraq, and Israel. Ester’s musical melting pot serves up a delicious stew of sonic delights.
Lotus premiere

Fanfaraï (France, Algeria, Morocco)
Fanfaraï fuses a cultural mix of 14 musicians for a colorful explosion of North African music. The Paris-based group grew in 2005 out of a smaller Algerian street band, adding musicians from France, Morocco, and India who share a passion for what they call “the traditions of festive wanderings.” Brassy horns and booming percussion blend with Arab, Berber, Afro-Cuban, and Latin influences to create big, bold street music. Fanfaraï draws on popular brass-band repertoire, salsa, jazz, and funk, as well as the heritage of Idbalen and Zernadjia – itinerant street musicians who have animated Algerian rituals and feasts since the turn of the 20th century. Fanfaraï’s music embodies an energetic, cheerful diversity – as lively and varied as the musicians themselves.
Lotus premiere

Heritage Blues Orchestra (USA)
The grit of low-down country and urban blues mixed with the bold brass of New Orleans; the hand-clapping fervor of gospel punctuated with fiery postmodern, jazz-infused horn arrangements; the haunting cries of work songs and pulsating drums that reach back to musical roots centuries old. You’ll journey across the Middle Passage, be driven down Highway 49 from Clarksdale to New Orleans, go from chain gangs and juke joints to orchestra pits, church pews, and even back porches. The celebrated Heritage Blues Orchestra’s music is a testament to the enduring power, possibilities, and boundless beauty of African-American music. “Heritage Blues Orchestra may be a blues version of what Wynton Marsalis and his Jazz at Lincoln Center cohorts regularly do—namely, apply historical research and practical experience to different traditional styles, and finally (and not easily) to create something that is at once new and timeless” (Wall Street Journal).
Lotus premiere; ONE SHOW ONLY

Jaron Freeman-Fox & the Opposite of Everything (Canada)
Canadian violinist and composer Jaron Freeman-Fox straddles the shifting border between tradition and innovation. The name of his band – the Opposite of Everything – hints at what he likes to call the general lunacy and creative drive of his music. His musical roots are in Celtic and bluegrass fiddling, but Jaron’s further study of Indian classical music and jazz has helped to push his music further into genre-defying realms. He’s even collaborated with a troupe of Rajasthani nomads. You could call this restless energy and boisterous enthusiasm “The New Ruckus” (the title of a track on Jaron’s first CD), or you could just take it from the Ottawa International Jazz Festival folks, who dubbed Jaron “the Jimi Hendrix of the violin.”
Lotus premiere

Jayme Stone’s Lomax Project (Canada, USA)
Focusing on songs collected by legendary folklorist and field recording pioneer Alan Lomax, this ‘collaboratory’ led by Canadian banjo player Jayme Stone brings together some of North America’s most distinctive and creative roots musicians to revive, recycle, and re-imagine traditional music. The song list includes Bahamian sea chanties, African-American a cappella singing from the Georgia Sea Islands, ancient Appalachian ballads, fiddle tunes, and work songs collected from both well-known musicians and everyday folk: sea captains, cowhands, fishermen, prisoners, and homemakers. This was and is music of the people. Lomax Project album collaborators are many; those likely to be on hand for Lotus include Jayme on banjo, Grammy Award winner Tim O’Brien on fiddle, Margaret Glaspy on guitar, and Moira Smiley on accordion. The Lomax Project is this year’s Lotus Dickey Artist, honoring that late, great Indiana old-time musician and song writer.
Lotus premiere

Jessica Fichot (USA)
Los Angeles-based chanteuse, songwriter, and accordionist Jessica Fichot is a lot like her hometown of Paris: French at heart, but with a soul that’s truly international. Drawing from a French, Chinese, and American upbringing, her music fuses styles and languages, taking the listener on a journey out of the French chanson tradition and into the realms of gypsy jazz, 1940s Chinese swing, international folk, and her own imagination. Jessica visited Lotusland for the first time back in 2010; she returns to Bloomington with a new album sung in Mandarin: Dear Shanghai. Armed with accordion, toy piano, and multilingual vocals, Fichot has toured the world with her quartet of like-minded multi-culturalists. Préparer pour la béatitude musicale, dear Francophiles.

Kardemimmit (Finland)
The four young women of Kardemimmit sing and play the Finnish national instrument – the kantele. If you’re new to the kantele, think zither or dulcimer: the quartet has mastered both the 15-stringed and 38-stringed varieties. The distinctive sound of this plucked acoustic instrument and their delicate, tight vocal harmonies in a style of singing known as reki make Kardemimmit a standout contemporary Nordic ensemble. Maija Pokela, Jutta Rahmel, Anna Wegelius and Leeni Wegelius perform traditional Finnish songs as well as their own modern, original folk music – adding to a long and dynamic musical tradition. This quartet racked up an enthusiast following of B-town fans when they played Lotus two years ago; their live performances are simply divine.

Karolina Cicha & Bart Pałyga (Poland)
Karolina Cicha’s impassioned, compelling interpretations of the old songs of the Kresy (the Polish Eastern Borderlands) mix folk tradition, rock and pop, and performance art. Karolina sings in the languages of the Kresy: Polish, Belorussian, Ukrainian, Russian, Lithuanian, Tatar, Romani, Yiddish, and even Esperanto — and while her primary instrument is the accordion, she is a self-taught multi-instrumentalist. A student of Poland’s diverse cultural traditions, Karolina honed her art at the renowned Gardzienice Academy for Theatre Practices. With cellist and vocalist Bart Pałyga, Karolina brings a new boldness and energy to old songs of Poland’s multi-ethnic cultural landscape.
Lotus premiere

Lotus Dickey Song Workshop (USA)
Bloomington folk music maestro, Grey Larsen, will once again recruit a cadre of his pals to lead a workshop on the songs of Hoosier singer/songwriter Lotus Dickey (1911-1989). Lotus was a Hoosier treasure; his curious, humble, gentle spirit inspired everyone who knew him. The workshop is an occasion to celebrate Lotus Dickey’s contributions to the art and life of Indiana and to enjoy the power of voices united in song.
ONE SHOW ONLY

Lula Pena (Portugal)
Fado, the signature musical tradition of Portugal, is embodied in the voice and music of Lula Pena. Elements of Portuguese folk music, French chanson, Cape Verdean morna, and Brazilian bossa nova color Lula’s music, but its heart is in fado. Her deep, sensitive voice and spare guitar work communicate the feeling of powerful longing, or saudade, essential to the genre. Thoughtful, emotional, poetic, stark, mesmerizing: all apply to her unforgettable performances. Lula has rarely toured outside Portugal, and Lotus is proud to present her at this year’s festival.
Lotus premiere

Maarja Nuut (Estonia)
Lyrical, trippy, trancelike, transcendent: fiddler Maarja Nuut creates remarkable soundscapes from the traditional dance tunes, songs, and stories of her native Virumaa in Northern Estonia. Using electronics, she often builds from a single violin motif, deftly looping it and adding harmonic layers with voices and violin improvisations. An Estonian loopmaster in the Andrew Bird/Robert Fripp mode, Maarja spins inventive and beautiful sounds from simple musical origins. Her performances are unforgettable: deeply folkloric, yet thoroughly modern. Her premiere at Lotus is not to be missed.
Lotus premiere

Martha Redbone Roots Project (USA)
Martha Redbone is an Independent Music Award-winning musician of Cherokee, Choctaw, Shawnee, and African-American descent. Martha explores traditional and modern variations of folk, roots, blues, tribal, and soul music. She launched the Martha Redbone Roots Project in 2012 with release of The Garden of Love – Songs of William Blake, a collection of 18th-century poems set to the music of Appalachia. Her latest project, Bone Hill, is an interdisciplinary theater work that brings to light the post-slavery history of people of color working the coal mines of Appalachia amid Jim Crow laws. The music is radically wide-ranging – from traditional Cherokee chants and lullabies to bluegrass, blues, gospel, jazz, rock and roll, R&B, and funk – all powered by her magnificent voice. In the words of collaborator Roberta Uno, “Martha’s music is ancestral, soul-shaking, and elevating.”
Lotus premiere

Nano Stern (Chile)
Chilean singer-songwriter, multi-instrumentalist, and musical activist Nano Stern serenades audiences with nothing but a guitar and his voice, bringing listeners to the edge of their seat – and to their feet – to move, laugh, weep, and revel in heartfelt songs of Chile. The grandson of Jewish refugees, Stern has created a sound that incorporates the mid-century folk reverberations of his homeland with rock attitude, classical craft, and jazz techniques. He explores the complexities of the personal and political, and finds new ways to play with Chile’s long-repressed roots music. It’s a mix that also captures the indigenous, African, and European elements that define Latin music. “It’s an enormous gift we received from the people of the past, from the tradition itself,” he says. “Yet…I think it should be open to all kinds of promiscuity, to every sound getting together with everything else. That’s when things get truly beautiful.”
Lotus premiere; ONE SHOW ONLY

Sierra Maestra (Cuba)
Featuring many stars of Cuban music since the group’s formation in the late 1970s, Sierra Maestra was the first of the modern-era Cuban bands to play in the old-style son line-up: tres (3-string Cuban guitar), guitar, trumpet, percussion (bongo & güiro), and vocals. The arrangement reflects the song style’s golden age of the 1920s and ‘30s. Five of the original nine members remain in the band, which has pioneered the son revival for new generations. The band’s name is a tribute to the mountain range in eastern Cuba that is considered the birthplace of son. With our Cuban détente, and Carnival Cruise Lines announcing trips to Cuba, it’s a perfect year to bring la cultura cubana back to Bloomington via Sierra Maestra: the heartbeat of Cuban soul. Fun Lotus fact: Sierra Maestra was last in town for Lotus 1997, gracing the ‘stage’ of the old Indiana Theater before it was transformed into the Buskirk-Chumley. They’re in for a treat…and so are we.
ONE SHOW ONLY

Şirin Pancaroğlu (Turkey)
Her work in unearthing the historical Turco-Ottoman harp called the çeng has earned Şirin Pancaroğlu a unique place in Turkish music and folklore. While she is trained in classical music (with a Master’s degree from the IU Jacobs School of Music), her eclectic influences include Turkish traditional music, improvisation, electronic music, and tango. Şirin’s efforts to re-introduce the harp to wider audiences in her native Turkey led her to active concertizing and to founding the Association for the Art of the Harp. Once a symbol of mysticism among Turkish poets and writers, the çeng has reemerged in contemporary Turkish folk music, thanks largely to Şirin and her music-making.
Lotus premiere; ONE SHOW ONLY

숨[suːm] (South Korea)
숨[suːm] was formed in 2007 by a pair of Korean musicians trained in traditional instruments. They had an ambitious goal: to start a new era of Korean folk music grounded in the experience of modern life. The band’s name (pronounced “soom”) means “breath.” They compose and perform original work on traditional instruments: Jiha Park plays the piri (bamboo oboe), saenghwang (24-pipe mouth organ), and yanggeum (dulcimer), while Jungmin Seo performs on both the 25-string and steel-string gayageum (zither). This is a rare opportunity to hear exceptional music of an instrumental discipline and tradition rife with gorgeous sounds.
Lotus premiere

Trio Brasileiro (Brazil)
This young trio’s stunning virtuosity is matched with a deep devotion to the language of music – specifically choro, a traditional Brazilian genre marked by intricate, lively rhythms, gorgeous melodies, and improvisation. Trio Brasileiro includes Dudu Maia, one of Brazil’s finest players of the bandolim (a kind of mandolin); the celebrated Douglas Lora on violão 7 cordes (7-string guitar); and the amazing percussionist, Alexandre Lora (brother of Douglas) who plays the pandeiro (a kind of tambourine). Trio Brasileiro is dedicated to performing the great traditional choro music of Brazil as well as their own compositions, which are modern reflections of that great traditional musical form. Their sets at Lotus 2012 were popular and packed; if you missed them then, catch them now.
ONE SHOW ONLY

tUnE-yArDs (USA)
tUnE-yArDs is fresh, avant-garde, experimental, groovy, poppy, funky — pick a word to describe Merrill Garbus’s band and a reviewer somewhere in the world has already used it. In addition to writing the music, Merrill (on lead vocals, percussion, ukulele, and a wide assortment of samplers & electronics) and her collaborator (and Bloomington native), Nate Brenner on bass & synthesizers, are joined by an ever-changing array of bandmates to create a post-modern sonic stew; “a lovably scrappy, everything-but-the-kitchen-sink aesthetic that is distinctly their own” (SPIN). Named the top looping artist by BaebleMusic, tUnE-yArDs has a unique sound driven by a relentless hippy-shake groove that comes from Merrill’s love of percussive hooks, pop chords, and singsong melodies. One of the greatest bands I know, tUnE-yArDs is a must-see act.
Lotus premiere; ONE SHOW ONLY

Zedashe (Republic of Georgia)
Zedashe’s repertoire is grounded in ancient polyphonic chants from Orthodox Christian liturgy as well as folk songs and dances from the Kiziqian and Svanetia regions of the Republic of Georgia. Field songs, love songs, historical ballads, war dances, ritual circle dances: these traditional pieces have been passed down through generations of musicians and song masters. The close vocal harmonies are often accompanied by the shunner (Svan lute), pander (Kiziq lute), chonguri (Gurian lute), doll (drum), chibonie (goat-skin bagpipes), and accordion. In the music and song of Zedashe, rich folk traditions that trace back to Pagan and early Christian periods come to life and revitalize the soul.
Lotus premiere