Feet Of Rhythm

A l'occasion de la fête des travailleurs à New York, célébrée officiellement aux Etats unis depuis 1894 sous le label du « Labor Day », la Ministre de la culture a été invitée notamment par le «Haitian Times Inc » et « Kompa Guide » à participer aux manifestations culturelles de cette année.



Haïti: En effet, elle a marché à côté de 37 enfants, toutes des filles, représentant la communauté haïtienne de New York au « Kids Pre labor Day Parade », ce samedi 4 septembre. Ce défilé a précédé la grande commémoration du « Labor Day », fêtée chaque année, le premier lundi du mois de septembre aux Etats Unis. Par ailleurs, la Ministre s'est entretenue avec « Feet of rythm kids », un groupe culturel ayant à sa tête Cynthia Karaha et Nadia Dieudonné, coordonnatrices de la participation des enfants à cet événement. En dépit du séisme du mois de janvier, la ministre de la culture a tenu la promesse faite lors de son passage à New York en décembre 2009. Il s'agissait d'une part d'être présente au défilé et, d'autre part, de proposer un contenu culturel à cette manifestation et enfin de mettre à la disposition de la diaspora une consultante, Madame Yanick Gaston Louis, spécialiste dans l'organisation des grands événements culturels. Madame Louis donc a pu observer la parade, parler aux organisatrices en vue d'évaluer les besoins en matière d'événements culturels.

Depuis 9 ans, la communauté haïtienne participe à cette exhibition de talents d'enfants caribéens. Chaque année, la parade à travers un thème véhicule un message spécifique. En 2010, celui retenu est « Haïti pré- colombienne ». D'un commun accord, le groupe a décidé d'une manière spéciale que toutes les activités entreprises en ce jour seront dédiées à Haïti, en signe de solidarité avec leurs compatriotes ayant vécu les moments traumatisants du séisme.

Les organisatrices ont choisi de mettre l'accent sur une tranche de l'histoire d'Haïti qui remonte aux années 1450 et de mettre en exergue les tribus indiennes qui sont les premiers habitants de l'ile. La Cacique Anacaona entourée des arawaks a capté l'attention de plus d'un. Notamment sur Nostrand Avenue, celle de nos compatriotes visiblement heureux de la participation de cette petite fille Haïtienne.

La belle Erzulie Guillaume, âgée de 16 ans, avait le privilège d'être la Reine Anacaona lors du défilé. Sa beauté rehaussée par un somptueux costume, et sa joie de vivre ont fait d'elle la représentante vivante de la Cacique du Xaragua d'Hispaniola.

Les Arawaks étaient incarnés par de petites filles, dansant derrière la Cacique. Ce choix était fait pour rendre un hommage mérité à l'intelligence et à la capacité de bonne gouvernance des femmes et aussi en mémoire du « vivre ensemble » de ces tribus. C'est un exemple que la population Haïtienne devrait suivre, a souligné Rita Joseph, responsable des Relations Publiques du groupe « Feet of Rythm Kids »
Plusieurs autres pays dont Barbades, Trinidad and Tobago et Sainte Lucie, étaient représentés par leur communauté vivant à New York .Ils ont mis l'accent sur le stylisme et la couleur riche des costumes allant du fuchsia au jaune soleil, en passant par la turquoise, le rouge vif, l'or sur fond de blanc éclatant. Les enfants ont su faire briller dans les yeux des petits et grands beaucoup d'admiration.

Du « Rasin , du Kompa », les rythmes de chez nous et des Caraïbes ont rendu nostalgiques les Haïtiens, Haïtiennes brandissant leur drapeau en se rappelant avec joie un mot, un slogan ou le pas d'une chorégraphie. Dans les regards, les sourires et dans les déhanchements, on percevait un air de déjà connu complice et typique des habitués-(es) du Champ de Mars. On lisait surtout cette fierté d'appartenir à ce peuple, et à sa belle histoire.

Les Arawaks

Madame Marie Laurence Jocelyn Lassègue a donné rendez vous à la communauté haïtienne de New York sur la terre des aïeux, au prochain carnaval. Elle a également invité la jeune Erzulie Guillaume à participer au défilé. Mais le plus proche rendez -vous a été pris sur Easten Parkway au carnaval des grands, le surlendemain 6 septembre, jour du « Labor Day ».
- Sandra Rabrun Ministère de la culture et de la communication: Le Nouvelliste en Haiti 2010

CULTURE







Ayiti (Haiti): As it was in the Beginning
Haitian children dance the West Indian Kiddie Parade

If the crowds and scale of the Labor Day West Indian parade on Eastern Parkway are daunting for parents of young children, the Kiddie Parade on the Saturday before is a welcome alternative.

Twenty-seven children of the Haitian troupe Feet of Rhythm, grooved and moved along St. John’s Place turning onto Franklin and danced their way to the Brooklyn Museum; Haitian pop, compas and racine music was blasting from the sound cart that accompanied them. The children with moms, dads, friends and even Haiti’s Minister of Culture proudly represented Haiti behind a charming homemade banner that read: “Feet of Rhythm presents Ayiti (Haiti): As it was in the Beginning.”

Ranging in age from four years to “the Queen”, who was 17-years-old, the children wore
burlap costumes of earth colors ochre, brown, clay red, orange, green and for color, purple and were adorned with multi-color streamers. Key items of the costumes, like the “pitre” (sisal), had been imported from Haiti to keep the authenticity of Haitian heritage, while colorful details were added for spice. With artistic creative license these reflected the attire of the native Arawaks and Taino Indians, the earlier inhabitants of Haiti.

The annual Saturday parade of Labor Day weekend is devoted only to children and was started during the 90s to include families in the Caribbean extravaganza. Along with decked-out children, babies in costumes or just along for a stroller ride were on the scene.

At the crack of dawn, the Haitian children met on Albany St. in Crown Heights, a block from the corner where the parade starts, St. John’s Place and Kingston. Finishing costume touches were applied. Decorative face and body marking were added. Not far, other groups amassed carrying their respective flags; particularly, but not exclusively, Trinidad was visible with Guyana, Belize, Jamaica and other Caribbean countries represented. Many groups’ attire were quite elaborate and the gusts of breezes almost knocked over dancers whose immense costumes rising high over their heads acted as sails.



The style, fabric and hues of the Feet of Rhythm’s garb reflected the natives of the Americas theme and though, stylistically simpler than many others in the parade, they were completely in the spirit. The Queen was decorated as royalty in fabric of multi-colored diamond shaped patterns of shimmery, glittery, languid fabric, her headdress surrounding and rising above her head, catching at times bursts of wind.

Feet of Rhythm was all girls this year, though boys have participated in years past. Of the dozens of kiddie groups, this charming troupe was Haiti’s only presence in Brooklyn’s Annual West Indian Kiddie Carnival Parade and the Brooklyn Museum stage competition. Their presence is all thanks to the work of dancer, teacher and choreographer Nadia Dieudonne, driving force and Cynthia Karaha, the troupe’s co-director, visual director and manager, constantly on the scene. (She is also founder of World Music Promotions.)



Dancer Nadia founded Feet of Rhythm in 1993 as a vehicle to introduce Haitian culture to children of the Diaspora. As choreographer and troupe artistic director, as the troupe moves down the street, she blows the whistle and calls the routines practiced so diligently. While many of the other parading groups performed at the Brooklyn Museum competition, Feet of Rhythm performed all along the parade route, breaking into one or another of their choreographed patterns.

The beat and music with DJ Sketch pounded from a generator-powered speaker system tailing the group. King Posse’s Cool Non (Carnival song from the 90s) and RAM’s Defile (Carnival 2008) and Gede Masaka along with strains of Boukman and other groups were the sound track of the mile and half parade route. Haiti Minister of Culture Marie-Laurence Jocelyn-Lassègue, festive in a red dress and jacket with an original hand painting, walked the entire route and near Eastern Parkway and Franklin and before the museum for group photos with the Queen and many of the dancers.

The Queen was 17-year-old John Dewey High School student Ervuli Guillaume who portrayed Queen Anakaona, a symbol of anti-colonial resistance. (Coming from Leogane, Queen Anakaona was significant in trying to negotiate with Spaniards and later rallied anti-colonial resistance). Ervuli dances with the Flamboyant and Kongo dancers and is the daughter of Bazille Gran Bwa.

Of her participation Ervuili said, “It was fun, I was happy. I loved taking photos with the children and everyone.” Ervuili continued, “I felt special. She (the Minister) sees that we’re doing a good thing. We are original and beautiful.”

This sentiment was reiterated by Ninaj Raoul of Haitian Women for Haitian Refugees, “This was a beautiful youth representation of Haitian costumes in an o - By Tequila Minsky, Heritagekonpa Magazine 2010

On November 19th, the Feet of Rhythm Dance Company gave a mesmerizing rasin-based performance that left the audience overjoyed and appreciative of the dance and musical presentation at The Kumble Theater for the Performing Arts at Long Island University in Brooklyn. “Heritage” produced and directed by renowned dancer, choreographer, and teacher of traditional Haitian dances, Nadia Dieudonné, was a fitting tribute to Haitian culture on the 203rd anniversary of the battle of Vertières that sealed the fate of France’s colonial domination of Haiti.
To me, it was a heartfelt experience that corroborated the accepted view of Vodou and its derivatives (rasin music and folkloric traditions) as the cradle of Haitian identity. Appropriately the play provided a perfect hindsight into the perpetual struggle of those courageous Haitians who refuse to abandon the legacy of their ancestors. The enthusiastic response and appreciation was such that many in the audience myself included timidly lamented afterward the fact that we did not bring our children to share the overwhelming experience.
Since its inception in 1994, Feet of Rhythm Dance Co. has come to rely primarily on the support of outsiders, which may explain its near-anonymity within the Haitian community. Even its media release for the November 19th event was largely ignored by the community’s media, a disturbing reality that illustrates the group’s uphill battle for recognition which could only be won with these pioneers’ indomitable spirit and devotion to the advancement of Haitian culture.
Unlike the well-financed, corporate-sponsored Dance Theater of Harlem, Feet of Rhythm epitomizes the perseverance of some Haitian men and women who repudiate the idea of abandoning their rich traditions, even in the face of scornfulness and indifference. Besides the riveting performance and the elaborate costumes, what makes the realization all the more commendable is the reality Feet of Rhythm Dance Co. is a non-profit organization that operates on a shoe-string budget and the benevolence of its members.
Emblematic of the organization’s difficulties are the dearth of financial support from the business community, and an official recognition of promoter of Haitian culture by the Haitian state or its representatives in the U.S. The few sponsors of the event, Peter Pouchon of Caribbean Images, Opamisik, Sony “Bel Anfom” of Bel Entertainment, and Caribbean Cultural Center, deserve the community’s greatest admiration for their support of this worthy yet underappreciated cause.
Apparently, the members’ unwavering dedication and pioneering spirit prevailed over any obstacles, as the financial cost associated with producing a show of this caliber was beyond the group’s meager resources. Succinctly put, the realization of “Heritage” in the face of such overwhelming odds was irrefutable proof the determination exemplified by our valiant ancestors against the French naturally found its way into the hearts of their descendants.
In a materialistic world where success is determined by ostentatious assets, these men and women, with their MBAs and assorted professions, could have chosen the path of financial rewards but selflessly dedicated themselves to the promotion of their culture. This visionary and selfless attitude of those cultural warriors is certainly one of the bright spots in a community whose dynamism and creativity have been rendered ineffective by infighting or indifference.
Like Moses in the Old Testament, these exceptionally talented men and women’s difficult journey into the wilderness of willful ignorance and apathy that permeates the Haitian consciousness will someday bring the emancipation of their brethren. Besides, their educational backgrounds and pedigrees could play a fundamental role in neutralizing the destructiveness of the self-acquired inferiority complex that condemns every hater of Vodou traditions to a lifelong struggle with their cultural identity.
Indeed, the public’s favorable reception is the greatest obstacle facing these men and women, as Haitians remain hopelessly trapped in the speculative belief these promoters and performers of traditional dances are inveterate Vodou sympathizers, adepts, or possibly sorcerers. Ironically, some of the performers grew up in the United States and quite conceivably never been to a Vodou ceremony, which is consistently portrayed by propagandists and self-haters as demonic, primitive, and proletarian.
For the most part of my life, my dogmatic disapproval of organized religions prevented me from either embracing or practicing Vodou, even though I held Vodouists in great esteem because of their uncompromising resistance to oppression and mockery. Thus, I inadvertently neglected a fundamental part of my culture, which, to my defense, could be generally attributed to the prejudicial teachings of the oppressive catholic schools I attended.
Attitude controls behavior. Over a year ago, in m - Haitian Times - Max A. Joseph Jr-Dec, 2006

Nadia Dieudonné & Feet of Rhythm present “HERITAGE”©2006
A DANCE AND MUSICAL PRODUCTION BASED ON HAITI’S JOURNEY FROM SLAVERY TO FREEDOM
In commemoration of “BATAILLE DE VERTIERES”
SUNDAY, NOVEMBER 19, 2006
AT KUMBLE THEATER FOR THE PERFORMING ARTS
Long Island University-Brooklyn Campus
1 University Plaza (Entrance: Flatbush Ave under Red Arch) Brooklyn N.Y 11201
Showtime: 6:00 PM (no late seating)
Door opens at 5:30PM
General Admission $20.00
Box office 718 488-1624
www.kumbletheater.org


FOR IMMEDIATE RELEASE
November 7, 2006, Brooklyn, N.Y. - In the quest to explore and develop the perfect setting to give something back to her homeland, Haiti, Nadia Dieudonné has paid tribute to Haitian heroes in “HERITAGE”. This production is described as a choreo-drama, which reflects the middle passage of Africans to Haiti and their resistance to slavery. However, it is more then just a stage performance. “HERITAGE” is the beauty of the Haitian culture coming to life in its purest form. It is feeling the essence of the people’s strength developing right before your eyes, which explains their incurable romance with Haiti.

“HERITAGE” is the concept and creation of Nadia Dieudonné to commemorate one of the most critical events in world history – “The Battle at Vertieres” (Nov. 18th, 1803)– The final battle for independence. On Jan. 1, 1804, Haiti became the first Black Republic of the New World.”

“HERITAGE” is definitely a statement in itself and a breakthrough in how Haitian traditional dance and music are represented in a dream-like story presentation. A corp of talented veteran dancers, choreographers and teachers join as “Feet of Rhythm,” under the directions of Nadia Dieudonné, to execute this daring seven scene production. The rich percussions and the powerful steps are based on traditional Haitian rhythms. You will find that the call-and-response of the drums and vocals intertwined magically with the loose body gestures of the dancers as to implicate the intricacies of the dance patterns. Nadia has pushed the envelope on this concept, the drums appear to be guided by her soul, and her dancing is like a bright flowing kite on a Sunday afternoon; defying gravity as to say she has two invisible wings. As to the audacious aspect of the show, Nadia Dieudonné chooses the "Petwo” rhythm to execute a “Fire Dance” which symbolizes the anger of the enslaved fighting against oppression in “HERITAGE”. In the Haitian culture, men are mostly known to dance with fire, yet Nadia is one of the rare women capable of interpreting this dangerous dance. “HERITAGE” is full of colors, expression of life and playful nuisance, which captures a sense of fun and pride of the Haitian people. “From the first scene until the end, audience members were enraptured...” –Haitian Times

As Musical Director Daniel Beaubrun, renowned bass player, founding member and producer for 1992 Grammy nominated band Boukman Eksperyans, has created the musical score and implemented a live band. The band is composed of some of Haiti’s finest musicians and percussionists, which is an integral part of the show. The music is predominantly based on legendary rhythms: Yanvalou, Parigol, Mayi, Dahomen, Nago, Ibo, Petwo, Rara and Banda, which are driven by the drums, yet the trickery of sound is flavored with the zest of the guitar and bass line. Joining in this multitude of talent as guest vocal artists are: Eddy Francois, mostly known as a prominent “Sanba” lead singer in Rasin (roots) music, former lead singer of Boukman Eksperyans and his own band Boukan Ginen along with Rozna Zila, electrifying solo vocalist/dancer, and former singer for Boukan Ginen and Ram.

“HERITAGE” has been well received and applauded at the Brooklyn Museum of Art and at the Schomburg in Manhattan. “HERITAGE” has been described as a Broadway play without losing the soul of the Haitian culture. I assure you that the rhythms, the story, the colors, the healing songs, and the emotional dances of “HERITAGE” will be permanently ingrained in your memory.

Contact Info:
Cynthia Karaha - Event Consultant
917-972-9197
General info: feetofrhythm@aol.com
Press info: karahac@yahoo.com (No video taping or flash photography)


http://www.myspace.com/feetofrhythm
http://www.brooklyn.liu.edu/kumbletheater/indexHeritage.htm
Rockmasters: http://216.247.206.52/flyers-2006/nadia-11-19-06.htm
Supporters:
SJM Media -www.sjmmedia.com or http://www.myspace.com/sjmmedia
Opamizik -www.opamizik.com
Sony Bel Anfom
Caribbean Images-Peter Pouchon
Cabane Kreol -Lesly Elie - Cynthia Karaha

Haiti's dynamic history as the world's first Black republic came alive on Sat., Nov. 15 at the Brooklyn Museum of Art, through a colorful and rhythmic orchestration of African dance. The event, ideally titled, "Heritage", was presented by the Afro-Haitian folk¬loric dance company, Feet of Rhythm (FOR), founded by artistic director and Haiti native, Nadia Dieudonne "to preserve and promote the rich culture of Haiti" through the art of dance. "For so long, Haiti has had a negative connotation to it," said Dieudonne, who left New York to return to Haiti to research and study the origins of Haitian dance and its connections to Africa.
Haiti Consul General Harry Fouche also stopped by to take in the performance, which drew a crowd of Haitians and interested New Yorkers. Skillful Haitian artists, under Dieudonne's leadership, reenacted the historical journey of Haiti from slavery to freedom, demon strating authentic dances to the beat of African drums, and hymns accompanied by Haiti's finest Samba vocalist, Azouke.
Attendees were treated to scenes that held poignant reverences of Haiti's liberation. Some depicted: homage to an African Queen; the transfer of Africans to Haiti; life on the plantation; the uprising of Haitians to abolish slavery; and the celebration of the war for indenpendence. Scenes of garbed dancers depicting enslaved Africans working on plantations were riveting. They were backed by rhythms called Djouba, Kontredans and Abitan which, according to Dieudonne.

In one other scene, titled Sou Lanme, dancers illustrated the plight of kidnapped Africans to Haiti on boats, with ocean-wave props and music called Yanvalou. Significantly, the one-hour presentation commenced with the 200th anniversary of the Battle of Vertieres, when African-Haitian General Jean-Jacques Dessalines led troops to defeat Napoleon Bonaparte's French Army, to secure Haiti's independence.
"Heritage" marked Dieudonne's contribution to the yearlong events celebrating Haiti's history and their upcoming bicentennial independence on January 1,2004. "This is to instill pride in Haitians and Haitian-Americans to know their culture," she said.


Photo 1
Dieudonne showcases a dance called "Petwo." The fire symbolizes the anger of the enslaved fighting against oppression. The "Rara" dance shows the pride of Haitian people "This is to instill pride in Haitians and Haitian-Americans to know their - Caribbean Life - Dec 2, 2003

BROOKLYN- It didn't seem possible-thai a performance worthy of being seen was going to be only an hour long. But Nadia Dieudonne's Feet of Rhythm dance troupe proved it could happen as they performed "Heritage, a Bicentennial Celebration of Haiti's Independence."
At the Brooklyn Museum of Art on Nov.15, the troupe of 17 dancers and six-member band livened up the Saturday afternoon of regular museum visitors, Haitians from "different parts of the city and veteran theatre performers alike. For about one hour, the beat of Haitian drums, history and offspring reverberated off the walls of the museum as they depicted the journey of the Haitian people.
It took them all the way back to blacks in Africa being kidnapped by Europeans, through the drudgery of life on a slave plantation, into events in the successful
slave revolution that ended at Vertieres on Nov. 18,1803 and during which many died, and to liberation.
What made the six-scene production so worthwhile is that it combined a solid script that is accurate historically with the traditional music and song to help the audience follow the dance movements. The narration helped put things in context for those not femiliar with Haitian history. Especially awe-inspiring was the excerpt of Jean-Jacques Dessalines' rasamble speech, in which the military leader gathers the slaves and gives them an ultimatum: "Those who want to die as slaves, leave the fort. Those who want to die free, join me."

Nevertheless, the dancers, drummers and singers managed to keep the crowd of about 150 enthralled.
Even during the breaks when the dancers ran backstage to change, the drummers kept the crowd from boredom by beating their hearts out.
From the first scene until the end, audience members were enraptured by the use of fabric to simulate situations such as the captured Africans' passage over the Atantic to Haiti. Dieudonne said she used the large pieces of white material in that scene, called Sou Lanme (At Sea), dressed singer
Sandy Saint-Cyr in a mermaid outfit, and used two iris from her children's troupe to move the fabric up and down on the stage in an rowing-like motion. Such creativity dazzled many, including veteran of Haitian folklore theatre, Jean-Leon Destine, who thought the show was magnifique.
"She invented some things, naturally, because she is an artist," said Destine, a founder and director of Haiti's National Folkloric Troupe during the 1950's. "She has to create her signature [style]."
Amateurs also thought the show worthy, educational, informative inasmuch as it taught the attendees a little bit of Haitian history. Most were dazzled by the colors- bright greens, yellows, and reds, some sequined- used for the costumes, which were sewed by Dieudonne, her mother Jeanne and three other seamstresses.

With the constant movement and drumming, the Heritage went by really quick. Clotilde Theus. a Queens resident who came with her niece, said, "I wish it were longer, especially for something you didn't have to pay for. [I] enjoyed every minute of it."
Chronologically, it was straightforward and put each dance in context. (Well, except maybe the banda. the highlight of the show which thrilled the audience with its sexual connotations, leaving Destine wondering whether or not the observers understood the humorous charac¬ter of Cede, the comic trickster spirit of death in vodou that was dancing.) Artistically, the facts were interpreted in a captivating fashion using costumes that suited the characters' work or pleasure, feet, hips, elements of vodou,
arms, caricature, and of course- the beat of the drum to carry it all through.
Dieudonne, who founded Feet or Rhythm in 1994, said she wanted to get straight to the point with the performance. She received funding from the Brooklyn Arts Council, Independent Community Bank, Health Plus, and the Consulate of Haiti, but she still had to put in her own money to cover all the costs-dancers, drummers, backstage assistants, designers, and other expenses. The Museum also fit her into the schedule from 2 to 6 p.m., giving her just enough time to check space, run through the show and perform it.
"They helped me bring my vision to life," Dieudonne said. "Some people asked for an encore. That's a very big compliment."

- Haitian Times - Nov-19-25,2003

The Katiana Malbranche (left) with the Feet of Rhythm group leeds the parade marking the beginning of the 3rd annual American Folk Festival in Bangor Friday. (Bangor Daily News/Gabor Degre)

Nothing could’ve rained on this parade. A 10-foot-tall stilt walker surrounded by dancers waving flags and shaking sequin-clad hips — aka the Haitian rara band Feet of Rhythm — led crowds of bopping revelers toward the Railroad stage as the American Folk Festival on the Bangor Waterfront opened Friday evening. After a forecast of showers, the gray afternoon gave way to muggy sunshine — but a little rain wouldn’t have stopped at least one festival-goer.
.
I was hoping it wouldn’t be a downpour, but we brought our ponchos," said Linda Thomas of Bangor, who has made the event an end-of-summer ritual for the last six years. "We’re going to be here unless there’s lightning. You know what they say in Maine, if you don’t like the weather, wait a little bit."

Weather or not, a "robust" number of people came, though festival organizers hadn’t released crowd estimates at press time. Julia Olin of the National Council for the Traditional Arts, which produces the event and the National Folk Festival, said the "huge crowds" and enthusiasm in years past bode well for
the American Folk Festival’s continued success.

"You’re in the prime," she said, smiling and surveying the sea of people watching the Irish ensemble The Green


Fields of America, "just the absolute, glowing prime."

Now in its third year as an independent festival, this offshoot of The National has established itself as the region’s biggest event of the summer — last year, 162,000 people attended over the course of the weekend. Olin stressed that this is a pivotal time for the festival’s future in terms of fundraising and community support, which will ensure that the event remains free.

"Maine is not a wealthy state, and the money here is raised a little bit at a time," she said. "So far, no big corporate sponsor has stepped forward to be a presenting sponsor."

On Friday, Gov. John Baldacci took the stage to announce a $20,000 gift to AFF, putting organizers that much closer to their $1.03 million fundraising goal for 2007. A $169,000 deficit remains.

"You can see by the turnout … that this is certainly money well-seeded here," Baldacci said. "It draws to the region. It brings families who eat in the restaurants, stay in the hotels, shop in the shopping centers, over a two- to three-day period. We think that’s a huge benefit."

Sandy and Bob Soucy of Wolfeboro, N.H., are part of that trend. They planned their Maine vacation around the festival and arrived early to stake out seats in front of the Heritage stage. Before the music began, they looked at their schedules and highlighted performances they wanted to see.

"For me, I’m interested in the other things, the things you can’t see everywhere else, like the Inuit throat
singers and the Tibetan monks," Sandy Soucy said.

As Andrew and Rebecca Croce of Bangor watched their 20-month-old son dance to the sounds of the Bruce Daigrepont Cajun Band, they echoed Soucy’s sentiments. The couple

lived in New Orleans before returning to their hometown, and they were

looking forward to a little crawfish etoufee and a lot of music.

"I really like that they don’t cater to the lowest common denominator," Andrew Croce said. "You don’t just get your blues or your rock ’n’ roll. I’m sure they know that polka and storytelling [won’t bring in huge crowds], but they still push the good stuff."

The Croces love "the vibe" that the festival brings to town — during its three-day run and, increasingly, year-round.

"The more things like this you have, the more viable Bangor becomes as a venue for artists."

Heather McCarthy, the festival’s executive director, dreams of a year-round venue — similar to the Grand Auditorium in Ellsworth or the Strand Theatre in Rockland — where festival favorites can play during the off months — as a means of raising money toward the August event, as well as a way for locals to reconnect with bands they love.

"I think the folk festival has gotten people more excited about what the possibilities are," McCarthy said. "I think it’s provided a cultural cornerstone that has spread out into a lot of areas."

Dwain Winters, the NCTA’s technical director, said that cultural awakening is a true sign of whether or not a festival will thrive.

"We’re no longer in that, ‘Are we bigger than we were last year?’ mode," Winters said. "The true measure of success is how much people appreciate the music, the dance, the food. … The audience has become very sophisticated. During a set change, people are moving from stage to stage deliberately. People are beginning to have favorites. They’re developing a taste in a genre. They’re not simply coming to a big event, they’re coming to something they have a vested interest in … that’s another mark of success."

When you go …

- By Kristen Andresen - Saturday, August 25, 2007 – Bangor Daily New