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A Gathering for Children’s Music
October 6 - 8, 2006
Walker Creek Ranch, Petaluma, California
1 1/2 hours from Bay Area airports
For Educators, Musicians, Librarians, Families
ALL YOUTH ADVOCATES
A weekend of singing, dancing, networking, making friends, and learning new songs
Magic Penny Award Presentation
Nona Beamer
To honor her work preserving traditional Hawaiian music, dance and stories
Workshop Topics
International Songs and Games; Circle-time Songs; Singing with Older Children; Songs in Spanish
Songs of Environmental Awareness; Playing the Harmonica; Using Homemade Instruments
Easy Guitar for Teachers; Body Percussion; Success Tips for Children's Performers
Critique for Songwriters; and much more!
Registration fees including meals and lodging start at $205;
rl $160 with meals and camping; single day $60 - $100; discounts for families 2
Scholarships and ECE Credit Available °
Information:
Ingrid Noyes (415) 663-9755 or
CMN Office (847) 733-8003 or
office@cmnonline.org 53 bY
fri cs www.cmnonline.org 5 f;
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CitySongs Notes
Fall Newsletter, 2005, Vol 13
From the Director: Coming Full Circle
by Helen Kivnick
| was reminiscing recently with new Board member (and for-
mer CitySongs MSW intern) Mary Bornong, and she re-
minded me about CityS ongs’ early roots in cultural principles
of singing-as-living in black South Africa. She reminded me
that | used to tell the kids so much about South Africa that
some of them referred to me as “that little lady from Africa.”
Indeed, she said, when she arranged for the CityS ongs Kids
to perform this past summer at an event sponsored by her
agency, everyone was really hooked by the idea that City-
Songs somehow grew out of what | had learned from South
Africa. | haven't talked much about that part of our history
for quite some time, but the stories are well worth remem-
bering and re-telling.
contemporary black life in South Africa.
| learned that in their cultures, singing is a way of expressing
anything and sharing everything. It does not replace speak-
ing, but it adds whatis, to my white western sensibilities, a
whole new realm to communication. In everyday life, sing-
ing is not primarily performance. Itis a form of social inter-
action. Butitis an interaction that creates beautiful sounds,
and, in so doing, it weaves people and spirits together. In
indigenous South African traditions, songs were a primary
means of teaching and learning - for everyday skills, prac-
tices, and knowledge as well as for cultural history and cus-
toms. Scat does it. And because it is expected and is
From 1983-1986 |
used a fellowship
from the WK Kel-
logg Foundation to
look at singing and
other participatory
arts as a key to the
infinite resource of
the human spirit.
An avocational
singer-folklorist, |
i i
Ciysengs TeEeGE atthe Ounay with J oseph Shabalala and members of Ladysmith Black Mambazo. ‘96 |present likelihood
required for full
social participa-
tion, nearly every-
Jone learns to do it
well.
Somehow, amidst
the grinding op-
pression, the mo-
ments of horror,
and the ever-
had spent time in
the fishing, mining, and farming communities in England and
Scotland, where everyday people sing together in local pubs
as a way of being together and reaffirming themselves as a
community. I’d learned hundreds of songs that people sing
to make their work go faster or better, or to vent anger and
frustration about their jobs, or to keep their hopes up after a
mining or factory disaster - while they waited, together, to
hear news of individual loved ones. I'd lived through the
Civil Rights Movement, when singing came out of the
churches and entered the mainstream as likeminded people
transcended boundaries of race, religion, class, and ethnicity
to call, in spirited harmony, for the rights and the dignity this
country promises all its people.
In the early 1980's, black South Africans’ long struggle
against apartheid was beginning to gain the attention of in-
ternational media. Radio and television reports were invaria-
bly broadcast over a background of rich, rhythmic harmony.
And when | tried to track down the recorded sources for
these backgrounds, | learned that they were the voices of
ordinary black South African people, singing as an integral
part of being together for whatever event was being covered
in a particular story. Union meeting. Funeral. Wedding.
Train ride. Church. Classroom. Lunch with friends. | knew
that | had much to learn from these people. My project
came to focus on the importance of singing in then-
of personal vio-
lence South Africa's black people continued to sing. And,
although few people consciously thought about it in this way
at that time, the process gave them strength. It connected
them with their history and their ancestors. It united them
with each other. It restored to them the dignity that apart-
heid was leeching away. It enabled them to be themselves,
even in the shackles of oppression.
Along with my husband Gary Gardner, | became friends with
J oseph Shabalala, founder and leader of the now interna-
tionally renowned Zulu singing group Ladysmith Black Mam-
bazo. In the mid 1980's, J oseph was a singer in the mbube
or isicathamiya tradition developed by black factory workers
during the forced 11-month absences from home that were
then part of the country’s labor system. Living in primitive
single-sex barracks, the men organized themselves into
singing groups, and they organized the groups into weekly
singing competitions. They created songs about loving
home, songs praising cultural tradition, songs bemoaning
their circumstances in the white cities. In performing these
songs, they belied the government's policy that black people
were nothing more than “units of labor.” | oseph had worked
in a cotton factory with his relatives, and had organized them
into the mbube group Ladysmith Black Mambazo. He
pushed the limits of the musical genre, trained his singers
mercilessly, and - after they were banned from weekly com-
Continued from cover...
petitions because they always won first prize -- took the
group professional. J oseph never talked about himself or
his life in political terms. But Ladysmith Black Mambazo’s
involvement in Paul Simon’s Graceland tour in the late
1980's played an enormous part in the international pressure
that contributed to Nelson Mandela's release from prison
and the country’s subsequent transformation to a multiracial
democracy.
| spent time with many black South Africans whose efforts
we described as “organizing” and “political.” Such behaviors
were illegal for blacks in apartheid South Africa. Initially dis-
missive of my interest in singing, they came to agree that |
was on to something that was so deeply a part of them they
never bothered to think about it. And then they went further.
They expressed profound appreciation for the support my
interest conveyed to them, both for their struggle and also
for the identity they were trying so heroically to assert. And
they exacted two promises from me. The first was to do my
project as well as | possibly could, and to tell their story com-
pletely. The second was to use what | learned from them in
order to work, in my own country, for the justice and the
equal dignity they were trying to create in theirs. In 1992,
the CityS ongs Kids started singing.
Joseph Shabalala and some members of Ladysmith Black
Mambazo came to a CitySongs rehearsal in 1996. They
taught the kids a Zulu song. They answered questions
about Zulu culture and about life as an internationally touring
rangements are now nearly final.
We're hoping that the concert will be wonderful for City-
Songs and for the Zulu culture school in many different
ways. We're hoping that it also launches a mutually produc-
tive, long-term collaboration between the two organizations.
We're hoping that, having made this circle complete, we will
keep it spinning ‘round and round in ways that reinforce the
singing and strengthen the essential human spirit that gave it
life in the first place.
The Black Mambazo benefit concert is now scheduled for
Sunday evening, March 5, at Ted Mann Auditorium. Tickets
will be available only through CitySongs and the U. News-
letter subscribers will receive e-mails when tickets go on
sale. Supporters without e-mail will be notified by US mail.
Check our web site for timely information.
CitySongs Kids and
audience members
after a performance
at Lyngblomsten.
musicians. They secured house seats for many of the kids,
at their performance at the Ordway. J oseph has gone on to
establish a Zulu culture school in his home province of Natal.
Whenever | talk to him, he asks me about CityS ongs and |
ask about his school. Last summer | asked if Ladysmith
Black Mambazo would do a benefit performance in the Twin
Cities, jointly for CitySongs and for his school in Natal; ar-
2005-2006 CitySongs Staff
Helen Kivnick, Executive Director 612-6246773
Hayley Hontos, Operations Manager 612-626-1241
Cheryl Reeves, Music Director 6126246217
Michaela Rinkel, Social Work/Education Director 612-626-8725
Performances
December 3, 2005 - 10:30 am & 12:00 pm
Whole Foods, Grand Meander
30 Fairview Ave S., Saint Paul
December 11, 2005 - 4:30 pm
14th Annual CitySongs Winter Concert
“Minds to Think, Voices to Serve, Hearts to Love”
University of Saint Thomas, Brady Hall
Cretin and Grand Ave, St. Paul
December 15, 2005 - 5:30 pm
Loaves and Fishes
Faith Lutheran Church
499 Charles Ave, St. Paul
December 20, 2005 - 10:45 am
Longfellow-Seward Healthy Seniors
Holy Trinity Lutheran
2730 East 31st Street, Minneapolis
January 13, 2006 - 7:30 pm
MLK Celebration at Shabbat Services
Mt. Zion Temple
1300 Summit Ave, Saint Paul
January 16, 2006 - 1:00 pm
Martin Luther King, J r. Day
MN Children’s Museum
10 West Seventh Street, Saint Paul
May 14, 2006 - 4:30 pm
14th Annual CitySongs Spring Concert
College of St. Catherine, J ean D'Arc Auditorium
Please note: This is not a complete list of our performances.
For an updated list, please visit our website at
http://citysongs.umn.edu.
From our Music Director
by Cheryl Reeves
Making a positive change in our community, and in our-
selves - what could be a better way of using the gift of
music? | can think of few things, which is precisely why |
am a part of the CitySongs mission. | have taught music
for over 18 years in public and private schools. Many of
us know what music participation and study can do to im-
prove learning and how performing can improve self-
esteem, etc. In education many times these things are
taken for granted and seen as a by-product of participating
in music performance groups and music classes. How-
ever, here at CitySongs, it is the reason why we exist -
reaching those in our community to spur hearts to change
from within, in order to change circumstances outwardly
for the good of all. And because music touches not just
our intellect, but also our emotions, it is a powerful vehicle
to promote change. As performer, | believe it takes more
of ourselves to sing than it does to play an instrument be-
cause our voice is a part of our physical selves, and it is
greatly affected by our emotions.
1am here to help children grow in their technical singing
skills and to experience the sheer joy of singing, knowing
that what we sing brings a positive message to those who
listen and to those singing themselves.
Music has the power to bring healing and wholeness to the
listener AND to the performer. | am thrilled to be able to
instruct our kids to help make that happen.
From our SWE Director by Michaela Rinkel
As a Social worker with 20 years of experience working
with kids and families, | am excited to join the CitySongs
team! What am | excited about? Changing the world! |
think that CitySongs makes music that makes change. It
changes the kids, emphasizing that they are strong and
powerful together. It changes the staff , who are inspired.
It changes the audiences who hear the message and see
the power of this choir, challenging them to act differently
in their lives. Change doesn't just happen in counseling or
at the State Capital, it happens every day in rehearsal and
it happens at every performance. | am excited to be a part
of this movement.
Kids Corner
What has CitySongs meant to you?
To me CitySongs has brought courage and the ability to
make new friends. CitySongs is a very fun group for
kids who are interested in singing and dancing. This
year I made like, 5 new friends: DeKala, Hannah, Abby,
Abreya, Amoni and a lot more people too.”
- Inez MiLee
I've been in CitySongs for about 3 and a half years now.
Lt has taught mea lot about myself. I mean, I knew I
was a good singer before I started, but being in City-
Songs made me realize that I was better than I
thought. The Staff: I could say they are nice, but that
wouldn't begin to cover it! The songs; well they're great,
too! I've met some great friends and have traveled and
performed at very unique places. Being in CitySongs has
given me a lot of opportunities I wouldn't have had.
- Rebecca Peltzer-Miller
Abreya, J as-
mine, Kiandra
and Amoni
working on a
project during
P ower Hour.
a) Healthy Snacks by Hayley Hontos
Adolescence is one of the most challenging stages in the
development of the human body. Because of the exten-
sive physical and psychological changes that are taking
place, many significant factors affect the nutritional well
being of young people. A recent group study and survey
conducted by the British mental health group MIND found
that 88% of participants who ate a diet that avoided “food
stressors” (such as sugar and caffeine) and was rich in
“food supporters,” (including water, fruits and vegetables)
believed that the new eating regime had greatly improved
their mental health. Many adults know that the health of
the mind is fundamentally connected with the health of the
body; however, it is difficult for children to make this con-
nection.
An important part of Power Hour is snack and education
time. Today's school kids rarely receive well balanced
meals in their school cafeterias. Many schools no longer
monitor what children eat (or don’t eat) during lunch time;
a typical lunch for youth today consists of chips and soda.
This year | have introduced healthier alternatives to City-
Songs Kids’ favorite snacks. One recent popular example
is Li Hing Apples, which are simply sliced apples with Ha-
waiian Li Hing Powder (a bright orange powder made of
prunes, a little sugar and salt)... they were a hit!
My objective for snack time is to teach CitySongs kids that
what we eat not only affects how we feel, it also affects our
energy level, our moods and our health.
CitySongs
c/o University of Minnesota
School of Social Work
105 Peters Hall
1404 Gortner Ave.
St. Paul, MN 55108
Nonprofit Organization
PAID
Minneapolis, MN
Permit #155
“Music is a bridge, it can tear down a wall.
Music is a language that can speak to one and all!”
March 5, 2006 - Save the Date!
Mark your calendars now for the Ladysmith
Black Mambazo Benefit Concert for CitySongs
and J oseph Shabalala’s Zulu culture school in
South Africa.
Groceries for Good Causes
You can help CityS ongs while doing your
grocery shopping! Kowalski’s on Grand Avenue
has designated CitySongs as a “Groceries for
Good Causes” beneficiary. After checking out,
simply deposit your itemized receipt in the
CityS ongs box on the way to the exit;
Kowalski’s will donate part of your purchase
total to CitySongs. Tell your friends!
Calling all Volunteers!
Every year CitySongs has a talented group of
volunteers... we rely on their generosity and
support. We are always looking for more volun-
teers in the following areas: Group Mentors/
Arts Coaches - help at rehearsals and concerts,
Office Assistants - help with mailings and other
ongoing administrative projects in the office,
and Special Project Assistants - help with spe-
cial fundraising events - public relations or mar-
keting projects. If you would like to volunteer,
contact Hayley Hontos at 612-626-1241 or
hhontos@ che.umn.edu.
Welcome to our new Board Members
Mary Bornong: Mary was an MSW intern w/ CitySongs in 1998-99. She re-
ceived her MSW from the U of M. She is a social worker with Family Means,
strengthening communities by helping families learn, work and nurture healthy
relationships. She has been a consistent financial supporter of CitySongs and
views serving on our Board as a new way to contribute to the program.
Michael McKern: Founder of FaceFront Productions, Michael started his audio
career in 1975, recording and producing many of the top Twin Cities bands. Dur-
ing his years at MusicTech College and McNally Smith College of Music, he served
as Head of the Recording Program and Vice President of Operations and Admini-
stration. Michael has co-produced CitySongs’ CD’s and directed CitySongs’ an-
nual recording project, doing both the mixing and mastering, since 1998.
CitySongs’ performance of the 2005/2006 Season at the Landmark Center's
Pumpkin Festival. 10/30/05
Winter Open Enrollment: January 5—-February 28
