When is folklife seattle 2017

As the largest community-arts powered festival in the nation, the festival features an unprecedented level of diversity, all made up of artists and performers drawn from the communities of the Pacific Northwest. For 46 years, the Northwest Folklife Festival has been committed to access for all, offering access to thousands of performers with no entrance fee.

Here are some highlights from the Indie Roots Programming:. The Vera Project stage is the best place to explore the mix of indie rock and American roots from these great bands. Get up front at the Fountain Lawn Stage and shake it to these two up-and-coming roots bands from the NW. A new tradition at Folklife, the Kindiependent Showcase brings together the best indie rock bands playing music for kids and families.

With 5, performers on over 25 stages over four days, the Northwest Folklife Festival schedule is a powerfully complex creation. But here are some hand-picked highlights from the schedule to help engender new discoveries. We encourage you to go exploring to find your own new favorite band at Folklife!

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May is the 46 th Annual Northwest Folklife Festival! Folklife is a yearly celebration that promotes the arts and cultures that make Washington unique. Over the four day festival, there are over scheduled performances, including music, dance, film, and visual art demonstrations. The programming begins at am every day and ends around pm. You can view the full schedule, see an area map, and find out what food and shopping vendors will be available on their website.

You are commenting using your WordPress. I'm afraid it's going to keep up this way all weekend. But the magic is still here. The participants are having a good time" Lowman.

To mitigate the effects of weather, more events were scheduled indoors and by , the Seattle Center Playhouse stage was being used for acts including gospel choirs, mimes, and shadow-play performers. All of the outdoor events had indoor alternative sites in case of rain. By this time, the hyphen in "Folk-Life" had been dropped and the event was known as the Northwest Folklife Festival. It was one of four regional festivals spawned in that era by the National Folk Festival Association.

Yet the Seattle festival would prove to become the most successful of the four, a perennial Memorial Day institution drawing more than , people even in down years, and sometimes as many as a quarter-million. The festival continued to cleave largely to the original vision of founders Phil Williams and his wife Vivian Williams -- a celebration of living-room music and enthusiastic amateurs.

Every year, the fiddles and banjos rang out on what came to be called Bluegrass Hill next to the Center House. Yet some changes were inevitable, not least because of the sheer magnitude of the festival. The festival now had "one full-time employee, festival director Scott Nagel [b.

Its place in Seattle's cultural scene can be inferred from the fact that, in , The Seattle Times published an entire "Special Pullout Guide" to the festival. The schedule now included far more than fiddles and clog-dancers -- although those remained much in evidence. Craftspeople led workshops on making log cabins and wooden boats. The musical styles had also broadened by Nagel told a reporter that year, "When I was in Santa Fe two weeks ago I saw a lot electric Tex-Mex bands. I thought, 'Who am I to say this is not traditional?

Nagel began allowing groups who used electric instruments into the festival. By , one other change was evident: So many performers applied that not everyone could be accepted. About applicants were turned away, but with the understanding that they would all get in eventually. In the s, a broad musical genre called "world music" was popular, and Nagel began giving the Northwest Folklife Festival a more global reach. The festival introduced a cultural focus each year, emphasizing a particular region or theme.

Some of the early themes focused on Sephardic Jewish traditions, Scandinavian culture, and Native American powwow traditions. These were similar to festivals-within-the-festival. Folklife still had a strong bluegrass-scented flavor -- fiddle and string-band music was everywhere -- but now there was a more invigorating variety.

Describing the festival in , Paul de Barros, one of the festival program directors from to , and a writer for The Seattle Times , wrote:. At one stage, you might see a gaggle of Peruvian musicians in red and black gazing curiously at an English Morris dance. At another, an aspiring singer-songwriter with an approximate sense of pitch might be found serenading a troupe of Samoan fire dancers, tattooed from ankle to hip" "Folklife at 30".

By the s, the Seattle Folklore Society had left the picture and the festival had its own organization, called Northwest Folklife, its own board, and its own staff. An identity crisis faced the Northwest Folklife Festival in , when Seattle Center asked that the festival start charging admission.

The center eventually backed down after "irate Makah dancers, Scandinavian folk singers and Zimbabwean marimba players packed hearings at the City Council, insisting that the volunteer and community nature of Folklife would die unless it remained free" "Folklife at 30".

Then, in , the festival attracted one of the biggest names in folk-music history, Pete Seeger.