Celtic Week Classes - July 10-16, 2016
PLEASE NOTE THIS INFORMATION IS FOR THE 2016 WORKSHOPS.
INFORMATION FOR THE 2017 WORKSHOPS WILL BE POSTED NEXT MARCH.
(Unless otherwise indicated, all classes have a limit of 15)
INTERMEDIATE IRISH FIDDLE A (Liz Knowles)
n this class for intermediate players, we will learn a few tunes, but the emphasis will be on establishing foundations for you to take home and apply throughout your own learning as well as answering any questions you may have. We will also cover basic violin/fiddle technique for tone, agility in the left hand, and intonation, as well as the basics of Irish fiddle technique: bowings, ornamentation and style. While learning tunes in the class, I will show you how to learn by ear more efficiently and productively, help you hear style and ornamentation so that you can imitate it as well and impart some “how-to-practice” methods that will help you with your music beyond the confines of the class. Sheet music will be provided for those who need it but mostly at the end of the class. Please bring a recording device. Once you have registered for the class, contact me at firstname.lastname@example.org three weeks before the class and I will send you a tune or two via email. Even if you already know the tune or have heard it before, LISTEN to it as much as you can. DO NOT TRY AND LEARN IT. Just listen! (Class limit: 30)
INTERMEDIATE IRISH FIDDLE B (Kevin Burke)
This class for intermediate players will feature discussions and demonstrations of various techniques used in Kevin’s playing with particular attention being paid to ornaments and bowings. Other topics for consideration will include repertoire, musical history, arrangements and comparisons between group and solo performances. Questions on other aspects of fiddle playing will be encouraged. (Class limit: 30)
ADVANCED IRISH FIDDLE A (Martin Hayes)
This class for advanced players will explore Irish tunes from the ‘inside-out,’ and focus on the possibilities for variation and improvisation that exist within the tradition, as a means to our own personal expression and interpretation. There will be particular emphasis on bowing, rhythm and the creation of variations. Students should bring an audio recorder. (Class limit: 30)
ADVANCED IRISH FIDDLE B (Liz Carroll)
The advanced fiddle class will work on good bowing and ornamentation, and we’ll tackle interesting and challenging tunes. We’ll learn some new tunes and brush up on some old ones, and we’ll even learn a ‘Liz tune’ or two. (Class limit: 30)
INTERMEDIATE SCOTTISH FIDDLE (Laura Risk)
This course explores the stylistic nuances of Scottish fiddling. We’ll work on ornamentation and bowing, phrasing and expression, playing ‘in the groove’, improvising melodic variations, and using accents to create rhythmic excitement. We’ll also discuss Scotland’s regional fiddle styles and listen to recordings of players from each style. Technique and theory topics – tone, practice methods, simple chord theory, playing with speed and precision – will be included as appropriate. All tunes, including strathspeys, reels, jigs, marches, and slow airs, will be taught by ear. Students are encouraged to bring a small audio recorder to record musical examples and repertoire. (Class limit: 30)
ADVANCED SCOTTISH FIDDLE (Brian McNeill)
his class will deal with bowing, phrasing and ornamentation of tunes ranging across the full spectrum of difficulty of Scottish music, and will be taught on a master/apprentice basis, which means that the tunes will be learned orally, and, where possible, by the students learning to sing the tunes as an aid to memory. Printed versions will be given at the end of the class if students want them. As composition is an ongoing feature of the Scottish fiddle tradition, the class will cover both traditional tunes and Brian’s own compositions. Composition by students during the week will be encouraged, as will student input on arrangement – the goal being to produce at least one complex and varied set of performable tunes by week’s end, plus one or more single tunes that can be put into any other sets the students might want to create. Regional variations in style will be considered, as will the use of harmonies and chords. Modern use of the fiddle as a backing instrument will be discussed, as will playing with other instruments, particularly bagpipes and accordion. All types of tunes: marches, strathspeys, jigs, reels and airs, will be considered. The history of Scottish music, both in its totality and with special emphasis on the fiddle, will be referred to throughout, as will the context of Scottish music in Scotland’s social history. Students should bring a small audio (not video) recorder and a big heart, and should remember that the ethos of the class will be that no student shall be left behind. (Class limit: 30)
INTRO TO CELTIC FIDDLE (Andrew Finn Magill)
“What’s the difference between a jig and a reel?” “What makes it sound Irish vs. Scottish?” “How do you do a roll?” If you find yourself asking these questions, this might be the class for you. This class for intermediate players new to the style will focus on learning the “feel” of the musical genres which constitute Celtic fiddle, but with a focus on Irish fiddling. We will learn ornaments, how to stylize a tune, how to put tune sets together and what to listen for when listening to traditional music. The pace will be determined by the class, but I’ll give you plenty of sheet music, recording recommendations, and materials to take home and work on. The goal of this class (besides having fun) is to give you confidence, joy, and to teach you how to sound convincing as a traditional player. An audio recorder is recommended.
CAPE BRETON FIDDLE A & B (Kimberley Fraser)
(Note: This class for intermediate to advanced fiddlers is offered once in the morning and repeated in the afternoon.)
We’ll look at what makes Cape Breton music different from other music. We’ll talk a lot about bowing and how this gives the fiddle style its ‘accent,’ as well as common fingered embellishments that you’ll hear in the style. Listening to recordings will also be a part of the class. We’ll use this as part of our ear training to identify common stylistic features and apply them in our own music. The class will be taught mostly by ear and we’ll talk about ways to improve your ear training. Sheet music will be provided as reference. We’ll learn jigs and reels and march, strathspey and reel sets, as the class desires. (Class limit: 25)
FIDDLE FOR COMPLETE BEGINNERS (Rose Flanagan)
Learn the fiddle from scratch in a week! This class offers an introduction to playing Irish traditional music on the fiddle for complete beginners. You will learn how to hold the fiddle, good bow-hold, left-hand position, notation and the basic scales. We will learn some simple tunes by note, or by ear if you are up for the challenge! Please bring along a recording device.
FIDDLE TECHNIQUE A (Andrew Finn Magill)
This class will be a mechanics class for Irish fiddling: What’s that bowing? What finger do you use? When do you ornament? We will go through each ornament and bowing pattern fiddle style by fiddle style and even fiddler by fiddler. We will also discuss the technique of the fiddle/violin itself and how to reduce risk of injury and adapt classical violin technique to a fiddle context. We will discuss how to practice traditional Irish music and how to maximize one’s practice time. This class is best suited for fiddlers who have some facility with the instrument and who are willing to be challenged. The class will be taught entirely by ear, however sheet music will be given out for any specific tunes we learn. (Class limit: 20)
FIDDLE TECHNIQUE B (Rose Flanagan)
This class is for those who already play the fiddle but wish to improve their skills. We will concentrate on ornamentation, bowing and phrasing. Please note that this class is not for beginners. We will learn a few tunes throughout the week. Classes will be taught by ear, but notation will be available to all students on request at end of the workshop. Students should have a good knowledge of the fiddle and be able to play tunes at or close to speed. Please bring a recording device and feel free to ask as many questions as you wish! (Class limit: 20)
Flute and Tinwhistle
INTRO TO IRISH FLUTE (Kevin Crawford)
This class offers an introduction to playing traditional Irish music on the flute for students who already have some experience with the basics of the instrument and can play some tunes at a slow pace with little or no ornamentation. We’ll discuss a ‘how-to-practice’ method and how to approach session playing. We’ll learn a few tunes but the emphasis will be on establishing foundations for you to take home and apply throughout your own learning as well as answering any questions you may have. Students will learn how to ornament tunes with rolls, cuts and tongueing. Tunes will be taught by ear so bring a D flute and a recording device. ABC notation will be provided for those who need it.
INTERMEDIATE/ADVANCED FLUTE A (Kevin Crawford)
This class is for students who are skilled enough to play tunes in a variety of rhythms (jigs, reels, etc.), with good technique and at a reasonable tempo. This course will expand on the skills and topics introduced in the intro class, with more attention given to ornamentation, breathing, style and repertoire, while continuing to emphasize rhythm and phrasing in the music. Tunes will be taught by ear so bring a D flute and a recording device. ABC notation will be provided for those who need it.
INTERMEDIATE/ADVANCED FLUTE B (Nuala Kennedy)
Nuala grew up playing traditional Irish music in Dundalk, Co. Louth and has also spent many years living and playing music in Edinburgh, Scotland. She is also strongly influenced by the music of Cape Breton Island, Nova Scotia. In this class, she will explore some of the repertoire from these three places, looking at a variety of tune types including marches and strathspeys. We will also play in a range of keys. This class is for students who are skilled enough to play tunes in a variety of rhythms, and is suitable for those who wish to learn by ear. Music notation can also be provided afterwards for students who would like it.
INTRO TO IRISH
TINWHISTLE A & B (Cillian Vallely, John Skelton)
This class is for students who already have some experience with the basics of the instrument, and can play some tunes at a slow pace with little or no ornamentation. Beginners will learn how to ornament tunes with rolls, cuts and tongueing. Emphasis will be placed on rhythm and phrasing. Tunes will be taught aurally, so bring a D whistle and a recording device. Sheet music will be provided for those who need it.
INTERMED./ADVANCED IRISH TINWHISTLE A & B (Cillian Vallely, John Skelton)
This class is for students who are skilled enough to play tunes in a variety of rhythms (jigs, reels, etc), with good technique and at a reasonable tempo. This course will expand on the skills and topics introduced in the beginners class, with more attention given to ornamentation, breathing, style and repertoire, while continuing to emphasize rhythm and phrasing in the music. Tunes will be taught aurally, so bring a D whistle and recording device. Sheet music will be provided for those who need it.
TINWHISTLE FOR COMPLETE BEGINNERS (Billy Jackson)
This class is for students with no prior experience of the tinwhistle. Instruction will start with the most fundamental techniques and a few very simple tunes. By the end of the week, you’ll be well on your way to playing. Please bring along a recording device and a tinwhistle in the key of D.
INTRO TO CELTIC HARP (Billy Jackson & Gráinne Hambly)
The beginning student will be introduced to the fundamentals of this grand and ancient instrument, including basic harp technique (e.g. hand position, posture, exercises). Arrangements of simple Scottish and Irish melodies will be taught by ear, with written music provided as back-up. Billy and Gráinne will each lead the class at various times during the week. In order for classes to commence on time, students are kindly requested to be tuned and prepared well in advance, and to ensure their instruments are in good working order. Students are also encouraged to bring a recording device, music stand, and spare strings.
INTERMEDIATE/ADVANCED CELTIC HARP (Billy Jackson & Gráinne Hambly)
Class topics will include arranging, ornamentation, and accompanying voice and other instruments. A selection of Scottish and Irish material will be taught at a more advanced level and individual interests of participants will be taken into account. Billy and Gráinne will each lead the class at various times during the week. In order for classes to commence on time, students are kindly requested to be tuned and prepared well in advance, and to ensure their instruments are in good working order. Students are also encouraged to bring a recording device, music stand, and spare strings.
CELTIC FINGERSTYLE GUITAR (Robin Bullock)
This class will explore the world of possibilities presented by traditional Irish, Scottish and Breton repertoire arranged for solo fingerstyle guitar. Some tablature will be offered, but students will also create their own individual settings of airs, jigs, reels and the 18th-century harp music of Turlough O’Carolan, sharing arrangement ideas in an informal, hands-on environment. Alternate tunings such DADGAD, CGCGCD and “Werewolf” tuning (CGDGAD) will be used extensively to open up the instrument’s full sonic potential. A good time will be had by all. An audio recorder is recommended.
SESSION GUITAR ACCOMPANIMENT I (Alan Murray)
This class is for newer guitarists and those new to traditional Irish music. Students will learn chord shapes and patterns for dropped-D tuning and strumming patterns for jigs, reels and other melodies. We will focus on common keys within Irish traditional music, how to be creative with your own playing, and also discuss the “ins and outs” of playing with others. An audio recorder is recommended.
SESSION GUITAR ACCOMPANIMENT II (John Doyle)
In this class for advanced students, players will further master different strumming techniques to a variety of types of tunes, add dynamics to their playing through syncopation and emphasis, confident chord substitutions, fingerpicking techniques, tips and tricks for playing in sessions, how to work out the right chords for tunes and alternate tunings for the guitar. Students should be familiar and comfortable with strumming, have a good working knowledge of Irish music and of music theory. Chord sheets in dropped-D tuning will be provided. Students should bring a capo.
FLATPICKING CELTIC GUITAR (Robin Bullock)
This intermediate-level class will focus on making traditional Celtic tunes come to life flatpicked on steel-string guitar. We’ll discuss technique, lift, ornamentation, and other facets of making Irish, Scottish and Breton tunes sound authentic on guitar, as well as alternate tunings, capo techniques and methods for picking up tunes by ear. Sheet music and tab will be available if required. Students should bring a capo. An audio recorder is recommended
DADGAD GUITAR (Eamon O'Leary)
This class will explore approaches to the accompaniment of Irish music – both instrumental and vocal – with the unique DADGAD tuning. Focus will be placed on rhythm, chord selection, phrasing, and right- and left-hand techniques. No experience with this tuning is necessary. Chord charts will be provided.
ACCOMPANYING TUNES ON THE FLY (Alan Murray)
This class is for progressing guitarists looking to hone their skills and focus when in a session environment. Here, students can find a deeper look at the aspects of chord substitutions, rhythm, and the elusive “lift” and “drive” that everyone is looking for in their playing. We’ll delve deeper into tune structure, keys, modes, and time signatures and discuss how to recognize them quickly in a session. In this class, students will learn to “hear” more of the music they already play. An audio recorder is recommended.
CELTIC BOUZOUKI (John Doyle)
In this class we will explore the first basic chord structures for backing tunes and songs, rhythmic patterns in Celtic music, and then explore further into counter-melodies, hammer-ons, and other techniques used to make bouzouki accompaniment dynamic and unique. Students should bring bouzouki, pick, capo and recording device.
MANDOLIN I (Marla Fibish)
This class will focus on getting the feel, pulse and flow of Irish music on the mandolin. We’ll start by acknowledging that the mandolin is fundamentally a rhythm instrument on which we are trying to play melodies. In order to do that, there are two main areas of focus – getting the right hand moving in rhythm to create the framework, while then focusing on the left hand to maximize sustain and tone production to get a flowing melodic sound. We’ll work on understanding the pulse of the music and getting your right hand ‘drummer’ going. We’ll learn and practice picking patterns for various tune types (jigs, reels, polkas, etc.), engaging the wrist (and the rest of your body) to create a full and rhythmic sound. We’ll do exercises and learn tunes together (by ear) and use those tunes to demonstrate, drill and practice what we learn. Bring a recording device!
MANDOLIN II (Marla Fibish)
This class will review and then build on the basics (see Mandolin I class description above), focusing on musicality, and learning technique to support it. We’ll look at phrasing and ornamentation, as well as using dynamics and variation to apply the unique qualities of the mandolin to Irish music, respecting the core of the tradition on this ‘newcomer’ of an instrument. We’ll learn tunes together (by ear) and explore different ways to give those tunes life and lift, applying the concepts and techniques that we learn in class. We’ll also look at tunes you already know, but feel ‘stuck’ on, perhaps unable to take them beyond the way you learned them and trying to open a few doors for you to stroll through as your playing develops. Bring a recording device!
TENOR BANJO (Eamon O'Leary)
In this course for banjoists of all levels, Eamon will cover right- and left-hand technique, ornamentation, tune settings, and different banjo styles. Tunes that are particularly well-suited to the banjo will also be incorporated into the class. Students are advised to bring a recording device.
UILLEANN PIPES (Kieran O’Hare)
This class will introduce tunes new to students, chosen to illustrate a particular technique. As students will vary greatly in terms of experience and ability level, it is possible that this class will include some individual or small group attention and tutelage. More experienced students will focus on matters of technique, ornamentation, articulation, and style. Various points of pipe maintenance may also be explored, though this will not include the making of reeds. The class will emphasize the development of classic piping technique, through detailed demonstration, and through scrutiny of the recordings and approach of master pipers. The goal is to enable each student to get rewarding and musical returns from the time they spend learning their instrument in class and beyond. A recording device is recommended.
BUTTON ACCORDION (John Whelan)
In this class you will learn fingering techniques, bellows control, rhythm & phrasing and how to play stress-free with your accordion. You will learn to understand better how the accordion works with your physiology and how to relax so you can bring out the best in your playing. You’ll learn tunes that fit well with the accordion and bring out the essence of Irish music. You’ll also learn proper practice methods and how to improve your playing going forward. Hard work and dedication will not be wasted with the things you learn because it’s not the length of time you practice but the discipline you have doing it that matters.
PLAYING IN SESSIONS (John Whelan)
Have you ever wondered why your session is so sparse, or the playing is too fast or too slow? Or how to manage your session with beginners, intermediate and advanced players? What do you do when you have twenty-five people or more? This class for all instruments will help you with all these questions and more, including: What session tunes to play. Which tunes you need to learn. Understanding how your session is effected by social, economic and demographic locations. Whether you have two or twenty people, you can have a wonderful session if you approach it in the right way. Remember that Irish music is inclusive not exclusive. Now go build your session!
ANGLO CONCERTINA (Gráinne Hambly)
This class is intended for students playing Anglo C/G concertinas, and
is open to all levels, from beginners with some basic playing experience upwards. It is not suitable for complete beginners, however, and all participants should be familiar with their instrument (location of the notes, etc). Basics of technique and style (e.g. bellows control, phrasing, alternative fingerings) will be covered, as well as ornamentation in the context of Irish traditional dance tunes. Participants are encouraged to bring an audio recorder. Written music will also be provided.
Song and Folklore
IRISH TRADITIONAL SONG (Cathie Ryan)
This course will feature songs in both Irish and English that Cathie has col- lected through the years and new ones she has recently discovered, including love songs, newly-composed songs written in the old style, children’s songs, humorous songs, historic ballads, singalongs, and more. We will focus on the oral tradition of sean nós (old style) singing and utilize those rudiments to deepen and develop our own individual singing styles. Please bring audio recorders with you to class. (No class limit)
IRISH MYTH & FOLKLORE (Cathie Ryan)
The stories and characters in Irish myth and folklore are endlessly fascinating, and Cathie adds a further dimension to them by using a modern psychological perspective. In past courses, Cathie has led workshops on the Celtic Year, Celtic Fire Festivals, the heroic journey in Irish mythology, tales from The Táin and Gods and Fighting Men, as well as Irish folk tales and fairylore. This year her subject is the The Deep Heart’s Core. Drawing from the tales and archetypes of Irish myth as well as Celtic song, literature and poetry, the workshops will focus on the heart as the source of emotion and a guiding factor in how we relate to self and other - how the heart sustains, endures, and can transform, how it aids and can also befuddle our perception, how opening the heart opens us to loss, and how the absence of heart can drive us into shadow and darkness. No Celtic workshop on the heart would be complete without also spending time discussing the music of the heart. (No class limit)
SINGING SCOTTISH SONGS (Ed Miller)
Each class period will focus on two or three songs, learning them by hearing and singing them over several times. We’ll also listen to recordings by a variety of singers to hear how they present, express and decorate a song. Songbooks and sampler CDs will be available and the language and social context of the songs will be explained. However, the emphasis will be on learning a selection of traditional and more recent songs aurally and orally by repetition. (No class limit)
SCOTLAND IN SONG (Ed Miller)
The songs of the Scottish folk revival of the past 50 years cover everything from politics and social change to urban renewal and personal experience. In this class, we’ll listen to, talk about and SING serious and humorous songs by Adam McNaughtan, Ewan MacColl, Hamish Henderson, Robin Laing, Andy M. Stewart, Dougie MacLean and others, all of whom are keeping the Scottish song repertoire refreshed, vibrant and relevant. Songbooks will be available. (No class limit)
SONGS FROM THE IRISH TRADITION (Len Graham)
In this class, Len will share songs from his extensive collection of songs found in the Irish tradition in the English language. Many themes will be covered including including classic and broadside ballads, songs of love, politics, emigration and much more. Each song will be put in context, giving historical and social background. As an oral tradition these songs will be taught by repetition and ear with lyrics provided. Participants are encouraged to bring an audio recording device. (No class limit)
THE HUMOUR IS ON ME NOW (Len Graham)
Len has a large repertoire of songs on a humorous theme – a symphony of jingles, tongue-twisters, lilts, nonsense verses, songs of ceremony and FUN galore! This class is suitable for ALL ages 7-107. Most of the songs have rhythm and thus will lend themselves to instrumental arrangement. However, this class will be unaccompanied and will be taught by repetition and ear with song lyrics provided. Participants are encouraged to bring an audio recording device. (No class limit)
IN ENGLISH & IRISH (Nuala Kennedy)
Much of Nuala’s repertoire consists of Irish songs in the English language she learned from her mentor and friend, Cathal McConnell of the Boys of the Lough. In this class we will learn a variety of songs from that repertoire as well as other songs which Nuala has picked up over several years performing and singing. We will try to learn some songs by ear, (old-style!) as well as from songsheets. Some basic phrases in Irish will be taught as well as a couple of simple Irish language songs. No previous knowledge of Irish is required. A relaxed and informal class, this is a good way to broaden your repertoire as well as share some of your own songs and singing experience with the group. Please come ready to share at least one song that you enjoy, and bring a recording device. (No class limit)
SCOTS SONG PAST & PRESENT (Alan Reid)
The advent of the folk revival in the 1960s and the emergence of the professional folk performer has seen a blossoming of folk song writing, and Scotland has its fair share of exponents of this art. This class will study and compare classic songs from centuries past with those of more recent times, seeking out examples from well-known and not-so-well-known writers. Lyrics and some recordings will be provided and songs taught by ear in a friendly, relaxed atmosphere. Recording devices are helpful. (No class limit)
A STUDY OF SCOTS SONGS (Alan Reid)
A collection of Scots song seen through geography and history. This class will look at the diverse culture of Lowland Scotland by studying and singing Scots song from the various regions. We’ll pinpoint the subtle differences that characterise each area and aim to demystify the more obscure vocabulary of the Scots tongue (students’ curiosity and participation are encouraged). We’ll sing songs of work, war and love and that have touched the lives of ordinary people. Lyric sheets will be available as well as some recording links. Songs will be taught by ear and repetition. (No class limit)
Percussion and Dance
BODHRAN I (Matthew Olwell)
This class will give students a solid foundation of technique for playing the bodhran, including tuning and tone production, hand and body alignment, and a variety of patterns for jigs and reels. Emphasis will be on playing by ear, musical sensitivity, and active listening. We will investigate the ways percussion is used in traditional Irish music and other styles, with a focus on ear development, and we will incorporate techniques from both top-end and double-ended styles of playing. Beginners are welcome, as are players who want to brush up on the basics or re-evaluate their technique. Audio recording devices are encouraged. (Class limit: 25)
BODHRAN II (Matthew Olwell)
This class is designed for players with a solid foundation of technique, who are ready to sharpen their skills and take their playing to the next level. Class time will be devoted to playing as a group as well as individually. We will examine ways to accent rhythmic elements in different types of tunes, make smooth and interesting transitions within sets, and work well with other rhythm players. Students should be comfortable with both jigs and reels and be able to play with consistent timing. Audio recording devices are encouraged. (Class limit: 25)
BEGINNING SEAN NÓS DANCE (Siobhan Butler)
Sean-nós dance, not to be confused with sean-nós singing, comes primarily from Connemara and is generally danced to reels and jigs. Sean-nós, literally meaning ‘old-style’ is a highly improvisational, low to the ground, rhythmic dance form. In sean-nós dance, the dancer is tied closely with the musician and the music. The dancer interprets the music. This class is for all levels. Bring smooth-leather hard-soled shoes, comfortable clothes, a water bottle, a notebook and a recording device. (No class limit)
INTERMEDIATE SEAN NÓS DANCE (Siobhan Butler)
This class is for those who have some experience in sean-nós dance or other percussive dance styles. Taught at a somewhat faster pace, students will expand their knowledge of sean-nós dancing by learning a more diverse repertoire from Connemara, Clare, Leitrim, and Mayo among others. Additionally, emphasis will be placed on musicality – how one’s dancing relates to the music. Students will learn an impressive series of steps and how to invigorate their beginner steps and create new ones of their own. Please wear hard-soled shoes (leather or very hard rubber) and bring water and a recording device or notebook. (No class limit)
IRISH SET DANCING (Siobhan Butler)
Irish set dancing is the old country dancing from Ireland. Derived from European dances such as quadrilles, this style of group dance has seen a resurgence of popularity in Ireland since the 1970s. Sets are danced in square formations and made up of several figures or parts. The number of figures in a dance can vary between two and nine and are danced to varying tune types such as reels, jigs, polkas, slides, and hornpipes. This class for all levels is ideal for those hoping to learn new sets or to begin learning set dancing. It will cover an array of dances from several areas including Kerry, Clare, Sligo, and Connemara. Please wear hard-soled shoes (leather or very hard rubber) and bring water and a recording device or notebook.
(No class limit)
We offer a full-day program, taught by Melissa Hyman, for children ages 6-12. Children must have turned 6 by July 1st to participate. No exceptions please. Evening childcare for ages 3-12 will be provided at no additional cost.
This summer, we will explore the fascinating world of ANCIENT EGYPT! Journey back in time to visit one of the most powerful and colorful civilizations on Earth. Over 3,000 years of mummies, pyramids, mythology, and mystery will be our inspiration. We’ll learn about the ancient world of the Nile Delta through crafts, music, games and stories. We’ll make new friends, play our favorite messy games and dress up like kings and queens of the Old Kingdom. We’ll write our own original, Egypt-themed songs with the help of our very talented music teacher, Jane Kramer. At the end of the week, parents will get to hear us sing and see the crafts we’ve made, at our big performance at the Student Showcase. As a special treat, we will be visited throughout the week by wandering musicians and artists (Gathering staff) who will perform just for our kids. We will, of course, continue our beloved traditions of shaving cream hairdos, movie night, crazy contests and the Gathering Scavenger Hunt. Hop into our time machine for the journey of a lifetime!! There will be a $30 art/craft materials fee for this class, payable to Melissa, the Children’s Program coordinator, on arrival.