(Unless otherwise indicated, all classes have a limit of 15)
INTERMEDIATE IRISH FIDDLE A (Manus McGuire)
In this class for intermediate players we will cover the basics of Irish fiddle. This class will be aimed at the improving fiddle player who wants to play more in an Irish style. Listening to solo fiddle playing will be paramount in this exercise and some typical tunes from the Irish fiddle player’s standard repertoire will be dissected and examined. Typical bowing motifs used in the various dance rhythms will be analyzed and discussed during the course of the week, and we’ll also address approaches to picking up and learning tunes aurally. The audio recording of class sessions is encouraged. Although tunes will be taught by ear, sheet music will be provided as a memory aid for many of the tunes introduced during the week. (Class limit: 30)
INTERMEDIATE IRISH FIDDLE B (Andrew Finn Magill)
As intermediate players you’ve built a little repertoire and mastered some basic ornaments. In this class we will work on phrasing and stylizing your playing with those things we term ‘lilt,’ ‘lift,’ and ‘drive’ by looking at specific bowings, ornaments and fingerings. We will also look at the notion of ‘style’ and some of the techniques the great fiddlers before us used. For those who read music, I will bring a few fiddle transcriptions, but this class will be first and foremost an ear-training class. We will learn one or two rare hornpipes, fiddle-friendly reels (think G minor) and maybe even something more exotic like a mazurka or a set dance. The goal of the week is to inspire, inspire, inspire, while giving you the tools you need to practice more efficiently and meet your musical goals. All music will be recorded before camp and notated for all who wish it. (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)
This 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 (Mari Black)
Are you searching for your authentic Scottish voice? Looking for more sparkle in your playing? Want to get grooving with a real Scottish fiddle accent? This class is a fun, yet intensive odyssey that delves into creating a believable stylistic Scottish feel. We’ll learn many traditional tunes: driving reels and jigs, stately marches, mighty strathspeys (the signature Scottish tune type!), and haunting slow airs. We’ll discover how to capture the stylistic essence of each tune type through good choices in bowing, ornamentation, phrasing, and rhythmic groove. We’ll polish up your dance feel so you know how to get everyone’s feet tapping, and we’ll put together complete ‘MSR’ sets that you could use for a traditional Scottish performance or competition. All tunes will be taught by ear, so definitely bring your audio recorders, but don’t worry – notated sheet music for all tunes we learn will be given out at the end of the week to help you keep practicing once you get home! (Class limit: 30)
ADVANCED SCOTTISH FIDDLE (Alasdair White)
In this class we’ll be looking mainly at different types of tunes from the Highlands and North West coast of Scotland, and the stylistic means to play them, focusing on grace notes and articulation to give your playing authenticity and swing. Particular attention will be paid to tunes and idioms from Gaelic ‘puirt a’ beul’ music and the piping tradition, music perhaps seldom heard very widely. We’ll also talk about the background of the tunes and discuss the regional musical styles of Scotland. Teaching will be primarily by ear but sheet music for the tunes covered will be provided, where possible, during classes. All sheet music will be provided by the end of the camp. The reason for this distinction is that it will allow us greater flexibility within the class. If we’re enjoying a particular type of tune we can maybe look at another similar one, for example, rather than sticking to prepared tunes the whole time. It will be very useful to you to have some kind of audio recorder (be it on your phone or a dictaphone) for future reference. (Class limit: 30)
INTRO TO IRISH FIDDLE (Liz Knowles)
What is the Irish fiddle? If you have only just begun to listen and learn Irish music, this class will be a great place to start but it will also be a great basic course for any level of player in terms of understanding the general history of the music and most importantly, what it sounds like and how to use what you hear to inform your playing. We will focus on the fiddle, but it is impossible to talk about the fiddle in Irish music without mentioning other instruments, so I will expose you to some of the instruments, pivotal players and various styles found in this music. I will give you a crash course in the types of tunes that exist in Irish music today, ways to access the music through recordings, as well as some resources for a life of discovering Irish music. Please bring a recording device and any questions!
CAPE BRETON FIDDLE A & B (Katie McNally)
(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 at the end of the week. We’ll learn jigs and reels, and march, strathspey & reel sets, as the class desires. (Class limit: 25)
FIDDLE FOR COMPLETE BEGINNERS (Caitlin Warbelow)
Learn the fiddle from scratch in a week! This class offers complete beginners an introduction to playing Irish traditional music on the fiddle. 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 ear. Bring along a recording device if you wish.
FIDDLE TECHNIQUE A (Liz Knowles)
This class will cover the skills that make up good technique for Irish music, or, frankly, for any style. We will spend time understanding the function of the body, most specifically the left and right hands and arms, and how to train these two sides to provide consistent intonation, agility, the ability to execute ornaments and colors like vibrato in one hand, and how to produce bow techniques like tone, color, volume, speed, and expression in the other. You will learn how to isolate these techniques and then apply them in a holistic way to playing irish music. We will center all discussions on a tune or a few tunes but the focus of this class is not on tune-learning. Everything will be taught by ear but if you have had no experience with this, I promise you will not be left behind! Please bring a recording device and any questions! (Class limit: 20)
FIDDLE TECHNIQUE B (Caitlin Warbelow)
This class is for those students 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 absolute beginners. We will learn a few tunes by ear throughout the week and discuss basic technique and theory. 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 A (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.
INTRO TO IRISH FLUTE B (John Skelton)
This class is designed for those people who have just started on playing Irish music on the flute. It will cover the basics of ornamentation and phrasing. Some time will be spent on tone production and the mechanics of playing a flute. Players coming from the tinwhistle or from another flute discipline will find this class particularly useful. The class is taught by ear but sheet music is available for those that 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 (John Skelton)
This class covers all of the aspects of Irish flute playing – ornamentation, phrasing, breathing and rhythm. Some time will also be spent on repertoire and in developing a personal style. We will learn a few tunes and then ‘de-construct’ those tunes to help us understand different styles. Students should be proficient in playing tunes at a moderate tempo. The class is taught by ear but sheet music is available for those that need it.
INTERMEDIATE/ADVANCED FLUTE C (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, Kathleen Conneely)
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, Kathleen Conneely)
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 as DADGAD, “Canine” tuning (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 (Owen Marshall)
This class is for newer guitarists and those new to Irish traditional music. Students will learn chord shapes and patterns for DADGAD guitar 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, and chord charts will be provided.
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 and an audio recorder is recommended.
DADGAD SONG ACCOMPANIMENT (Eamon O’Leary)
This class will focus on approaches to song accompaniment using the unique DADGAD tuning. We’ll start with an introduction to the tuning, so no previous experience is necessary, and then we’ll explore the different rhythmic and harmonic possibilities that it affords. Particular emphasis will be placed on chord voicings and rhythm-hand techniques. Participants need not be singers and most of what we cover will also be applicable to ‘tune’ accompaniment.
ACCOMPANY TUNES ON THE FLY (Owen Marshall)
Over the course of this class, we will strengthen our knowledge of the guitar’s fretboard while building an array of right-hand rhythmic possibilities. Using DADGAD tuning for counter melodies, syncopation, and reharmonization, we will explore ways to be an invaluable addition to any musical setting. By the end of class, we will have explored techniques to accompany tunes on the fly, and given new life to the music you already play.
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 a bouzouki, pick, capo and recording device.
MANDOLIN I (Dave Curley)
This class will focus on the basic technical elements for playing Irish music on the mandolin. To begin, we will establish picking patterns for the different tune types (reels, jigs, waltzes, etc.), explore scales, arpeggio passages, triplets, etc., and build up a group of exercises that will help your sound and also your dexterity and coordination on the instrument. We’ll learn tunes together by ear including some O’Carolan pieces and use those tunes to demonstrate, drill and practice what we learn. Bring a recording device!
MANDOLIN II (Dave Curley)
This class will review and build on the basics (see Mandolin I class description above), focusing on musicality, and learning the technique to support it. There are many options available to mandolin players to embellish the melody and to make it their own. We’ll explore those options and find good homes for them within the tunes. We’ll learn tunes together (by ear) and explore different ways to give tunes a nice pulse/swing and look at chord shapes and progressions and approaches for mandolin playing in song arrangements. 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, and illustrate particular techniques on the uilleann pipes. 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, although this will not include the making of reeds. The class will emphasize the development of classic piping technique, through detailed demonstration and discussion, and through scrutiny of the recordings and approaches 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, to optimize each student’s ability to make music on their own and with others. A recording device is recommended.
BUTTON ACCORDION (Damien Connolly)
In this class for B/C accordion, a specific tune will be assigned to the class each day, and learned by ear. Attention will be paid to posture in general, fingering technique, hand position, air button control, the understanding/internalizing of a tune, phrasing and ornamentation. Different playing styles will be demonstrated and discussed, along with listening recommendations for representative box-players. Students will also be encouraged to showcase their progress to their classmates. Classes will be taught by ear. Students are encouraged to bring audio recorders, pen and paper, and to ask as many questions as possible. Videotaping is not permitted.
PLAYING IN SESSIONS (Damien Connolly)
Have you ever wondered whether you are adding or detracting from a session? Have you even wondered about session etiquette? Or how to manage in a 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! (No class limit)
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
STORYTELLING (Máirtín de Cogain)
Máirtín gets no more joy out of life than the telling of stories. In this class he will use urban legends to demonstrate and teach two main ideas of the Yarnspinner: that of the Mask of the Storyteller and The Game between listener and teller, which are crucial elements to anyone telling stories at any level. He will also impart how to make a story your own, along with discussions about important nuances in storytelling such as presentation and cadence of speech. (No class limit)
IRISH MYTH & LEGENDS (Máirtín de Cogain)
Máirtín bring to life some of the different genres of Irish Storytelling which he studied in University College Cork, including a mix of the The Ulster Cycle, The Fenian Cycle, 12th century writings, the International Traveling Folktale and the Fairy stories collected by Thomas Croften Croker. (No class limit)
SINGING SCOTTISH SONGS (Ed Miller)
Each day 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. 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, Alan Reid, 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)
THE BROKEN TOKEN (Cathy Jordan)
We have so many songs that deal with the sorry topic of broken promises, with comely maidens left pining for their lovers and waiting for their return. But all too often, alas, the lovers prove themselves false and untrue and they “marry the lassie that had the land.” On other occasions, however, they return with their half of the ‘broken token’ (a ring or coin) to claim their long lost lovers and live happily ever after. (No class limit)
A SOLDIER’S LIFE FOR ME (Cathy Jordan)
Put on your armor, we’re off to battle… well, in song, at least. In this class we will be looking at the many songs in the tradition which deal with the topic of battle. From anti-war and recruiting songs to sad soldier’s tales of remorse as he leaves his true love to fight for his country. These songs have great historical significance and will bring us from the 16th century through the 1798 rebellion, the Napoleonic wars, and the 1916 rising right up to the recent “Troubles.” Come and march and sing with me. (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 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)
TRADITIONAL SONGS 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 (you don’t have to sing it alone!), and bring a recording device. (No class limit)
Percussion and Dance
BODHRAN I (Anna Colliton)
In this class, we’ll cover basic position and technique for playing the bodhrán. Students will leave with several “no fail” approaches to both jigs and reels, a basic understanding of how to use tonal variation in their playing, and a few simple syncopated patterns and ornaments to enhance their playing. We’ll learn using both written notation and ear training, so all learning styles are welcome, and both beginners and players who want to brush up on the basics or re-evaluate their technique are invited to join us. To help students continue their development throughout the year, we’ll use the final 5-10 minutes of each class to make short videos of the day’s topics for students to refer to in the future. Please bring a recording device if you can, and a notebook. (Class limit: 25)
BODHRAN II (Anna Colliton)
We’ll learn to further enhance our jigs and reels with ornamentation, tonal variation, and syncopation, and work on various approaches to other types of tunes including hornpipes, slip jigs, slides, and polkas. Students should be comfortable with both jigs and reels and be able to play with consistent timing. We’ll 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. The class will explore elements of “top end” style bodhrán playing according to the wishes of the class. The goal of the class is to help students become versatile and sensitive players who are able to accompany tastefully in whatever style they choose, and students are strongly encouraged to bring questions, ideas, favorite recordings, and topics of discussion to class – we’re going to have fun! We’ll learn using both written notation and ear training, so all learning styles are welcome. To help students continue their development throughout the year, we’ll use the final 5-10 minutes of each class to make short videos of the day’s topics for students to refer to in the future. Please bring a recording device if you can, and a notebook. (Class limit: 25)
BEGINNING SEAN NÓS DANCE (Siobhan Butler)
Sean-nós dancing is considered by many to be the original form of solo Irish dance. Literally translating to “old style,” sean-nós is an improvised dance style that is completely unique to each dancer. Dancing interprets the music through low-to-the-floor percussive movements. This class is a wonderful opportunity for those interested in starting, or returning to, the basics of sean-nós dance. Focusing on its rudimentary movements and rhythms in sean-nós, his class will give students the tools to begin building their repertoire and developing their sense of musicality. Students will leave the week having learned an expansive and fun series of steps. 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 of eight people 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. While this class is open to dancers of all levels, the class will be tailored for beginners and will cover basic footwork, individual movements, and coupled patterns as well as several dances from areas including Cork, Clare and Connemara, among others. 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’ve got an especially dreamy theme picked out: it’s all about DREAMS! The Swannanoa Gathering Children’s Program Dream Team will journey together into a world limited only by our own wild imaginations. We’ll make our own dreamcatchers, and learn about the Native American traditions and tales behind these beautiful crafts. We’ll learn about and even make our own surrealist art, with the wacky dreamscapes of Magritte and Dalí – among others – as our inspiration. We’ll explore and talk about what happens in our brains while we’re asleep, to create all those crazy scenarios we half-remember in the morning. Why did you dream about your teacher frying an egg while tap-dancing to Beyoncé songs and standing on her head?? We’ll sing, craft, play games and read stories in our classroom (which will be transformed into a beautiful dreamscape, of course) and even talk about ways to make our most fabulous dreams come true. We’ll write our own original songs on our Dream Theme, with the help of our talented and imaginative music teacher and some extra-dreamy-sounding instruments. We’ll make new friends, play our favorite messy games, and dress up in crazy clothes. 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. Get ready to dream away the week with your friends at the SGCP! There is a $30 art/craft materials fee for this class; fee is payable by cash or check to Melissa Hyman, the Children’s Program coordinator, on arrival.