The National Women's Music Festival

There was so much going on, I honestly don’t even know where to begin. I’m going to start with the National Women’s Music Festival Orchestra. That’s right. “Orchestra.” These are women of all ages, races, and instruments who come from all over the country to the Festival. They have received the music in advance, they arrive, and they rehearse for three days. On Saturday night they play… and the program…  well, here it is:

• “The Juba Dance” from Symphony in E Minor, 1931, by Florence Beatrice Price, the first African American woman composer to have her work performed by a major symphony orchestra.


• “Festive Huapango” and “Pyramid of the Sun,”  pieces by Alice Gomez, a contemporary composer who was resident composer with the San Antonio Symphony and whose works celebrate her Mexican heritage.


• “Symphony No. 3 in G Minor,” 1847, by Louise Farrenc who was on the faculty of the Paris Conservatory—the only woman in the 19th century to hold a chair of such rank. She also compiled a 23-volume anthology of 17th and 18th century keyboard music. 


• “Initiate,” 2016, a commissioned work by prolific African American composer Mary Watkins, who also performed a solo concert later in the festival. “Initiate” had three movements: “Trepidation,” “Dawning,” and “Conversion.”

And these were all conducted by Nan Washburn, a co-founder and conductor of the legendary Women’s Philharmonic (1980-1990).  She has conducted the Michigan Philharmonic for seventeen seasons. She is one of the world’s leading authorities and advocates for orchestral works by women composers.

And then there was Sharon Katz and The Peace Train. The Festival screened a documentary about the origin of The Peace Train, “When Voices Meet.” Here’s a description: “When Nelson Mandela was finally released from prison, South African musician and music therapist Sharon Katz joined with singer and educator Nonhlanhla Wanda to form a 500-voice multiracial youth choir. Railroading across the country aboard The Peace Train, they broke through Apartheid’s barriers and became Mandela’s face of the new nation.”  This was 1993. The film included interviews with some of the children who had been on the Peace Train. They talked about how their worldview and their view of themselves were completely transformed by this experience. The film transformed me.

One of my favorite Festival moments was walking into the Performer Care suite to grab some lunch, and finding myself in the middle of an improvised performance of “Wimoweh,” (“The Lion Sleeps Tonight”) led by Sharon. Blues and rock musicians, folk musicians, volunteers, and my little playwright self were all swept up in a Peace Train moment.
 
There was also a film about Barbara Bordon and a performance by this phenomenal drummer, whose work has taken her to Yugoslavia and Zimbabwe in times of civil strife, and to Siberia for shamanic initiation.
 
In addition to the Festival Orchestra, there is a Festival Drum Chorus led by Wahru, a Festival Folk Orchestra led by Kiya Heartwood, and a Festival Chorus led by Rhiannon.

And then there are the performers: Suede (“Adele meets Diana Krall meets Bette Midler”), Nedra Johnson with the Fat Bottom Girls (4 tuba players, a rhythm section, and Nedra!), SONiA disappear fear (“rock to blues to reggae to folk to Latin to Judaic to pop”), Ubaka Hill (master drummer and teacher), Crys Matthews (“Americana, folk, jazz, blues”) Margie Adam (legendary songwriter and pianist)… and so many more!
 
And comedians like Marga Gomez and Vickie Shaw. And Andrea Gibson, poet and activist. And the Sarah Bush Dance Project. And me, with my one-woman show.

And the workshops…  way, way too many to mention. I taught a technique for interrupting racism. I went to a workshop on croning, and also to Dr. Bonnie Morris’ workshop “Writing About Festival Culture,” and a workshop by Toni Armstrong Jr. on the magazine Hot Wire (1984-1994) that chronicled the rise of second wave “women’s music” and the festival movement that it inspired.
 
The Festival is all about building legacy, nurturing younger women, creating and sustaining a culture by, for, about, and celebrating females. They honor an “Emerging Artist” every year. They give awards. I will never forget receiving the Janine C. Rae Award for the Advancement of Women’s Culture. They recognize women’s achievements in philanthropy, in women’s music, in social change, in technical skills, and more!

And then there is the Marketplace, where women sell everything from tee-shirts to custom coffee blends, from tile mosaics to beaded earrings.
 
The Festival is held at a Marriott hotel outside of Madison, with a variety of motel and hotel options within walking distance. It’s a great venue with a saltwater pool and hot tub, and an affordable breakfast buffet for attendees.
 
It’s not too early to clear your calendar for 2017. July 6-9. Bookmark their website!  I will see you there!