Tag Archives: Jill Catherine Newman

Local Luau Island Festival

 Local Luau Hosted by the Warriors Youth Group 

Image: Wikimedia Commons

By JC Newman 

Terms compliments of: HawaiianWords.com, Ulukau 

The Polynesian lifestyle is what many dream of when letting go of their pilikia. But if you have the pōmaika`i to live in or near Sonoma County you may have attended the Rohnert Park Warriors Pacific Islanders Festival and set aside your troubles a little nearer to home. For the past eight years the Warriors luau has celebrated Polynesian food, dance and art in true island tradition. The festival is a fundraiser for the non-profit Warriors Youth Football and Cheering organization. Funds raised go towards insurance, park rentals, rental of Rancho Cotate field for home games, gear replacement and scholarships for families without funding. 

“It’s amazing how many people have embraced the festival,” said Raquel Kilmarten, fundraising director for the annual event. “Its been a great contribution to community. One woman came from Quincy to see the [Rohnert Park] festival.” 

Kilmarten is no haole to Pacific Islander traditions. Her husband is of Samoan ancestry and she had attended many such events before becoming involved with the Warriors festival. Her connection with the Pacific Island festival circuit simplified finding vendors who could put Rohnert Park’s festival into their schedules. 

Pacific island festivals are popular family events in the region, no fewer than six including Rohnert Park, all who coordinate their event dates so as to not conflict with each other. Despite the number of this style festival, the Koas festival gets bigger every year. And it is manuahi for attendees, made possible because of the volunteer network in place and the vendors who pay a booth fee to sell food and drinks. This year’s mea hoʻohauʻoli included; the Junior Wellspring Church Santa Rosa who cooked and danced, Poti aka DJ Five O, O Hina’aro Nui, Faith Thompson Ako and Taimalietane Islands of Polynesia. Also at the festival were ‘ono authentic Polynesian food. 

Yet the festival is more than a fundraiser, it is a networking venue for community members where community organizations can attend and provide information to the public. 

“We give the opportunity for other organizations to share information about their programs for Asian Pacific students, as well as all students,” said Kilmarten, who started with the festival in 2010 as a field project for a degree in Public Administration at University of San Francisco. 

“It was when the economy was getting bad and people were getting laid off,” she remembers. “[At that time] parents would receive tickets to sell but usually would buy them themselves.” 

“We were trying to keep it free so anyone can enjoy it,” Kilmarten refers to Tracey Poueu-Guerrero, who has been the kahuna of the festival from its inception in 2007 until just this July. Together they had their own version of the epiphany: If you build it they will come. They decided, if people could volunteer instead buying, they will. And they were right. Parents have been volunteering every year and eight years later it remains a free event for community. And with pōmaika`i the festival will continue making ‘ohanas feel hau’ oli for years to come. 

Haole- a foreigner; Hau’ oli- Happy, glad, joy; Hō‘ike- show, display; Kahuna- expert; Kaikaina – sister; Kālā- money; Koas- Warriors; Kōkua- help, assistance; Manuahi- free; Mea hoʻohauʻoli- entertainment; ‘Ohana- family; ‘Ono- delicious; Pilikia- troubles; Pōmaika`i- good fortune. 

ExSqueeze Me?

 

Image: Wikimedia Commons

By JC Newman 

The 28th Annual Cotate Accordion Festival squeezed into La Plaza Park last weekend with a heavy turnout to the tune of over five thousand individuals. 

In the American mainstream pop or rock-n-roll world, the accordion is not common. You just don’t see them in bands, and they don’t hang in a lot of instrument stores either. So seeing so many of these strangely designed instruments on stage and displayed in the vendors’ tents sparkling new and playfully mysterious was an awesome sight. But seeing them is one thing – the accordion’s sound when one truly listens to it is mesmerizing and conjures one’s free spirit and stirs joy in one’s heart. 

“That’s the one thing people mention more than anything else, is how much joy is in the park,” 

said Scott Goree, Executive Director of the Cotate Accordion Festival. Goree took over as Executive Director of the festival in 2004 when original founders, Clifton Buck-Kaufmann and Jim Boggio, retired. Is anyone familiar with the accordionist statue in the La Plaza Park? That’s Jim. It has become a representation of the festival itself and of the Cotate musical community in general. 

Goree and festival coproducer, Linda Conner, work all year booking musicians, lining up vendors, working with the city, and designing the program. Lisa Benz is the coordinator of over one hundred volunteers. Many more contribute their time to the festival’s success. 

“It’s really a lot of fun and it’s really a joy to see all the smiles and how happy everybody is,” said Goree who has incorporated the help of his wife and two daughters who volunteer at the festival every year. 

The Cotati Accordion Festival is a non-profit organization established in 1991 to promote the love of the accordion and to support local youth service organizations. As of last year, they had contributed nearly $500,000 to the youth of the community. Proceeds are donated to the Cotate / Rohnert Park Education Foundation, the Thomas Page music program, the Outdoor Education program at Penngrove Elementary, the Nursery School Cooperative, which incidentally provide security, and Boy Scout Troop #4, which set out donated hay bales for seating, and do the generally gritty work. Many more volunteers make the festival possible. 

The average American may associate the accordion with local genres: Cajun, Tejano, zydeco, jazz, or polka music. But the accordion is used in hundreds of countries for as many types of music: the Merengue of the Dominican Republic, the Inuit of Canada, the Tango of Argentina, the Tarantella of Italy, the Trot music of Korea, the Norteno of Mexico, the Baladi of Egypt, the Horo “Xopo” of Bulgaria and the Klesmer of Eastern Europe and the list goes on and on. 

Over three days there were uncountable variations of accordion music at La Plaza, representing hundreds of genres, countries and cultures. Cotate’s is a tiny festival compared to many around the world but the musicians attending those are typically regional and play the same genre of music. By Goree’s research, Cotate’s is the largest multi-cultural accordion festival at least in the western United States, as he purposely brings in accordionists and genres from all different cultures. 

“The last six years or so, the festival has become known worldwide. This year there were world-class performers that came from Germany, Italy, and Finland. The accordion world is a very close world,” Goree explained. “Accordion people know about each other. Performers come to Cotate from other countries just for this festival. Netta Skog, arrived from Finland where she plays primarily “battle metal”, which is the Finnish version of “heavy metal” music. (Little known fact, arguably the “father” of heavy metal, Jimi Hendrix’s first instrument was the accordion. It’s true.) 

“The Accordion Festival [and music in general] has become a big part of the city’s history and identity,” said Goree. (Cotate was the city that had music notes added to the sound barrier walls along 101.) He went on to say, “A lot of respect to the music community, in general, is paid by the city of Cotate. [And] the Accordion Festival being the biggest festival of the year, has become the hub that it all spins off. It’s just a general uplifting of spirits. It’s a community event and people working together. And of course, the central part is the accordion, but you don’t even have to be an accordion fan to come to the park and experience it all.” 

There’s definitely a vibe of happiness and goodwill at the festival. 

Goree concluded, “It’s the general joy you experience going through the festival. You know, joy is contagious!” 

Maybe the love of the accordion is contagious too? 

The “Never Give Up” Award

Michael J. Giron was made the namesake for an award which was created in 2012 by the athletic staff and alumni of BHS, the “Never Give Up” Award. This video is his address to his family, friends and athletic peers and mentors in which he acknowledges, honors and thanks those who made his successes in sports and life possible.

The Beat: Sounds from the Underground Promo

“The Beat: Sounds from the Underground” features local Sonoma County bands who were recorded live to tape in the studio.  On many shows I shot interviews which were mixed post production into the set.  I taped the interviews, edited the show and usually authored the DVD and designed the artwork. We had an average crew of 15 volunteers and ran 5-6 cameras.  The use of volunteers was deliberate. The purpose was to advance an important aspect of the mission of the show: to train media center members in studio production. We had skill levels from beginners to experienced and everyone pitched in.  The crew made improvements with video, sound, lighting and general organization with each new production. It was a really fun show to do – all the crew had a great time!  They must have because the show retained most of the original volunteers from show # 1 and continued to recruit new CMC members until its final show. (Maybe it was the Thai food in the canteen?)

Producer: Jill Newman

The Great West End Railroad Handcar Regatta

The Great Handcar Regatta, was a blitzkrieg of colorful creative artistry! A local community event involving several live stages, tents, vendors, exhibitions, scheduled handcar races along a functional railroad track and tens of thousands of spectators and participants spread over approximately 3+ square city blocks.  The event was viewed live as far away as Japan! It is the largest production conducted by the local community media center still to date.

 

The production utilized a 25-person crew of sweaty volunteers, who ran 6 cameras.  2 cameras sent live feed to both the Internet and television, and 4 others were roaming around the maybem collecting footage of festival activities. The tapes were then brought back to the production truck via runners, captured, and aired “semi-live.” It was a 14-hour production day in 100 degree heat!

I designed the program to be a live and “semi-live” production.  Pre-production required locating many outside collaborators who would donate existing video, graphics, and still images, which were used to produce interview packages, video interstitials and many identifying slates for the program.  The production also required establishing invaluable working relationships with community business owners to establish web connection, power sources, etc.

There was no precedence at the community media center for this style of remote semi-live & live production. It was pretty groundbreaking for them and I was thrilled to have the opportunity to do it.