Folk Archives

The Finnish Kantele: A Soulful and Humble Instrument

in World Music Instruments/by Merja Soria

Sing the song of Kantele!

The kantele belongs to a large family of string instruments called zithers. Zithers have a resonating body with a variable number of strings, which can be plucked, strummed, struck, or bowed. In the case of the kantele, the strings are plucked or strummed and the smallest kanteles can be held in the player’s lap. The kantele is the national instrument of Finland. Finnish folk poetry recounts that the first kantele was made from the jaw bones of fish and the hair of young maidens. When the first kantele was played, the sound was so beautiful that all living things started to cry. Their tears rolled into the ocean, and when they touched the sea they turned into beautiful blue pearls.

This article is one in a series of reports on the fascinating variety of musical instruments that audience members encounter through Center for World Music programs.

MORE INSTRUMENTS

There are kanteles of many sizes: 5-string, 10-string, 11-string, all the way up to the 36-string concert kantele, as seen above.

My favorite instrument is the 5-string kantele. It is a very soulful and humble instrument. It teaches you to quiet your mind and allow the kantele to sing its stories–stories of hard winters and beautiful summer nights, stories of a resilient northern nation who fought hard for its independence.

You play the 5-string kantele by plucking the strings to create melodies. You can also strum chords by muting the strings that don’t belong to the chord. The strings of this small kantele are tuned to the first five pitches of the major or minor scale.

Larin Paraske, one of the great rune singers of Finland.

The 5-string kantele is often taught in Finnish schools as the first instrument for young children. It encourages creativity, as it is easy to learn improvisation with this instrument. Children find the kantele fun because they experience the joy of playing together as a group. You do not have to be a Finn to appreciate and learn kantele.

Merja with her daughter and two other children

Merja, with her daughter, and two children.

I am a first-generation Finnish immigrant now living in the US, and for me, the kantele and Finnish music are the bridge that connects the two distant worlds.

2016 Christmas Revels – Northlands

When I close my eyes and let my fingers move across the strings of the kantele, I remember—I remember the Finnish spirit that is in me. The spirit that says keep going and never give up. All the while, singing the song of life through all the difficulties. Sing the song of the kantele!

Learn more about Merja at merjasoria.com. View a “vintage video” of Merja performing on a 10-string kantele soon after her arrival in the United States.

Merja Soria is a performer and teacher of Finnish folk music and a Center for World Music teaching artist.

The Tin Whistle: Ancient, Simple, Accessible, and Grand

in World Music Instruments/by Jonathan Parker

An instrument with an ancient and enduring history, the tin whistle (or penny whistle) is one of the most misunderstood and maligned of wind instruments. Often mistaken for a toy, this flute is, in capable hands, one of the most expressive and delightful of traditional musical instruments.

This article is one in a series of reports on the fascinating variety of musical instruments that audience members encounter through Center for World Music programs.

MORE INSTRUMENTS

Originally made from a hollow bone, such as that of a bird’s wing, the tin whistle is a type of instrument known as a fipple flute, and is identical to the flageolet in its earliest form. As its name implies, it later came to be made of tin, and was first mass-produced in this form by Robert Clarke around 1840. Examples of bone whistles dating from the 12th century have been unearthed in High Street, Dublin, Ireland.

The tin whistle is, in physical terms, one of the simplest of instruments. The mouthpiece has a narrow windway, an opening or “window” cut in to the side of the instrument, and a sharp edge over which the player’s breath passes. The instrument has six front fingerholes and no thumbhole, distinguishing it from the recorder. The bore was often conical in older instruments (typified by the English-made Clarke tin whistle), while many modern whistles have a cylindrical tube and a plastic mouthpiece replacing the older wooden or lead plug. In recent decades, this instrument has been made from a wide variety of materials, including exotic woods, PVC plastic, aluminum, brass, composite materials, and even sterling silver.

Players of the tin whistle range from the 17th Century English diarist Samuel Pepys, who wrote of his delight in playing the “flagilette,” to the great modern Irish flautist James Galway. Many Irish flute players and uilleann pipers have played the tin whistle as a secondary instrument, including Willie Clancy, Paddy Moloney, Joanie Madden, Liam O’Flynn, Michael McGoldrick, and Mick O’Brien. Among the best-known contemporary players of the Irish tin whistle are Cathal McConnell, Mary Bergin, and Brid O’Donohue.

Deceptive in its simplicity, the tin whistle is one of the most accessible and portable of instruments, and one of the grandest in character.

Video Links:
Mary Bergin plays two jigs, Tom Billy’s and the Langstern Pony
Liam O’Flynn performs the slow air Sliabh na mBan

— Jonathan Parker, the World Music in the Schools program director for the Center for World Music, has played the tin whistle since 1980.

This article appeared in slightly different form in the July 1990 issue of the San Diego Folk Heritage journal Folk Notes.

The Swedish Säckpipa

in World Music Instruments/by Jonathan Parker

This article by Jonathan Parker is one in a series of reports on the fascinating variety of musical instruments that audience members encounter through Center for World Music programs.

MORE INSTRUMENTS

15th century bagpipe painting in Härkeberga Church

When we think of bagpipes, most of us envision the Scottish Great Highland warpipes played by brawny, kilted men with red moustaches, marching in echelon. Indeed, the Highland pipes are known the world over, due to the regiments of Scots sent throughout the British empire in the 19th and early 20th centuries. What few people recognize is that this instrument is only one of a very large family of musical instruments, played in dozens of countries. There are bagpipes from India, Persia, Bulgaria, North Africa, Russia, Italy, France, England, Ireland, Spain, Estonia, Poland, and Germany, to name a few. Many countries even have several; France has at least ten, and Scotland has no less than three distinctly different types. Altogether more than one hundred kinds of bagpipes exist, each with its own performance tradition and repertoire.

Today we’ll take a look at one of the farthest-flung of these, the Swedish säckpipa. As with many varieties of bagpipe, this humble instrument was played largely in the rural parts of the country. One early depiction of a bagpipe in Sweden is from around 1480, in a painting by Albertus Pictor in Härkeberga church in Uppland, although the form of the instrument he depicted suggests that its origin may be different from the surviving historical examples of the säckpipa. Also played for dancing, the säckpipa harmonizes well with the fiddle, but it was usually played as a solo instrument. It is mouth blown, having but one drone and a chanter with a compass of eight notes. Known in different parts of Sweden as dråmba, koppe, posu, or bälgpipa, its sound is quite sweet and about the same volume as a fiddle, making it an agreeable indoor instrument.

Säckpipa made by Leif Eriksson (drawing Paul Johnson)

Instrument makers constructed the pipes from birch wood, with a calfskin bag, and sparingly decorated it with hand-carved ornaments. The reeds were made from Phragmites australis, the common pond reed, harvested in the winter and chopped out of the ice. Some early examples also have a second “dummy” drone, which is not drilled and has no reed. The säckpipa seems to be most closely related to the Eastern European bagpipes of Bulgaria and Macedonia, with a cylindrical chanter bore and reeds of the single blade type. This should not be too surprising, considering that Scandinavians traded, battled, and marauded all the way down to Constantinople, in what is now Turkey.

The säckpipa has recently undergone a rebirth, having been taken up by many young musicians over the last few decades. The last piper, or pösuspelman, in an unbroken tradition was Gudmunds Nils Larsson of llbäcken in Dala-Järna, who died in 1949. Fiddler Per Gudmundson, at the urging of Gunnar Ternhag of the Dalarnas Museum in Falun, decided in 1981 to reconstruct the instrument and its musical repertoire. Woodworker Leif Eriksson was asked to help, and he and Gudmundson replicated the instrument based on examples found in museum collections. Together they worked out the details, and built a working set of pipes. Per went on to research the available written and recorded music, taught himself to play the instrument, and recorded an album in 1983 which has become a classic volume, Per Gudmundson: Säckpipa. This LP was rereleased in CD format in August 2015 on Caprice Records.

The author and his pipes (drawing Paul Johnson)

Since its revival in 1981, a number of other makers have begun building this instrument, and there are now hundreds of active players in many countries. For more information about this instrument and how it has developed since this revival, visit Olle Gällmo’s säckpipa website.

Video links: Polska Efter Nedergårds Lars, solo säckpipa | Polska Från Säfsnäs, fiddle and säckpipa

— Jonathan Parker is the associate director of the CWM’s World Music in the Schools program. He has played the säckpipa since 1986. Illustrations are by Paul Johnson; Olle Gällmo provided the photo from Härkeberga church and other valuable support.

This article appeared in slightly different form in the September 1990 issue of the San Diego Folk Heritage journal Folk Notes.

The Clinton Davis String Band: American String Traditions

in 2026 Concert Season, CWM Events/by Laurel Grinnell-Wilson

Hosted at the La Jolla Community Center

The Clinton Davis String Band brings the rich string traditions of America to life, performing old-time music, bluegrass, and ragtime, reflecting the rich complexity of our Appalachian heritage. Passed down through generations since the 18th century, these tunes are infused with both history and fresh, lively interpretations. The band delivers a joyous, soulful celebration of America’s musical legacy.

Following the performance, the audience is invited to engage with the artists in a Q&A to learn more about the traditions, stories, and musical influences that shape this enduring American art form.

About the Artists

Clinton Ross Davis is an old-time folk multi-instrumentalist currently based in San Diego. A fifth-generation Kentuckian, he grew up in rural Carroll County, immersed in the rich musical traditions of his family home. His guitar work has earned high praise, with Stefan Grossman calling him “a master . . . carrying on the traditional music torch of Mike Seeger.” Deering Banjos describes his playing as “simply sublime.”

Clinton earned his doctorate in music from the University of California, San Diego, with a focus on shape-note singing. He served as an associate instructor at UCSD, leading a survey course in American roots music.

Fellow multi-instrumentalists Tim McNalley and Ryan Finch teamed up with Davis to form the Clinton Davis String Band. The group showcases a high level of musicianship and artistry, making them a perennial favorite on the West Coast. They perform classic old-time tunes with fresh interpretations, blending elements of old-time, bluegrass, and ragtime, often presenting unexpected arrangements of rarely heard pieces.

Their performances celebrate the vibrancy and history of American roots music while bringing it to life for modern audiences.

Tickets

General Admission: $35 | VIP Seating: $55

Complimentary valet parking is available for this event from 7:00 PM to 9:30 PM. Please check in with an attendant near the venue entrance.

This is the second of six concerts in our 2026 Global Stage Passport Series. Click here to subscribe to our newsletter for more information about upcoming events.

Funders

This activity is funded in part by the City of San Diego Cultural Affairs.
This activity is funded in part by the California Arts Council, a state agency.

Oghlan Bakshi: The Bardic Traditions of Turkmenistan

in 2026 Concert Season, CWM Events/by Laurel Grinnell-Wilson

Hosted at the La Jolla Community Center

Step into the ancient musical world of Turkmenistan with Mohammad Geldi Geldi Nejad, known by the honorific Oghlan Bakhshi, roughly translated as “prodigious child bard.” In this rare solo performance, he brings to life a centuries-old tradition of dutar (two-string lute) playing and bardic singing passed down through generations of nomadic storytellers. His strumming evokes the galloping rhythms of horses across the steppes, while his guttural vocal ornamentation conveys the full range of nomadic emotions—from love and longing to sorrow and heroic struggle.

Oghlan Bakhshi vividly animates epic tales of romance, bravery, and resilience, offering audiences a rare glimpse into a musical heritage seldom heard outside Central Asia, where history, nature, and oral storytelling are inseparably intertwined.

Following the performance, audience members will have the opportunity to engage with the artist in a Q&A session, gaining a deeper insight into Turkmen musical traditions and culture.

About the Artist

Mohammad Geldi Geldi Nejad is at the forefront of Turkmen music. Born in 1993 into a musical family in Gonbad-e Kavus, in the Turkmen region of Iran, he began studying music at the age of six with his father, Abdolghaffar Geldi Nejad, a master of the gyjak (a type of spike fiddle).

At the age of ten, a council of Turkmen music masters conferred upon the young Geldi Nejad the title Oghlan Bakshi—by which, as mentioned above, he is now known. He is only the second person in the past century to receive this prestigious recognition. Trained by esteemed Turkmen musicians, he has performed widely at festivals and world music programs across Asia, the Middle East, Europe, and North America.

Committed to scholarship as well as performance, Oghlan Bakshi earned an MA in ethnomusicology at Wesleyan University and is currently pursuing a PhD in musicology and ethnomusicology at Brown University, further advancing the study and preservation of Turkmen musical heritage.

Oghlan Bakhshi is the first indigenous Turkmen musician and composer to bring the rich Turkmen traditional arts to Western audiences. His recent album, Journey Across the Steppes, marks the first international release of Turkmen folk music in 30 years.

Tickets

General Admission: $35 | VIP Seating: $55

Complimentary valet parking is available for this event from 7:00 PM to 9:30 PM. Please check in with an attendant near the venue entrance.

This is the third of six concerts in our 2026 Global Stage Passport Series. Click here to subscribe to our newsletter for more information about upcoming events.

Funders

This activity is funded in part by the City of San Diego Cultural Affairs.
This activity is funded in part by the California Arts Council, a state agency.
This programming is supported in part by Creative West and the National Endowment for the Arts.

Ivan and Tzvetanka Varimezov: Music from the Villages of Bulgaria

in 2026 Concert Season, CWM Events/by Laurel Grinnell-Wilson

Hosted at Mingei International Museum

Immerse yourself in the vibrant sounds and soulful spirit of Bulgaria through a performance by Ivan and Tzvetanka Varimezov, two of that country’s most esteemed folk artists. Rooted in the musical traditions of the Strandzha and Thrace regions, their program showcases the haunting tones of the gaida (bagpipe) and the dazzling ornamentation of Bulgarian village singing.

Through their shared artistry, they bring to life centuries-old songs of love, celebration, and ritual—music that has long united communities and marked life’s most meaningful moments. Interwoven with their artistry are stories of the regions and traditions that shaped this music, offering audiences a rare glimpse into Bulgaria’s living folk heritage.

Following the concert, audience members will have the opportunity to engage with the artists in a Q&A session, gaining a deeper insight into the cultural roots and expressive power of Bulgarian folk music.

About the Artists

Ivan and Tzvetanka Varimezov are master musicians and educators from Bulgaria, internationally recognized for their artistry and leadership in preserving and sharing traditional Bulgarian folk music. They directed the UCLA Herb Alpert School of Music’s renowned Balkan Ensemble for some twenty years, inspiring generations of students through their teaching, choral direction, and ensemble work.

Ivan Varimezov was born in Bulgaria, where he was raised in the rich folk traditions of the Strandzha region. He studied folk music at the Kotel High School for Folk Music and earned a B.A. in folk instrument pedagogy and choral conducting from the Plovdiv Academy of Music and Dance. Recognized as one of the most outstanding gajda (bagpipe) players of his generation, Ivan has performed as a soloist with leading Bulgarian ensembles including the Trakiya Folk Ensemble, Ensemble Pazardzhik, and the Bulgarian National Radio Folk Orchestra. He has also toured internationally with The Cosmic Voices from Bulgaria, The Angels Choir (Angelite), Les Grandes Voix Bulgares, Balkanfolk, and Trio Bojura.

Ivan taught at UCLA from 2001 to 2021, where he served as Professor of Bulgarian Folk Music and directed the UCLA Balkan Ensemble. During that period, he organized numerous concerts across California and led multiple study tours to Bulgaria, providing students with firsthand experience of Bulgarian music and culture. In recognition of his artistry and leadership, Ivan received the Golden Lyre and Crystal Medal from the Union of Bulgarian Musicians and Dancers, as well as an Honorary Citizen Award from his hometown of Sredets for his lifetime contributions to Bulgarian folk music and culture.

Tzvetanka Varimezova is a celebrated Bulgarian singer, conductor, and educator. Known for her brilliant, ornamented vocal style and her deep knowledge of regional song traditions from the Pazardzhik-Thrace area, she earned her B.A. in choral conducting and folk instrument pedagogy from the Plovdiv Academy of Music and Dance. Early in her career, she directed the choir of the professional Ensemble of Folk Song and Dance Pazardzhik. Later, she served as a soloist and choral director with several of Bulgaria’s foremost women’s choirs, including Les Grandes Voix Bulgares, The Cosmic Voices, Trio Bojura, and The National Ensemble Filip Kutev.

From 2001 to 2021, Tzvetanka served as a professor at UCLA’s Herb Alpert School of Music, where she co-directed the UCLA Balkan Ensemble alongside her husband, Ivan. During that period, she trained and conducted choirs across the U.S. and internationally, including Kitka (San Francisco), Nevenka (Los Angeles), Dunava (Seattle), and Mila (Minneapolis). She has also led workshops throughout Europe, Asia, and North America. Her artistic leadership has brought UCLA students and American choirs to Bulgaria for major performances, including appearances at the National Festival of Folk Art in Koprivshtitsa.

In recognition of her lifelong dedication to preserving and sharing Bulgarian folk music, Tzvetanka received numerous honors, including Bulgaria’s Voice of the Year Award (2017) and a national Lifetime Achievement Award for Contributions to Bulgarian Folk Music (2018).

Together, the Varimezovs have led numerous international study groups, bringing UCLA students and folk ensembles from around the world to perform at major festivals in Bulgaria. Through their artistry, mentorship, and tireless advocacy, they have strengthened cross-cultural understanding and ensured that Bulgaria’s rich folk traditions continue to thrive on a global stage.

Tickets

General Seating: $40 | VIP Seating: $60

Complimentary valet parking is available for this event from 7:00 PM to 9:30 PM. Please check in with an attendant near the venue entrance.

This is the fourth of six concerts in our 2026 Global Stage Passport Series. Click here to subscribe to our newsletter for more information about upcoming events.

2026 Sponsors

Presenting Partner

Funders

This activity is funded in part by the City of San Diego Cultural Affairs.
This activity is funded in part by the California Arts Council, a state agency.
This programming is supported in part by Creative West and the National Endowment for the Arts.

Lernazang Ensemble: Revitalizing Armenian Heritage Through Music and Dance

in 2026 Concert Season, CWM Events/by Laurel Grinnell-Wilson

Hosted at Mingei International Museum

Experience the living pulse of Armenian folk culture through a captivating performance by Lernazang Ensemble, a collective of musicians, dancers, and ethnomusicologists dedicated to preserving and reimagining Armenian music and dance. Featuring the evocative sounds of duduk, oud, dhol, and voice, alongside Armenian dance, the ensemble brings to life the music and movement of post-Genocide Western Armenia (Anatolia) and the Southern Caucasus. Their approach aims to revitalize Armenian folk heritage by blending deep cultural research with striking artistic expression.

Members of the audience are invited to engage with the artists in a Q&A following the performance to learn more about the traditions, history, and contemporary significance of Armenian music and dance.

About the Artists

Lernazang is a nonprofit organization, cultural collective, and performance ensemble based in Los Angeles. Their mission is to decolonize Armenian dance and music aesthetics while strengthening Armenian cultural heritage in the diaspora.

Founded in 2017, Lernazang provides community dance classes, workshops, and performances throughout the Los Angeles area. Performing in the Armenian azgagrakan style, Lernazang merges critical academic inquiry and ethnographic research with intergenerational transmission in order to reshape Armenian identity in the post-Genocide diaspora. Through an artistic approach that is grounded in both historical perspective and contemporary critique, Lernazang’s music and dance grapple with current social issues while enriching the cultural landscape of LA.

Armen Adamian, co-founder and artistic director of Lernazang, is a PhD candidate in ethnomusicology at UCLA. His research examines the aesthetic and political dimensions of folk music in the post-Soviet Republic of Armenia. He also designed and taught the first-ever Armenian Music Ensemble course at UCLA, devoted to the practice and performance of Armenian folk music. He received his MA in ethnomusicology from UCLA, following a BA in Psychology and a BA in Music Composition from Humboldt State University.

Natalie Kamajian, co-founder and dance director of Lernazang, is a PhD candidate in culture and performance in the UCLA Department of World Arts and Cultures/Dance. She teaches Armenian azgagrakan dance classes throughout the LA area, including the first university-level Armenian dance course at UCLA. Her doctoral research examines how Armenians utilize dance and performance as a means to negotiate their ethnicity and racial otherness in America. She received her MA in culture and performance from UCLA, and a BA in international studies from the University of San Francisco.

Tickets

General Admission: $40 | VIP Seating: $60

This is the last of six concerts in our 2026 Global Stage Passport Series. Click here to subscribe to our newsletter for more information about upcoming events.

2026 Sponsors

Presenting Partner

Funders

This activity is funded in part by the City of San Diego Cultural Affairs.
This activity is funded in part by the California Arts Council, a state agency.
This programming is supported in part by Creative West and the National Endowment for the Arts.

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