Bernadette Smith of Sacramento has been a traditional dancer for over 30 years and a songholder for over 17 years. The art of traditional Coastal Pomo song and dance has been practiced since time immemorial here in California. Songs and dances, known as the To’to Ko’ O, (feather dancing) have been passed from generation to generation. These songs accompanied by traditional dance create what we call the Feather Dance Ceremonies and gatherings. Songholders keep our songs and share the medicine each song holds for its people and hold a very important and respected position in Pomo culture.  Women from the Coastal Pomo Tribes have a very prominent stake in the ceremonies, unlike other surrounding Pomo Tribes where women do not sing nor are even allowed behind the sacred ceremonial pole of their Roundhouse. Coastal Pomo women have solidified their important positions with our Roundhouse and ceremony. Women in Native country have gone missing and murdered at extremely high rates and the importance of sharing these traditional songs and dances correctly is extremely important amidst our personal and shared losses across the community.  Bernadette’s father, David Smith was known throughout California for his perpetuation of the To’ to dance. I intend to continue his life’s work by teaching young Pomo women. It is important for each song to be taught firsthand and the pronunciation of the sounds to be sung correctly. Our songs hold great value and can only be shared with students who demonstrate a deep commitment to our traditional ways.

Apprenticeship Program

2024

Coastal Pomo Song Traditions with apprentice Precious Thomas

Bernadette Smith (Pomo) will guide her apprentice, Precious Thomas (Pomo), in the traditional ways and practices needed to assume the responsibility of Song Holder. This role solidifies the importance of Coastal Pomo women in Roundhouse ceremonies, preparing Precious to sing and conduct a whole set of the To’to Ko’O (Feather Dance).

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Kati Hernandez of Los Angeles was born and raised in Cuba and lived throughout different island cities, exposing Katiuska to different regional aspects and traditional practices of Afro-Cuban folklore where she learned from her elders, immediate family, and mentors within her community from the age of five. Katiuska seeks to preserve Afro-Cuban traditions through dance and embodiment of the orishas so students may learn the characteristics and symbolism of each so aspects of an Orisha can be applied to empower and heal in and outside of her classes. Kati’s work extends beyond performance and into the realm of education and advocacy as her innovative approach to teaching, combined with her deep understanding of Afro-Cuban traditions guides her work.

Apprenticeship Program 2024

Afro-Cuban dance with apprentice Cecilia Slongo

Kati Hernandez will mentor Cecilia Slongo in the dances of the Orishas in the Afro-Cuban tradition, with a particular emphasis on the Orishas Oshun, Oya, and Yemanja. The study will encompass their dances, aesthetics, musical elements, traditions, history, and legends from an Afro-Cuban cultural perspective, drawing from their oral traditions and cosmology. Leading to improved dance skills, heightened cultural awareness, and a deeper comprehension of how Yoruba heritage evolved on the culturally diverse island of Cuba.

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Julia Caridad Cepeda Martinez was born into the esteemed Familia Cepeda, a family that has carried the Bomba tradition for more than 8 generations. She is the granddaughter of Don Rafael Cepeda Atiles and Doña Caridad Cepeda Brenes (Patriarch & matriarch of Bomba Cangrejera de Santurce Puerto Rico) and the daughter of El Tambor Mayor, Jesus Cepeda Brenes. Julia has been dancing for 40 years and has been part of her family tradition as both a student and a teacher. Julia has been teaching in Oakland for 10 years. Currently, she is carrying her family’s legacy in the San Francisco Bay Area as Julia Dansé, dance instructor, alongside Denise Solís with their class community Taller Bombalele.

Apprenticeship Program

2024

Bomba Dance with apprentice Ansarys Andino

In this apprenticeship, Julia Cepeda will focus more intensively on the foundation of grace and power that Bomba requires as she guides her apprentice, Ansary’s Adino in this cultural dance expression. Julia’s vast knowledge of the tradition passed down to her by way of her family will enrich Ansarys’ foundation in paseo ( travel of dance space), Figuras (figures), Piquetes (dance solos and movement) within each rhythm in Bomba culminating in the development of choreography.

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Sonam Phunstok of El Cerrito is a celebrated Tibetan opera artist and cultural custodian who began his journey in traditional Tibetan performance arts at the age of 11. Trained at the Tibetan Institute of Performing Arts (TIPA) in Dharamshala, India, he honed his craft under the guidance of several masters, particularly the late opera master Norbu Tsering. Over decades, Master Sonam has excelled in Tibetan music, dance, theater, and opera, eventually serving as opera master at TIPA, the very institute where his training began.

Now residing in the U.S., he continues to lead and curate Tibetan opera performances, often in collaboration with organizations like Chaksam-pa. For Master Sonam, sharing his knowledge with the younger generation is both a responsibility and a reward. Through mentorship and apprenticeship programs, he aims to ensure the survival and vitality of Tibetan culture in the face of challenges such as displacement, modern influences, and the loss of elder cultural leaders.

Deeply committed to preserving the “heart and soul” of Tibetan identity, Master Sonam sees his work as essential to keeping the spirit of his people alive. He hopes to inspire younger generations, especially those growing up in the West, to connect with and carry forward the rich traditions of Tibetan opera and performance art.

Apprenticeship Program

2024

Tibetan Opera Singing with apprentice Tenzin Thinley

In this apprenticeship, Sonam Phunstok will focus on voice training and the vocalization techniques central to traditional Tibetan opera, specifically the namthar style of singing with his, apprentice Tenzin Thinley. Namthar is an essential element of Tibetan opera, requiring intensive training and deep knowledge of its art form. The mentor artist will guide the apprentice through foundational vocal exercises to build the strength and stamina necessary to perform namthar. While the apprentice already has foundational training in opera dance and movement, this program will prepare them for more significant roles in productions and the ability to perform solo namthar pieces for special occasions.

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Roshni Pillai of San Jose, began her journey in Kathakali at the age of 7, under the guidance of the esteemed Sri. Late Kalamandalam K Gopalakrishnan. Her training continued with Sri. Kalamandalam Keshavan Namboothiri and she is presently mentored by Sri. Kottakkal Harikumar. As a Kathakali practitioner for over 25 years, Roshni has garnered many awards and regularly shares the stage with renowned Kathakali artists in Kerala, the USA, and abroad. While balancing her profession as a design engineer, she continues her pursuit of Kathakali, aiming to introduce and make this ancient classical art form accessible to new audiences. 

Roshni’s Instagram

Apprenticeship Program

2024

Kathakali Dance with apprentice Janhavi Pillai

Janhavi will work with her mentor, also her mother, to deeply explore the complex dialogue and emotional range of the character to portray her effectively on stage. Janhavi’s apprenticeship will deepen her understanding of Kathakali, focusing on mastering the extensive vocabulary of communicative hand gestures and learning advanced ‘Kalaasam’ (concluding pure dance patterns). She will then focus on learning the ‘Sthree Vesham’ (female role) character of Lalitha from the Kathakali play, “Kirmeeravadham”.

Janhavi’s Instagram

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Madiou Diouf of Oakland, is a Sound Engineer and Musical Director for the Diamano Coura West African Dance Company. His journey in the world of music and sound engineering is a testament to the rich tapestry of cultural influences that shape an artist’s craft. Born into a family where artistic excellence is the norm, his multicultural background provided him with a unique perspective on music and performance playing many instruments from djembe, kutiro, dundun, log drum, bells, ngoma,sasa, which he has honed over the years through dedication and passion. His work demonstrates his commitment to preserving and promoting African culture through music and dance. 

Apprenticeship Program

2024

Senegalese/Liberian musical traditions

with apprentice Ababacar Kouyate

Madiou will be teaching Ababacar through the origin, construction and history of the drums, the rhythms they produce and their importance to African dance in general, and the specific dances. Ababacar will learn the independent and complimentary roles of the drums and their complex patterns in rhythmic compositions.  Following the introduction of the drums, Ababacar learns basic movements and how the rhythms produced by the drums carry the dancer. As Ababacar learns each new dance, he must also learn to sing drum patterns in unison and understand the emphasis rhythm places on various movements.

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Grupo de música tradicional del sur de Veracruz, México. Este grupo se formó en el área de la bahía con Claudio Vega y Lolis García. El son jarocho que interpretan es una mezcla del campo y la ciudad. Su principal idea del proyecto es con nuestras bases invitar a músicos renombrados tradicionales del son jarocho y músicos de otros géneros con la finalidad de enriquecer esta música de fandango.

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Living Cultures Grant

2023

Native American Traditional Arts

Funding will support the Wintu Cultural Center and Gift Shop, a work space and venue for Wintu artists to share their skills and techniques; it will also be a space for an acorn flour mill, which will be used to demonstrate traditional acorn processing.

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Living Cultures Grant

2023

Martial Blessings

Funding will support VC Tang’s training to become the local specialist in the Wai Kru martial blessing dance to be demonstrated at the Berkeley Thai Temple.

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Sonido del Colibrí is made up of two Colombian women- Nisha Joshi and Nataly (Naty) Castaño, who on their own and together have been seeking to uplift Afro-Indigenous traditional music practitioners of Colombia’s Caribbean region on their journey to keep their music traditions alive.

Living Cultures Grant

2023

Sonido del Colibrí Presents “Martina Camargo: Afro-Colombian Tambora in LA”

Funding will support bringing maestra Martina Camargo (Colombia’s foremost exponent of the Afro-Indigenous musical tradition of Tambora) and her group to Los Angeles for performances, cultural exchanges, and community workshops.

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