Renaissance of Native American Flute Workshop

The highlight of my flute journey took place this past week near Missoula, Montana. The Renaissance of Native American Flute Workshop (RNAF) is America's premier flute educational event, organized and facilitated by Ken Light and R.C. Nakai. Ken Light is the founder of Amon Olorin Flutes; he is a multi-talented artist, educator, and craftsman. His widely recognized flute-making has contributed over six thousand flutes to this ancient tradition. R. Carlos Nakai, of Navajo-Ute heritage, is the world's premier performer of the Native American flute, artisan, and educator. Since 1983, he has released over 35 albums on the Canyon label, received seven Grammy nominations, earned two gold records, and performed all around the world. While well-grounded in the traditional uses of the flute, Nakai has explored new musical settings including new age, world-beat jazz and classical music.

RNAF's curriculum and itinerary included a number of classes and activities in addition to core presentations in history and culture, basic playing techniques and traditional ornamentations, developing our skills in improvisation and composition, construction and maintenance, access to organizations and resources, advanced playing secrets, special evening presentations, and field trips.

The workshop had about 35 participants—people from all walks of life and from all around the U.S. We were split into two groups—the Nubies (beginners), and Returnees (advanced). I had played the flute for a month before the workshop, but my concerns that the bar would be set too high vanished as soon as we started the first sessions. With the flute everyone can learn at their own pace. John Sarantos, one of our facilitators, taught us some very useful traditional ornamentation. He also encouraged us to imagine natural scenarios and let them guide and "compose" our songs on the flute. For example: "Picture a spider, thin and light as it skims across the surface of a little pond", or "Play the tree branches as they gently sway back and forth in the breeze".

R.C. Nakai taught us mainly an approach to playing the native American flute. He said "Do not practice. Just play." He didn't impose on us any particular exercises or style of playing, even though he's been such a successful musician. He believed in our ability and imagination to come up with musical ideas. He also believed that our experience at the workshop has two sides: 1) individual time, when you find a beautiful spot at the river and try to achieve the peace of mind needed to play genuinely and find your own song and 2) time for "togetherness"—when we all play in circle, encourage and motivate one another, and, most importantly, share our common passion for the flute. Nakai also held a workshop where we learned how to make our own eagle-bone whistle, Hawaiian nose flute (bamboo), and tongue flute (bamboo; played in New Mexico). Although everyone finished the job wonderfully, it was a tedious and sometimes even frustrating process. For example, inside the pipe of the eagle bone whistle, we had to insert a small piece of wax, and give it a specific shape by scraping it inside with a heated tool. It was very difficult, and I was so relieved when after hours of working on it, I heard that craved whistling sound! Besides learning a lot about technical details and being proud of making three musical instruments, I think that from this workshop we also increased our appreciation for indigenous cultures and their incredible ways of crafting an instrument from scratch. Nakai did a wonderful job fostering respect for and more profound knowledge of Native American cultures.

In the nights we usually had guest performances where some of the advanced "fluties" played for us. Some of them were Native Americans, so they wore their magnificent regalia, and played an array of flutes (I was impressed by a flute made out of an elk's antler!). It was both pleasurable and helpful to listen to those amazing and unique performances.

The last day was a blast! In the morning all the beginners (Nubies) were scheduled to make a recording of their song, in an improvised studio, facilitated by a recording specialist. In the evening two events took place: 1) the flute march—we all walked through the big front field under the rhythm of the drums, each flutie playing or whistling or just making flute noise, and we took a picture together and 2) the Nubies recital—everyone had about 5-10 minutes to perform their song, in front of an audience. It was scary at first, but all the people were very supportive and appreciative of how each one of us had improved during that week. Having already had some experience in performing, I felt great on stage, and was proud to show what I've learned. My song was called "Where I Sat," because I composed it while relaxing at my favorite spot on a high rock nearby, facing the river canyon. The dinner and the closing ceremonies were a lot of fun—everyone was relaxed and informal, and jokes were floating around all the time. Ken Light, Nakai, and John gave a certificate and a little gift to each participant.

Besides the flute playing, we also had some "experience-Montana" activities, such as whitewater rafting and a Western-style evening. Rafting in the incredibly scenic Clark Fork River was an exciting experience, and very wet, too. It was so hot that we all jumped into the river and drifted along the stream. The evening featured a bluegrass band (one of the best in the region), cowboy hats and boots, BBQ pork, chicken, sweet corn, and certainly people with high spirit and positive energy. We were dancing and chatting till late in the night, when a drum circle was held. I never knew how much I would enjoy beating or tapping a drum, or shaking the rattles, creating my own rhythm. It is like this: someone beats the big drum and gives the tempo, then another adds his own drum pattern, then another one, and so on until the field "explodes" in that magic, under the spellbound eyes of the starry sky.

Personally, I feel I benefited from the Montana flute workshop in ways which go way beyond simply flute-playing. Since people who play the native American flute are still hard to find, it was great and inspiring for me share my passion with fellow flute players. I learned that the approach to and appreciation of the flute is much more important than just practicing. For me playing the native American flute has two aspects. First, it is an introspective, meditative, and personal activity, through which I concentrate on my inner self and the pictures in my mind and try to express them as accurately as possible. Second, I connect flute playing with compassion and healing: the ability to reach to others and to get your message through. In the beginning of the workshop week, I was quite stiff and could not relax while playing. I looked for help and there were some wonderful people who played with me outside a little bit each night and taught me how to concentrate and relax at the same time. Also very essential, they taught me to listen—to the birds, the wind, the river, to the memories and feelings within myself, and just let the flute do the rest. And somehow it gradually started to work.

Coming out of my experience with jazz, world music, and folk traditions of various cultures, I have always been drawn to the idea of combining seemingly different styles into one piece—what I could call ethno-jazz. Also, I come from a culture with strong music traditions. Bulgarian music has very distinctive and appealing melodies and rhythms, and the Bulgarian traditional flute, which I recently started learning, possesses a deep and emotional tone. As I keep playing both native American and Bulgarian flute, I'm considering the vast musical possibilities their unique features could offer. I will keep my mind open and welcome any enticing music challenges along the way.