I spent the first half of last week at Camp Kiya, a traditional music camp in Tehachapi, CA. My friend Chase, a fellow student in my department, had heard about the camp, decided to go, and invited me to come too.
We left on a Sunday morning in a rental car with one cello, one fiddle, one hammered dulcimer, a collection of Irish whistles, and camping gear and drove north across scrubby desert, through a forest of windmills in the mountains, and past a Norbertine monastery to Tehachapi Mountain Park. The park itself was not scrubby but wooded, with tall pines and live oaks full of mistletoe. We pitched our tent at a campsite on the other side of the hill from the cabins of the main camp, near some other campers’ RV.
The three and a half days of camp were filled with classes in fiddle, cello, bass, guitar, harp, mandolin, accordion, mountain dulcimer, hammered dulcimer, harmonica, Irish whistle, ukulele, and bodhran, not to mention hula, Irish, and Cape Breton dancing. Styles and genres ranged from blues to classical, old-time to Scandinavian. There were lots of opportunities to pick up a brand new instrument, but I stuck to Intermediate/Advanced Cello and Celtic and Welsh fiddle. In each class, we’d learn a tune or two by ear, plus ornamentation or, in cello class, chords. There were certain tunes that recurred across classes. For instance, both the cellos and the Welsh fiddles learned a tune called Erddigan y Pybydd Coch (Lament of the Red Piper), and the cellos, mountain dulcimers, and accordions all learned the tune Crested Hens (Les Poules Huppées).
Part of what I hoped to do at camp was get better at accompanying on cello, because a folk cellist isn’t really expected to play melody much of the time. Well, I’m still pretty bad at chopping, but I did learn some stuff. I was also pleasantly surprised to find I could hold my own in a fiddle class despite having no formal training. The Scottish Fiddlers of LA tried to recruit me (although they may have been trying to recruit everybody…).
One of the cool things about camp was that it was totally normal to be a multi-instrumentalist. In classical music circles, this is less common; you have your instrument, and that’s it (or maybe you also play the piano). At Camp Kiya, most people played two or more instruments: guitar and harmonica; bouzouki, whistle, and bodhran; harp and accordion; cello and mountain dulcimer. Another cool thing was how intergenerational camp was. There were cellists of all ages in my class. My Celtic fiddle teacher was in his eighties. There were young children doing fiddle and cello from scratch while their parents attended other classes. There aren’t that many settings in which unrelated people of all ages mix like this.
The camp’s name comes from the Nuwa (Kawaiisu) word kiya, meaning ‘laughter’ or ‘play’. Nuwa is the language spoken by the indigenous people of Tehachapi; it belongs to the Numic branch of the Uto-Aztecan family. I learned about Nuwa from Jon Hammond, a camp instructor who owns a ranch in Tehachapi and is one of three fluent speakers of the language. We all heard him introduce his seven-year-old daughter, Kiya, in Nuwa on the first night of camp and also give a blessing in Nuwa at the ceilidh.
The ceilidh was not a dance party but a camper talent show. It was held on Tuesday night at the fire circle. People sang and played and told stories and jokes. Chase and I sang a two-voiced version of Okro Mch’edelo, which, like all Georgian songs, is actually in three-part harmony. After the ceilidh, we joined the Celtic jam session in Cabin 1, wedging ourselves with cello and Irish whistle in a lower bunk in the corner.
On Wednesday afternoon, after my cello class and Chase’s hammered dulcimer rehearsal, we sat in a nook on the footbridge between the mess hall and the fire circle and went through Chase’s Datvebis Gundi folder, singing more Georgian songs. As we sang, a fire crew tromped through camp, inspecting a dead pine and who knows what else. When we’d exhausted our Georgian repertoire, we also sang the tenor and alto parts of a few Sacred Harp tunes: Wondrous Love, Idumea, New Britain.
Wednesday evening was the campers’ concert. Chase performed Ode to Joy in a hammered dulcimer trio and also played with the fiddle from scratch class. I played a set with the Welsh fiddlers (with my cello class backing up), then switched to cello for our two tunes, a bourrée and the amazing Raivlin Reel. We also backed up the Scandinavian/Nordic fiddlers on the Danish (?) tune Kingo P. Here is a video (by fellow camper Alan) of me with the Welsh fiddlers. The set is Erddigan y Pybydd Coch (Lament of the Red Piper) – Tri a Chwech (Three and Six) – Ymdaith Gwyr Dyfnaint (March of the Men of Devon) – Y Lili (The Lily). I’m not sure you can hear me, which is probably a good thing, but hey, my bow seems to be moving in the right direction most of the time!
An outdoor music camp… looks like you had such a fun time! The only thing I’ve ever done that comes close is my yearly orchestra retreat at some camp in the mountains. We got to rehearse outside sometimes, but we didn’t actually rough it in tents and stuff. Boy, I really miss playing the cello…
Wow, orchestra retreat in the mountains! That sounds fun. When I was a junior in high school, my community orchestra retreat was at a “ballroom” that included a bowling alley. So between rehearsals we got to go bowling, and then our conductor played accordion for us and tried to get us to polka…
How likely is it that two linguists would just happen to go to a music camp where an instructor is “one of three fluent speakers” of Nuwa?