Culture, Community, and the Classroom in Western NY

Frederick Quaye Odai – I am a traditional musician from Ghana, West Africa. I grew up in a fishing town ca led Nungua, right in the capital city of Ghana, Accra. With my friends, I helped form a cultural group ca led Womba Africa, where I became the group leader. In October 2019, we traveled from Ghana to the United States. One month later, we had the opportunity to perform on America’s Got Talent, which was an unforgettable experience. Since then, I have been sharing Ghanaian music and culture through school performances, workshops, and presentations across the U.S. I am excited to share my story, music, and culture with you, and I hope it inspires you to listen, move, and discover the music in your everyday life.

Irene Czolacz Grassmann – I am Ukrainian. My parents fled to Germany from Ukraine when they were older teenagers and then WWII started they moved our family to the USA and they never went back. My parents always carried on the beautiful arts and culture of our Ukrainian heritage and instilled that into our lives here. I was always interested in our beautiful various Ukrainian arts. My mother taught me to write Pysanky when I was about 7 or 8 years old. The word Pysanka is derived from the word “pysaty” which means “to write” in Ukrainian, so we write our designs on the egg.  I just fell in love with the art of writing Pysanky from then on to this day. 

Tim Benson – I am a professional maker of a rare type of Irish bagpipes called the uilleann pipes. The word ‘uilleann’ (pronounced ‘ILL-en) means ‘elbow’ in Gaeilge, the Irish language. The uilleann pipes are inflated by a leather bellows secured to the player’s right arm near the elbow. I began learning the pipes when I was sixteen years old from an Irish teacher. He is from a very remote Gaeilge-speaking island on the Atlantic coast of Ireland called Achill Island. I began learning to make uilleann pipes professionally in 2006 under the tutelage of a very famous bagpipe maker from Waterloo, NY. My instruments have been played by customers in the USA, Canada, Ireland, Scotland, Australia, Russia, South America and many other places.

Valarie Werner – My Grandmother got me started when I was 8 or 9 years old but life seemed to get in the way after the teen years. With more time now, I have transitioned to quilting and I just love it! From a time when well used clothing from family members was made into quilts to keep families warm, to now when new fabric and color-coded patterns are used, quilts have been made with love and a purpose. Quilts are a way to take scraps and make something useable and beautiful.

Kari Kennedy – I am a Seneca descendant, Heron Clan. I have resided in the Seneca Nation Allegany Territory since I was about 8 months old. I learned a lot from my late Grandmother who was a fluent Seneca speaker. As a teenager, I became part of the Allegany River Indian Dancers group. I was taught many ways of traditional life through attending longhouse ceremonies and family gatherings. Seneca elders in the community taught me traditions, culture, and history as well. The artwork I focus on now is storytelling through puppetry and sewing and beading Haudenosaunee regalia. I enjoy teaching anyone wanting to learn. 

Karla Alcala-Slack – I am an interdisciplinary artist, educator, and advocate for physical wellness, with a deep dedication to preserving and sharing the rich traditions of Mexican culture. Born and raised in Mexico City, my passion for the arts began at the age of eight when I started my journey in Mexican folklore dance. This early education laid the foundation for my lifelong pursuit of artistic and cultural expression, which has shaped my career as a dancer, choreographer and educator. Through my choreography and teaching, I aim to ignite curiosity and appreciation for Mexican culture by exploring its legends, history, music, dance, and costumes.

Sam Swearingen – I work in the rodeo business. Most people think rodeo is about what happens in the arena—riders, horses, bulls, and the excitement of competition. What they don’t usually see is everything that has to happen behind the scenes to make a rodeo possible. That behind-the-scenes work is my craft. I learned rodeo the way many traditional trades are learned: by watching, listening, helping, and taking responsibility as trust is earned. I learned from people who had spent their lives in this business and understood that rodeo only works when people keep their word, take care of livestock, and look out for one another.