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Amaryllis Arna Rennan Barra Bells of the North Morris Dancers Ben Fairbanks Bill Hinkley and Judy Larson Blackbirds Blanche Krbechek Bob Bovee and Gail Heil Bounxou Chanthraphone Bruce Bradley Band CAAM Chinese Dance Theater Carla Vogel Clairseach Creative Theatre Unlimited Dance Revels Moving History Danielle Daniel and Co. Debra Korluka Delores G. Matthews Det Norske Folkedanslaget Diane Jarvi Dolina Polish Folk Dancers Domácí Czech Folk Dancers Drei Groschen Klezmorim Elise M. Schebler Roberts Elizabeth (Becky) Weis Emeline Dziabas Cook Ervey P. Shelley Ethnic Dance Theatre Folk Orchestra, The Finn Hall/Minnesota Pelimannit Flanagan Irish Dancers Flickorna Fem Freshwater Pearls Puppetry Gao Hong Gladys J. Shelley Greenwood Tree Harlen Schmitgen HjerteDans Jim Busta Band John Filipczak and the Classics Joy Parker Karen Jenson Karen Mueller Karen Torkelson Solgård Kip Peltoniemi Konstantinos Papadakis Laura MacKenzie Leo and Kathy Lara Les Harkonen Group Les Schuft and Country Dutchmen Band Linda Breitag Linda Wade Koslowski Lipa Slovak Folk Dancers Mag McDermott Marcie McIntire Mariachi Flor Y Canto Mariachi Serenata Mary Klockeman Mary Reed Matt Vorderbruggen Band Melinda Brobeck Minnesota Chinese Dance Theater Minnesota Scandinavian Ensemble, The Minnesota Scottish Celtic Dance Association Monroe Crossing Montgomery Czech Singers Mooncoin Céilí Dancers Music-On-A-String Nancy Ellison Nordic Angst Norse Folk North Country Fiddle and Dance Paddy O'Brien Paul Wilson and Mary Abendroth Peter and Paul Wendinger Band Piper's Crow Que Huong Rachel Nelson Robayat Robert Hoover Rosemary Lang Roehl Ross Sutter Royal Scottish Country Dance Society Salamat Shakun Maheshwari Sister Cecilia Schmitt Skålmusik Tibetan American Foundation of Minnesota Valeriy Saakian Voices of Sepharad Walter Grittner Wee Willie Band - Bill Makovsky Wild Goose Chase Cloggers, The Zhang Ying |
Additional Information: The folk revival of the 1950's and 1960's helped bluegrass music become better known nationally. However, this revival also involved a change in the music's sociological background. Before the revival, bluegrass was a regional music enacted primarily within the South. Afterwards, it became an idiom that people self-elected to participate in. The spread of bluegrass has not only been the spread of a music style, but of a musical culture. Participants in bluegrass have opportunities to attend not only formal concerts, but other types of social occasions connected to bluegrass, including jam sessions, festivals, and instrument swaps. And there are local and national bluegrass publications and media outlets that serve as reference points to local participants. Collectively, Monroe Crossing's players have been playing bluegrass for decades, and the group has played as a unit for about four years. Monroe Crossing primarily views itself as a traditional bluegrass & gospel band following in the footsteps of the first generation masters of bluegrass. However, bluegrass is a living tradition, and Monroe Crossing's approach incorporates other musical styles as well. Some of the band members were exposed to bluegrass at young ages, and have been immersed in the music for decades. However, others reflect more varied musical backgrounds, to include folk, blues, swing, jazz, classical, and rock & roll, and as such, were introduced to bluegrass later in their musical development. The result of their eclectic musical backgrounds can be heard in the stylistic range of their singing and playing. They are comfortable performing bluegrass classics, as well as writing their own songs, and adapting the work of songwriters from many genres to bluegrass. | |||