Author: Michael Witthaus

NH Maker Fest celebrates creativity

A 3D printer hums a colorful plate into existence; handmade hula hoops and a DJ spin in tandem while hands get messy on a nearby pottery wheel. Those are just a few things planned for NH Maker Fest, the New Hampshire Children’s Museum’s annual gathering of builders, tinkerers and creators in downtown Dover.

Launched as the Dover Mini Maker Faire in 2012, the event is packed with engaging activities and is constantly evolving.

“It’s such a hard pitch to make,” Neve Cole, the museum’s communications director, said recently when asked to describe the upcoming fest. “Every year it’s such a different group of people.”

This time around, more than 35 makers from across the region, representing a dizzying range of disciplines, are on hand. There’s ceramics and coding, escape room design and entomology, bubble choreography, along with 501st New England Garrison cosplayers roaming about in handmade Star Wars regalia.

Among the fresh additions this year is Mud City Clay, with pottery wheel demonstrations and hand-building sessions.

“We haven’t had clay in a while,” Cole said. “That’s going to be super fun.” 3D printing company Flamingo Magic is also new to the fest, selling reusable plates that visitors can watch being printed on the spot.

A hula hoop dance party will also be interesting. “Three like-minded individuals got together,” Cole said — sponsor Unravel NH, as part of its Petals + People gardening activity, DJ Avery Sol playing house music, and spinning creations from SMart Circles that are so much cooler than the mass-manufactured Wham-O toys of yesteryear.

A scientist will bring his collection of elements to the festival and walk visitors through the properties of actual physical samples, some radioactive, some mundane, all fascinating. Young authors will be on hand as well, who’ve written books or created arts and crafts to sell and teach.

Another intriguing new entry is a husband-and-wife team in the middle of developing an escape room, allowing festival-goers a fun peek behind the curtain of a creative project mid-construction.

“They’re bringing some of their props and the puzzles that they’ve created that will eventually be part of their escape room,” Cole said.

Longtime attendees may remember the foam party, but this year the museum is pivoting to a bubble dance party instead. It’s still interactive, still delightfully chaotic, but with a slightly different texture. “It won’t be quite as foamy,” Cole said, with the conviction of someone who’s possibly thought through the foam-versus-bubbles paradigm.

Cole has been with the Children’s Museum for close to a decade, and part of each Maker Fest is in her tenure. When Covid happened, the events were done online, and the pandemic experience provided clarity for moving forward. The museum now runs structured morning and afternoon play sessions, separated by a midday break.

Before the shift, Cole recalled, popular exhibits were sometimes five families deep on busy days, with no room to explore. Now, everyone has space.

“We wanted to make sure people had their best experience … plus it’s good for staff morale to have a break in the middle of the day, reset the museum, and start fresh again.”

The museum is growing, with a major addition due this fall. A 40-foot Luckey Climber, the same kind of dramatic net structure as the one located in the lobby of Boston’s Children’s Museum, will open in October. The project cost $750,000, all raised by the museum, and includes LED-lit platforms integrated into the safety netting.

Cole offered a caveat for prospective visitors: Maker Fest is a different kind of day at the museum. Some exhibits will be open, but the galleries won’t be running at full capacity. The event has more of a block party energy than a typical museum visit — louder, more crowded, organized around doing rather than observing.

There are also extras like multiple food trucks for an event that happens both inside and outside. “So if you’re looking for a regular day of playing in a museum, this might not be the best one,” Cole said. “But it’s also really fun, and you’ll get a lot of unique experiences.”

NH Maker Fest
When: Saturday, June 6, 10 a.m.-3 p.m.
Where: Children’s Museum of New Hampshire, 6 Washington St., Dover
Tickets: $5, childrens-museum.org

Featured photo: NH Maker Fest. Courtesy photo.

The Phil presents wide-ranging music

Folk Voices and Fantasies, an upcoming afternoon of classical music from the New Hampshire Philharmonic Orchestra conducted by The Phil’s Music Director Mark Latham, offers three works from three composers, each from a distinctly different corner of the world.

What binds together Igor Stravinsky’s Petrushka, Max Bruch’s Scottish Fantasy, and Carlos Chávez’s Sinfonía India isn’t style or era but instinct, Latham explained in a recent Zoom interview.

“The main connecting thread is composers using folk music from their native traditions,” he said.

For Petrushka, Stravinsky borrowed Russian folk songs and even a few German waltzes; most of its melodies weren’t his to begin with. Bruch did the same with Scottish reels and airs, and Chávez went even further, working not from memory or nostalgia but from within a living indigenous Mexican tradition.

To honor that, an orchestra member hand-built a traditional güiro for the performance. The notched hollowed-out gourd is usually played with tines and produces a ratchet sound. “Because the percussion element in the Chavez is very strong and uses a lot of Mexican instruments,” Latham said. “It’s trying as much as we can to use those instruments.”

It reflects a late 19th- and early 20th-century trend of composers “very interested to explore what was going on musically in their native arena,” Latham offered. “Bartok, for instance, was going out into the countryside before the advent of recorded sounds, actually notating local folk songs and that kind of thing … very early musicology.”

The concert begins with Stravinsky’s tale of a carnival puppet who turns out to feel things too deeply for his own good. It’s an exhilarating choice for an opener, and it concludes not with a bang but with a ghost: Petrushka, apparently killed, reappears hovering over the theater in the final bars, leaving the question of his humanity forever unresolved.

A superimposed C major and F-sharp major, called the Petrushka Chord, recurs throughout the work. It denotes the main character’s many dualities: puppet and person, ridiculous and suffering, knowable and unknown. The motif became a go-to for composers like John Williams, who used it for his “Theme From Jaws.”

Fifteen-year-old violin prodigy William Yeh solos on Scottish Fantasy. Yeh is a student at the Juilliard School in New York and last year’s Sempre Musick Competition winner. The Phil has collaborated with Sempre Musick for the past few years, Latham said. “These days, the Grand Winner plays their piece with the New Hampshire Philharmonic the next season.”

The piece is a back-and-forth that Latham described as a conversation. With the young soloist still developing his voice, it has its own particular texture — the orchestra takes its tempo from listening to Yeh, and shapes its phrases around his. “The soloist provides the main musical impetus, and then we answer.”

The evening ends with Chávez’s percussion finale and its offbeat sparks that, Latham said, “aren’t quite agreeing with the rhythm,” and a frenetic ending that inspires both audience and orchestra. “It’s like a rock drummer … ‘Let’s just go for it at the very end,’ right? It’s percussion going crazy.”

Latham has made the case throughout The Phil’s current season that classical music belongs to everyone. Folk traditions aren’t less powerful when they’re arranged for an orchestra, and the barriers people feel entering a concert hall are mostly imaginary.

“If people at a classical music concert would be more like a rock concert,” Latham said, “that’d be fantastic.”

Beyond that, he believes music is a salve for challenging times, remembering Romanian conductor Sergiu Celibidache’s observation in an interview with a French journalist 30 or 40 years ago. “Beauty is a stepping stone to freedom,” he recalled him saying.

Latham added that the act of creation is, more often than not, a political one.

“Some people say, ‘art for art’s sake’ — I’m not one of them,” he said, citing Leonard Bernstein’s words in the aftermath of his close friend John F. Kennedy’s assassination. “This will be our reply to violence; to make music more intensely, more beautifully, more devotedly than ever before.”

Folk Voices and Fantasies: Music Rooted in Culture and Imagination
When: Saturday, May 30, and Sunday, May 31, at 2 p.m.
Where: Seifert Performing Arts Center, 44 Geremonty Drive, Salem
Tickets: $5-$35, nhphil.org

Featured photo: Clockwise from top left Sean Williams, Pauline Berger, Margot Lasalle, Anna Multone. Courtesy photos.