Tag Archives: Native Artist

Sandy Osawa on “Make No Bones About It.” April 5th, 2015 at 4pm


Sandy Osawa, a Makah tribal member, broke media barriers for Native Americans by producing and writing a major television series in the mid 1970’s. Her work continues to stand apart by combining old values with new stories while challenging the more popular images of Native Americans. Sandy Osawa moves the conversation deeper so that all audiences have, not only an expanded definition of what an “Indian” story is all about, but also a greater understanding of their country and of themselves. “My stories aim to move away from the abstract concepts of the past toward a more humanistic one of the present and future,” says Sandy Osawa. Seventeen documentaries have been broadcast on both PBS and commercial television stations and over sixty non-broadcast works have been created for non-profit organizations.

Production Credits
In the mid 1970’s, Sandy Osawa, marked a defining point in media history by creating the first10-part national television series to be entirely produced, acted, and written by Native Americans, Prior to this effort, films on Indians were produced and directed by non-Indians. The Native American Series was broadcast over the top markets on NBC and led to her first major award as an “outstanding producer” from KNBC TV in Los Angeles. The series is the first time that the station’s programs were turned over to the producer’s ownership due to Sandy Osawa’s own investment in time and production materials. The series was purchased by the Bureau of Indian Affairs for use in its schools throughout the country.

Sandy Osawa produced and wrote the documentary, In The Heart of Big Mountain, broadcast on The Learning Channel in 1989. It was nominated for an ACE Award as part of The Spirit of Place series. The Ethno-Visions Film and Video Festival based in Los Angeles called it a “more aesthetic approach to the more widely known work on this same subject.”
Sandy Osawa is the first Native American filmmaker to produce and write a one-hour documentary for network television, called The Eighth Fire, airing on NBC in 1992. Lighting the 7th Fire (1994) aired nationally on PBS, on a series called P.O.V. and it is the first Indian produced program for that major series. The film also captured top documentary honors at the American Indian Film Festival in San Francisco.
Pepper’s Pow Wow, a Sandy Osawa produced documentary, screened at the 1995 Sundance Film Festival and aired on PBS from 1995-1998. Sandy Osawa was honored as the “Native American Filmmaker of the Year” at the 1996 Taos Talking Pictures Film Festival in Taos, New Mexico and her film entitled On & Off the Res’ w/ Charlie Hill also premiered in Taos and was a top five finalist for best documentary. The Charlie Hill film was broadcast on PBS from 2000-2003. Sandy Osawa produced and wrote, Maria Tallchief, America’s first prima ballerina, broadcast on PBS from 2007-2010. This film swept Fargo’s 2009 International Film Festival for “Best documentary” and “Best of Show” categories.

A documentary now being completed is entitled Usual and Accustomed Places. It’s the story of unknown heroes who fought for nineteenth century treaty rights over the past twentieth century. The story will profile Indian fishermen in the Northwest from 1900 to 1980. This film will also extend over the required 70 minutes for theatrical showings and will be unusual in that it will encompass such a vast time span united by a strong centuries-long-theme.

Non-Broadcast Films
Sandy Osawa has produced more than 60 videos for non-broadcast use and some of the highlights are films created for The Evergreen College Longhouse program, the Mille Lacs Tribe, the Muckleshoot Tribe and the Miami Tribe of Oklahoma.

Princess Angeline explores the history of the Duwamish Tribe and their fight for recognition. The story was completed and updated in 2011 and is used by the tribe in their new Longhouse to help explain the local tribe to Seattle-ites and tourists alike. The film was immediately purchased by local organizations including the Washington State Library, Seattle Public Library, King County Library and the University of Washington.

Weaving Patterns of Wellness was completed for the South Puget Sound Tribes and describes health patterns to avoid colon cancer. Completed in 2012.
Indian Forestry: A culture of Commitment contains highlights of over a century of Indian forestry. It was completed in 2014.

Exhibits and Venues summary
Her video work has been featured at national and international festivals including the Amiens Film Festival in France, the Munich International Film Festival, the Sundance Film Festival, the Vienna Film Festival, the Taos Film Festival, and the Margaret Mead Film Festival. Sandy’s work has also been featured at the Museum of Modern Art’s Video Viewpoints in New York.
A growing number of colleges use her work in the classroom including UC Berkeley, Wesleyan University, UC Riverside, the University of Arizona, the University of Utah, The Evergreen State College, the University of Oregon, the University of Indiana, Harvard and many others. Her entire collection of 27 films has been purchased by the University of North Carolina.
Sandy Osawa has given several workshops on filmmaking in Lawton, Oklahoma and the Northwest Film Forum in Portland, Oregon. She is called upon to both screen and talk about her work on college campuses from the University of British Columbia to New York University with many national lectures in California, Oregon, Oklahoma, Ohio, and Massachusetts.

Sandy Osawa was an Honoree at the University of Washington’s Native Voices Film Festival, May 1, 2013, Kane Hall.

Sandy Osawa was the keynote speaker at UW Tacoma’s Native American Symposium in November of 2012.

Sandy Osawa will give a keynote address at Arizona State University in October of 2014 and three of her films will be shown at UCLA’s Native American Film Festival at the end of 2014.

Sandy holds a Bachelor of Arts Degree from Lewis and Clark College in Portland, Oregon and has a half-year of graduate school in filmmaking at UCLA and a half-year in the graduate English Department at the University of Washington. She and her husband Yasu were two of 16 minority students who were first admitted to UCLA’s Graduate Film School in the 70’s. She also completed one quarter of graduate school in the English Department at the University of Oregon in the fall of 2002, a study interrupted by a grant to produce the Maria Tallchief story.
Sandy was the first English instructor for Native American Studies in UCLA’s High Potential Program. She has taught script writing and Native American Studies at The Evergreen State College and video production at Seattle Community College Cultural foundation.

Sandy’s point of view is grounded and shaped by her tribal culture and background and her participation during her college years in the Workshop on Indian Affairs taught by Bob Thomas (Cherokee). Such experiences formulated her political and cultural views and led to her determination to become someone who helps to interpret and give voice to tribal stories. She headed her tribe’s War on Poverty program as the first Community Action Director and she launched the first Indian Head Start Program in the State. She began innovative efforts to retain Makah songs and language in the mid l960’s by developing summer classes for l-l2 grade levels. This effort was not being done yet on any large national scale and was to be part of a nation-wide effort that developed later. She also created the program to bring Makah elders into the local school, where Indian culture had been noticeably absent for decades. She began “movie night” on the reservation and became alarmed by the lack of good movies that were relevant to Indian people. Shortly after, she enrolled in UCLA’s graduate film program.

Special Writing Projects
Sandy Osawa became one of the few Indian members of the Writers Guild of America with her first dramatic script called, Upstream at Medicine Creek, sold to KCET’s Visionproject. The project disbanded before the feature could be produced. Land of the Morning Star was another original script treatment written by Sandy Osawa and funded by CPB. Attending Sherman Oaks Experimental College in comedy writing led to her long time interest in comedy and a major documentary on Indian humor. Sandy Osawa pitched several pilot projects on Indian humor to major networks.
She was the editor and primary writer for a monthly magazine produced by the LA Indian Center for three years. Sandy Osawa also worked as a special essay assignment writer for the Seattle PI for its Minority Voices column for one year. She also served as one of two researchers on a book published by AFSC entitled, “Treaties on Trial.” Sandy Osawa was the pilot treatment writer and series concept writer for a series called Images of Indians, a series produced by KCTS in Seattle. KCTS had heard about the earlier Native American series produced for KNBC and asked for assistance.

Other writing experiences include an award-winning brochure for the Makah Museum, produced by Upstream Productions. She also wrote numerous other brochures for such organizations as the National Council of American Indians (NCAI) and the Tribal Employment Rights Organization, (TERO). In addition, she has remained the sole writer on all her 17 broadcast films, as well as her non-broadcast work.

Boards and Affiliations:
Sandy Osawa is a past Board Member, Media Arts 911, Seattle, WA. And a
current member of the Writers Guild of America. She was also s panelist for the Ford Foundation; the Corporation for Public Broadcasting; the National Endowment for the Arts; and the Paul Robeson Funding Exchange. She was a past member and Washington State Co-Coordinator, National Indian Youth Council.
Grants and Awards:
The Ford Foundation, the National Endowment for the Arts, the Corporation for Public Broadcasting, the American Film Institute, Native American Public Telecommunications (NAPT), Washington State Arts Commission, J. Roderick McArthur, the Muckleshoot Tribe, the George Soros Foundation, the King County Arts Commission, 4 Culture, the Independent Television Service (ITVS)
Sandy Osawa was a recipient of the United Nations Fellowship to New York University’s Center for Culture, Media and History in 1996.
Sandy Osawa was the Recipient of the “Distinguished Alumna of the Year Award” for community service from Lewis and Clark College, 2009.
Recipient of one of five Ecotrust Awards for Indigenous Leadership, 2010.

Reviews and Publications Highlights
Sandy Osawa’s poems are published in Dancing on the Rim of the World, an anthology of Northwest Indian poets, The University of Arizona Press, 2000. An essay is published in First Fish: First People, Salmon Tales of the North Pacific Rim, by The University of Washington Press in 1999.
Sandy Osawa was one of the featured filmmakers in a book entitled Native Americans On Film, edited by Elise Marubbio and Eric Buffalohead, 2013, The University Press of Kentucky.
Writing of On & Off the Res’ w/ Charlie Hill, noted author Vine Deloria said, “I’ll have to say it was one of the best videos on an Indian subject I’ve ever seen. Not because I’m in it, but for the way it flowed with its story so smoothly—no stops for slogans and stereotypes—just a straight ahead story told well.” 7/28/2000
From the Hollywood Reporter on Pepper’s Pow Wow, “If you can’t watch this special on jazz saxophonist Jim Pepper, tape it for later. It’s not just a program – it’s an achievement. And it’s not just that the story is powerful – it’s the subtle and careful way this one-hour documentary unfolds its riches that makes it a particular treat. …Kudos to producer Sandra Osawa for staying with this wonderful project for 10 years.” 11/21/1997
The School of American Ballet’s Director of Public Relations saw the Maria Tallchief DVD and commented – “I was so pleased to have the opportunity to view it. I had read Maria’s biography and have watched much archival video of her dancing, but your film so vividly brought to life her early years and the fascinating history of the Osage tribe as well as capturing beautifully the wonder of her dancing. My eyes certainly were opened in a way they hadn’t been before to the richness of Maria’s heritage….” 3/5/2014
Film Exhibit Highlights
Curios 1970 UCLA Student Film Festival
Native Am. Series 10 programs 1975-76 NBC stations
In The Heart Of Big Mountain 1988 Learning Channel
1991 American Film Institute
1992 Munich Film Festival-Germany
1993 Sundance
Native Vision Programs 1981-83 KSTW Tacoma Station
Hamatsa Dance 1984 Pacific Science Center, American Film Institute
The Bentwood Box 1987 Pacific Science Center (Willie Seaweed Exhibit)
2009 University of British Columbia, Victoria
2010 University of Willamette, Oregon
The Eighth Fire 1993 NBC stations
Lighting the 7th Fire 1994-97 PBS stations
1994 Sundance Film Festival
1995 Amiens International Film Festival
1998 il Silenzioso Richiamo della Terra-Palermo, Spain
Pepper’s Pow Wow 1995 Museum of American Indian (Standing ovation)
1995 Amiens International Film Festival
1995-98 PBS stations
1996 NW Film Center-Portland, OR
1996 Bumbleshoot-Seattle
1995 Sundance Film Festival
1996 Taos Talking Pictures, New Mexico
1997 Museum of Modern Art
1998 Aboriginal Film Festival-Vancouver, BC
1999 Aboriginal Voices Festival-Toronto, Canada
2000 University of Idaho
2012 Hibulb Cultural Center Tulalip
On & Off the Res’ w/ Charlie Hill 1996 Sundance Film Festival
1997 Taos Talking Pictures Film Festival
1998 Museum of American Indian-NY
2000 Sundance, Am. Indian Film Festival, San Francisco
2000-03 PBS stations
2014 Native American Film Festival, UCLA
Maria Tallchief 2006 Seattle Art Museum
2007 Portland Art Museum
2007-10 PBS stations
2008 Wesleyan University-Connecticut
2008 American Indian Film Festival-San Francisco
2009 Gene Siskel Film Center-Chicago
2010 Willamette University
2013 Gonzaga University
2014 Indianer Inuit: Das Nordamerika Festival-Germany
2014 Arizona State University: Keynote
2015 April 17, NW Film Forum, Seattle
Princess Angeline 32min. version 2008 Seattle Art Museum-Pacific Coast Salish Art Exhibit
2008 Daybreak Star Cultural Center
2008 Ethnic Cultural Center Theater
2009 Duwamish Longhouse
Princess Angeline 53min. version 2011 Shoreline Museum
2012 Hibulb Cultural Center Tulalip
2013 Peninsula Community College
2014 Meaningful Films W.Seattle & Beakin Hills, Seattke
2015 NW Film Forum, Seattle
The Black Hills Are Not For Sale 2014 Muse’e qui Branly-Paris, France
Usual & Accustomed Places
Work-in-progress 2014 Shoreline Community Library
27 programs for library 2013 University of North Carolina
15 programs for broadcast 2012-16 KFNX (First Nations Station) Southern California

Upstream Video Productions

Ed Archie NoiseCat on “Make No Bones About It,” April 5th, 2015 at 5pm


Tribal Affiliation: Shuswap/ Stlitlimx

Ed Archie NoiseCat grew up in British Columbia’s remote, mountainous interior with his mother’s people, the Canim Lake Band of Shuswap Indians. He draws inspiration from his mother’s plateau culture, and from his father’s people, the Stlitlimx, closer to the coast. He draws on the stories of his ancestors to create innovative images executed with extraordinary craftsmanship.

NoiseCat loves to work on a grand scale. He took the top prize at Portland’s first annual Indian Art Northwest market with a freestanding, six-foot square carved cedar screen. He won a major Midwest public art commission with a four-foot high portrait mask honoring Little Crow, one of the regions great chiefs. He also works on a smaller scale carving masks, rattles, panels, puppets and more. Many pieces incorporate transformational elements. He recently introduced two new lines of work: sculptural jewelry in silver, gold and semi-precious stones; and art furniture that joins the structural forms of the Northwest longhouse with traditional Japanese woodworking techniques.

NoiseCat graduated from the prestigious Emily Carr College of Art and Design, where he studied printmaking. In 1986 he headed to New York to work as a fineart lithographer at print shops including world-renowned Tyler Graphics. In the decade that followed, he lived in Boston, Minneapolis, Miami and Oakland. He now resides in Santa Fe.

Stonington Gallery

Sage Galesi shares on “Make No Bones About It.” 7-6-2014 from 4:00pm

Sage Galesi


Sage began her journey as a singer/songwriter and actress when she was a wee child. Music was always around from stories of her grandmother who worked with Elvis or her mother’s dearest friend and record producer Leonard Cohen dropping by. Some early highlights of Sage’s career would be dancing with Michael Jackson in the music video BLACK or WHITE, singing “Thank You” with Natalie Merchant at the Lilith Fair, starring on the Disney Channel, “Toon Disney Summer Sundays with Sage and Beau” and a co-starring role in the ABC mini-series “Dreamkeeper”. Sage has also performed on some of the world’s most renowned stages, including: The Roxy, The Whiskey a Go-Go, House of Blues LA, The Ford Amphitheater, to name a few. Sage took a break from Hollywood to attend Yale, though during her freshman year she couldn’t pass co-starring in the Steven Spielberg miniseries “Into The West” for TNT. Through her education she explored the world, studying theater in London and at Russia’s renowned Moscow Art Theater. Upon graduation Sage went to LA and started to work on her new musical venture, this led her to London and Nashville where she wrote and recorded her first solo EP, “Learning to Walk“. In 2012, with Sage and The Saints, Sage recorded her second EP “I Will Lie” produced by Rascall Flatts instrumentalist Jonathan Trebing. Currently, Sage lives in Nashville. She is writing and recording for a new record, as well as lending a hand writing for and with other artists.

 “Mama’s Biscuits”   -Neil Young
 “When Sage first came to my office at BMI New York I knew she was destined for success. Sage has great talent both as a songwriter and singer…She displays the attributes that are characteristic of someone who will succeed in this tough business and achieve every goal desired.” –Charles Feldman, VP Writer/Artist Relations BMI New York

} “Over the years I have followed Sage’s musical career and have watched her evolve into a wonderfully talented singer and songwriter.  Sage takes an elegant approach to her sound and style, cherry picking musical elements from a variety of styles and time periods, to create a unique and special musical experience.” –Adrian Grenier


2/27/14            @DonnaTeresa5 tweeted “SAGE AND THE SAINTS-WOULD I RUN:https://www.youtube.com/watch?v=q41g3occ95U L-O-V-E this song by @SageTheSaints”

2/19/14            @RosaMonteiro88 tweeted “@SageTheSaints listening to your songs right now and falling in love with your voice!! <3”

11/2013             via YouTube LiiJamJaxxn said “Beautiful u and song!!! *O* I love you Sage


“…you made my day with just an EP …what a discovery…I am blown away  by this singer and this band…I can’t stop listening (particularly track 1 that I already listened at least 20 times…what a song, what a melody ..they reach perfection) ..I also can’t stop listening tracks 2 and 3 ..I will air these 3 songs …vocally and instrumentally this CD is a real musical gem…it is beyond words.. I guess they will be on the road to a extraordinaire career…to me it is the discovery of this year …Take care and merci for this precious gift.”   -Mike Penard DJ on ISA Radio France

“John (biscuits & Gravy) Davy thumbs up for Sage & The Saints”- on FSR http://flyinshoes.ning.com/profiles/blogs/sage-and-the-saints

“so proud of this girl…check out @SagetheSaints” –Ali Puliti, US Weekly via twitter

“good stuff” –Balthazar Getty, PURPLEHAUS Records/musician/actor via twitter



Keith and Chenoa Egawa share about their new book “Tani’s Search for the Heart” on Make No Bones About It. 4:30 pm, 2-23-2014

Tani's Search

Keith and Chenoa Egawa are a brother and sister writing and illustrating team of Lummi and S’Klallam Indian ancestry. Keith is a novelist ( Madchild Running) with a background in education reform and social work. Chenoa is a singer, stoyterller and ceremonial leader, who has worked as a professional illustrator, international indigenous human rights advocate and educator.

Book Cover

Tani's Search_Page_1

Brian Larney on KAOS radio 89.3 fm Olympia- Sunday, January 19th at 4pm


We will be visiting with Choctaw Seminole  Artist, Brian Larney  on KAOS radio 89.3 fm Olympia- www.kaosradio.org this Sunday, January 19th at 4pm.  Brian’s original creations are rare archival illustrations from the past and reflect the rich culture of his tribal heritage.  His visuals are known for their contemporary style yet maintaining the cultural accuracy that honors his tribal family’s name of five generations, YA-HV-LA NE.  Brian has received the Governor’s Award at the Festival of Art, First place awards for his work at Red Earth Festival, Five Civilized Tribes Museum, Seminole Museum Signature Series, as well as served as art instructor and consultant for numerous educational and business venues.

more about Brian Larney


Donald Vann on “Make No Bones About It” -September 8th, 2013


The images of full blood Cherokee artist, Donald Vann, speak of peace and tranquility of solitude. They speak of yesterday’s tradition and tomorrow’s promise. Through his work, Donald takes the viewer to a place that is as real to him as the tangible world. To see his paintings is to feel the crunch of snow beneath one’s feet, to hear the wind whisper through the aspen trees and to smell the wood smoke and buffalo of hide tipis. It is to know the soft-spoken man behind the paper and paint.  Donald Vann

“All my life,” Donald explains, “I have had this desire to paint with images I can express thoughts and feelings I could never put into words. Through my art I am able to transcend the limitations of the spoken word.”

It is more than just his Native American heritage that Donald strives to share. Warriors on horseback, a medicine man greeting the dawn and young maidens gathering wood are only the means of conveying moods that are much more universal. He uses those images to tell how he feels about the unseen forces that influence life. Donald draws his greatest inspiration from the earth, sky, and from the rhythms of nature. His creations have a quality that allow the viewer to share some of the inner facets of the Indian soul. “In our world, there is an unspoken quality, a feeling that touches and flows through everything … all of us as well as all things of the earth. If one listens to these forces, he will find himself painting instinctively with the feeling of his heart about his ancestral beliefs and the way people live today.”

These spiritual elements have been a part of his life for as long as he can remember. “Growing up I was always a loner.” Donald recalls, “I spent a lot of time hunting, but that was really just a way of being by myself out of doors. That is where I felt the most comfortable and in tune with the natural spirits evident in all things.”

When he wasn’t camping with his grandfather or hunting in the woods near his boyhood home outside Stilwell, Oklahoma, Donald remembers painting. “I didn’t fit in too well at school, the one art class I took, I flunked. I always thought education got in the way of learning. I was much more interested in the teachings of the holy man for my clan and in the survival and herb skills my grandparents taught me.”

Combining his love for art and his Cherokee heritage, Donald is able to create moving images that speak of the Indian way of life and capture the hearts of art collectors worldwide. He is recognized for his haunting images of his people’s heritage, especially his portrayal of the Trail of Tears. He was proclaimed “one of the best known Indian artists of the 20th century” by the Cherokee National Historical Society. The Smithsonian Institution’s Museum of the American Indian honored him with their top painting award for watercolor medium. He has also won first place ribbons in juried competitions at Oklahoma’s Red Earth Exhibit, Colorado Indian Market and National American Indian Arts Exposition.

More than 50 different editions of his signed and numbered prints are now collectors items. He has taken top honors at shows from Texas to Ohio, and Minnesota to North Carolina. Yet, it is the public’s acceptance is what matters most to Donald.

“Through my images,” Donald says when asked of his success, “I hope people will be inspired to learn more about the customs and values of America’s native people. Our traditions teach many things that can help all people. In today’s fast-paced world, it is too easy to get cut off from one’s heritage and lose sight of the things that are truly important. If I can make people see with their hearts instead of their eyes, then my art has spoken. Then I have succeeded.” http://www.donaldvann.com/

An Evening Eddy Lawrence on “Make No Bones About It

Born and raised in Birmingham, Alabama, Eddy Lawrence spent a decade in New York City before settling in the North Country of New York State in 1992. His songs and recordings have garnered critical praise in many publications, including Dirty Linen, Acoustic Guitar, The Village Voice, CMJ, Folk-Roots, Performing Songwriter, New Country, and Sing Out!.

Eddy has appeared at clubs, coffeehouses, and festivals across North America, both as a headliner and as an opening act for many well-known artists. These days, he performs in concert with his wife, Kim, who accompanies him on upright bass. The duo has recently released a new all acoustic CD called “My Second Wife’s First Album”. The recording is their first together and the ninth album of Eddy’s original songs.

Eddy first gained attention in New York City’s thriving East Village music scene of the early 1980s. He got his start with the seminal NYC roots-rock band, LESR, before releasing his first solo album, “Walker County” in 1986. That LP was an acoustic homage to his home state of Alabama, recorded in his Lower East Side walk-up apartment, using sparse instrumentation: acoustic guitar, mandolin, and bass. For the next 15 years, Eddy worked the folk music circuit, playing coffeehouses, festivals, and clubs in support of the acoustic albums he was releasing. He mainly toured in the Northeastern US, but sometimes traveled farther afield and crisscrossed the US several times. “Going to Water”, released in 2001, harked back to his rock and roll days, featuring electric guitars, bass, and drums. In 2004 he released “Inside My Secret Pocket”, an album that featured both acoustic and electric material.

Shortly after the release of “Secret Pocket”, Eddy scaled back promotion of his own albums and songwriting in order to focus on producing recordings by Native American artists, several of which were released on his own Snowplow label. These CDs, which he produced, arranged, recorded, and played on, were well-received in Indian Country and two of them were nominated for Native American Music Awards (NAMMYs).

With “My Second Wife’s First Album”, Eddy has reentered the world of the singer-songwriter, returning to the acoustic sounds that first brought attention to his music back in the 1980s. Growing up in Alabama, with deep roots in the red clay of then-rural Walker County, Eddy was immersed in the old-time folk, country, blues, and bluegrass traditions that flourished there. He has called the area where he came from “the place where the Appalachians meet the Delta”, in reference to the musical melting pot that fused traditional European and African elements, spawning the folk, blues, gospel, rock, and soul music that heavily influenced popular music worldwide in the latter half of the twentieth century.

Eddy’s songs have appeared on many compilation albums, including NPR’s “Car Talk Car Tunes” and nine Fast Folk albums, which have been acquired by the Folkways division of the Smithsonian.

Venues where Eddy has performed include: The Birchmere, the Bluebird Café, The Bottom Line, Bound for Glory, Caffe Lena, Johnny D’s, Middle East Nightclub, Minstrel Coffeehouse, Ram’s Head Tavern, Roaring Brook Concerts, Vancouver Folk Music Festival (main stage) and many others.