December 11, 2018

Home Birth, Citizenship and Passport

I'm going off topic in this post because I think this story needs to be told. The passport agency is rejecting birth certificates for natural born, US citizens who were born at home instead of hospitals. How do I know? It happened to me.
(Updated Nov 2018. Link to news stories I was interviewed for; Kansas Woman told Birth Certificate Wasn't Enough to Prove Citizenship and Latinos Born Outside Hospitals Face Scrutiny Over Citizenship-I will keep adding links to other stories related to this at the end as I find them.)

Some background; I was born in Kansas. I was born at home and was delivered by my dad. My dad filled out my birth certificate (properly; everyone at the Court House that day came by to help) and filed it well within the one year deadline. I have lived and worked in the US my entire life. My parents, grandparents and great-grandparents were/are ALL natural born US citizens. My family has been in this country since the 1600s.

Back in March 2018, I applied for a new passport. I managed to misplace my old one (which was very expired) so I sent in my properly filed and legal birth certificate (double and triple checked by several people) that meets all the passport agency’s listed requirements. This is the same birth certificate I used to register to vote and for other citizenship related things all my life and to get my first passport way back in junior high school. In April, I got a letter back from the Houston Passport Agency that said my birth certificate “does not sufficiently support your date and place of birth in the United States since your birth was in a non-institutional setting.”
The Houston passport agency requested I send a long list of additional documents most of which I could not get because they had been destroyed years ago or had never existed in the first place (for example; my parents, as citizens from birth, have never had Green Cards and my school records were destroyed, by law, four years after I graduated). The KS Vital Stats office (issued my birth certificate) was shocked to hear about this. The Vital Stats office wrote me a letter saying my birth certificate is legal, valid and complete and that KS does not require babies be born in hospitals. I sent in my parents' birth certificates. My mom filled out a birth affidavit. I copied pages from yearbooks borrowed from friends. I sent in my childhood immunization card, school awards and the land purchase form my parents filled out before I was born (showing their residency in KS). I got my Senator's office involved.
All to prove that my certified state-issued birth certificate is real.

One of the people in the Senator’s office said this was a result of the crack down on immigrants (in spite of immigrants not having US birth certificates). Another said that the passport agency is putting the burden of proof on people. Which implies that birth certificates are no longer considered proof of citizenship. At least not for everyone. After 2 miserable months with no response from the passport agency and nightmares about ICE flying me from detention center to detention center for the rest of my life, I got my passport. In an envelope dropped on the ground under my mailbox. No letter, no explanation.

Things I’ve learned or thought of as this unfolded: 
-This as been happening to people with Hispanic names in Texas for some years. Now they are expanding. This may be mainly the Houston Passport Agency and not the others. Yet.
-There was a ruling from 2009 that the passport agency (especially the Houston one) had to STOP rejecting birth certificates just because a person was born at home. The passport agency (especially the Houston one) seems to be using the phrase “non-institutional setting” to try to get around this ruling and is expanding their policy instead of stopping.
-Hispanic people are having a MUCH more difficult time dealing with this than I did. Their papers are being kept, their passports are being taken away from them, they are having their citizenship revoked without warning and they are sometimes having to wait years to get any response when they ask for help.
-People who were adopted and have sealed birth records are having similar things happen to them. As are people born outside the hospital by accident.
-The one and only thing that seems to help is to contact a Senator and have them check on your application. Repeatedly.
-People delivered by Midwives are being specifically targeted and being born in a hospital is being (unofficially but effectively) made a requirement for citizenship. In other words, they are trying to make it illegal for women to give birth outside of a hospital. In addition, people born at home are being held responsible for the suspected actions of others (we were babies when our birth certificates were filed).
-State-issued birth certificates are not considered enough proof of citizenship unless hospitals sent them in. In other words, they are suspecting State and County Court Houses (where my dad went to file my birth certificate) of fraud.
-This policy/practice will only impact people born in this country who are supposed to be citizens, no question.
-They do not list this as a possible issue so it is a "secret" requirement. 
-This is retroactive. They are telling people who have had perfectly legal birth certificates all their lives that their birth certificates are suddenly not good enough proof of citizenship any more.  
-This may be part of a wider effort to remove the born-here-you-are-a-citizen rule. There has been discussion about declaring that the children of non-citizens who are born in this country should not be eligible for citizenship. I’m not sure just where these kids would count as citizens in this case! They are also investigating birth certificates and trying to prove they are false. Which would effectively strip citizenship from people who have lived here all their lives believing they were citizens because they were born and raised here just like their parents. A link on this subject  
What to do if you get caught in this sort of situation: (you can do the paperwork or fight-both are difficult) 
1) If you have a passport, you should be able skip this nonsense. If you can’t find it, mention you had one when applying. No matter how old it is or when it expired. Fill out the form for a lost passport if you can’t find it. They keep records so even if you can't find it, they should know you had one. 
2) The office that issued your birth certificate in the state you were born can check on the validity of your birth certificate and write a letter saying it really is real. This may not be enough on it's own but it is one more form to add to your pack of papers. Send this letter in with your birth certificate when you first apply. 
3) If you get a letter demanding extra proof just because you were not born in a hospital, CALL OR WRITE your Representative and Senators and ask for help right away. Contact all three and work with whoever gets back to you. Don't worry about if you agree with their politics or not. It is their job to help with this sort of thing (there is no fee for this either). Do this even if you have the extra documentation the passport agency wants because it may not be enough. Make a stink. Let people know what is happening.
4) Get a birth affidavit from someone who witnessed your birth or can testify to when and where it happened. The local passport office should have these forms and they can be found on-line though I don't know if printing them off and filling them out is ok. (This form is called Birth Affidavit DS 10-get one with the most recent date at the top you can). They are not hard to fill out but you will need someone else to do it for you. They prefer an older blood relative or the person who delivered you but go with who you can find and fill out extras if you are worried (you should only need one BUT I know one person who needed 5 different people to fill this out for him). It has to be notarized (I went to a bank for that) or possibly the passport agent can do it when you turn in the application (the person filling it out needs to be present for that). The person filling it out needs to send in a copy of their ID with it. I don’t know if you can do this now and save it to use later or if it has to be recent. 
5) The Help Line is useless. It took them 3 weeks to get back to me. Then they just read the letter the passport agency sent to me out loud into my voicemail and hung up. They are supposed to help you figure out how to send in the requested documents but they did not help me with that at all. I resorted to making a new appointment at the local passport office to get that figured out.
6) Contact the ACLU in your state, the state where you were born, the state of the specific passport agency that rejected your birth certificate and in Texas (where the 2009 ruling took place). Tell them you believe this violates the 2009 ruling on the Fair Issuance of Passports.
7) Look for a lawyer right away. Especially if you are Hispanic or any other minority. Civil rights or immigration (yes, I know, we aren’t immigrants-but they know citizenship law). They need to know how many people this is happening to and where it is happening. And if you need them, the sooner you get in touch, the better.
8) Quote the 2009 “Fair Issuance of Passports” ruling that says the passport agency can’t reject birth certificates just because a person was born at home with a midwife. Most officials don’t seem to know about it at all (at least they didn’t mention it to me!) so make sure to bring it up.
9) Document everything. Copy what you send in. Take notes about letters, e-mails and phone calls. Have it ready in case you need a lawyer. 
10) Contact the media. This is being buried and hidden from the public eye. Don’t let them keep this quiet.

This is not just about traveling. This is about citizenship, voting and having your rights honored. Regardless of whether or not you were born in an "institutional setting" or at home. To quote the Constitution of the United States, Amendment XIV, Section 1; "All persons born or naturalized in the United States and subject to the jurisdiction thereof, are citizens of the United States and of the State wherein they reside."

Links to other stories of this happening after the 2009 ruling: 
This person was accused of being a fraud in spite of having parents and an older sibling all citizens.  

Woman trying to get her newborn baby a passport. 

Woman born by accident at home (premature) in the 50s told to pay extra fees and forced to get census records to prove citizenship in spite of having a birth certificate. 

Woman told to send in pre- and post-natal records from the '60s and that a trial could take 8 months. 
National story (August) on this issue and how “U.S. citizens are increasingly being swept up by immigration enforcement agencies.”
Arizona. Woman whose 4 and 6 year olds were denied passports in spite of having official birth certificates with state seal.
Texas. 3rd generation US citizen and veteran told birth certificate not proof of citizenship.
Midwives Alliance of North America statement on the practice of denying passports to those born outside of institutions.

Link to 2009 ACLU ruling on Fair Issuance of Passports

Someone recently asked how the Passport Agency knew I was not born at a hospital (comment section is not working right so I'm answering here).
Kansas birth certificates have a place asking for place of birth, either hospital or address. My parents' home address, at that time, is in that slot since they were being truthful and honest.
Each state's birth certificate is laid out differently and ask slightly different things. They also change over the years. For example, they used to ask if the baby was "legitimate" or not (my parents' birth certificates both have that question) but most states don't ask that any more.

October 12, 2018

Making It Up As I Go

When I was 13, I went out into the woods and began to teach myself to improvise and compose. I did not know it at the time though. I began by memorizing a short folk tune and adding small ornaments (a trill here, a grace note there) to it. I had seen several versions of this tune in sheet music form with ornaments so I made a point of adding ones that had not been in those versions. Some sounded good, others not so much.
The next week, I did this again. And then again. The ornaments got a bit longer and more complex (turns!) and after a few more weeks, something odd happened. An interval in the melody caught my attention. I don't know why but it suddenly sounded different than it ever had before in this tune or in any other. It sparkled and glittered. I spun it around and tossed it into other places in the song. I explored what notes played before and after the notes of that interval would emphasize the extra something I was hearing and feeling in my fingers.
In time, other intervals in this same tune caught my attention. And I worked with them in similar ways. Then I put together the intervals I especially liked (for no apparent reason) and explored how to weave them together in a way that showed off the magic I had found in them. With mixed results. But eventually, I realized I wasn't playing that folk tune anymore. I was creating a new melody.
This unsettled me. I knew composing was a deep pool of new learning and I was a bit reluctant to dive in just yet. So instead, I just told myself I was noodling. Then improvising. I took a small tape recorder out with me (I always did this somewhere I felt I wasn't being listened to at that time) and recorded a few of these little ephemeral notes and lines. I liked just knowing I could go back and hear what I had done again. Once or twice I even actually listened to those tapes (not often) and noticed things I liked and things I thought weren't really that interesting and tried to remember both.

Years later, my teacher had me add ornaments to a Telemann piece. Using our best information of how ornaments were added at the time. I loved it but it frustrated me wildly. I loved it because it was exactly what I wanted to do a great deal of the time. But so many of the ornaments I came up with did not fit the rules. And I could not seem to actually change any of the notes in the melody which I knew would have happened at the time. Still, it was a whole new way to play with those feisty little notes.
Then, again years later, I took a Jazz improv class. This had mixed results too but by then, I expected that. I knew I was trying to learn to do something different than Jazz so I accepted that not everything I learned here would work for whatever I was doing. And those little noodling tunes and exploratory ornaments I was playing in private kept going. And growing. And fewer and fewer recordings had dull sounding moments in them.
Then I went to play at the Renaissance Festival. Suddenly, I was playing music all day long. I got bored just playing written tunes and played some of my own improvisations. And some of what I now admit were compositions began emerging into the light of audiences. The next year, almost half of what I was playing was my own improvising or compositions. The next year, I had to remind myself to play music other than my own.
And that is the story of how I learned to "dream in music". To allow music to pour through me and, hopefully, into the dreams of others. To create a world of sound that constantly shifts and changes. Like rainbows through rain-clouds or starlight on snow.

September 4, 2018

Hum, Buzz and Shiver

My mother planted Yucca flowers next to my mail box this summer. (Plant exchanges and free seed fairs result in a lot of gardening whims and botanic surprises in my family.) I didn't notice right away. But then they bloomed. During an extreme drought that made the Periwinkle and Virginia Creeper show signs of wilt. These tall, elegant clusters of blooms brought out a smile every time I passed them, when other plants surrendered to lack of water and went dormant till next year.
Meanwhile, the Sunflowers bloomed. And bloomed. And bloomed. Each year I'm stunned anew at how many shades of yellow there can be in one small patch of flowers. And at how long these glories last. I am not at all surprised these flowers were/are considered grave flowers by the Kaw Nation (the people whose stolen ancestral land I live on) and as a connection to those who are gone.

And I remembered the stories of Native American flutes being made from hollowed out stalks of Yucca flowers and Sunflowers. Sometimes, flies or bees burrow into the stalks and partly hollow them out before they are picked for flute making. Making the flute a joint creation of the plant, the insects and people.

When a flute is played, vibrations can be felt under your fingers. Life pulsing through the instrument for as long as your breath lasts. Dissipating into the air after the final cadence. Scattering like seeds back into the earth. Waiting for the next rain to bloom all over again.

April 30, 2018

Sight Singing and Dyslexia

I recently saw a joke on the internet. There was a picture of some music with a caption asking "what's wrong with this picture?" and I found myself stumped. The time signature and the note values added up right, the key signature was written correctly, bar lines and other symbols were placed right and I could not figure out what was wrong to save my life. Then I read some other people's comments and realized the music was supposed to be the opening of Beethoven's Fifth. Without any further information, I immediately saw that the last note was wrong and the rhythm was wrong (glaringly so). And then I realized something. I hadn't been able to "see" what was wrong because I hadn't turned the visual notation into sound in my head (a skill taught in sight singing classes) until I knew it was supposed to be a specific piece. And what is more, this happened in spite of the fact that I learned to sight sing years ago and even taught sight singing. All of which caused me to recognize what was happening at last; this was a dyslexia glitch I hadn't been aware of before.
One of the issues with dyslexia is that turning symbols into what they represent is tricky. Written letters and words are the most typical examples but it can happen with numbers or music notation too. Most dyslexics only have trouble with some symbols and not others. This is why some dyslexics can't spell but can handle written math and read music or have trouble with written math but no trouble with music or reading. My main dyslexic trouble is spelling not music notation. But suddenly I realized that turning written music into sound in my head is just a bit more problematic for me than anyone would expect because of my dyslexia.

Now sight singing or turning notation into sound in our heads is not something people do automatically. Most people have to learn the process and they tend to find it challenging at first. A few folks have a knack for it but generally it is something that must be taught, practiced and sweated over. Once learned, some people can't turn it off (every notation "sings" to them) but most have to make a conscious effort to sight sing music. I was in the second group. If I just look at notation, I don't just hear it right away. I must make a conscious effort to "hear" the notes and rhythms written out in front of me. This isn't really that unusual nor is it considered an issue so I hadn't ever noticed that the effort I make is just a bit more, a little longer, a smidge more complex than is typical. The fact that learning to sight sing is not easy for anyone hid the fact that I don't turn written music into sound in my head easily. It wasn't until I had trouble getting an obvious (to musicians) joke that it came out into the open.
This isn't a big problem for me (clearly since I was trusted to teach freshmen the basics of sight singing). I've worked around it for decades without even realizing it was there. What's more, once I have played a piece, it is outrageously easy for me to "hear" the music when I look at it.  That extra bit of information, the physical memory of creating the sound on my flute, kicks my sight singing skill into high gear and I can even catch tiny changes in the notation with ease. This makes a great deal of sense given my history of using finger spelling to manage to learn to spell at least a bit better. Attaching physical sensation to the visual symbols helps me process the symbols. And I can, in fact, sight sing a piece without ever having played it just fine; I just need a few extra moments to work it out. Since I'm an instrumentalist not a vocalist, this is simply not a problem. But now that I know about it, I can work with it and find the alternate ways I process the written music into sound. Like "fingering" the notes on a pencil as if it was a flute, something I used learning to sight sing.

Finally, to anyone who has struggled to learn to sight sing music, you now have a small hint of what it feels like to be dyslexic. That process of transforming notation into music entirely inside your head is quite similar to fighting to handle moving letters while learning to read.
The initial stage of learning to sight sing (according to me and my non-dyslexic friends alike) is unsettling. It seems as if there is no point of reference for what you are learning, nothing to hang on to or use as a tool. This is because you are restructuring your brain to do a brand new thing. Dyslexics often take extra time to learn to read because they must work out new methods of processing the written letters for their brains. The same thing happens when learning to sight sing music for nearly everyone.
And remember that there is more than one way to learn to sight sing (just like learning to read or do written math). Different teachers use different methods and each person develops their own tricks. Ask others for tips if you have serious trouble and explore other approaches. Remember that it may never be automatic and that's ok. Practicing the skill at whatever level you have it will teach you how to develop it. Don't expect your sight singing to match others but use your skill your way.

March 16, 2018

Lady of the Pipes

Ianuaria, a Celtic/Gaulish Goddess. The information about her is extremely limited but intriguing. At a healing shrine in Beire-le-Chatal, France, she was pictured as a young girl with curly hair, wearing a pleated coat and playing the panpipes. The site also had images of Apollo, bulls and doves. No one knows if she was associated with music, healing or birds and bulls outside of this site or not. Her name is related to Janus the Roman God of beginnings, doorways, gates, the new year and January. Jana (or Iana) Luna, a moon Goddess, is Janus’s consort and the only other female version of the name Janus (as far as I know).

Music goes back to our beginnings as various finds of 40,000 year old flutes show. Music and healing are often paired and music was sometimes used as a form of healing. Many of the Gaulish deities mixed and matched roles, attributes and even names with other cultures. The ancient Celts traveled so far they couldn’t help but run into other Gods and see similarities to their own. Meanwhile, the Romans were quite prone to creating Roman names for local deities and pairing them up with a Roman God, just to make everything seem Roman to them. All this makes it quite likely that there was a local deity connected to healing or music or both who was simply renamed.

Ianuaria’s roots are long gone but close your eyes and listen for the sound of flute music drifting over the hills on a chilly day and you just might catch glimpse of where she went.

Adkins, Lesley and Roy A. Adkins. Dictionary of Roman Religion.
Theoi, Roman Myth Index:

February 14, 2018

A Love Story

Some people devote themselves to one specific instrument and remain faithful to it their whole lives. Some people fall for multiple instruments and learn to juggle their various passions. I fall somewhere in between these two forms of musical devotion by playing several different types of flutes. Each flute requires slightly different adjustments in how they are played but I love the changes of tones the different materials and designs have on the basic flute sound.

The concert flute is my first love and the flute with the most flexibility in scales, accidentals and the widest range. It is the flute most people think of first and are used to seeing in orchestras. It is generally the top sound and gets some of the most ornamented parts. It can be flashy and used to imitate birds but it also is used for slow, sad tunes. It is often used in music meant to evoke natural settings. As popular as it is in Classical music, it is generally ignored by other genres such as Jazz (sax players often double on flute but solo players are rare) and folk (guitar and/or traditional instruments are much more common) so it actually adds some unusual sounds to these areas.

The alto flute has a wonderful lush sound in its lower register. I was captivated by it the first time I played one (not uncommon for those who like this instrument) but it is the heaviest flute I play. This is the flute I lift weights for. Much as I love it, playing an entire show on this instrument alone is not practical if I want to keep my arms in good working order. So this flute gets short, attention grabbing appearances mixed in with the other flutes. It is associated with darker music than the concert flute and gets used for more mysterious pieces. It is lush, velvety and surprisingly powerful.

I play 2 different sizes of glass flutes. The one in C is similar to a piccolo or a fife. The one in G is halfway between a regular flute and a picc. Their sound is bright and cheerful and a kick to play in the rain. These are both from Hall Crystal Flutes. I'm not generally a fan of piccolo sounds (I like low better) but the glass material darkens the sound wonderfully. And I admit, it is very nice to have light instruments that are easy to clean up after a long dusty day. Smaller flutes and piccs have light and bright sounds but they are also very effective at creating haunting music. The key is getting the contrast right between their brilliant sound and a darker musical line.

The one-keyed Baroque flute sounds soft and quiet up close but always surprises me with how far its sound carries. Mine was made by Daniel Dietz. Wood flutes generally have a rich dark sound which is part of what gives period and traditional flutes their distinct timbres. I am especially enchanted with how wood flutes can imitate the alto flute sound in a smaller, lighter instrument. This flute is wonderful with Troubadour tunes and other Medieval and Renaissance music of course but it really takes flight on the lively pieces.
Many Flutes
Alto (with curved headjoint), Glass flutes in G and C, Baroque flute and Concert flute.
Recently, I was swept off my feet by some Penny-Whistles (also called Irish Whistle, Tin Whistle or Celtic Whistle) and rim-blown flutes. They are full of surprises and each one is different (unsurprisingly). They dance, dream and delight.
For more see Whistle While You Work or  Mythical Jacquaflute

High F Elfsong Copper Whistle, Low F MK Whistle, D Milligan Whistle
Rim-Blown Diatonic Flute based on Ancestor Pueblo/Anasazi Flute design

I have several different ocarinas (they just sort of accumulate) that are lots of fun to have on hand when the flute is just too large to be practical. They are basically extremely fancy whistles with a full octave range. Though the 10-holed chromatic wooden one I recently got goes a bit beyond that! Learning to fit tunes on this little whistle has become my version of Sudoku puzzles but much more fun. It has a soft voice that invites listeners to come close and lose themselves in musical stories.
I have a set of panpipes but I haven't really caught the trick of them. Truth to tell, I dislike how it feels to move the instrument on my lip so I leave performing on this instrument to others. They are quite fun to have though and they have taught me a great deal.
Then there are the recorders. I do play and teach recorder but we've always had a complicated relationship. They are very delicate sounding and it is surprisingly tricky to play them WELL. They take a precise touch that is rarely mastered by people who think of them as a children's instrument. It makes perfect sense to me that they were used in the same age as lutes and other subtle sounding instruments when amplification only existed in cathedrals and caves.
Panpipes, Ocarinas, Recorder
Panpipes, Ocarinas and Recorders, oh my!

I have studied a few other instruments (guitar, piano, harp, violin) over the years but never "hit it off" with them the way I did with the flute. Studying the basics on a couple of other instruments helps performing musicians be more flexible and gain more control of their instrument whether they become a doubler or not. In my case, the flute keeps tempting me back.
And so the love affair continues...

January 17, 2018

Artists of the Breath

Flute players sculpt sound into music using their breath as chisels and brushes.
Exhalations become brush strokes and molds. Vibrations become paint and clay.
Welding together timelessness and the ever changing moment.
Creating the ephemeral out of the intangible.
Wordless communication.
Singing without a voice.
Breathe and Listen.