Navigating Wood, Whitewater And The Art Of Paddle Making

This story is part of a recent episode of Inside Appalachia. Click here to hear the full episode.

Appalachia boasts some of the wildest rivers on the East Coast, including the Gauley, the Youghiogheny, and the New River. And though whitewater paddling is now popular in the region, it wasn’t long ago that paddlers first started exploring these rivers, designing their own gear and even building their own paddles. Inside Appalachia Folkways Corps Reporter Clara Haizlett spoke with some of these DIY paddle makers about their love for the craft and perhaps more importantly – their love for the water.

It was a cloudy day on the New River. I was in a canoe, pulling a wooden paddle through the water. The lyrics of a Bob Dylan song were stamped on the glossy blade.

The paddle’s maker was Jon Rugh, who was alongside me in a bright blue kayak. He told me it’s one he made for his wife, Rachel.

“I got a bird that whistles. I got a bird that sings,” he sang. “But if I ain’t got my Rachel, life don’t mean a thing.”

Striped with different kinds of wood, the paddle weighed less than I expected. But it felt sturdy, too. Rugh’s paddles are made for whitewater.

Wooden paddles aren’t commonly used on whitewater; most boaters use paddles made from fiberglass and plastic. When I was a raft guide for a summer, I’d occasionally see the flash of a wooden paddle on the river. I would crane my neck to watch it slice through the rapids. It was always the best paddlers who used them and each paddle had its own story.

Rugh started making paddles after studying sculpture and ceramics in college.

“I felt like I had a very wide pool of skills, but it was a very shallow pool,” he said.

Clara Haizlett
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Jon Rugh carves at a wooden paddle blade.

He says he wanted to focus on one skill and become an expert at it. He chose paddle-making because of his love for whitewater kayaking.

Today, Rugh runs his own business out of his basement in Blacksburg, Virginia. It’s called Shade Tree Paddles.

In his basement shop, more than a dozen paddles hung on the wall. Both new and old, shiny and cracked, they all crowded together – waiting to get back on the water.

“This is one of the first paddles I ever made,” he said, as he reached for a cobwebbed paddle hanging on the rack.

“I used it maybe once, because it was not very good,” he said with a laugh.

He’s discovered that paddle-making is a slow, complex process that requires specific, high-quality wood.

“You’re making a paddle that somebody’s life is reliant upon, so you can’t make any shortcuts,” he said.

The Inuit are credited with inventing what we know as the kayak and the double-faced paddle. But these designs weren’t made for whitewater, and for centuries, many rivers were largely deemed unnavigable.

But with the technology that emerged from WWII, like fiberglass and synthetic rubber, adventurers took to the rivers – learning to canoe, raft and kayak on whitewater.

“People had to make their own gear, people had to make their own kayaks,” Rugh said. “And then there would be people who would build paddles.”

That includes people like Keith Backlund. In all of my conversations with different paddle makers, I kept hearing his name in particular. They say Backlund revolutionized the craft. His paddles were specifically designed for whitewater and they were so special they were known by his last name.

“They were these prized possessions,” Rugh said. “You’d say, ‘Hey, can I try a paddle?’ And they’d say, ‘Heck no! That’s my Backlund. Nobody touches my Backlund except for me.’”

Backlund died soon after Rugh started getting into paddle-making, but his legacy was carried on by the apprentices he took on during his career – the first of whom was Jim Snyder.

Courtesy Jim Snyder
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Jim Snyder works on a paddle in his shop in Preston County, WV.

Rugh would study Snyder’s paddles and email him with questions – about both the building process and the business side of things.

“One of the things that Jim told me early on is that paddle-making is a vow of poverty,” Rugh said. “And like most things he is proven to be correct.”

Rugh sells his paddles for close to $600 each. While that might seem like a good chunk of change, when you consider the weeks and sometimes months of labor involved, Rugh says he would be hard pressed to go full-time.

For now, he works at a woodshop to support his family and just makes paddles on the side. But Jim Snyder has been a full-time paddle maker for about 47 years. I called him up at his home in Preston County, West Virginia, to ask him about it.

“Having real financial support for myself would have been a smart thing,” he said with a chuckle. “But I just wanted to play a lot. I didn’t care if I was poor, and hardly had enough firewood.”

Snyder told me it hasn’t been a financially stable career, but it’s been fulfilling.

“If you look at it, from my perspective, there was actually the danger of getting a job that would pull me into some career track that I didn’t really want to be in,” he said. “Because I really wanted to be a paddle-maker.”

Snyder says making paddles is a transformational process. Turning a tree in the ground into a paddle in the water is like bringing the wood back to life.

“When the wood is cut down and stored, it’s like it goes to sleep,” he said. “Then when it’s finally built into a paddle and used on the river, it thinks the wind is still blowing.”

Courtesy Christine Vogler
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Christine Vogler paddles over a waterfall with her Jim Snyder paddle.

And the paddles he makes are built to last a lifetime. For some paddlers, they are just a stylistic choice. But for Christine Vogler from Asheville, North Carolina, Snyder’s paddles have allowed her to keep kayaking.

“I simply cannot paddle without a Jim Snyder paddle,” she said. “It’s like my lucky charm.”

Vogler has a genetic condition that affects her connective tissue. When she started kayaking, she says her shoulder would dislocate all the time. She tried physical therapy, and eventually had surgery. But she kept having pain until she tried one of Jim Snyder’s paddles.

“I just was able to paddle without pain,” she said. “It was revolutionary for me.”

Paddle makers say wooden paddles aren’t as stiff as the ones off the shelf, making them more gentle on the body. For Vogler, it goes even deeper than that.

“For some reason it feels like you’re more part of the water – working with the water, moving with it,” she said.”Paddling with a wooden paddle feels more spiritual somehow.”

There aren’t many custom paddle-makers in the region like Rugh and Snyder and there’s high demand. Rugh has already started a waitlist for next year, and Snyder has stopped taking any new orders until things slow down.

Snyder says it’s a supply issue. He’s the supply.

“The supply’s not meeting the demand,” he said. “The supply doesn’t want to.”

Snyder says he’s not interested in scaling up. He’d rather spend his time on the river.

“In the summer, I work half a day and go play half a day. And that works just fine,” he said.

Back at his shop in Blacksburg, Rugh slowly chips away at a paddle – carving it slowly with hand tools.

“I’m trying to come to grips with the fact that there’s significantly more efficient ways to do this, but this is kind of how I like to do it,” he said. “So I think I’m just gonna keep doing it that way. Because otherwise it wouldn’t be so much fun.”

Rugh is always experimenting with new designs and trying them out on the river. I asked him if it’s ever frustrating. He said no.

“If I did it right the first time, then I wouldn’t have to build anymore, I guess,” he said.

Rugh says the craft has also kept him focused on being on the water.

“I get jealous of my paddles,” he said. “They get to go out more than I do.”

This story is part of the Inside Appalachia Folkways Reporting Project, a partnership with West Virginia Public Broadcasting’s Inside Appalachia and the Folklife Program of the West Virginia Humanities Council. The Folkways Reporting Project is made possible in part with support from Margaret A. Cargill Philanthropies to the West Virginia Public Broadcasting Foundation. Subscribe to the podcast to hear more stories of Appalachian folklife, arts, and culture.

Love And Tradition Passed Down Through A Guitar

Mill Point is a blink-and-you’ll miss it wide spot off the twisty mountain roads of Pocahontas County, West Virginia.  It’s also the home of Bill Hefner, a luthier who isn’t just making guitars, he’s passing his tradition of meticulous craftmanship down to the next generation.

A Music Filled Life

Bill Hefner grew up in a house filled with music.  His mother and aunt would harmonize to popular songs on the radio, and his Uncle “Dude” Irving played guitar, mandolin and banjo. Bill and his brother Richard both learned to play on Harmony Archtop guitars, delivered by Santa Claus in the late 1950’s. Richard said Bill was inspired by county music star Chet Atkins.

“He ordered a Chet Atkins book, and he’d play that guitar and study that book,” Richard said. “And he’d come down every now and then and ask Uncle Dude how Chet Atkins did this or how Chet Atkins did that or how he would do it, and he would show him. Billy would take the guitar and go back upstairs again.”

When Uncle Dude formed his band, he recruited Bill to play guitar and mandolin. Richard played the banjo. And with the addition of a couple of cousins, they formed the Black Mountain Bluegrass Boys, a group that still performs in Pocahontas County and surrounding areas.

Bill played with the band until Uncle Dude passed away in 1973. These days, Bill performs with his wife and daughters as The Hefner Family Band in church and at local festivals.

Credit Laurie Cameron
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The Black Mountain Bluegrass Boys, circa 1972. Richard Hefner (sitting), Bill Hefner, Uncle Dude Irvine, Harley Carpenter, Dwight Diller

The Calling

Bill has played the guitar for most of his 76 years, but about 14 years ago, he decided playing the guitar wasn’t enough; he wanted to make the instrument. So, he prayed about it.

“I told the Lord, I feel like I’m supposed to be doing this,” he said. “I told the Lord if He’d get me in this business, I was going to dedicate it to him for the rest of my life.”

Bill quit his job at the rock quarry in Mill Point and started making guitars full time. His workshop is right next to his house. There are pieces of uncut wood everywhere and a few guitars under construction. Local sign maker Eric Warner taught Bill how to bend wood and cut semi-precious stone for the guitar inlays.  Bill also learned some tips from luthier John Greven, who built guitars for musicians like Johnny Cash and Mary Chapin Carpenter.

Credit Heather Niday
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Bill Hefner

“I used to call John when I first started, every week,” Bill said. “I called him up and asked him questions hundreds of times.  And he was nice enough to explain everything and talk as long as I needed to.”

Bill said the most important component to guitar making is the wood. He used to import walnut from Oregon and Sitka Spruce from Alaska, but then about 10 years ago, he switched to woods native to Pocahontas and Greenbrier counties in West Virginia, because they were easier to acquire. Wood such as Black Walnut, Maple and Cherry.

He’s used Pocahontas Red Spruce in his guitars because John Greven told him it has a real high head room.

“It means that the harder you play it, the better is sounds,” Bill said. “And some of the other woods will start breaking up if you play them real hard, the notes won’t be clear. Red Spruce just gets louder and prettier.”

Happy Customers

Bill sold one of his Red Spruce guitars to old time musician Doug Stalnaker, who said he loved it for the sound and the ease of playing it.

“Just like playing with butter, it’s just so smooth,” said Doug. “And the fact that I got what I wanted: I got a West Virginia artist doing West Virginia woods!”

Retired naturalist Pat Parr purchased two guitars from Bill. She said she loves them not only for their deep sound, but for the intricate stone inlays she designed and Bill handcrafted. One is of a Swallowtail butterfly. The other is more complicated, with mountains, trees and a stream. She remembered the drawing she gave Bill.

Credit H. Niday
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Pat Parr with her 2nd Hefner guitar with the Mountain, trees and stream guitar head inlay

“When I showed Bill the picture, I said, ‘Can I get this inlay?’ I said, ‘that’s going to be hard to do, isn’t it?’  ‘Yeah’ [he said], but he did it, and it’s absolutely gorgeous.”

The Next Generation

The gamble to quit his day job paid off. Bill has been able to make a living, crafting guitars, for several years now.  And he’s passing on what he knows about guitar building to his 24-year-old grandson Levi Hefner.  Levi is mostly into rock music, and he builds and repairs electric guitars, but he and Bill are also building an acoustic guitar.  Levi said the process has taught him a lot about patience.

“It’s a lot of fine finesse work and you’ve got to take your time with it and really slow down, that’s something I’ve never been great at so it’s really helped me out with that,” he said. “I’ve gotten to learn more about why a body is shaped this way and how different woods and different densities have a different sound to them and a different ring.”

Levi said the best part of making a guitar is imagining what a musician will do with it.

“Getting to see the progress of making something knowing that wherever it goes, someone else is going to make something else with it,” he said. “There’s always a unique sound to each guitar and each musician has their own unique sound so you can see how far it travels and how far things ca go with it.”

Bill said he’ll keep teaching Levi and his other grandson Ben what he’s learned to extend the craft as far as possible, even beyond his own lifetime.

“I’d like to teach them everything I can do, the tools and the woods and stuff,” he said. “There’s a lot I don’t know but I’d like to get them started and keep this thing going from now on and bring it on down to their kids later.”

Bill said passing on his skills is the best way to inspire his grandsons to create their own legacy.

This story is part of the Inside Appalachia  Folkways Reporting Project, a partnership with West Virginia Public Broadcasting’s Inside Appalachia and the the Folklife Program of the West Virginia Humanities Council.  

The Folkways Reporting Project is made possible in part with support from Margaret A. Cargill Philanthropies to the West Virignia Public Broadcasting Foundation.  Subscribe to the podcast to hear more stores of Appalachian folklife, arts, and culture.

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