ithsonian €3Sm | IVa Folklife Fest A et, —= Smithsonian Folklife Festival On the National Mall Washington, D.C. June 24-28 & July 1-5 Cosponsored by the National Park Service 2 9 8 wale Inside Front Cover Cebu Islanders process as part of the Santo Wi Hoy Child) celebrations in Manila, the Philippines, i 997. Photo by Richard Kennedy Table of ContentsImage it The Petroglyph National Monument, on the outskirts of Albuquerque, New Mexico, is a culturally significant space for many and a sacred site for Pueblo, peoples Photo by Charlie Weber Site Map on the Back Cover "Rio Bravo Basin. _ Photo by Kenn Shrader On the Cover LEFT Hardanger fiddle made by Ron Poast of Black Earth, Wisconsin. Photo © Jim Wildeman BELOW, LEFT Amber, Baltic Gold. Photo by Antanas Sutkus BELOW, CENTER Pina lace from the Philippines. Photo by Ernesto Caballero, courtesy Cultural Center of the Philippines BELOW, RIGHT Dried peppers - from the Rio Grande/ Sov. Ty SeeO. ~ NP be A whl General Festival Information ..........101 Services & Hours Participants Dy Daily Schedules Contributors & sont Staff Special Concerts & Events Educational Offerings, Friends of the Festival Smithsonian. Folkways reer ¥ we Contents a ~ Michael Heyman ...t.aeeteess.. The Festival: On fs Wall and Back Home 2 Brucé Babbitt ee. Celebrating Our cara ene 4 Diana Parker ... The Festival As Community” se Richard Kubin, 2 a ae a The Festival aid Folie ae Ralph Rinzlers a Cutural it ives whe. Jie. Pate K-71 Fe 3 Wisconsin Ritiara WalCi wis sc. cs. eee 10 Wisconsin Folklife n RODETT [TESKGMIE. csaine ess outeelies 14 Cheeseheads, Tailgating, and the Lambeau Leap: The Green Bay Packers and Wisconsin Folklife Gina Grumke The Neighborhood Tavern: Community Tradition at the Harmony POUR slcte ocho... 20 The Wisconsin Dairy Farm: A Working Tradition HOLM greece. eee 23 ‘A Good Way to Pass the Winter’: Sturgeon-Spearing in Wisconsin Thomas Vennum, Jt. ....eceeeeeees 26 The Enduring Craftsmanship of Wisconsin’s Native Peoples: The Ojibwe Birch-bark Canoe ¢ Pahiyas: A Philippine Harvest ~ Marian Pastor Roces ........eeeee 38 Rethinking Categories: The Making of the Pahiyas Richard Kerinedy<. =<. 7 Wie. sens 4] Rethinking the Philippine Exhibit at the 1904 St. Louis World's Fair Elena Rivera Mirano .........ee0e 45 Masters of Tradition in the Modern World Bam? SaNtOS wcaePeh coe he 49 Traditional Music in eae Cultures Doreen G. Fernandez... cm ee, 51 Philippine Food Ricardo D.Trimillos... 0... eee eee 53 Filipino-American Youth Performing Filipinicity The Baltic Nations: Estonia, Latvia, and Lithuania Elena Bradunas ?.....0.esees.ee 58 A Song of Survival Uric: Rite saree RM sta, che Saree 60 Traditional Culture in Estonia Valdis Muktupavels ...........00 66 Latvian Traditional Culture and Music Pea nc, 72 tee > 1. | eVe AWG The Rio Grande/ Rio Bravo Basin Lucy Bates, Olivia Cadaval, ......... 79 Heidi McKinnon, Diana Robertson, and Cynthia Vidaurri Culture and Environment in the Rio Grande/Rio Bravo Basin: A Preview Festival Concerts The Fourth Annual Friends of the Festival Ralph Rinzler Memorial Concert PerenSOKOIOW ... a ........ am 95 Jazz and First-Generation American Klezmer Musicians BGR SaDOZNikig. .. age cues ee. a 97 Old-Time Music and the Klezmer Revival: A Personal Account Folkways at 50 Anthony Seegghe. eases s. Secu . 98 Folkways at 50: Festivals and Recordings © 1998 SMITHSONIAN INSTITUTION ISSN 1056-6805 epior: Carla M. Borden ASSOCIATE EDITOR: Peter Seitel ART DIRECTOR: Kenn Shrader DESIGNER: Jen Harrington PRODUCTION MANAGER: Kristen Fernekes i. Smithsonian Folklife Festival Far! Nyholm, Charlie Ashmun, and Julia Nyholm split jackpine roots for sewing and lashing on a traditional Ojibwe canoe on Madeline Island, Wisconsin. Photo by Janet Cardle gE RTT URE eet lL The Festival: On the Mall and Back Home he 1998 Smithsonian Folklife Festival is proud to host programs on Wisconsin, the Rio Grande/Rio Bravo Basin, the Philippines, and the Baltic nations of Estonia, Latvia, and Lithuania. ¢ Wisconsin this year celebrates its sesquicentennial, and seeks through the Festival to demonstrate to the nation the vitality of its people and their traditions. * The Rio Grande/Rio Bravo region was redefined 150 years ago with the Treaty of Guadalupe Hidalgo, which established a new boundary between Mexico and the United States. The river has a variety of meanings for local communities that will be explored on the Mall. * The Philippines first tasted indepen- dence 100 years ago, and marks its cen- tennial with activities that give voice to Filipino peoples, both in the island nation and here in the United States. * The Baltic nations each demonstrate the richness of their cultural life, and its importance in sustaining the struggle to regain their freedom and independence only a decade ago. The Festival will attract about a mil- lion visitors. They will dance to polkas from Milwaukee, learn borderlands bal- lads, participate in a Philippine pageant, and marvel at the amber work, flax weaving, and choral songs of Estonia, Latvia, and Lithuania. The unexpected will also meet their eye — a Tibetan sand mandala maker from Wisconsin, a Filipino artisan who fash- ions musical gongs from bullet casings, a New Mexican pueblo potter who incorporates modern flood stories into her craft, and a Baltic-style St. John’s Day ceremony. Impressive as it is, though, the Festival is more than the presentations on the Mall. It begins back home — wherever that may be — with good research. Wisconsin fieldworkers have done a wonderful job documenting the state’s community-based culture. In the Rio Grande region, cooperative field schools led by the Smithsonian with the University of New Mexico, Colorado College, University of Texas—Pan American, and Tierra Wools have encouraged local-area students and community members to study their cul- tural traditions. In the Philippines, the Cultural Center has devoted its staff to researching the traditions of the varied islands and developing a national archive. And in the Baltics, research has depended upon the documentation efforts of the Lithuanian Folk Culture Center and the Estonian National SMITHSONIAN FOLKLIFE FESTIVAL I. Michael Heyman Secretary Smithsonian Institution Council of Folklore, among other insti- tutions. Research allows us to plan and produce the Festival. It also leads to other outputs well beyond the Mall that cause the staff to declare, “The Festival never ends.” Highly visible Festival presentations have gone to the Olympic Games and formed the core of festivals in Hawai‘i, Oklahoma, Michigan, Iowa, Mississippi, and other states. There is a copious scholarly literature on the Festival and some three dozen documentary films and television shows, radio broadcasts, a few dozen Smithsonian Folkways recordings, and numerous cultural learning guides for schools and communities. The pattern holds for this year’s Festival. Wisconsin, in association with the Smithsonian, will mount a Festival of Wisconsin Folklife in Madison in August. We have produced a Smithsonian Folkways recording on one of the state’s dance music traditions, and Wisconsin public television is shooting a documen- tary for broadcast. In the Rio Grande Basin, Festival collaborations assure a continuing effort to research the region and develop multimedia materials for the schools. And, for the Baltic nations, we trust the Festival on the Mall will reinforce the relationship between the encouragement of grassroots cultural expression and the development of a free, democratic, civil society — as it does for us every year. 1998 1998 Smithsonian Folklife Festival Celebrating Our Cultural Heritage ver the past three decades, the Smithsonian Folklife Festival has brought millions of people together on the National Mall in an annual celebration of the art of American life and the cultures of our world- Bruce Babbitt Secretary of the Interior wide heritage. The National Mall is a public landscape that connects our institutions of democ- racy, our monuments, museums, and storehouses of history in a unique layout in the Nation’s Capital. The Mall and its institutions are open to all — annually welcoming millions of people from every background and cultural heritage. Each year, the Festival celebrates the cultural traditions of specific regions of the United States and other nations around the world. Among those this year, the Festival features the cultural tradi- tions of Wisconsin, which is celebrating its 150th anniversary of statehood, and the Centennial Celebration of the Philippine declaration of independence. Also featured are the Baltic nations — Estonia, Latvia, and Lithuania — whose cultural traditions have been of para- mount importance in defining and sus- taining them. The Festival also hosts members of communities in the Rio Grande/Rio Bravo Basin, from Mexico and the United States, who draw mean- ing and sustenance from that great and important river. The people and traditions on the Mall are here for us to understand, appreciate, and respect. We learn from the artisans, musicians, storytellers, workers, and other cultural torchbearers at the Festival. They teach us that culture is a 1998 dynamic process, vital in the lives of diverse people and communities, and represents their heritage, creativity, knowledge, and skill. Our cultural heritage is the gift of our Pe eset The National Mall is a public bility forusto landscape that connects our share this inher gnstitutions of democracy, our aes: monuments, museums, and store- future generations ouses Of history in a unique tounderstand and yout in the Nation's Capital. enjoy. By nurtur- ing our cultural heritage, respecting what has been created, and passing it on, we give future generations the symbolic tools to construct worlds of meaning that pro- vide answers to many questions. This is what we do at our memorials and monu- ments, in our national parks, and through our varied programs. The Festival gives voice and vision to our worldwide cultural experiences. Reflect for a moment on how events like the Festival help one generation commu- nicate with the succeeding one. Reflect for a moment on how it tells where we have been, what type of stewards of the land we have become, and who we are. The Festival is an annual remembrance of our rich past and rededication to a promising future. SMITHSONIAN FOLKLIFE FESTIVAL 3 ~ 1998 Smithsonian Folklife Festival The Festival As Community he Smithsonian Folklife Festival presents community-based culture. It does this in a global capital under the aegis of a global institution. This makes the Festival an instance of “glocalization”— an activity through which contemporary local traditions and their enactors are projected onto a world stage. The Festival tries to do this in a respect- ful, intimate, meaningful way. In presenting community cultural life, the Festival engages communities. This year’s Festival is a good case in point. All The Festival not only engages one or another community, but it also forms its own. of the nearly 75 researchers who docu- mented, analyzed, and recommended tra- ditions and people for the Festival came from the represented communities. Festival curators and senior staff met with researchers, shared experience from pre- vious Festivals, challenged assumptions, listened, learned, argued, and negotiated the character of the programs. This is not an easy way to craft a cultural represen- tation, but it allows for an honest, intel- lectual engagement. Mutual respect and discovery are the usual result. The Festival not only engages one or another community, but it also forms its own. As participants live together at the hotel, see and hear each other on the Mall, they become friends and colleagues across linguistic, cultural, racial, gender, age, and religious lines. Staff and volun- teers are, as Margaret Mead once noted, also participants in the Festival. Many staff and volunteers have worked on the Festival for two decades or so. Al McKenney, stage manager, is back for his 25th year; Barbara Strickland, our administrative officer, is here for her 24th. We’ve watched each other grow professionally and personally as a result of our Festival experi- ence. And we’ve seen new genera- tions of people joining that community, as staff, volunteers, student interns. A Mississippi Delta participant from last year — Gregory Dishmon, a drummer in Sweet Miss Coffy & The Mississippi Burn’in Blues Band — is returning this year as a sound engineer. But the Festival is not just a perfor- mance, an exhibit, or a mere activity of the Smithsonian. Its effects reach well beyond its producers. For example, this May, the Mississippi Delta program that was produced on the National Mall as part of the Festival last year was restaged in Greenville, Mississippi. The Festival mobilized local organizations and volun- teers. There were billboards on the high- ways saying “From the Delta to the Smithsonian and Back.” For many of those who'd been on the Mall, the Greenville festival was a reunion. On opening day, a hundred school buses pulled up to the festival site with stu- dents and teachers using the program as a vehicle for learning about local cul- SMITHSONIAN FOLKLIFE FESTIVAL Diana Parker ture, history, and traditions. Blues and rockabilly rang out across the festival grounds next to the levee of the Mississippi River. On the third day, a warm, spring Delta Sunday, Dr. Sandra Scott, a professor at Mississippi Valley State University, organized a special pro- gram. Because of her connections to reli- gious communities in the region, she was able to entice more than 150 singers from some 20 churches to come together for a sacred sing. People, Black and White, of varied ethnicity, class, back- ground, and religious affiliation, met each other on the stage — most for the first time. Dr. Scott moved between key- board players, soloists, and selections of repertoire. There was no division between audience and performers. Singers began to relax, jokes were made about towns, styles, and roles. People sung and swayed together. Everyone took delight in Darice Robb’s soulful rendition of the Lord’s Prayer, and in the beautiful solos performed by Ike Trotter of the First Presbyterian Church of Greenville, and Chief Minor, the African-American chief of police in Greenville. The audi- ence, composed of varied local and area residents, sat entranced, occasionally bursting into enthusiastic applause or jumping to their feet in appreciation. Through teary eyes, we all watched a magical moment. It was the Festival at its very best — community was being presented, engaged, and indeed, created. Diana Parker has worked on the Smith- sonian Folklife Festival since 1975, and has served as Festival director since 1984. 1998 1998 Smithsonian Folklife Festival The Festival and Folkways — Ralph Rinzler’s Living Cultural Archives his year Smithsonian Folkways received two Grammy Awards and a third nomination. The updated re-release of the Harry Smith Anthology of American Folk Music, ded- icated to the work of Ralph Rinzler, won for best historical album and best album notes, with staff members Amy Horowitz, Jeff Place, and Pete Reiniger honored with awards. The New Lost City Ramblers — John Cohen, Mike Seeger, and Tracy Schwarz — were nominated for There Ain't No Way Out as best traditional (style) folk album and performed at the Festival’s 1997 Ralph Rinzler Memorial Concert. The connections between these albums and Ralph Rinzler is central to the work and history of the Festival, Folkways, and the Center. The connections go back to the 1950s. Rinzler had been learning about folk music from Library of Congress field recordings, attending university folk fes- tivals with Roger Abrahams and Peggy Seeger, and, with Mike Seeger, seeking out migrants from Appalachia who sang and played at various gatherings. He pro- duced Folkways recordings, and valued the Folkways Harry Smith Anthology of American Folk Music. The Anthology, published in 1952, was a crucial docu- ment in the history of the folk revival, containing 84 tracks from commercial records of Southern, Appalachian, Black, and Cajun musicians made in the 1920s and 1930s. These raw recordings were annotated with weird yet insightful notes by avant-garde artist/anthropologist Harry Smith. The recordings were a far cry from those of the chart-topping 1998 EIGHTY:FOUR SELECTIONS © ON SIX COMPACT Discs The Anthology, re-released in expanded form, won two Grammy Awards in 1998. Kingston Trio and other folk pop groups of the time. They were used for their rough style and lyrical content by Bob Dylan, Joan Baez, Jerry Garcia, and many others. Rinzler was hardly alone in thinking that the people and music on the Smith Anthology were mainly the stuff of archives and museums — long dead. On a trip to North Carolina in 1960, Rinzler and Seeger met up with none other than Clarence Ashley, whose 1929 recording of “The Coo-coo Bird” was on the Anthology. It was as if Rinzler was immediately connected to a past he had thought was mythological. Through Ashley, Rinzler met Doc Watson. On a drive to Watson’s house in the back of a pickup truck, Rinzler, who'd been playing the banjo, was joined by Watson, who SMITHSONIAN FOLKLIFE FESTIVAL Richard Kurin offered a rendition of “Tom Dooley.” Rinzler was struck by Watson’s version, diverging as it did from the Kingston Trio’s hit. Upon questioning, Watson said he knew the Dooley story as told by his great-grandmother. Watson went on to talk about the place where Dooley was hanged. He pointed out the Grayson Hotel that belonged to the family of the sheriff that arrested Dooley. Tom Dooley was not some character made up for the purpose of singing an entertaining song, Rinzler realized, but part and parcel of a community’s oral history. At Watson’s house Rinzler was intro- duced to Doc’s father-in-law, Gaither Carlton. Rinzler described Gaither as “an extraordinary man. He was a great pres- ence: very quiet and shy but with a real depth and intensity and a quality that I really loved.” Rinzler told the Watsons about the folk revival, but they didn’t really understand why people would be interested in that kind of music. Doc was playing rockabil- ly with an electrified guitar and asked Rinzler about touring as a country musi- cian. As Rinzler recalled, I said, there is this album of records recorded in the twenties and thirties that has been reissued because there’s a whole group of people who are interest- ed in this music now, and they'll buy this record — people like me who are in college and they’re fascinated. But no one believes that Clarence Ashley and the people on this record — any of them — are still alive. Gaither looked at the Anthology. He recognized some of the names. We played G. B. Grayson’s recording of “Omie Wise.” Gaither sighed when it was over — he literally had tears in his § Smithsonian Folklife Festival * - ee mt SEA) Pee) ie ae eyes. And he said, very quietly, under his breath, “Sounds like old times.” He said that in a way that came from so deep inside of him that it just gripped me and really moved me: even now [1986] I just get tears in my eyes thinking of it. And what that said was how deeply meaningful that music was for those peo- ple. I got an inkling of understanding of the degree to which many people did not want to give up that music, but felt that it was outmoded or discarded, and whatever they may have thought of it, the world knew better. It was the beginning of a kind of anger, an activist, ideological, romantic stance that I took. Doc, Gaither, and others played that day — the old tunes they knew and liked. As Rinzler remembered, oe RX, dhe be u 3 . _ ; 7 en I knew the style of the music but had never really connected with the people who played. I knew it as a sound, not as an expression of the thinking, function- ing person sitting in front of me. I had no idea what kind of people played this music. I just had the sound ringing in my ears of this beautiful, pentatonic, archaic-sounding music sung in a vocal style that left Frank Sinatra far behind.... What astonished me was that the people who are great musicians in traditional music are as profound as artists in any kind of art. All of a sudden I understood that style was emblematic — that it was their identity. The style of that music, and the sound, was for some people who they were. It represented their parents and their values, and a way of life that was slowly changing. For those people it was not necessarily a change that they wel- SMITHSONIAN FOLKLIFE FESTIVAL Rinzler (right) on a fieldwork trip in 1966. Photo by Bob Yellin comed or valued, but that was imposed; and while the younger generation was reaching for it, 1 came later to realize that as the generations matured, they became more wistful and looked back and gave value to things that they were quick to reject earlier. On that one trip I got an understand- ing of the meaning and value and func- tion of music — a whole contextual framework that I built on later — and of craft, that I never had before. It was these sounds, songs, and styles that Mike Seeger, John Cohen, and Tom Paley (and later Tracy Schwarz) sought out, learned, and recorded as the New Lost City Ramblers. They were musical traditions that Mike and Pete Seeger, 1998 1998 Smithsonian Folklife Festival Alan Lomax, Ralph Rinzler, and others brought to the Newport Folk Festival. Other musicians on the Anthology — Dock Boggs, Mississippi John Hurt, Eck Robertson, Sleepy John Estes, the Carter Family — as well as Doc Watson partici- pated in the Newport Festival. Rinzler was heavily influenced by Alan Lomax’s ideas about the connection between the survival of folk traditions The Watson family in 1960. Photo by Bob Yellin and their public performance and dis- semination. Lomax observed two cultural currents simultaneously occurring in the United States and abroad. Like his prede- cessors, he found many cultural styles falling into disuse or being destroyed. But he also found a broad array of cultural traditions with an amazing resiliency. Lomax suggested that enlightened gov- ernment policies could help preserve and encourage those cultural forms by utiliz- ing them in the schools, popular enter- tainment, and other forums. He recog- nized that some of the factors that has- tened the destruction of cultures, such as new technologies, could now aid them as well. Radio broadcasts, sound recordings, television programs, and films promul- gating mass global aesthetics could over- 1998 whelm local cultures. But the same means could enhance and promote knowledge and appreciation of those local expressive systems, as well as their continuity within host communities. Rinzler brought this philosophy to the Smithsonian. In the mid-1960s S. Dillon Ripley, then secretary, wanted to enliven the institution. “Take the instruments out of their cases and let them sing,” he said. James Morris was hired and became head of the Division of Performing Arts. He instituted a wide variety of performance programs and suggested a summer folk- life festival. Rinzler was hired on con- tract to program the event. The Festival would present living — as distinguished from historically re-created — traditions. The living culture Rinzler had found, in Appalachia, in Cajun country, through his Newport work, needed help, encouragement, and valida- tion in a society whose sense of beauty and value is generally driven by the exer- cise of power and the commodification of the marketplace. “There was a sense in my mind that cultural democracy was as important as any other kind of democracy,” said Rinzler. The Festival began in 1967. It included 58 craftspeople and 32 musical groups, SMITHSONIAN FOLKLIFE FESTIVAL drew a huge crowd and strong press interest. It was an instant hit. Its success was recognized by many on Capitol Hill. Said one congressman, For the first time, thousands of people, over 430,000, experienced a live muse- um which exhibited the art of American folklife and they loved every toe-tapping minute. ... Basket weavers, pottery mak- ers, woodworkers, carvers, doll makers, needle workers, tale tellers, boat builders, and folk singers, dancers, and musicians from all over the country were brought to remind Americans of their heritage — still a living part of our nation. In this day of the frug and jerk Americans need to be shown what their own culture has produced and continues to produce. Another senator noted, “The Smithsonian is becoming much more than a reposito- ry for old artifacts. The exhibits are com- ing out of the display cases and the men and women directing the institution are showing that a museum can be vital and creative.” What started out as the discovery in Doc Watson’s home that the Anthology represented a living tradition had turned into a revitalization of the museum. Rinzler quickly articulated a cultural conservation strategy for the Festival — suggesting that museums conserve cul- tures while they live rather than waiting to collect their remnants after they die. The role of a museum can be to help empower people to practice their cul- ture, realize their aesthetic excellences, use their knowledge, transmit their wis- dom, and make their culture a vital means for dealing with contemporary circumstances. This approach characterized Rinzler’s tenure as Festival director until 1982, and was extended after he was appointed the Smithsonian’s assistant secretary for public service. In that position he blazed the Smithsonian’s first steps toward digi- tal technologies, led efforts to establish 1998 Smithsonian Folklife Festival | am deeply indebted to Ralph Rinzler. He did not leave me where he found me. Folkways: A Vision Shared won a Grammy in 1989. museums and programs that addressed the diversity of American culture, and pursued the acquisition of Folkways Records. He envisioned Folkways coming to the Smithsonian from founder Moses Asch as a documentary collection, muse- um of sound, and self-supporting enter- prise. With Don DeVito and Harold Leventhal, he lined up contemporary musicians — Bruce Springsteen, Bob Dylan, Emmylou Harris, U2, John Cougar Mellencamp, Brian Wilson, and others who also had been influenced by the “old music” of Folkways — to do a bene- fit album. That album paid for the acqui- sition of the collection, won a Grammy, and assured that Folkways would contin- ue to actively document and disseminate —Doc Watson Comprised of recordings made at the Festival, Roots of Rhythm and Blues was nominated for a Grammy Award in 1992. our musical cultural heritage. After his stint as assistant secretary, Rinzler continued his work with the Festival and Folkways. He co-curated Roots of Rhythm and Blues at the 1991 Festival and won another Grammy nomi- nation for the resultant recording. He produced a series of oral history/music instruction videos with Pete Seeger, Ralph Stanley, Watson, and Bill Monroe. He produced new Folkways albums of Watson, Monroe, and Ashley, and at the time of his death was working on an expanded edition of the Anthology of American Folk Music. Upon his death, Doc Watson said, “I am deeply indebted to Ralph Rinzler. He did not leave me where he found me.” The same could be said in reverse. From Doc and Gaither Rinzler had found the Harry Smith Anthology to provide a win- dow into a whole realm of culture, sub- merged, hidden, and overlooked, but nonetheless real and alive. This view per- meated his vision of the Festival, moti- vated the acquisition of Folkways, and SMITHSONIAN FOLKLIFE FESTIVAL continues to characterize the activities of the Center. Anyone who comes to our archive today finds old recordings being mined for new releases, Festival research and documentation being used for new recordings and education kits. Multi- media projects range from music provid- ed for Where in the World is Carmen Sandiego? and Encarta to Web pages and video anthologies of American and world music. No dead archive or dusty museum collection here, but rather an energetic activity to understand, repre- sent, and nourish living traditions and their ongoing transformations. It is thus most fitting that the Smithsonian regents at their meeting this January formally named the Center’s holdings the Ralph Rinzler Folklife Archives and Collections. Dr. Richard Kurin is director of the Smithsonian Institution Center for Folklife Programs & Cultural Studies and the author of Reflections of a Culture Broker: A View from the Smithsonian and Smithsonian Folklife Festival: Culture Of, By, and For the People. He first worked on the Festival in 1976 and was awarded the Secretary's Gold Medal for Exceptional Service to the Smithsonian in 1990. 1998 sconsin ee ee ee = ——— eee a a ————— Wisconsin Wisconsin Folklife Wee lies in the heart of a distinctive American region, the Upper Midwest. It is a place where a unique way of life has developed, little noticed elsewhere but markedly shaped by the state's diverse population and striking natural environment. Moreover, concepts concern- ing civic participation and land stewardship brought by the European immigrants who settled in Wisconsin during the 19th century have deeply influenced social, cultural, economic, and ecological activity in the state, making an impact on the state’s folklife. The climate, geography, and economy of Wisconsin have shaped many shared regional traditions. The abundant timber of Wisconsin’s forests is the basis for tim- ber-harvesting folklife as well as vital woodworking traditions. Wisconsin’s inland “seashores” on Lakes Superior and Michigan and the thousands of lakes dotting Wisconsin’s glacial landscape have stimulated nautical pursuits like boatbuilding and myriad fishing tradi- tions. The central North American cli- mate with its hot summers and cold win- ters has produced an annual cycle of activities suited to the changing seasons. Wisconsinites tap maple trees, pick mushrooms, and dip smelt in the spring; cut hay, pick cherries, and welcome tourists to lakeside resorts in summer; harvest corn and cranberries and hunt geese and deer in the fall. There is an intense concentration of festive commu- nity events crowding Wisconsin’s warmer months, but Wisconsinites’ famed propensity for partying also defies the cold. Wisconsinites celebrate winter carnivals, compete in ski races and ice fishing tournaments, and turn the parking lot of Lambeau Field into a cold-weather Mardi Gras for every Green 10 Bay Packers home game. Nicknamed America’s Dairyland, much of the southern two-thirds of Wisconsin’s rolling landscape is dominated by family dairy farms. During the mid-19th centu- ry, dairy farmers from upstate New York and Central Europe established an enduring agricultural practice suited to Whether expressed through church, tavern, or home, the role of ethnic identity remains prominent in Wisconsin. Wisconsin’s land and climate. Dairy farmers typically provide much of their own hay and corn to nourish the dairy herds. The cattle also generate other by- products such as meat, leather, and fer- tilizer. A large majority of the milk pro- duced in Wisconsin is processed into 250 SMITHSONIAN FOLKLIFE FESTIVAL Richard March varieties of cheese in the many cheese factories in small and large towns throughout the state. Wisconsin produces 30 percent of the cheese in the United States, using cheese-making skills and practices that have evolved from Old World traditions. Today even the whey is processed into valuable lactose and protein products. The land-use pattern associated with dairy farming contributes to the striking beauty of Wisconsin’s landscape. Neat farmsteads dominated by huge barns and towering silos are surrounded by corn and alfalfa fields and pastures. Dairy farmers also tend to preserve some woodlands on their farms to meet timber needs and to provide habitat for the deer which are hunted in the fall for venison. It is also significant that family dairy farms have contributed to community stability and the persistence of traditions. In hundreds of Wisconsin communities, the family names in the current tele- phone directory match those on the old headstones in the cemetery. Descendants of 19th-century settlers make up much of the populace in Wisconsin towns, often lending them an ethnic identity. It is well known that Westby is Norwegian, Pilsen is Czech, Rosiere is Belgian, Mayville is German, Monroe is Swiss, and Little Chute is Dutch. People of Northern and Central European origins have been the most numerous, but the Wisconsin cultural mixture is enriched by immi- grants from all around the world. The Wisconsin program is made possible by and is produced in cooperation with the Wisconsin Arts Board and the Wisconsin Sesquicentennial Commission on the occasion of Wisconsin's 150th anniversary of statehood. Wisconsin corporate con- tributors include AT&T, SC Johnson Wax, and The Credit Unions of Wisconsin. 1998 Wisconsin BAD RIVER RESERVATION LAC COURT OREILLES RESERVATION ST. CROIX RESERVATION Dorchestere CLARK COUNTY G HO-CHUNK RESERVATION Dickeyville The governance of Wisconsin towns and cities is in the hands of an active cit- izenry. The mid-19th-century antimonar- chist revolutions in Central Europe pro- duced ideas about a just and participa- tory society that were very much on the minds of many immigrants to Wisconsin, especially those from the ranks of the German “Forty-eighters.” Examples of their legacy are still found in local con- trol of infrastructure, in rural township government, and in a history of pioneer- ing efforts toward industrial democracy. 1998 eGreenwood LAC DU FLAMBEAU RESERVATION POTAWATOMI RESERVATION ( 39 ) eS MOLE LAKE~ RESERVATION ». MENOMINEE STOCKBRIDGE MUNSEE RESERVATION RESERVATION =] ace EBV ONEIDA RESERVATION Fox River” | G9) A Mayvillee Gy) MADISON *& eStoughton Monroe 43) POTAWATOMI RESERVATION In these stable and participatory com- munities, the varied traditions of the people who have made the state their home have influenced one another. The Belgians of southern Door County have embraced the brass-band dance music of their Czech neighbors in Kewaunee County, while the Czech Catholic parish picnics in the area serve up the Belgians’ booyah soup from 60-gallon cauldrons. Some Old World folkways like the mak- ing of Norwegian Hardanger fiddles and the weaving of Latvian sashes have been preserved or revived. Other traditions like SMITHSONIAN FOLKLIFE FESTIVAL polka music and dancing or quilting are truly American, having developed from a mixture, a creolization of the contribu- tions of various culture groups now liv- ing side by side in Wisconsin. Cultural sharing began with what the Europeans learned from the Native peo- ples. European immigrants observed the fishing, hunting, and gathering practices of the Woodland Indian tribes. Native practices influenced the way European immigrants began to tap maple trees for sugar, to gather and use wild rice, fish for walleyes and muskellunge, and hunt deer. For example, 19th-century German- American farmers in the Lake Winnebago area observed indigenous Ho-Chunk fish- ermen spearing sturgeon through the February ice and took up the practice themselves. Today the descendants of those immigrants and other Wiscon- sinites assemble a temporary village of some 3,000—4,000 ice fishing shanties on Lake Winnebago. Inside the shanties, with spears at the ready, these fishermen peer into the greenish water, some listen- ing to polkas on AM radio from nearby Chilton, others sipping homemade honey wine made from Wisconsin wild grapes and an Old World recipe, all hoping and waiting for the rare moment when a monstrous five- to eight-foot sturgeon might come nosing around their sub- merged decoy. At the end of the 19th and through the 20th century, arrivals of Southern and Eastern Europeans, African Americans from the South, Asians, and Latinos have enriched the cultural landscape. The most numerous Eastern Europeans are Polish Americans, who have substantial communities in Wisconsin’s industrial towns. Milwaukee’s south side with land- marks like the St. Josephat basilica and the shrine to St. Mary Czestohowa at St. Stanislaus Church is the state’s largest “Polonia” (the nickname for a compact Polish-American neighborhood). Polish 11 Wisconsin The gambrel-roofed barn, gothic-roofed barn, and pole barn (from left) on this farm demonstrate both the change in style and continued usefulness of older structures. As farms grow and change, barns are added, not replaced. Photo © Bob Rashid traditional foods like pierogi and czarni- na are prepared in homes and neighbor- hood restaurants. Polish religious and social customs are actively pursued in numerous Polish lodges, social clubs, soccer teams, choirs, and folk dance groups. Polish handicrafts are practiced by artisans like Bernice Jendrzejczak, a maker of wycinanki (paper-cut art). Milwaukee’s large African-American community boasts a strong tradition of gospel music, and traditional crafts like quilting and doll-making persist. The Queens of Harmony sing a capella gospel in a very traditional style. Velma Seales and Blanche Shankle are active in a Milwaukee women’s quilt group. George McCormick carves and dresses wooden dolls, while Mary Leazer’s making of tra- ditional rag dolls has drawn her hus- band, George Leazer, into the creation of dioramas comprised of his handmade clay dolls arranged to depict African- American social customs. While earlier immigrants came to farm, cut timber, or mine ores, the indus- trial cities of southeastern Wisconsin increasingly attracted new arrivals to work in factories, mills, foundries, and packing houses, on the docks and ship- yards of Great Lakes ports, and in rail- way shops and roundhouses. Today southeastern Wisconsin abounds with skilled machinists who create construc- tion equipment, farm implements, and tools. A few, like retired millwright Roy Treder, have turned these skills to artistic pursuits. When a retirement gift is need- ed for a fellow worker at Milwaukee's Harley-Davidson motorcycle factory, Roy welds together an elaborate base for a clock or lamp from tools and machinery parts symbolic of the worker's career. Roy has created more than 200 retire- ment gift sculptures for his fellow employees. Wisconsin’s industrial towns and cities are a patchwork of urban ethnic villages, neighborhoods comprised of blocks of well-kept, modest frame houses with churches and taverns on the street cor- ners. The church basement and the cor- ner bar, much like the churches and SMITHSONIAN FOLKLIFE FESTIVAL crossroads taverns in Wisconsin’s rural areas, have served their communities as twin hubs of social life. Many religious communities have an ethnic aspect to their congregation’s makeup. One Lutheran church might attract primarily Norwegian parish- ioners, while another appeals to Germans. Catholic churches may be pre- dominantly Polish, German, Irish, Mexican, Italian, Croatian, or Slovak. Services may be offered in the language of the old homeland as well as in English. Ethnic crafts and foodways may be practiced in women’s clubs and altar societies associated with the church. Not necessarily conflicting with church life, taverns in Wisconsin serve as anoth- er venue for expressing ethnic and regional traditions. In Wisconsin, taverns have a generally positive image. Austrian-American singer Elfrieda Haese remembers the women of her communi- ty catching up on gossip while doing knitting in a booth in Schaegler’s Tavern in Milwaukee while the men played cards or sang. It is a Friday-night tradition throughout Wisconsin to take the whole family to a tavern for a fish fry. Whether expressed through church, tavern, or home, the role of ethnic iden- tity remains prominent in Wisconsin. Fourth- and fifth-generation Americans in Wisconsin are still quite cognizant of their ethnic origins, as pure or as varied as they may be. It is very common in Wisconsin to be asked when first meeting someone the ethnic provenance of one’s last name. Not only are there recent immigrants who speak Spanish, Laotian, or Hmong, but German, Polish, Norwegian, and the Walloon dialect of French are still spoken in some Wisconsin homes by families whose for- bears immigrated generations ago. In folk dance groups and ethnic orchestras, ethnic identity is taught to Wisconsin children, an important reason why eth- 1998 Wisconsin nicity remains so pervasive in the state. Traditional arts are one of the most important markers of ethnic identity. Norwegian Americans have placed great emphasis upon crafts like rosemaling, acanthus-carving, and Hardanger fiddle- making. Among the Slavic nationalities in Wisconsin, Ukrainians make pysanki Easter eggs and cross-stitch embroidery, Poles wycinanki paper-cut art, and Slovaks wheat weavings; Serbians play the one-stringed gus/e, Slovenians the diatonic button accordion, and Croatians the lute-like amburitza. In many ethnic groups, the craft item may be created primarily for display in the home, to indicate to all who see it that the owner is a proud bearer of a venerable heritage. But in other instances crafts may have retained their pragmatic purpose in a traditional pur- suit as well. Wisconsinites like Mary Lou Schneider and Willi Kruschinski ponder long and hard how to design the perfect fishing lure to catch a particular type of game fish. The ice-fishing decoys in the shape of minnows made by members of the Lac du Flambeau band of Ojibwe may serve both practical and ethnic dis- play purposes. Today decoy carvers like Brooks Big John make some purely deco- rative decoys, attached perhaps to pieces 1998 of driftwood or to lamp bases, but Brooks also carves less decorated decoys that are carefully weighted and fitted with tin fins so that they will “swim” realistically in the water when he is ice fishing. To fish- ermen like Brooks, it is the whole tradi- tion involving the decoy that matters — knowing a good spot to catch walleyes or muskies in winter, making the hole through the ice, constructing the dark house tepee, and actually landing a big fish for his family’s dinner table. Wisconsin folklife continues to evolve and to be enriched by new immigration. Refugees from wars and political oppres- sion continue to find a haven in the state. Wisconsin now has America’s sec- ond largest population of Hmong, Southeast Asian refugees who actively pursue their unique music, craft, and social customs in the new homeland, as well as one of the major settlements of Tibetans. Latino populations in the state have increased markedly in recent decades, the largest being of Mexican origin. The Wisconsin program at the Smithsonian Folklife Festival in Washington, D.C., and its restaging in Madison as the Wisconsin Folklife Festival are auspicious events to honor the many people who preserve Wisconsin’s folklife and to observe Tibetans, like these women at a Buddhist ceremony in Dunn, constitute one of the newest immigrant commu- nities in Wisconsin. Photo © Bob Rashid SMITHSONIAN FOLKLIFE FESTIVAL Wisconsin’s sesquicentennial of state- hood. It is a challenging task to repre- sent the folklife of the five million resi- dents of Wisconsin in a single event involving only ten or twelve dozen peo- ple. The program participants are all outstanding bearers of traditions signifi- cant in Wisconsin, all evidence of the natural, cultural, and historical forces that have molded Wisconsin’s unique and vital folklife. Suggested Reading Allen, Terese. Wisconsin Food Festivals. Amherst, WI: Amherst Press, 1995. Leary, James P., ed. Wisconsin Folklore. Madison: University of Wisconsin Press, 1998. Teske, Robert T., ed. Wisconsin Folk Art: A Sesquicentennial Celebration. Cedarburg: Cedarburg Cultural Center, 1997. Woodward, David, et al. Cultural Map of Wisconsin. Madison: University of Wisconsin Press, 1996. Richard March has been the folk arts spe- cialist for the Wisconsin Arts Board since 1983. Since 1986 he has been the producer and on-air host of “Down Home Dairyland,” a program featuring the tradi- tional and ethnic music of the Midwest on Wisconsin Public Radio. He is active as a polka musician, playing button accordion in the Down Home Dairyland Band. 13 Wisconsin Cheeseheads, Tailgating, and the Lambeau Leap: The Green Bay Packers and Wisconsin Folklife have been a fan of the Green Bay Packers all my life. When | was growing up in Milwaukee during the late ‘50s and early ‘60s, my brothers and | could hardly wait for Sunday afternoon telecasts of Packers games to end so that we could rush outside to imitate the heroics of Paul Hornung and Jim Taylor, Bart Starr and Ray Nitschke. Throughout high school, I joined mil- lions of other Wisconsin residents in cheering the team on to several NFL championships during the “Glory Years” under legendary head coach Vince Lombardi. As a college freshman, I picked the lock of my proctor’s door to watch “The Pack” trounce the Kansas City Chiefs in Super Bowl I. The follow- ing year, I viewed the Packers’ Super Bowl II victory over the Oakland Raiders on an ancient black-and-white television that made 250-pound linemen look as tall and thin as the Celtics’ front court. Little did I know then that almost 30 years would pass before the Packers would return to the Super Bowl, that a generation of Packer fans would have to suffer through humiliating losses to the likes of the Chicago Bears and the hated Dallas Cowboys before reaching the pin- nacle again, that my own son would be a senior in college before the Green and Gold would reclaim the Lombardi Trophy. Yet, throughout this long drought, during which I moved to 14 Philadelphia, Detroit, and Washington, D.C., before returning to Wisconsin in 1985, I remained a committed Packers fan — and so did literally millions of others. Why such loyalty? Why such dedi- cation and commitment? The answers to these questions lie, I think, in the success of the Green Bay Packers in appealing to Wisconsin’s appreciation for tradition, community, and celebration. When it comes to professional athletics in Wisconsin, the Green Bay Packers embody tradition. For more than 75 years, half the history of the state itself, the Packers have been a vital part of Wisconsin life. While other professional sports franchises found their way to Milwaukee, neither the Braves, their suc- cessors the Brewers, nor the Bucks — despite world championships in their respective sports — have ever command- ed the same fan support. Dedication and commitment among fans take time to grow and develop, identification with a team and pride in association require stability as much as success. Each new game, each new season in the Packers’ SMITHSONIAN FOLKLIFE FESTIVAL Robert T. Teske long and celebrated history has enhanced the aura of tradition surround- ing the team, supported the creation of popular heroes which still capture the imagination of football enthusiasts everywhere, and continued to generate a rich body of “Packerlore.” As important as tradition in winning a place for the Packers in the hearts of Wisconsin fans is the team’s understand- ing of, and appreciation for, its commu- nity. As the only franchise in the United States which is publicly owned, the Packers enjoy a unique affiliation with the smallest market in professional sports. During a recent public offering, thousands of Packer fans snapped up stock in the organization — despite the fact that the $200 shares will never appreciate in value. People simply want- ed to be able to say they owned a part of the team. Following the Packers’ 1997 conference championship victory over the Carolina Panthers, thousands of fans paid $10 each for pieces of “frozen tun- dra” stripped from Lambeau Field. The fact that all the proceeds from the sale of the turf were donated by the Packers to local charities further enhanced the organization’s ties to the community. Other symbols of the Packers’ connec- tion to their hometown are somewhat less quantifiable, but no less important. Take, for example, the now-famous “Lambeau leap.” By hurling himself headlong into the stands after scoring a touchdown, each jubilant Packer shares his moment of triumph with the commu- nity which cheers him on every week. The fact that this form of end-zone cele- bration has never drawn a penalty flag seems to suggest that even officials rec- ognize it as a sign of solidarity with foot- ball’s most dedicated fans. 1998 Wisconsin “St. Vince” and “Title Towel Man” are among the characters tailgating at Lambeau Field in Green Bay. Photo by Andy Kraushaar The community which cheers the Green Bay Packers actually extends throughout Wisconsin and well beyond. The Packers organization reserves tickets for Milwaukee season-ticket holders at designated games each year in Green Bay, thus maintaining intense fan loyalty (and encouraging some of the largest traffic jams imaginable on Sunday mornings along I-43 from Milwaukee to Green Bay). At games in Tampa Bay, many “snowbirds” who have permanent- ly fled Wisconsin’s long, hard winters gather with loyal fans who follow the team from Wisconsin to generate a crowd of some 30,000 “Packer backers.” Cities like San Francisco and San Diego, 1998 despite having their own professional teams, typically have one or more bars designated as gathering places for area Packer fans. Only the Fighting Irish of Notre Dame also seem to draw the sup- port of fans so widely distributed around the country. In addition to building a formidable tradition and cultivating the support of a broad-based community, the Green Bay Packers have long been the occasion for, and center of, Wisconsin celebrations. During the last few years, Packer celebra- tions have expanded to fill virtually every available time slot from the opening of preseason in July till the last second ticks off the clock during the Super Bowl in late January. Schools and businesses reg- SMITHSONIAN FOLKLIFE FESTIVAL ularly hold “Green and Gold Days” before big games, and merchants offer Packer specials, like a free sack of bagels for every Packer sack. The Archive of Folk Culture at the Library of Congress has received cassette tape recordings doc- umenting over 45 Packer songs and song parodies in a wide variety of styles rang- ing from polkas to pop (see page 16). None of these spin-offs, however, can quite compare with the central Packer celebration, the one which engulfs Lambeau Field during every Packer home game. In much the same way that Cheese Days in Monroe give local dairy families a cause to celebrate and Syttende Mai in Stoughton encourages 15 Wisconsin It is a tradition for Packers players to borrow bikes from local kids to ride from the locker room to the practice field each day of preseason training camp. Photo courtesy Green Bay Area Visitors and Convention Bureau members of the Norwegian ethnic com- munity to get together, so, too, do Packer games give those attending — and even those watching the game at home — an opportunity to enjoy themselves. Packer fans typically arrive hours before game time to take part in a form of revelry widely known as tailgating. At the minimum, the pregame celebration usually involves cooking bratwurst on charcoal grills set up in the Lambeau Field parking lot, and washing down the sauerkraut-covered sausages with large quantities of another venerable Wisconsin product, beer. Of late, out- landish costumes have come to comple- ment the ubiquitous “cheeseheads,” inflatable Packer helmets, Packer jerseys, Packer jackets, and green and gold face paint worn by most fans to tailgate par- ties and Packer games. Among the cos- tumed characters regularly sighted in and around Lambeau these days are the 16 antlered “Packalope” and the blessed “St. Vince.” Occasionally, the University of Wisconsin Marching Band will add its postgame concert, known as the Fifth Quarter, to the conclusion of a Packer game, thus combining two long-standing state athletic traditions. After the game, more tailgating or a trip to the local tav- ern to review the highlights may well be in order. With their victory over the New England Patriots in Super Bowl XXXI, the Green Bay Packers demonstrated that — as bumper stickers had proclaimed hope- fully, but prematurely, for years — “The Pack Is Back.” With their second consec- utive appearance in football’s grand finale in Super Bowl XXXII, the team has shown that it ranks among the NFL’s best. Whether such good fortune contin- ues for Green Bay or not, the Packers will remain near and dear to the hearts of all Wisconsin residents because of the team’s abiding appreciation for tradition, community, and celebration. ° Suggested Reading Cameron, Steve. Brett Favre: Huck Finn Grows Up. Indianapolis: Masters Press, 1996. Favre, Brett. Favre: For the Record. New York: Doubleday, 1997. Green Bay Packers Yearbook. Green Bay, 1997. Kramer, Jerry. Instant Replay. New York: World Publishing, 1968. . Distant Replay. New York: G.P. Putnam, 1985. Lombardi, Vince. Run to Daylight. New York: Grosset and Dunlap, 1963. Schaap, Dick. Green Bay Replay: The Packers’ Return to Glory. New York: Avon Books, 1997. Robert T. Teske is a folklorist and has served for the last ten years as the executive director of the Cedarburg Cultural Center. He is the curator of the traveling exhibition Wisconsin Folk Art: A Sesquicentennial Celebration, which is touring the state dur- ing 1998 in conjunction with the Wisconsin Folklife Festival. SMITHSONIAN FOLKLIFE FESTIVAL “Scatter My Ashes” By John Harmon Shardik Just let me hear that Lambeau cheer To set my spirit free Scatter my ashes in Lambeau Field That's where | want to be. In the fall | count the days ‘til Sunday rolls around, Cuz that’s the day the Packers play — the only game in town. | haven't missed a game in years; some say I've paid my dues, But in my soul I’m green and gold. |'ll be there win or lose. And when | die, don’t nobody cry And no pine box for me. Just scatter my ashes in Lambeau Field, And | can rest peacefully. Through the years I've shed some tears, | ain't ashamed to say. Through thick and thin, I've always been behind them all the way. And Lambeau Field is home-sweet-home to die-hard fans like me. There’s no place like home, they say, no place I'd rather be... Courtesy Hillfield Publishing 1998 Wisconsin F he Gina Grumke e@ N e& i g iy b oO i By oO oO d Taverns contained fantastic, mysterious things that flickered, beeped, and i ave ¥ n e squawked. We pestered our parents end- e lessly for quarters to fill pinball Com mun ity Trad ition at the machines, juke boxes, and pool tables. The adults who frequented these places, rmon including our parents, were more toler- Ha = y ant there of kids’ behavior and exuber- : ance. They themselves talked and hen | was a child, a perfect meal was a greasy de wes ee pean : Z : laughed more than they did at home. hamburger topped with a slice of raw onion, Taverns or bars (these words seem to accompanied by krinkle-cut french fries slathered with Mee ae are a ubiquitous feature of the landscape Heinz ketchup and served ina wax-paper-lined plastic in both rural and urban areas. Local tav- basket, and washed down with an ice-cold, syrupy Coke. “rms "sve been community gathering places in Wisconsin since European set- My brothers and | also enjoyed other gastronomic tlement. Although the social fabric of delicacies such as beer nuts, sour cream and onion potato — 'sconsin has undergone tremendous changes since the days of “a bar on every chips, maraschino cherries, Slim Jims, Blind Robins, and corner” — in particular, as affects tay Weasel Peters. Food this wonderful was only served ina =“: {ete ate mote heall-conscious consumers, stiffer drunk driving laws, neighborhood tavern: a dark, heavenly place that smelled and an increasingly mobile population like fried food and cigarette smoke. which no longer has to live within walk- ing distance of entertainment — taverns continue to exist and even thrive in vari- ous incarnations in all regions of Wisconsin, and they provide a corner- stone of social life. When I left Wisconsin in my twenties, I was surprised to realize that most of the country did not share this idea of the tavern as a comfortable gathering place for all family members. Instead, taverns were viewed as places to imbibe liquor, consort with unsavory characters, and generally get yourself in trouble. I was puzzled by what I encountered — bars closed on Sundays, the creation of pri- vate “clubs” to circumvent restrictive liquor laws, the concept of a “dry” any- thing — and I found state-run liquor Patrons at the Harmony Bar play sheepshead, a German card game popular throughout Wisconsin. Photo © Bob Rashid 1998 SMITHSONIAN FOLKLIFE FESTIVAL 17 Wisconsin A softball team sponsored by the Harmony enjoys beer and food at tournament time. Photo by Gina Grumke stores with lab-coat-attired sales staff absurdly funny. In the 1980s I spent a summer working in Germany and dis- covered the neighborhood Staben. They had soup and sandwiches, beer on tap, a juke box, some electronic games, and a crowd that could walk there. The Wisconsin taverns that I grew up around were close cousins of these neighborhood Stuben. Wisconsin taverns are generally housed in long, narrow buildings and are fur- nished with a counter, bar stools, a few tables, and maybe a pool table and some pinball machines. Most bars have at least a small grill and fryer, and some have full-size kitchens in back. Many bars have an attached “dining room,” which is used for eating, as a performance space for bands, and for parties and other special celebrations. Tavern owners more often than not work several shifts behind the bar themselves, serving drinks, making burgers, and generally keeping order. Sitting in Madison on the corner of a busy cross-town artery and a residential street in a couple of connected two-story storefronts is the Harmony Bar. Housing a bar since at least the 1930s, the build- ing has tiny signs out front proclaiming “Bar” and “Grill” and neon beer signs in the small windows. Regular customers enter the bar by the side door, from the side street. (Only new customers use the “front” door.) Bartenders and customers greet each other by name and inquire about each other’s lives. “Did you catch the softball game last night? Did you see Dave slide into third base?” “Where is your wife working now?” During the day people come and go, drinking coffee, reading the paper, watching the news or sports on the televisions, and chatting with the bartenders, many of whom have worked there for years. There is a con- SMITHSONIAN FOLKLIFE FESTIVAL stant stream of delivery people bringing beer, liquor, and food. Around 11:30 the lunch rush starts — workers from the neighborhood, government office staff who obviously have driven there from the State Capitol building, and folks from the neighborhood. After lunch peo- ple start drifting in for a beer or two, maybe a bowl of soup, a plate of stuffed jalapeno peppers (“poppers”), or a bas- ket of homemade chips and dip. There are decks of cards and cribbage boards behind the bar for the asking. The tele- phone rings frequently; many calls are for customers whom the bartenders know by name. The adjoining dining room, with its black-and-white checked tile floor and beautiful tin ceiling, is full of chairs and tables that are easily and frequently rearranged by customers to accommo- date their needs and activities, including eating, drinking, playing cards, holding infant carriers, displaying birthday cakes, and stacking presents. Customers are welcome to bring in their own deco- rations for parties, ranging from embar- rassing photo montages of the birthday person to signs of farewell, good luck, and congratulations and balloons and crépe paper. Also in the dining room are electronic dart machines, framed posters, announcements of past concerts and dances at the bar, and an elaborate menu board. When there is no band playing, the stage is used as more dining space. Keith Daniels and his wife, Jo Raggozino, opened the bar in 1990. Keith was born and raised in Burlington, out- side of Milwaukee, and spent his youth helping out in the family bar, which was also called the Harmony Bar. He left Wisconsin for a while but returned, with Jo and a strong sense of what kind of bar he wanted to open. When he and Jo, along with a partner, bought the bar, it 1998 Wisconsin was, in their words, “a dump.” The only positive angle was that there was no clientele to offend or change. Designing the Harmony to be a place where he would enjoy hanging out with his friends, he packed the juke box with his favorite blues, rock, and some jazz (B.B. King, the Rolling Stones, Stevie Ray Vaughan), stocked local and regional beer, and slowly started building a menu of tasty bar food. He purposefully built a base of customers who were at least in their thirties, relaxed, and would return frequently to a place they liked — in particular, women can come to the Harmony and not be hassled. Although the clientele is primarily from the neigh- borhood, people drive there from all over the city. The owners have installed bike racks for those who prefer to cycle in. In a 90s update, although cigarette smok- ing is allowed in the bar, there is no cig- arette machine. A small number of brands are sold from behind the bar at very high prices, reflecting the manage- ment’s ambivalence towards smoking. Jo’s area of expertise at the Harmony is the food. The Harmony offers wonderful examples of traditional Wisconsin “bar food” — hamburgers, cheeseburgers, french fries, deep-fried onion rings, and even deep-fat-fried mushrooms and cheese curds. Jo has added a chalkboard menu of weekly and daily specials such as quesadillas, vegetarian sandwiches, pasta salads, and stir-fries. She recently installed a pizza oven and now serves an old-fashioned, thin-crust pizza, complete with gobs of cheese and toppings. Using her extensive skills and vision and fresh vegetables from her father-in-law’s gar- den, Jo is redefining what bar food is (at least at the Harmony). Although her hus- 1998 band Keith will never allow brats, burg- ers, and cheese curds to be removed from the Harmony’s repertoire, she is continu- ally changing and tinkering with the menu, with mouth-watering results. Jo was raised on the East Coast and was not familiar with the Wisconsin neighbor- hood tavern, but she has embraced the concept wholeheartedly. Throughout the year customers from the neighborhood gather at the Harmony for a variety of food and entertainment. There is a daily sheepshead table in the front of the bar, instigated by Keith, an avid player. Keith’s enthusiasm for many professional sports, including basketball, is reflected in the Boston Celtics posters throughout the bar. Several large televi- sions are mounted high on walls — often as not tuned to different sporting events, with the volume turned down except, of course, during big events such as playoffs and anything involving the Packers. On the weekends there is live music in the dining room. Keith only books genres of music he likes. Throughout the year the bar sponsors darts, basketball, pool, volleyball, and softball teams. The undisputed favorite is softball. The Harmony Bar sponsors the most softball teams in the city of Madison. In fact, the Harmony fields so many that Keith is able to put on a day- long tournament at the end of the season with only Harmony teams. Teams are expected but not required to come to the bar, relax, and, they hope, celebrate after the game. The bartenders keep track of each team’s orders on a big chart behind the bar, and at the end of the season the team that has spent the most gets a free pizza and beer party. The Harmony is developing such a reputation for softball and postgame celebrations that some regular customers stay away on summer SMITHSONIAN FOLKLIFE FESTIVAL evenings because the atmosphere is so frenetic. The Harmony has close connections with the Atwood community center, a volunteer community service agency a block away. The busiest night of the year at the bar is a tropical theme party which benefits the center. The Harmony sponsors a music stage at the Atwood neighborhood summer festival, and inside the bar a bulletin board displays announcements for upcoming communi- ty events. Taverns like the Harmony Bar are sig- nificant social and cultural institutions in Wisconsin. At once rooted in past tra- ditions and dynamic, they provide a space where people of all ages can come together and enjoy food and drinks, music, sports, games, entertainment, and each other. Wisconsinites appreciate the idiosyncratic, community-based charac- ter of taverns, which stand in sharp con- trast to the homogeneity of larger American fast-food culture. They are proud that taverns, emblematic of social identity in Wisconsin, are places in which they can assert and maintain their own distinctive cultural traditions. Gina Grumke, a Wisconsin native, has done fieldwork relating to Wisconsin tav- erns and is now completing her disserta- tion at the University of Wisconsin— Madison. She is currently employed by the Doblin Group, a Chicago-based innovation planning firm. 19 Wisconsin The Wisconsin Dairy Farm: A Working Tradition Meso boasts a population of 1 cow for every 3 people. We produce almost 15 percent of the nation’s milk, 25 percent of its butter, and 30 percent of its cheese. With more than 27,000 dairy farms and 1.45 million dairy cows, the state clearly still deserves the title “America’s Dairyland.” The honor of having the largest num- ber of dairy cows in the state is shared by Marathon and Clark counties, neighbors near the center of the state. Each has 62,000 cows. Clark County is the picture of a healthy farming community, its landscape dotted with working farms and a plethora of agriculture-related busi- nesses, from feed cooperatives and implement dealers to pole-barn construc- tion companies and milk pickup stations. You're likely to meet a milk truck on any 20) of the county’s small rural roads and just as likely to come across tractors pulling whatever piece of equipment is appropri- ate to the season. The culture of dairy farming in the state is pervasive. Many residents either grew up on a farm or have spent time on their old “home farm” run by relatives. Many still value such connections and credit farm life with fostering strong family ties and a spirit of cooperation, moral instruction and a sense of stew- SMITHSONIAN FOLKLIFE FESTIVAL Ruth Olson ardship for both land and animals. But most people rely on an image of farming rather than an actual knowledge of farming as it exists in the 1990s. Contemporary dairy farming demon- strates a principle folklorists love to pro- nounce: culture, like the traditions that assist in its maintenance, is dynamic. It changes to suit the needs of the members of a particular community at the same time that it retains the core values of that community. While farms are becom- ing much larger and technologically more complex, they are still community based and resource conscious, and are usually family concerns. Here’s what more and more contempo- rary dairy farms look like. There’s a “milking parlor,’ where the cows enter into stalls to be milked; then they are released into “return lanes” to head back into the adjacent barn. The milker stands in a “pit” about three feet lower than the milking stalls, where she can easily put the milking machine on the cow without having to bend over. Many farms have free-stall barns — long, open, one-story barns where the cows wander in large pens, entering stalls to eat or lie down. These barns often have curtained sides that can be raised in the summer to allow a breeze to pass through. Most farms still keep their old two-story barns but find new uses for them, frequently as treatment barns for sick cows or mothers ready to give birth. Near the milking parlor or in the house you'll find the farmer’s office, filled with certificates and awards, pic- tures of both cows and kids, an aerial view of the farm, and, of course, a com- puter. All the information on each indi- Light spills through the curtain of the free-stall barn at the Boon Farm in Greenwood, Wisconsin. Photo by Andy Kraushaar 1998 Wisconsin vidual cow — her breeding records, her health records, her milk production — is kept on the computer, and the computer may be hooked up to the Internet, to allow the farmer to communicate with any of a number of agriculture-based discussion groups, both nationally and within the state. On the bigger farms, you'll find a work force which divides up to perform specialized tasks but in which any individual can handle a number of tasks. Where Dick and Peggy Rau run their 700-cow farm, near Dorchester in Clark County, there’s a lot of community sup- port for dairy farming. Peggy says: We don’t meet a lot of people who are against us. You'll meet a few people that say, “Oh, you’re putting the little farmer out of business.” Well, not really. What would the difference have been if we would have stayed at 72 cows? We'd just be struggling the same as the rest of them, and I'd probably have an off-farm job instead of staying here. I’ve been lucky enough to be here 18 years; I’ve never had to work off. And I’ve always been here when the kids get home, and when they leave, which I consider a big plus. The heart of the family farm is its chil- dren. The hope is that the farm will be there for the children who want to con- tinue the tradition. To assure this, the farm has to be more than just financially secure; farming has to be something that the children can imagine themselves doing. Peggy Rau says that expanding helped increase the kids’ interest in farming. Their son Zack helps to main- tain the cows’ feeding schedule, getting up at four in the morning before school to help feed. A year ago their daughter Stephanie began working as a milker, and Peggy and Dick have been surprised by her enthusiasm. “Who would have 1998 Head milker Carrie Dassow monitors the milking machines in the double-ten parallel milking parlor at the Rau Farm in Dorchester, Wisconsin. Photo by Andy Kraushaar ever thought she'd be talking to her friends about cows?” Part of what makes their current mode of farming attractive to Peggy and Dick’s children is that, with an expanded work force, it’s possible to leave the farm now and then. “When we milked 72 cows, you had to be here at five in the morning, five at night, and now, like Steph’s bas- ketball game tonight, we just go, that’s it. We get done what we have to get done, and then we leave.” Dick and Peggy can take every other weekend off. For their anniversary last year, they flew to a Packers game in Florida. “We never did that in the first 15 years we farmed. We never left.” Agriculture in Wisconsin remains a family concern. Not everyone who grows up on a farm continues to farm, but many go into related businesses. Dick’s brother, for example, is with Northstar Breeding Service, and Dick and Peggy buy most of their semen from them. Peggy’s brother works for Marawood Structures, which put up the Raus’ newest free-stall barn. SMITHSONIAN FOLKLIFE FESTIVAL Although there may be hundreds of cows with numbers instead of names, there’s still a focus on relationships with animals. The older cows, especially, become pets. Peggy describes how her milkers develop attachments to certain cows. Their milking parlor has a base- ment which also serves as a storm cellar. One day last summer Peggy was warning her milkers to get down to the basement in any severe storm. She told them, “Forget the cows, just get yourselves down there.” Her head milker asked, “Can I bring 1459 with me?” All the milkers feed cookies, Hostess cupcakes, and Doritos to another cow, 1541. One milker suggested to Peggy that since they mix bakery waste as part of the cows’ integrated feed program, it was the same thing as feeding the cows cookies. Most farms still follow the old princi- ple, “Find a use for it.” The original recy- clers, farmers innovate, putting old things to work in new ways. For example, Duane Boon of Greenwood in Clark County recently expanded his herd to 21 = a Photo by Andy Kraushaar 120 cows and bought a milking parlor system. Rather than build a whole new operation with all new buildings, Duane decided to modify his existing round-roof barn. He gutted out one end of it, air- hammering out the floor to install the pit for the milking parlor, and changing the gutter system and stanchion setup in the other end to create a holding area for the cows waiting to be milked. He con- nected his new free-stall barn to his old barn, so that the cows could be moved from one location to the other easily. And sometimes old ideas are used to fit new purposes. In Dick and Peggy Rau’s milking parlor pit, all the supplies need- ed to prepare the cows for milking — towels, teat dip, sanitized water — used to be kept in a barrel, and the milkers would have to run back and forth to get supplies. Then Dick’s brother came up with a better idea. He welded together a trolley, much like an old silage cart, that is suspended from a track on the ceiling. Now, the milkers simply pull the trolley along as they milk. In another case, a neighbor found that old tractor tires cut in half make the perfect manure scraper for a free-stall barn. Using a metal buck- et to scrape the concrete floor causes two problems: first, it eventually smooths out the floor too much, making it slippery for the cows; second, metal buckets scraped against concrete wear out rather quickly and are expensive to replace. 22 Cows graze in the feeding alley in the free-stall barn at Dick and Peggy Rau's farm. Using an old tire is cheaper and better for the floor. The Raus, like other farmers in the area, buy their tractor-tire scrapers from a local farmer who makes them. This specialized market emphasizes how much dairy farmers rely on a healthy, supportive environment. Few dairy farmers find themselves operating successfully in isolation. In Clark County, many of the farms no longer operating are those owned by older farmers. Duane Boon says that those farms end up getting absorbed by other farms, since not many new farmers can afford to start up. “Like my dad said, I’m farming right now what basically was 10 independent farmers 30 years ago. It’s kind of sad in a way.” Peggy Rau shares Duane’s attitude. “I like the old farms.... I happened to go sit out in the woodlot one day, and you could see around this area, how many people are 60, 60, 60, 60.” She points around her to her neighbors: Dick’s brother farms right up the road half a mile, so that one’s running. The farm over there with the green silo top, another big farmer that lives out on [County Road] A owns that, and there’s hired people going through it constant- ly, so it’s really not a family-run farm any more. That farm over there is currently running but not for long. Farmers are well aware of the risks they take in this rapidly changing business, and at least for the Raus and the Boons, it increases their determination to pass on workable traditions. SMITHSONIAN FOLKLIFE FESTIVAL Before they expanded, the Boons milked 60 cows and did all right, “but I came to the point where I’m 40 years old. If | keep milking 60 cows, my net worth will probably go down by the time I’m 60, so I either have to modernize and expand, or get out, or just milk it out till there’s nothing left,’ Duane explains. “T’ve got kids coming up, I think they might be interested. Maybe not; if not, I’ve got to have something saleable, too.” Dick Rau’s uncle, a retired farmer him- self, says, “I remember when I was milk- ing 12 cows. I thought I'd be a big success if I could get it up to 30 cows. By the time I retired, | was milking 70, and now....” He gestures behind him at the complex that milks and cares for 700 animals. ° Suggested Reading Belanus, Betty J.”Family Farm Folklore.” In Festival of American Folklife Program Book, ed. Peter Seitel. Washington, D.C.: Smithsonian Institution, 1991. Leary, James P. “The Farmer and American Folklore.” In Festival of American Folklife Program Book, ed. Peter Seitel. Washington, D.C.: Smithsonian Institution, 1991. Mitchell, Roger. From Fathers to Sons: A Wisconsin Family Farm. (Special issue of Midwestern Journal of Language and Folklore.) Terre Haute: Indiana State University, 1984. Vogeler, Ingolf.“The Cultural Landscape of Wisconsin's Dairy Farming.” In Wisconsin Land and Life, ed. Robert C. Ostergren and Thomas R. Vale. Madison: University of Wisconsin Press, 1997. http://www.wislink.org (the electronic network for Wisconsin Dairy Producers) Ruth Olson was raised on a dairy farm in northwestern Wisconsin and has done extensive fieldwork on the occupational, recreational, and ethnic life of rural com- munities in the northern part of the state, with an emphasis on issues of land use and agriculture. She teaches at the University of Wisconsin—Madison and is on the staff of the Wisconsin Folklife Festival. 1998 Wisconsin “A Good Way to Pass the Winter”: Sturgeon-Spearing in Wisconsin y talk with sturgeon fisherman Bill Casper begins with an early history lesson. The healthiest popu- lation of sturgeon in the world is in Lake Winnebago, in eastern Wisconsin. Lake Winnebago, one of the largest inland lakes in the area, is 11 miles wide and 28 miles long — but at its deepest point only 22 feet deep. “It was shoved in here by the glacier. You can tell by all the north-and-south running lakes in the Great Lakes area. Even Lake Michigan got sort of plowed in here. You can see where the drumlins in the land were formed by the great glacier pushing the earth and bringing stone and debris along down. Must have been quite a time.” As the glacier melted, lakes formed and fish migrated into the area. Bill believes the sturgeon came into the Great Lakes and Lake Winnebago area from glacial runoff and by traveling north along rivers like the Mississippi. Sturgeon have been around for 3 or 4 million years. They are a primitive fish, growing to be decades old and yards long. Bill describes them as “a very nice fish to eat — their meat is very good.” They have marrow — a soft, cartilage- type bone — and gizzards, like dinosaurs and chickens. Covered with a tough hide, sturgeons’ backs and sides are ornamented with “scoots” or hackles. Their heads are a heavy mass of bone. 1998 Ruth Olson On opening day of sturgeon-spearing season on Lake Winnebago, thousands of fishing shacks are brought onto the ice with the help of four-wheel-drive vehicles and snowmobiles. Photo © Bob Rashid Until the 1800s, lake sturgeon were abundant in the Great Lakes. Although commercial fishing there almost wiped them out in the mid-1800s, it was a dif- ferent story for the fish in Lake Winnebago. The lumber boom in the area resulted in a number of dams on the Fox River between the lake and Green Bay, practically trapping the crop of sturgeon in Lake Winnebago. The stur- geon still have ample place to spawn in the Wolf River, which runs 125 unre- stricted miles from Lake Winnebago to the Shawano dam. Spearing sturgeon on the lake has long been a tradition. Bill remembers going out with his Uncle Ambrose and com- pares those earlier seasons with the more restrictive season now, when individuals are only allowed one sturgeon each year: SMITHSONIAN FOLKLIFE FESTIVAL He would come up from Milwaukee on weekends and stay at our home, and then he'd go fishing, and I’d always want to go with him. And so my mom said, “Well, you’ve gotta be eight years old at least.” So when I was eight and he showed up, I started going with him.... We'd leave when it was almost dark, and we'd go out to the lake. He had just a car...and we'd drive out on the lake, and shovel our way out there because there were no snow plows at that time. And we'd start fishing. Fish till he couldn’t see anymore down in the hole...then we’d come back home and have our supper at our house.... It was at a time where you could get five fish. Well, some days we'd get two, but in those years there weren’t so many sturgeon fishermen out there. 23 Wisconsin It’s different today. Bill estimates that during sturgeon- spearing season, which runs from the second Saturday in February through the third weekend of that month, there can be 3,000— 4,000 shanties on the lake, and of course the same number of pickups. Twenty-four hours before the season starts, peo- ple can cut their hole in the ice — producing a block about 4 feet by 6 feet, and 2 feet thick. To cut through that ice a chain saw with a special 42-inch-long ice bar is used. The ice is cut at an angle — narrower on top, wider on the bottom — to make it easier to push the ice block down into the water. They then use long pike poles to sink the block under the ice. Once the hole is cut, the ice shanty gets dragged over it. A shanty typically is equipped with two doors in the floor that raise up to expose only the hole. Thus, the sturgeon spearer can sit on a nice, dry, carpeted floor, in a heated shanty, while waiting to spot a fish. When Bill fished with his uncle, the hole would be sawed entirely by hand with ice saws, and, once they had a hole cut, they didn’t move. Now, with a chain saw, a shanty can be set up in 20 minutes. Like most spearers today, Bill hires someone with a chain saw to cut his hole. Photo © Bob Rashid A big chain saw is so very expensive ...S0 a guy will buy [one], and he'll go out there and cut holes for ten bucks apiece. People will leave their name at a Sturgeon fishermen push cut ice underneath the surface and away from the fishing hole on Lake Winnebago. tavern, or he’s got a radio in his truck with a flasher on the roof, and you can usually spot him out there, and you just go over and say, “Hey, I’m over here. When you're ready, come cut a hole for me.” And it works out very nicely. He has all the gear for sinking the block, he’ll help you move your shanty on the hole, and then they leave and cut the next hole. People may move three times a day, but Bill stays put. Sturgeon-fishing requires a lot of waiting. Some people wait for two or three years to see a fish. Some, in half an hour, see a fish or maybe two. Bill's had pretty good luck over the years get- ting his sturgeon. Is there a good strategy for picking a place to set up? Bill says you try to get closest to the spot where you caught a fish last year. Or you turn on your radio.... Jerry Schneider, the radio station up at Chilton,...has a sturgeon report every hour or so, where if you get a sturgeon in the morning and you take it in and SMITHSONIAN FOLKLIFE FESTIVAL register, it'll auto- matically get called in to Jerry Schneider's radio station. So every- body on the lake will know who got it — there’s no secrets any more. ... Then they may start moving.... If they know where I’m at, and they know someone else near me and if we happen to both get a fish, they'll say, “Wow, they’re in there.” Shanties will come in, and they'll be cutting holes around you, chain saws are going.... Some morn- ings you go in your shanty, and there’s four shanties out where you are.... You come out in the evening, and you could be right in the middle of a big town. pe But life on the ice is more sociable than competitive. People stop to visit each other’s shanties, maybe sharing a beer while they sit and talk. Many people have CB radios in their shanties and chat back and forth. Like most shanties, Bill’s is equipped not only with a heater but with a two-burner gas plate. “If you spend a whole day out there, you have to do a lit- tle cooking. If somebody visits, you gotta have a bowl of chili.” Most of the gathering is in the taverns in the evening. “It used to be years ago, the guy would walk in with a sturgeon on his shoulder and flop it on the tavern floor, even on the bar — everybody had a treat. Now, of course, they don’t want you to do those things. It’s always kind of a fun time, you know. And it’s a good way to pass the winter in Wisconsin.” Bill’s sister Mary Lou Schneider not only spears sturgeon, she carves the 1998 Wisconsin Dennis Haensgen waits for sturgeon to swim by the hole in the floor of his sturgeon shack on Lake Winnebago. Photo © Bob Rashid decoys she uses to attract them. She’s gained local popularity as a decoy maker. Decoys are one of the most important elements in sturgeon-spearing. As Bill says, everyone has a favorite. They can range from brightly painted carved wooden fish weighted down with lead, to corn cobs, to kettles. “I’ve seen washing machine agitators down in the sturgeon holes.... Whatever got lucky a year or two ago, that’s what [people] like to use.” While many people use spears with detachable spearheads (once the fish is speared, the handle comes free, exposing the rope attached to the spearhead), Bill does not. Because when you first hit the fish, it will just stop. And if you bring it up right away, and you’ve got a gaff hook, depending on how you got him, you can take him right outside before he gets too 1998 wild on you. If you just leave him alone for a little while and he starts coming to, they will take off like a wild calf on a rope. And they’re all over the place, down in the mud and up against the ice, and down and up. You will not believe. And then when they come up into the shanty with you, there’s water flying, water on the stove — you know, the tail is going! If you get a big fish, 80 pounds, every swat of the tail seems like 5 gallons of water comes up at you. Yet one person usually can bring the fish out of the lake. In fact, one woman can do it. Mary Lou, who weighed only 115 pounds, speared one that weighed 117 pounds. She got it out by herself. It’s not just the good meat or the plea- sure of the company that keeps people sturgeon-spearing. For many, to be out on the ice is a clear statement of who they are — as displayed through their ice shanties, for example. People put a lot of effort into personalizing their shanties. Bill’s is a Green Bay Packer hel- met. A lot of people come to see it, and on the lake they always know where he’s at. “If you have your radio they'll say, ‘He got one in the Packer helmet!’” But it’s all right, Bill doesn’t mind that people like to come and visit. “You just sit and talk and fish.” e Suggested Reading Boyle, Robert H.Friends of a Living Fossil.” Sports Illustrated, 4 March 1996. Lyons, John, and James J. Kempinger. Movements of Adult Lake Sturgeon in the Lake Winnebago System. Madison: Wisconsin Department of Natural Resources, 1992. Priegel, Gordon R., and Thomas L. Wirth. Lake Sturgeon Harvest, Growth and Recruitment in Lake Winnebago, Wisconsin. Madison: Wisconsin Department of Natural Resources, 1977. SMITHSONIAN FOLKLIFE FESTIVAL Sturgeon For Tomorrow Bi Casper founded Sturgeon For Tomorrow (SFT) 21 years ago, after he decided there was a need to learn how to raise sturgeon artificially in case something happened to the healthy local fish population. He printed up bulletins, posted them in local taverns, and had 150 fishermen show up at his meeting. Eventually, with the help of William Ballard of Dartmouth College, who had studied sturgeon in Russia and Romania, SFT spearheaded the effort to hatch sturgeon artificially. Today, the Wisconsin Department of Natural Resources (DNR) manages to hatch more than 90 percent of fertilized sturgeon eggs. They have helped to restock sturgeon in the surrounding States of the Midwest and even Canada. SFT con- tinues to work closely with the DNR, as members serve on a sturgeon advisory board and help staff a volunteer patrol every spring to stop poaching on rivers while vulnerable fish are spawning. When SFT started in 1977, there were 11,500 sturgeon in Lake Winnebago; now, helped by both a reduction in poaching and adding to the natural population, the population is estimated at 45,000—50,000 fish. 25 nsin 1e Enduring Craftsmanship of Wisconsin’s Native Peoples: The Ojibwe Birch-bark Canoe he bark canoe of the Chippeways [Ojibwe] is, perhaps, the most beautiful and light model of all the water crafts that were ever invented. They are generally made complete with the rind of one birch tree, and so ingeniously shaped and sewed together, with roots of the tamarack . . . that they are water-tight, and ride upon the water, as light as a cork. They gracefully lean and dodge about, under the skilful |sic| balance of an Indian... but like everything wild, are timid and treacherous under the guidance of [a] white man; and, if he be not an equilibrist, he is sure to get two or three times soused, in his first endeavors at familiar acquaintance with them. —George Catlin, Letters and Notes of the Manners, Customs, and Condition of the North American Indian (1841) The traditional crafts of Wisconsin Indian tribes are perpetuated by many of their talented craftspeople, several of whom are represented in this year’s Festival. Centuries-old traditions contin- ue to flourish and develop, not only in the realm of decorative arts but also in the manufacture of utilitarian objects. Wisconsin Menominee, Potawatomi, and Ojibwe still produce bark containers tra- ditionally used to store wild rice and maple sugar, historically the principal subsistence foods of Woodlands Indians in the western Great Lakes area. And even materials not naturally found, such Thomas Vennum, Jr. Fig. 1. Ear! Nyholm and Charlie Ashmun tie inner stakes to exterior canoe form-stakes. Note the boulders weighting down the canoe form; also, that the white outer bark of the tree becomes the inside of the canoe. Photo by Janet Cardle as metal and plastic, as they became available were adapted by Indian people to age-old technologies. For example, the traditional birch-bark tray used to “fan” wild rice — that is, to separate the seed from the chaff — is generally made using birch bark, cut and folded into shape, then sewn with split roots. But some Indian people create the same object using heavy cardboard or even pieces of sheet metal riveted together. Perhaps no single item in the tradi- tional economy combines finesse and craftsmanship better than the birch-bark canoe — historically the principal mode of transportation and cargo-freighting SMITHSONIAN FOLKLIFE FESTIVAL for Indian peoples in the western Woodlands. Early European travelers in the American wilderness were amazed by this unfamiliar type of boat and rarely failed to comment on its construction. Most scholars generally agree with the 19th-century artist George Catlin that the Ojibwe more than any other people raised canoe-building to a fine art. Although the birch-bark canoe today has been supplanted by wooden, metal, and plastic boats, a handful of Ojibwe crafts- men still retain the important knowledge of all the steps in its traditional manufac- ture and the skills needed to apply them. 1998 Wisconsin In the summer of 1997, a film crew from the Smithsonian Center for Folklife Programs & Cultural Studies docu- mented the construction of a traditional Ojibwe canoe. (Currently in pro- duction, the film, like this year’s Wisconsin program, was supported by a grant from the Wisconsin Sesquicen- tennial Commission.) The master builder, Earl Nyholm, is a professor of the Ojibwe language at Bemidji State University in Minnesota and had demonstrated his canoe-building skills at two of our earlier Festivals. Earl was assisted by his 84-year-old mother, Julia; an apprentice, Mark Wabanikee from Bear Island in Lake Michigan; several of Earl’s relatives living on the Bad River Reservation in Wisconsin; and a craftswoman from the Red Cliff Reservation, Diane Defoe, whose birch- bark work is featured in this year’s Festival. The five-week-long construc- tion took place on a Lake Superior beach on Madeline Island — the ancestral homeland of the Ojibwe peo- ple. The site selected was in fact the location of the first trading post of the Northwest Fur Company in the 18th century; undoubtedly this very beach had witnessed canoe construction in earlier times. The process began with an exhaus- tive five-day search for the proper birch tree. The German cartographer Johann Kohl visiting Madeline Island in 1854 to observe the distribution of treaty annuities remarked on the importance of good bark for a canoe: 1998 Fig. 2. This detail of the gunwale assembly shows the tapered end of the thwart inserted into the mortise of the inwale, split jackpine roots for lashing, and double-stitch sewing. Photo by Janet Cardle Fig. 3. Canoe-prow assembly with “man-board” — so called because it resembles a human form. A single piece of cedar is used which is split into more than 30 laminations to effect the bends in its form. These are held in place using wiigoob (the inner bark of the basswood tree) and threaded through and inserted over the man-board. Photo by Janet Cardle SMITHSONIAN FOLKLIFE FESTIVAL [N]ew canoes are being constantly built around me or old ones repaired and I saw them in every stage of perfection. The Indians expend as many bark canoes as we do huntingboots.... The largest and smoothest trees are selected so that the pieces of bark may be as large as possible and prevent too much sewing (Kohl 1860:2829). Canoe builders have a trained eye for picking out a “canoe birch-bark tree,” which ideally should be some 50—60 inches in diam- eter. Due to the decimation of forests for lumber and pulpwood, birch trees this size are a rarity today. Furthermore, the tree must be straight, free of “eyes” and lichen growth that might cause the bark to tear under pressure, and must not bifurcate at its top. (Earl suggested that only one in a hundred trees meets these criteria.) After they had rejected for imperfec- tions a number of large trees identified in advance of the builders’ arrival on the mainland opposite the island, their search ended in a wilderness preserve on Madeline Island with the discovery of a 54-inch tree. (Canoe builders need a single large piece to run the bottom length of the vessel; if the bark is not wide enough to reach the gunwales on either side, it requires “piecing”; that is, bark must be added along the gunwales at the widest part of the canoe. Such “pieced” bark requires double-stitch sewing to the bottom strip, which is very time consuming. Thus the harvest of large birch by the dominant society 27 ‘“onsin he decline of the craft — one in there are so few today building bark canoes.) lhe builders made their incisions to remove the bark. (Some builders will fell the tree, but Earl likes to take his bark from a standing tree. The removal of bark does not kill the tree immediately since the exposed cadmium layer will heal, although the tree will eventually die.) Timing is critical, for there is only about a five-day window of opportunity in late June, dependent on both day- and nighttime temperatures, when the bark is ripe for taking. After two circumference incisions, the final cut was a straight ver- tical joining them. The bark of this birch virtually sprang off the tree with a loud zipping noise; several days later it would have been irremoveable. To begin canoe construction a flat rec- tangular bed of sand was spread out evenly and picked over for rocks and twigs. At the site a wigwam framework was improvised over this building area to accommodate tarps (see Fig. 6). These kept the canoe out of direct sunlight and thus prevented materials from drying too quickly; bark, for example, will curl. On the level bed of sand, Earl spread out the piece of bottom bark with its exterior (the white side) facing upward. (Miniature canoes made for sale to tourists mistakenly give the impression that the outside of the tree becomes the exterior of the canoe.) An elliptical wooden canoe form with pointed ends was placed on top of the bottom bark and weighted down with rocks to stabi- lize it. Ojibwe believe that their culture hero, the legendary Wenabozho, invented the canoe for them, and Indians can point to a pile of rocks on one of the Apostle Islands, saying these were the ones he used in weighting down the form of the first canoe. The bark was brought up outside the length of the canoe and large birch canoe stakes driven into the ground along each side the length of the canoe to begin to form its shape (see Fig. 1). Fig. 4. Earl Nyholm bends canoe ribs, using two at a time to guard against breakage. Photo by Janet Cardle SMITHSONIAN FOLKLIFE FESTIVAL Fig. 5. View of the interior of the canoe with some of the thin cedar planking in place. Note the hanging bent and dried ribs which will be reinserted once the flooring is completely set in place. Photo by Janet Cardle 1998 Wisconsin The ends of the bottom piece were clamped together using “Indian clothes- pins” made of cedar. The outer stakes were then tied to the inner stakes with “Indian string” (pieces of the inner bark of the basswood tree; see Fig. 1). Because the bottom bark was not suffi- ciently wide to reach completely from gunwale to gunwale at the canoe’s mid- point, a strip of added bark had to be sewn (“pieced”) on either side for a length of perhaps three feet. All sewing is entrusted to the women, using roots of the jackpine tree which are split and kept in water until needed. Julia and Diane attended to this task, laborious and time consuming as each stitch must be dou- bled for strength, that is, brought over and under each side of the overlapped bark (see Fig. 2). To accommodate the stitches, an awl was used to poke holes through the bark. (In his famous poem “Hiawatha,” Longfellow, basing his infor- mation on Henry Schoolcraft’s Ojibwe 1998 research, extolled the creation of the canoe from natural resources: “All the forest’s life was in it,/All its mystery and magic,/All the lightness of a birch- tree,/All the toughness of the cedar,/All the larch’s sinew supple.”) After the added pieces were sewn, the long, thin, cedar gunwales were created, both an outwale and inwale, the latter being mortised to receive the tapered butt ends of three cedar thwarts which serve to hold the top of the canoe apart (see Fig. 3). Once in place, the gunwales had to be lashed to each other and to the bark for the full perimeter of the vessel. At this point Earl, as the master crafts- man, completed the all-important finish- ing work at both ends by inserting an elaborately constructed cedar prow-piece (Fig. 3). (Thomas McKenney, touring the area around Madeline Island in the mid-19th century, praised the Indian talent in using only natural materials in canoe on construction: “The Indians make no use of nails and screws, but everything is sewn and tied together. But the seams, stitches, and knots, are so regular, firm, and artistic, that nothing better could be asked for” [1827].) The next and crucial step in construc- tion involved bending and inserting the cedar ribs, which give the canoe its final rounded shape. About 40 thin cedar ribs had been soaking for several days to make them more pliable. Still, boiling water must be poured over them to increase their pliancy. Rib-bending is a most frustrating time for every canoe builder. Despite all the soaking and heat- ing, the ribs are still quite brittle and easily broken. (Canoe-builders always prepare additional ribs, knowing they can expect to break several in the bend- ing process.) Wearing a special pair of moccasins, Earl stood each time on a pair of ribs and through exertion gradu- ally pulled up on either end (Fig. 4) until Fig. 6. The 14-foot canoe, invert- ed for “gumming’ (‘pitching’) all cut and sewn areas on the bark, is ready for launching. SMITHSONIAN FOLKLIFE FESTIVAL Photo by Janet Cardle 29 Wisconsin he achieved the proper bend, at which point he carried it to the canoe to insert it in place. Once all the ribs were intact, the canoe was allowed to dry for a day; then the ribs were removed and thin cedar planking, constituting “flooring,” installed along the length of the craft and held in place by reinserting the ribs (see Fig. 5). Finally, a gunwale cap was installed over the gunwale assembly with birch- wood pegs; the cap offers protection to the lashing holding it together. The canoe was then inverted for “pitching” (see Fig. 6). Places where the bark had been cut and sewn had to be made watertight. Pitch for this purpose, made from spruce gum and deer tallow, was heated and melted down, with black charcoal from a maple log added for col- oring. (Black is a popular choice in the Ojibwe repertoire of colors.) Like a bicy- clist’s patch kit, Ojibwe canoers always kept a small supply of pitch with them in the boat in case repairs were needed. Once the pitch dried, the canoe was ready to launch. Wearing beautiful Ojibwe black velveteen vests adorned in typical curvilinear beadwork represent- ing flowers and leaves, Earl and Julia climbed aboard and paddled off into the sunset to provide the Smithsonian cam- eraman his final shot for the film. The 14-foot canoe Earl built for the filming was fairly typical of a “family- size” two-man vessel; during the fur trade much larger ones were built for long-distance freighting on the Great Lakes. (McKenney [1827:146] described a 30-foot canoe which by his estimation could carry 2,000 pounds.) Kohl in 1854 was amazed at how much Indians could pack into a canoe and describes a family from 150 miles in the interior of Wisconsin arriving on Madeline Island. As the father and one son glided the canoe into an inlet, he observed that the wife, with her other children, two boys and two girls, was buried beneath a pile of parcels and boxes. Among them lay a dog, with three pups, and on top of all the plunder, was a large cage, with two tamed falcons in it. The gunwale of the boat was only a few inches above the water, and in this way all these beings, and animals, and lumber, had made a seven day’s voyage (Kohl 1860:35). SMITHSONIAN FOLKLIFE FESTIVAL Works Cited and. Suggested Reading Catlin, George. Letters and Notes on the Manners, Customs, and Condition of the North American Indians. 2 vols. London: Tosswill and Myers, 1841. Kohl, Johann G. Kitchi-gami, Wanderings round Lake Superior. London: Chapman and Hall, 1860. McKenney, Thomas L. Sketches of a Tour to the Lakes. Baltimore: Fielding Lucas, Jr., 1827. Ritzenthaler, Robert E. Building a Chippewa Indian Birchbark Canoe. Milwaukee Public Museum Bulletin 19(2). Milwaukee: Milwaukee Public Museum, 1960. Thomas Vennum, Jr., is senior ethnomusi- cologist in the Center for Folklife Programs & Cultural Studies and co-curator of the Wisconsin program. His books include Wild Rice and the Ojibway People ad American Indian Lacrosse: Little Brother of War. 1998 Wisconsin Polka: Wisconsin’s State Dance he 19th-century European immigrants to Wisconsin arrived with polkas ringing in their ears. The polka, a lively couples dance in 2/4 time, had developed from folk roots and became a European popular dance craze in the 1840s. In elite Paris salons and in humble vil- lage squares and taverns, polka dancers flaunted their defiance of the staid dance forms, the minuets and quadrilles, which had preceded this raucous and, for the times, scandalous new dance. The political and social upheavals that coincided with the polka craze also launched thousands of European vil- lagers on their hazardous migration to the American Midwest. They became farmers, miners, lumberjacks, factory workers, and entrepreneurs and contin- ued to enjoy the music and dance tradi- tions of their homelands, passing them on to the American-born generations. Concurrent with the emergence of the polka was the booming popularity of brass bands and the invention of a vari- ety of squeeze boxes — accordions and concertinas. Innovative tinkerers in France, England, and Germany devel- oped a new family of instruments based on the principles of the sheng (a Chinese free reed instrument) but using the levers and springs of the Machine Age. 1998 Richard March Couples at the Ellsworth Polka Fest in Ellsworth, Wisconsin, dance a ring schottische, in which ladies advance to the next partner as part of the dance’s pattern. Photo © Richard Hamilton Smith Like the electronic keyboard in the late 20th century, the squeeze box was the 19th-century’s most popular mechanical instrumental innovation. A single musi- cian could replace a small ensemble, playing melodies and harmonies with the right hand while producing rhythmic chords and bass notes with the left. The prized possession in many an immi- grant’s pack was a button accordion or concertina, and that musician undoubt- edly played a lot of polkas. Upon its arrival, the polka became an American folk tradition. At rural house parties with the rug rolled up or at cor- ner taverns in industrial towns, a squeezebox or a horn was likely to keep neighbors’ feet stomping out polkas. A variety of American polka styles evolved in different sections of the Midwest, shaped by the creativity of particular tal- ented and influential musicians. The styles have ethnic names — for example, Polish, Slovenian, Bohemian, Dutchman — based on the origin of the core reper- SMITHSONIAN FOLKLIFE FESTIVAL toire and the ethnic heritage of many of the musicians. But in the Midwest, music and dancing are shared among ethnic groups, and most bands are ethnically mixed. In the 20th century, radio broadcasts and recordings delivered the polka to more new enthusiasts. Clear channel WCCO in Minneapolis broadcast Whoopee John’s Dutchman music to six or more states, much as WSM’s Grand Ole Opry spread Southern traditional music far and wide. The recordings of groups like the Romy Gosz Orchestra and Lawrence Duchow’s Red Ravens aided their efforts to become popular as regional touring dance bands. Right after World War II, almost exact- ly a century after the original polka craze in Europe, polka music and danc- ing briefly entered popular culture in a big way once more, this time in America. Slovenian-American accordionist Frankie Yankovic, of Cleveland, became the 31 Wisconsin biggest star and attracted devotees nationwide to his style. Lil’ Wally Jagiello’s recordings on his own Jay Jay label established Chicago as the center of influence for Polish polka and converted many musicians to his “honky” sound. By the 1960s, rock ’n’ roll had captured the popular music industry, but polka has endured in enclaves of a variety of communities. have absorbed the style like a sponge. In response to his pleas, Karl received a concertina as a Christmas present when he was 12. A few months later he was sitting in with the Swiss Boys, and six months after that, at age 13, he had his own band, the Country Dutchmen, now in its 24th year. Karl has turned out to be just as original and passionate a Virtually every weekend he packs up the van and instrument trailer, and he and his sidemen converge on a dance hall or outdoor polka festival. Casual in his dress and personal style, Karl is nonetheless very serious about his music. He is recognized as the outstanding Dutchman concertinist of his generation. Paradoxically, his music is at once In these communities, during the last quarter-cen- tury, polka musicians and dancers have organized institutions to perpetuate their passion. These include a network of polka dance halls, clubs, festivals, newsletters, mail-order recordings outlets, accordion makers and dealers, and radio and television shows. Karl Hartwich was born in Moline, Illinois, in 1961. His father had relocated about 200 miles down the Mississippi River from his hometown near La Crosse, Wisconsin, seeking the good-paying factory jobs making agricultural imple- ments in the Quad Cities area. But farming was in his blood, so the Hartwiches lived outside of Moline in rural Orion, where they raised hogs and ° v.30 Appleton, Polka Map Key Each dot on the map represents the home of a musician, the location of a radio station with polka programs, or a site where polka music or dance is performed. A Polish-Style Polka lm German-Style Polka @ Czech-Style Polka # Swiss-Style Polka Slovenian-Style Polka + Finnish-Style Polka ¢ Norwegian-Style Polka e “ 2 ih a Re os & ® = re e ge = 5, ee hs 3,Milwaukee controlled and free. Karl ii has emphasized the syncopation, chromatic runs, and improvisational flourishes of the basic Dutchman style more than any of his predecessors. It is indicative of the unique cultural milieu of eastern Wisconsin that Cletus Bellin, a proud member of the Walloon Belgian ethnic community of northeastern Wisconsin, is also the leader of one of the finest Czech-style polka bands in the Midwest, the Clete Bellin Orchestra. A proficient pianist and a very strong singer, Clete took the trouble to learn the correct pronunciation of the Czech folk song lyrics from a friend in the nearby town of Pilsen. As a boy in the 1940s on a farm in southern Door County, Wisconsin, Clete was as likely to use the field crops. Karl’s family kept in touch with their Wisconsin relatives. Karl remembers that at least twice a month they would make the trek upriver to attend dances where his distant cousin Syl Liebl and the Jolly Swiss Boys were playing. Syl Liebl, a Dutchman-style concertina player, is a natural musician, inventive, sponta- neous, and passionate. Little Karl must 32 musician as his mentor. He recalls dri- ving the tractor on his family’s farm, with dance tunes ringing in his head — the engine roaring, his left hand on the wheel, his right hand on the tool box beside the seat pressing out concertina fingerings on the vibrating metal. Karl has moved back upriver to Trempealeau, Wisconsin, a location more central to his band’s regular gigs. SMITHSONIAN FOLKLIFE FESTIVAL Walloon Belgian dialect of French spoken in his highly culturally retentive community as the English he learned in school. Clete has had a life- long interest in his Belgian culture, and, now in his fifties, he is one of the area’s youngest remaining truly fluent speakers of Walloon. Clete’s career in music has included playing in the Wisconsin Bohemian- or 1998 Wisconsin Czech-style bands of Marvin Brouchard and Jerry Voelker and working for many years as the radio station manager and on-air personality for a Kewaunee, Wisconsin, polka station. Moved by the style of singing and playing of the Czech musical performing groups Budvarka, Veselka, and Moravanka, which toured Wisconsin in the early 1980s, Clete resolved to start a band to perform in a style closer to the European manner from which the other Wisconsin Bohemian bands had diverged. His group is widely acclaimed at polka festivals and Czech ethnic events throughout the country. Steve Meisner was born in 1960 in Whitewater, a small town southeast of Milwaukee. At the time, Steve’s father Verne was already an established musi- cian, an accordion prodigy whose origi- nal band, Verne Meisner and the Polka Boys, was aptly named — the members were in their early teens when they started taking professional gigs. That was the early 1950s, just in the wake of Frankie Yankovic’s having made the Slovenian style of polka one of the most popular forms of music in Wisconsin. By the 1960s, the Verne Meisner Band was one of the best-known polka groups in the region. Steve received an ambivalent message from Verne when he showed an interest in music. Seven-year-old Steve’s entreaties to his father to teach him to play were rebuffed at first. Then Verne thrust a momentous decision upon his young son: “If you begin to play, you have to promise that you'll never quit.” Steve leapt at the challenge without a safety net and made it. Only a year later his father began to bring Steve along to play with the Meisner band, often plac- ing the diminutive kid on a box so that he could reach the microphone. Steve started his own band, the Steve Meisner Orchestra, while still in his teens 1998 and has continued the family tradition in the polka-music business, playing regionally and nationally, producing his own CDs and videos, and organizing polka tours and cruises. Steve acknowl- edges his musical debt to the Slovenian- style musicians of the previous generation but has pushed the envelope of the form in hot arrangements and in original material which expresses a range of emotions. When Norm Dombrowski was a teenager in the 1950s, he wasn’t particu- larly inspired by the polka bands active in his hometown of Stevens Point, in a rural area of central Wisconsin populat- ed by Polish-American dairy and potato farmers. The Dutchman style was the popular sound then at old-time dances. According to Norm, the bands he heard didn’t sound too spontaneous; perched behind bandstands, the musicians’ noses seemed to be stuck in their sheet music. Then, in 1956, Chicago’s Lil’ Wally Jagiello gave two legendary performances at the Peplin Ballroom in Mosinee, just north of Stevens Point. Huge crowds turned out. Norm heard a modern Polish polka sound firmly grounded in the Polish folk music familiar to him from house parties and weddings. What impressed Norm were the band’s lack of sheet music and their liveliness, reminis- cent of rock ’n’ roll bands. Norm decided he wanted to play in this style, and, like his new hero Lil’ Wally, he was deter- mined to become a singing drummer. By 1960 he was able to start the Happy Notes Orchestra with three friends, play- ing for dances locally and as far afield as Minneapolis and Chicago. The Happy Notes evolved into a family band as Norm’s children grew old enough to be competent musicians. Unlike most other Polish-style bands at the time, Norm’s did not adopt the streamlined “Dyno” or “Push” style, but remained closer to Lil’ Wally’s “honky” sound, which emphasized call and SMITHSONIAN FOLKLIFE FESTIVAL response. Norm stresses the singing of the old Polish songs but also includes in the band’s repertoire German, Czech, and even Norwegian numbers to satisfy patrons of other ethnic backgrounds. These four polka musicians represent the ways in which ethnic polka styles have remained distinct in Wisconsin. Their repertoires also demonstrate the transformation of polka traditions in the Midwest, the development of regional sounds played by bands of mixed ethnici- ty. The dedication and artistry of these and many other musicians, who contin- ue to reinvent tradition, attest to the vitality of the polka in Wisconsin. The polka was a rebellious dance in the 19th century and has become a Midwestern regional tradition since. Today Midwesterners have the opportuni- ty to dance to rock music, join square dance clubs, or do Country line dancing, but instead choose to polka. It is a vali- dation of their regional and ethnic roots, an expression of their determination not to be homogenized out of existence. Through the polka they reaffirm mem- bership in a supportive and embracing community based upon friendship, eat- ing, drinking, and socializing, as well as plenty of dancing. e Suggested Reading Greene, Victor. A Passion for Polka. Berkeley: University of California Press, 1992. Keil, Charles, Angeliki V. Keil, and Dick Blau. Polka Happiness. Philadelphia: Temple University Press, 1992. Leary, James P., and Richard March. Down Home Dairyland: A Listener's Guide. Madison: University of Wisconsin-Extension, 1996. Suggested Listening Deep Polka: Dance Music from the Midwest. Smithsonian Folkways 40088. A new release featuring the groups discussed in this article and others. a] Faith, Politics, and Community at the Dickeyville Grotto he southwestern corner of Wisconsin is a beautiful series of rolling hills, hidden valleys, rocky bluffs, rivers, and caves, all part of Wisconsin's “driftless region” not flattened by glaciation. Bordered by the Mississippi River, this former lead-mining region is today farmland and cheese- making country. In Dickeyville, one of the area’s small towns, is Holy Ghost parish, the home of a remarkable piece of folk architecture. Situated between the rectory, church, and cemetery is the Dickeyville Grotto, a structure so amazing that I have seen unsuspecting drivers come to a full halt in the middle of the road to gape. What stops them short is a 15-foot-tall false cave, decoratively covered with colored stone and glass, dedicated to Mary the mother of Jesus, to God and country. Although the name implies a singular structure, the Dickeyville Grotto is actu- ally a series of grottos and shrines. It includes the grotto dedicated to the Blessed Mother, the structure seen from Highway 61; a shrine dedicated to Christ the King; a shrine to the Sacred Heart of Jesus; and a Eucharistic Altar in the parish cemetery, formerly used for annu- al outdoor Corpus Christi processions. The large Patriotic Shrine depicts the Anne Pryor history and love of country represented by Columbus, Washington, and Lincoln. All of these creations display decorative embellished cement ornamen- tation, achieved by placing patterns of colorful materials in the concrete when it is still damp: shells, stones, tiles, glass, petrified moss or wood, geodes and gems. Iron railings with the same distinctive decorations border the walkways between the different shrines and grottos, unify- ing these separate structures. All roadside shrines in Wisconsin reflect their time. In the 19th century, ill- ness was a major concern. In the north- eastern part of the state, French-speaking Belgian settlers built small chapels in thanksgiving for the recovery of an ill family member. Today in Kewaunee County, one can visit these chapels, no longer used for community prayer but proudly maintained as part of local SMITHSONIAN FOLKLIFE FESTIVAL Like the Dickeyville Grotto, the Holy Family Grotto in St. Joseph, with its embedded | cement flags, was built in the 1920s to represent Catholic allegiance to both God and country. Photo by Anne Pryor Walloon heritage. On Highway B in the rich farmland of central Wisconsin, a sign reading “Welcome to Visit Our Chapel” invites the traveler to enter a three-sided struc- ture. A motion detector triggers a taped message explaining that the Memorial Expellee Chapel, built in 1995, is dedicat- ' ed to beloved relatives who were slain or | expelled from the Sudetenland due to the Yalta and Potsdam agreements. At least two embedded cement grottos in Wisconsin, the Holy Family Grotto in St. Joseph and the Dickeyville Grotto, reflect American religious politics in the 1920s. Until the election of John Kennedy | as the United States’ first Catholic presi- dent, the patriotism of Roman Catholics was often questioned due to misunder- | | | | | | | 1998 Wisconsin standings about their allegiance to the pope (Stone and Zanzi 1993). To show that Catholics could love both church and country, Fr. Mathius Wernerus, the Dickeyville Grotto’s builder, created two stone pillars on either side of the main grotto. In colorful tile and stone, one pil- lar depicts the U.S. flag and spells “Patriotism”; the other shows the papal flag and spells “Religion.” While the Dickeyville Grotto began as the story of 1920s Catholic patriotism, today it speaks more of community pride in local history. When Fr. Wernerus was the pastor of Holy Ghost parish, he relied on the devoted volunteer labors and donations of his parishioners, young and old, to help him build his masterpiece. In the care and management of the grotto today, current pastors do much the same. The results are strong personal connec- tions to the grotto held by all ages of parishioners. Fr. Jim Gunn, pastor of Holy Ghost parish from 1995 to 1997, explained, “People have the pride, so it’s not something that somebody else did but it’s something that ‘I had a hand in’ as well.” Holy Ghost parishioners participate in the grotto’s upkeep in various ways. A parish Grotto Committee has been suc- cessful for many years in keeping the grotto financially sound. One source of income is the donations made by the 40,000—60,000 visitors who tour the grotto each year. Another is the income from sales at the grotto’s gift shop. Because the grotto is run as a nonprofit organization, any excess funds generated go to charity work or for special needs in the parish or town. As Fr. Gunn explained, “The grotto tries to pour back into the community as much as possible.” By 1995, the grotto needed extensive restoration. Cement and embedded stones were coming loose and falling out, iron railings were falling apart, and decades of weathering had compromised 1998 Jr"ag Ny , oe (nt Rh seed 7) A ae ss The Dickeyville Grotto is actually a series of shrines consisting of gardens, fountains, and sculptures made of stone and embellished cement. Photo by Anne Pryor the beauty of the shrines. Despite the general financial health of the grotto, such a large project was beyond its means. As grotto manager Marge Timmerman recalled, “We thought, ‘Where is the money going to come from for all this repair?’ And then out of the blue comes this man and he says, ‘I feel SMITHSONIAN FOLKLIFE FESTIVAL God led me to this place. I'd like to help restore this grotto.” This local hero had been visiting his daughter, a student at nearby UW- Platteville, when he happened upon the grotto. A devout Christian, he explained to Timmerman, “God has been so good 3S Wisconsin to me and my construction business that | feel he led me here to do this to thank him.” The Grotto Committee accepted his offer of a crew to lead the restoration and paid for only the materials. Parish members eagerly participated in the pro- ject, donating funds, learning techniques, replacing missing stones, and cleaning years of discoloration off the shrines. Excitement was so high and so many people volunteered that Timmerman recalled, “Sometimes there was almost too much help.” When Fr. Wernerus constructed the grotto, he collected many natural materi- als from local caves and fields, solicited manufactured materials from Midwestern industries, and encouraged his parishioners to donate common household objects, all of which he used to decorate the cement. Parishioners were happy to participate in this way, even though material wealth was scarce in those post-Depression years. During the restoration, Fr. Gunn put a box outside his rectory door for parish- ioners to donate items just as their 1920s counterparts had done. Even though the grotto’s storage shed was filled with materials left over from Wernerus’s own collection, Gunn solicited these new donations so that the current generation of parishioners could later point with pride to what they or their family had contributed. Additionally, Fr. Gunn made sure to include the children of the parish in the restoration process, just as Wernerus had done. Current parish elders recall work- ing with Fr. Wernerus when they were youths. Henrietta Hauber washed rocks and helped to “put things together.” Esther Berning placed glass shards in the wet cement. Henry Mellsen helped carry completed sections out from the rectory basement in the spring. Today’s parish children participated in the restoration by placing stones and shells in the iron railings’ damp cement. With the restoration completed by 1997, the grotto’s structures are in fine physical shape and will not need such massive attention for a long time to come. An integral part of the grotto that does annually require a great deal of attention, however, is the gardens. Filling the space around and between the differ- ent shrines in the grotto, the gardens give the grotto its park-like essence and were an important part of Fr. Wernerus’s overall design. Parishioner Delia Schroeder organizes each year’s group of gardeners, with an individual or family taking one of the gardens to design, plant, weed, and maintain. Using a mix of annuals, perennials, and statuary, they proudly add to the grotto’s beauty and tranquility. These volunteers tell of work- ing in the gardens from before sunrise to after sundown. A local joke about their diligence says that they’re out there wait- ing for a weed to come up just so they can pull it. The last area of the Grotto Committee’s responsibilities is planning for the future. Many parishioners talk of expanding the grotto by building another shrine, possi- bly in honor of Our Lady of Fatima or the Right to Life movement. Such discus- sions are the source of debate about how to approach the grotto’s management: is SMITHSONIAN FOLKLIFE FESTIVAL the grotto one man’s masterpiece that should be maintained as is and not changed, or is the grotto a community creation that should absorb new artistic endeavors and reflect current religious and political issues? This question is not easily answered in Dickeyville, requiring a balance between the many opinions of parish leaders and grotto volunteers with generations of connection to the grotto. The Dickeyville Grotto is an extraordinary display of religious faith, secular allegiance, personal genius, and community pride. A visit to this south- western Wisconsin roadside gem is well worth the trip. Work Cited and Suggested Resources “Grottos and Shrines, Dickeyville, WI.” N.p., n.d. Niles, Susan A. Dickeyville Grotto: The Vision of Father Mathias Wernerus. Jackson: University of Mississippi Press, 1997. Stone, Lisa, and Jim Zanzi. Sacred Spaces and Other Places: A Guide to Grottos and Sculptural Environments in the Upper Midwest. Chicago: The School of the Art Institute of Chicago Press, 1993. The Story of the Dickeyville Grotto. 9 min. Richland Center, WI: Nova Video, 1995. Anne Pryor is a cultural anthropologist who specializes in religious traditions and children’s folklore. She is also a specialist in Jolklife education and conducts teacher workshops and school residencies. Currently, she works for the Wisconsin Arts Board on the staff of the Wisconsin Folklife Festival. 1998 pine Harvest Rethinking Categories: The Making of the Pahiyas A hundred years after the leaders of the Philippine Revolution declared their archipelago a nation, Filipinos maintain an intense fascination for the develop- ing shape of that body politic. We talk eran — indeed incessantly — of the relative strength of in and other allegiance araus in the fabric of the nation and the dynamic balance differences. We wonder aloud about the way we think in our tenacious vernaculars, even as we maintain fluency in universal lan- guages. Particularly during elections, we carry on about the relationships between the ambitions in cities and the longings in rural areas and between charismatic leaders and their eager, if fickle, follow- ers. As the 1998 century-mark of the declaration of Philippine independence etween our many similarities and approached, we had impassioned debates about the historical narratives which instill pride — or demand pause. We conjured hundreds of ways of explaining who we are and why we do things as we do, all the while maintaining with cer- tainty that our nation is built on a funda- mental, and perhaps even stubborn, Filipino-ness. At the start of work on this Philippine A child watches the parade of the Pahiyas festival in Lucban, Quezon Province. Kiping, elaborate, colored, rice- flour designs, decorate the windows and balconies of houses throughout the town during this annual May harvest celebration. Photo by D. Martinez, courtesy Cultural Center of the Philippines SMITHSONIAN FOLKLIFE FESTIVAL Marion Pastor Roces Festival program, the first order of busi- ness was to define an approach that engages not only how intricately we artic- ulate identity and reweave tradition with 20th-century passions, but also how we do this while simultaneously expressing delight and dignity, vivacity and solemni- ty. The demand for accuracy of represen- tation has been extraordinarily high. The project was negotiated by the Philippine Centennial Commission with the Center for Folklife Programs & Cultural Studies of the Smithsonian Institution in the con-— text of the Philippine Centennial celebra- tions in the Philippines and of the associ- ated events planned in many cities in the United States. It has been clear from the outset that during these celebrations, Filipinos wish to signal our arrival at a juncture in history where we can enjoy a complex understanding of the deepest sources of our cultural pride. It has been clear that the project’s goal is to express a sophisticated sense of the dynamics of folklife in a national formation. Thus, the _ Cultural Center of the Philippines (CCP), the implementing agency for the project on the Philippine side, assembled a project team of independent cultural workers and began working with the Smithsonian to create a Festival concept and presentation to communicate that sense of arrival and register that refined understanding. 1 The Philippines program is produced in collaboration | with the Cultural Center of the Philippines and the Philippines Centennial Commission and is supported by the American International Group, Inc., The Starr Foundation, Bell Atlantic, the Philippine Centennial Foundation/USA, and the Asian Cultural Council. 1998 Pahiyas: A Philippine Harvest The Philippines Ifugao Kalinga-Apayao Province Province e@Baguio LUZON Pampanga Province Malolos, Bulacan Province Manilax e@Paete e@Lucban @Paracale e@Batangas MINDORO PALAWAN SAMAR VISAYAN ISLANDS CEBU LEYTE Cebu City Aklan Province PANAY NEGROS @Bacong Bukidnon Province MINDANAO Cotabatoe Maguindanao Province Davao del Sur South Province Catabato Province SULU ARCHIPELAGO Conscious of the pitfalls of viewing tra- dition as a static legacy from the past, the research team under the direction of Dr. Lennette Mirano guided planning with a sure grasp of the persistence of tradition- al culture in contemporary experience. Dr. Mirano, program director Ramon Obusan, project manager Eva Marie Salvador of the CCP, and their respective associates each brought to the project the 1998 benefits of long years of experience with cultural analysis and representation. The project has been built on their well-estab- lished connections with long-term efforts of cultural institutions and academic cen- ters. In the course of working with, sup- porting, and helping articulate the special devotions of traditional artists, these institutions and centers have identified those rare individuals and groups in many parts of the Philippines who have SMITHSONIAN FOLKLIFE FESTIVAL A map of the Philippines highlighting the home- towns and provinces of Festival participants. invested whole lifetimes in mastering their art forms. These artists have achieved such ievels of virtuosity that there can be no doubt of the continued power of their forms to move people today, even across extremely wide cultur- al and social divides. Early in the planning, the team decided to rethink the categories promoted by many previous presentations of Philippine culture which subsequent scholarship has shown to be “thin” and lacking in descriptive power. For instance, separate historical experiences have heretofore justified the now-standard division of Philippine peoples into low- land Christians, Muslims, and highland “pagan” or “tribal” groups. These cate- gories, however, are not useful in under- standing the cultural forms shared across contiguous areas of the Philippines. Those similarities are pronounced despite differences in religious beliefs or experiences during the colonial period. Happily, co-curator Dr. Richard Kennedy endorsed the possibility, for instance, of exploring relationships among diverse musical traditions that use percussion instruments, or among celebrations and rituals associated with harvest, or among gift-giving traditions from all over the Philippines. Work on the Festival proceed- ed with great energy in anticipation of possibilities such as masters of carving traditions from Muslim, Christian, and animist groups sharing a single space, or cooks from a wide variety of Philippine culture areas demonstrating their com- mon relationships with the food sources in the archipelago. More importantly, the project team felt the need to consider the links among art forms normally separat- ed by the disciplines of those who study them. Hence our plans embody the hope that some viewers may intimate connec- 3? iyas: A Philippine Harvest Staff of the Cultural Center of the Philippines carry out research near Lake Sebu, in southern Mindanao, in preparation for the 1998 Smithsonian Folklife Festival. Photo by Richard Kennedy tions between weaving traditions and musical forms, and between the processes of metallurgy and those of food prepara- tion. The project team also wanted to bring together a wide variety of beating and pounding processes — finishing cloth made from the Musa textiles (wild banana) plant, the drone melodies of gong music, repoussé goldworking, hulling rice with mortar and pestle — to convey a sense of rhythm that seems to be universal in the Philippines. As long-time cultural workers, mem- bers of the project team were aware of the difficulties inherent in a festival — particularly one in a foreign land — which often make it impossible to communicate the nuanced relationships that exist in traditional contexts among artists, materials, processes, perfor- mances, and their audiences. Moreover, logistical limitations make it impossible to represent all Philippine languages, regional groups, or forms of traditional art. The Festival emphasis on local traditions, which may be long-standing, inaudible at a distance, and highly dependent on context for their meaning, may require that they be abridged, ampli- fied, or reconfigured. Framing the artists in physical structures that inevitably are simulacra of fragments of home and per- haps in conceptual categories that do not resonate with the way the artists under- stand their own experience also leads to compromise. These can make artists and audiences uncomfortable and lose an opportunity for cross-cultural communication. However, the project team has taken these problems as creative challenges in their work of cultural translation. The meanings may not wholly carry over, but the effort is valuable in a world constant- ly recrafting ways to celebrate and honor those among us who courageously, inventively, and often joyfully carry a valuable past into the future. Our empha- sis on relationships across domains embodies the Festival project team’s determination to achieve fresh perspec- tives in translation. The 80 Philippine master artists hon- SMITHSONIAN FOLKLIFE FESTIVAL mae te ored by the Smithsonian Institution and their nation have in common — aside from their exquisite levels of achievement — a strength of character that has enabled them to meet the challenge of modernity by accepting and reworking certain aspects of it. Many of the artists are savvy about recordings and other —_| forms of documentation, marketing tech- niques, alliances with other communities and countries, public presentations, dis- cussions, and political action. Individually and as a group they lay to rest the weary stereotypes of the primitive or the abject rural peasant. Although many of them are poor by the standards of urban society, they all project a grace, a pride, and a sense of assurance which _ seem to issue from the aesthetic pleasure and wisdom inherent in their chosen art | forms. | Finally, these remarkable artists share a | common involvement in elaborate sys- tems of exchange, reciprocity, and gift- giving — a theme we have chosen to highlight at the Festival. Their lives are essays on gift-giving: mentors of younger generations, diplomatic representatives to worlds outside their communities, custo- — dians of artistic creation, performers and | makers of the implements of celebrations. | They represent the spirit of pahiyas,a word which collects notions of gem-like | treasures and blessings. Pahiyas is a | shower of gifts and blessings in the celebratory abundance of a harvest. Through these artists, the Philippines | celebrates the centennial of its declara- | tion of independence by asserting its free- dom to construct the future with the culture of gift-giving. | I Marion Pastor Roces is a freelance essayist, editor, consultant, television producer, and curator based in Manila. She has published numerous essays and books on Philippine art and culture and is the author of the book Sinaunang Habi: Philippine Ancestral Weave (1992). 1998 Pahiyas: A Philippine Harvest Rethinking the Philippine Exhibit at the 1904 St. Louis World's Fair Wr do we organize a Festival program? And why does the public attend? These are critical questions asked zy organizers of the Philippine program at the 1998 Smithsonian Festival. The same questions were asked in 1904 of the Louisiana Purchase Exposition in St. Louis, one of the last great fairs from the golden age of world expositions. The answers given to the questions nearly 100 years ago, however, were quite different from those we give today. The 1904 Louisiana Purchase Exposition celebrated the centennial of the 1803 purchase of the Louisiana Territory from France, which represented the first major expansion of American territory. The public sentiments support- ing expansion in 1904 were not dissimi- lar to those in 1803. In the late 19th cen- tury, the nation responded to the tragedies of the Civil War by isolating itself from major foreign engagements, just as it had done for similar reasons in the late 18th century. But by the 1890s, a spirit of adventure spurred economic and military interests to expand U.S. territory for the first time beyond its borders. Americans were ambivalent about this expansion, at times supporting the doc- trines of Manifest Destiny and Social Darwinism, which seemed to ordain the country’s expansion, and at other times expressing dislike of any American involvement in colonial rule. In the mid- 1890s, President Cleveland resisted 1998 Richard Kennedy The midway at the 1904 Louisiana Purchase Exposition in St. Louis was the center of the world’s fair that Henry Adams called “the first creation of the twentieth century.” As part of the celebration of the centennial of the 1803 U.S. purchase of the Louisiana territory from France, the fair presented the cultures of the Philippines, territory bought from Spain in 1898. Photo by Frances Benjamin Johnson, courtesy Library of Congress demands for the annexation of Hawai'i and the invasion of Cuba, but by 1898, President McKinley had made Hawai'i a territory and ignited the short-lived Spanish-American War by sending troops to Cuba to assist the overthrow of Spanish rule. The Philippines was inad- vertently drawn into that war when Assistant Secretary of the Navy Teddy Roosevelt asked Commodore George Dewey to launch a surprise attack on the Spanish fleet protecting Manila, Spain’s colonial capital for over 300 years. The United States won the Spanish- American War, and for the public many earlier doubts about engagement were resolved. By 1904 it seems that America was prepared to celebrate the Louisiana SMITHSONIAN FOLKLIFE FESTIVAL Purchase centennial as well as its newly gained territory with a major world’s fair. Among the newly acquired lands were the 7,000 islands of the Philippines. Americans had initially indicated some support for the Philippine independence movement but did not recognize its 1898 declaration of independence from Spain (now being celebrated at this Smithsonian Festival in 1998). The McKinley administration, in a highly con- tentious decision that accompanied the end of the war, then bought the country from Spain for $20 million. By 1899, American guns turned on the insurgents, and in the end as many as 200,000 Filipinos may have died as a result of the 41 Pahiyas: A Philippine Harvest htine. More than 70,000 American sol- liers were involved. These developments drew much criticism in the United States. lhe St. Louis Exposition was planned to be the biggest fair in U.S. history; Henry \dams called it “the first creation of the twentieth century.” Following and in the same spirit as the great 1893 World’s Columbian Exposition in Chicago, the Louisiana Purchase Fair celebrated explo- ration and conquest. It was meant to out- shine Chicago, but in the annals of world expositions St. Louis is not as well known — most people are familiar with it pri- marily through the 1944 film and title song “Meet Me in St. Louis.” Spread over 1,270 acres (twice the size of Chicago’s cel- ebration), the fair followed the pattern of past expositions but on a much grander scale: it featured individual state exhibits, “palaces” of industry, education, agricul- ture, etc., and international pavilions. In addition, over 400 international congresses and meetings were held in the city during the six months of the fair, and the 1904 Olympics were staged nearby. However, what particularly distinguished St. Louis were the size of its anthropology section and the degree to which attempts were made to construct authentic environments for its participants. The grandest of these constructs was the Philippine Exposition. This special exhibition was also called the Philippine Encampment or the Philippine Reservation, and together these terms reflect some of the conflicting atti- tudes expressed in the program. In dis- cussing the participation of the Philippines in the fair, some advocates of American expansion were concerned that “display- ing” Filipinos would hurt the chances of The Metcalfe sisters photographed the 1904 fair exten- sively. Here one of the sisters (at right) is photographed with a Bagobo participant. About 30 people from the Bagobo community in central Mindanao were part of the 1,200-member Philippine delegation to the fair. Photo by the Metcalfe sisters, courtesy Smithsonian Institution National Anthropological Archives convincing the American public that the newly conquered country should eventual- ly become a part of the United States. The inclusion of model schools, bands, and police drill teams was thought to balance a program that to some appeared to pre- sent a “primitive” culture. So the term “encampment” highlighted the presence of disciplined military troops, civic order, and, in effect, terrain familiar to the pub- lic. On the other hand, the term “reserva- tion” made a clear reference to American Indians and, by implication, created a par- allel between the takeover of the Philippines and that of the American West. Both these messages were encoded in the Philippine Exposition program. Many players were involved in the exposition, which cost $15 million. Individuals, the U.S. government, and the city of St. Louis each committed $5 million in the hopes that an event of profit (from entrance fees and fair sales) as well as of world importance would take place. The $1.1 million Philippine program similarly had a variety of supporters. In 1902, the U.S. Colonial Administration in Manila allocated $250,000 (later supplemented with another $250,000) for the program. Behind the decision was President SMITHSONIAN FOLKLIFE FESTIVAL Roosevelt himself, a leader in the Spanish- American War, and Philippines governor William Taft (soon to be secretary of war and then president). W.P. Wilson, director of the Philadelphia Commercial Museums, was soon appointed to be head of the installation, and Dr. Gustave Niederlein, also from Philadelphia, was placed in charge of collections. John Barrett, com- missioner-general for Asia at the fair, called on the business community to orga- nize a committee to advise the govern- ment on the project, and many of the exhibits in the forestry, agriculture, and commerce pavilions would portray the natural resources and potential riches of the Philippines. The fair was part trade show, and thousands of examples of crops, tropical woods, and other goods were exhibited in addition to Philippine ethnic communities. For the presentation of Philippine cul- ture four major ethnic villages were built. A copy of the walled city of Intramuros in Manila housed, among other things, cap- tured weapons. A plaza surrounded by reconstructions of official buildings con- tained the above-mentioned topical pavil- ions, including an ethnology exhibit in a building modeled on a Manila cathedral. 1998 Pahiyas: A Philippine Harvest The symbolism of the site design was clear. After crossing a bridge and walking through the walled city, the visitor would come upon the center of the exhibition, the Plaza St. Thomas, which represented in the minds of the organizers the most “civilized” aspects of Philippine society. Also in the plaza, the education pavilion presented the educational activities of American teachers. Nearby were the parade grounds and bandstand in which the more than 400 members of the Philippine constabulary paraded, drilled, and were housed. These troops were also brought to police the site. The four villages — Igorot, Negrito, Visayan, and Moro — representing a diversity of Philippine communities, were placed in a circle outside the central plaza. This diversity was important to the orga- nizers. The 19th-century process of estab- lishing administrative control of new lands created among many imperial powers an obsession with categorization as a way of understanding (and taxing) colonial pos- sessions. Scholars often assisted their efforts. The turn of the century was in some ways a golden age of applied anthro- pology. President McKinley's Philippine specialist, Dean Worchester, for example, proposed a division of Philippine people into 84 “tribes” — 21 Negrito, 16 Indonesian, and 47 Malay. The official cat- alogue of the exhibition takes the catego- rization further, stating that 103 “groups” out of 144 and 308 “classes” out of 807 were represented. The specific meanings of these crude categories seem less important than the fact that attempts were being made to represent a hierarchical cultural diversity. The Report to the Exposition Board claimed, While all of the 70 or more groups of people in the archipelago could not be represented, there were the least civi- lized in the Negritos and the Igorots, the 1998 PHILIPPINE. Exposition WORLDS FATE ST. LOUIS, MO. W. 2 Watson eee The Philippine exhibit at the 1904 World’s Fair was an elaborate re-creation of elements of Philippine culture. Surrounding the central plaza were buildings displaying Philippine commerce, forestry, culture, and education, and the U.S. role in their development. Skirting the center of the exhibit were the “villages” of the Igorot, Negrito, Moro, and Visayan participants. Plan reproduced from William P. Wilson, Official Catalogue. Philippine Exhibits. Universal Exposition (St Louis: The Official Catalogue Co., Inc. 1904), courtesy Library of Congress semi civilized in the Bagobos and the Moros and the civilized and cultured in the Visayans as well as in the Constabulary and Scout organizations. In all other respects — commercially, industrially, and socially — the exhibit was a faithful portrayal. SMITHSONIAN FOLKLIFE FESTIVAL Defining degrees of “civilization” was an important message of the fair. The 335 ethnic Philippine participants included members of the Bontoc, Suyoc, and Tinguian (collectively known as Igorot) communities in upland mountain Luzon; Bagobo from Mindanao; two 43 Pahiyas: A Philippine Harvest \iuslim Moro groups from Zamboanga; and a variety of Negrito and Visayan com- munities. Singers, dancers, and musicians performed regularly on stages from 11 A.M. to 6 pM., and craftspeople such as pina (pineapple fiber) weavers and basket mak- ers demonstrated their skills. They were housed on the site and were paid for their presentations. The specifics of the selection process of participants were not recorded other than that Dr. Niederlein was appointed in September 1902 to begin working with local administrators throughout the Philippines to identify peo- ple and goods for participation in the exhibition. Except for one or two Philippine names on the various commis- sions, the selections seem to have been made entirely by American officials. The choice of the tribal communities led to extensive media coverage, and perhaps as a result the Igorot village was one of the most popular at the fair. In response to charges that this coverage was exploita- tive, a report to the Exposition Board stat- ed, “It is not true that the savages have been unduly exploited at the expense of the more dignified exhibits, but no amount of emphasis on commercial exhibits, constabulary drills and Scouts parades has distracted attention from the ‘dog eaters’ and ‘head-hunters’.” The Philippine exhibition at the 44 St. Louis World’s Fair was the product of many voices. The dominant one spoke of the rich potential of America’s newest colony and the important role civilization would play in the development of this dis- tant land. But other voices wanted simply to show how other cultures live and to “promote peace and good will.” Audiences certainly did come to see these “others,” and heard all these voices. And undoubt- edly some came to stand for a moment in the dawn of the new century to reflect on the new status of America in the world. Organizers of the fair had encouraged this. A hundred years later the voices involved in the organization of the 1998 Philippine Festival program have been quite different, as Marian Pastor Roces writes in her article in this volume. The Festival team organized by the Cultural Center of the Philippines in Manila researched, conceived, and produced an event that, at its heart, honors and puts at the center master artists. The Festival aims to present their traditions with sensitivity and does not by implication, as in 1904, present these artists as representatives of stages of civilization. Artists were selected for their ability to keep their tradition vital and relevant in the contemporary world. And, most importantly, the Festival enables artists to speak for themselves. At the cen- tennial of its declaration of independence the Philippines is strong enough to be proud of the traditions of all its people and to let them speak for themselves. SMITHSONIAN FOLKLIFE FESTIVAL — eS a e Suggested Reading Breitbart, Eric. A World on Display, Photographs from the St. Louis World's Fair, 1904. Albuquerque: University of New Mexico Press, 1997. Karnow, Stanley. /n Our Image, America’s Empire in the Philippines. New York: Ballantine, 1989. Lowenstein, M.J., comp. Official Guide to the Louisiana Purchase Exposition. St. Louis: The Official Guide (0., 1904. Rydell, Robert W. All the World’ a Fair: Visions of Empire at American International Expositions, 1876-1916. Chicago: University of Chicago Press, 1994. Terry's 1904 World's Fair home page at www.inlink.com/~terryl/index.html Richard Kennedy is co-curator of the Philippines program at the 1998 Smithsonian Folklife Festival. He is deputy director of the Smithsonian Center for Folklife Programs & Cultural Studies, where he also has co-curated Festival programs on Hawaii, Indonesia, Thailand, and Russian music. He was chair of South Asian Area Studies at the U.S. State Department's Foreign Service Institute. Pahiyas: A Philippine Harvest Masters of Tradition in the Modern World eyeacnon bearer is sometimes stereotyped as a quaint relic in a remote setting, admired and extolled but isolated and left behind by the times, focused on the past while others face forward to the future. Staff of the Community Crafts Association of the Philippines film basket makers in Manila. As part of a project to train traditional craftspeople to market goods directly through the Internet, these basket makers learn to photograph and write about their work for direct sale on the Web. Photo courtesy PEOPLink The year-long research that identified “traditional Filipino artists” for the 1998 Folklife Festival made it clear that this figure does not exist. The picture that emerged was strikingly different. Most artists were equally at home in villages and in more cosmopolitan settings. Born and raised in traditional communities, many had come to the cities as young people to study or find work. There they learned to negotiate with modernity. But they chose to invest their training, educa- 1998 tion, and energy in traditional culture, though knowing full well that it is easier to reject the old ways while living in the city. They have become masters of their traditions despite pressure from the swift change that engulfs the cities and every village in the Philippines. They under- stand commerce and have found ways to maintain standards of excellence against demands for mass production. Well aware of the emphasis on glossy and elaborate production values in the entertainment industry, they have decided to project the SMITHSONIAN FOLKLIFE FESTIVAL Elena Rivera Mirano subtler and healthier values that reflect older ways of thought and living. And some of them have been able to enlist government and corporate support for their individual and collective programs. Three accounts from our research files fill in these general outlines with glimpses of the human experience reflected in Philippine traditional arts. Victorino Saway Victorino Saway was 16 when he first saw the city. His father was the great Datu Kinulintang, leader of the Talaandig peo- ple and epic singer from the southern mountains of Bukidnon. He was sending his third son, Vic, to the University of the Philippines in Manila to transcribe and translate the Agyu epic. Vic had attended school in his home village of Sungko and was excited about going to the city. But the university disoriented him. Sitting at a desk, listening to his father’s taped per- formances day after day, he realized that the epics, which he had never paid atten- tion to because they were old-fashioned, were difficult to understand. One day, he recalls, he asked a young Mansaka sitting beside him for help. The latter chided him, “I’m having enough trouble deci- phering my own language, and you ask me about yours?” After three weeks, Vic gave up and went home. But the datu would not give up. When Carmen Unabia appeared in Sungko looking for an assistant for her own dis- sertation research on the Agyu epic, Vic was enlisted. He had begun to understand his father’s intent. Later the datw packed him off to Silliman University, and by the time he graduated with a bachelor’s degree in anthropology, he had learned to sing the Agyu as well. 45 \ Philippine Harvest Aga Mayo Butocan presents Maguindanao kulintang music in Manila. Photo by Richard Kennedy Two graduate degrees later, Vic, now also known as Datu Migketay, is a respected Talaandig leader. He was instrumental in drafting the newly signed Indigenous Peoples’ Rights Act (IPRA), which seeks to protect the rights of indigenous people to their traditional lands, and is now busy explaining the law to these groups all over the Philippines. Recently, he was appointed commissioner of the National Commission on Indigenous People (CIP) created under the new law. On the community level he and his many talented and far-sighted siblings have organized a preschool for the traditional arts in Sungko that is a model for the teaching of indigenous culture in the Philippines. Children from the age of three onwards learn songs, dances, 40 games, and stories of their people as well as the rudiments of reading and count- ing. Their older siblings in elementary and high school congregate here after class hours to learn to make and play instruments, embroider, weave, and man- ufacture clay beads in the traditional way. Their elders who teach in the school share with the members of the communi- ty their expertise in plant and herb lore, myth recitation, ritual performance, and methods of healing. In this way, they con- sciously ensure that the wisdom of Datu Kinulintang’s generation is handed down. Aga Mayo Butocan When she was asked to teach Maguindanao kulintang at the Department of Music Research in the University of the Philip- pines in 1968, Aga Mayo Butocan was a 19- year-old schoolteacher in the seacoast vil- SMITHSONIAN FOLKLIFE FESTIVAL lage of Simuay on the island of Mindanao. She was an accomplished player in the village, but she had never taught elin- tang in school. Nor had anyone else in the Philippines, for that matter, tried to teach this ancient Southeast Asian form of bossed gong music in school. Aga’s naturally reflective spirit rose to meet the challenge, supported by a quiet strength that had served her well as a young student who traveled through crocodile- infested waters to reach the Cotabato Public High School three hours away from Simuay. The Muslim village girl who persisted came back to her village with a teacher’s certificate. Later she had | come to Manila hoping to get accepted into a more advanced teacher training | program, but, lacking important political _| connections, she could not get in. The job 1998 Pahiyas: A Philippine Harvest ‘T had to study myself,...[ had to learn about my own body, mind, and spirit.” at the University of the Philippines was a valued opportunity. The challenges Aga faced in the first years were formidable. Outside of the island of Mindanao, most Filipinos were not aware of kulintang, and there were no models for teaching it other than the traditional system of listening and imitat- ing. In the capital city of Manila, music students were well versed in Bach and Beethoven, jazz and rock ’n’ roll, but had never heard of kulintang. Aga herself had never conceptualized the kulintang. Meeting students’ needs, teaching them to play for eight hours a day, five days a week, she was forced to think through her playing, to focus on how she moved, what she thought about, and how she felt as she played. “I had to study myself,” she recalls. “Before I could understand what the kulintang meant, I had to learn 1998 —Aga Mayo Butocan about my own body, mind, and spirit.” Slowly, she developed a method that has been elaborated and published as the textbook for teaching kulintang-playing in Philippine schools of music. In her 30 years of teaching she has taught the kulintang to thousands of students. She has inspired many composers, teachers, and researchers. She has organized and trained kulintang ensembles that have played all over the world. Despite a grow- ing clamor for dramatic and showy preci- sion in performance, she maintains a tra- ditional improvisational style that is quiet, reflective, and focused on the spirit. Benecio Sokkong Although the office of peace-pact holder is handed down from a father to a son in communities in the northern Cordillera mountains, the selection is further refined by criteria of social stature, skill SMITHSONIAN FOLKLIFE FESTIVAL A group of Kalinga men participate in a budong (peace pact). Photo courtesy Cultural Center of the Philippines in negotiation and diplomacy, and knowl- edge of ritual and protocol. In this way, a community assures itself that it will be well represented in intra- and intervillage disputes about land, security, peace-keep- ing, and domestic conflict. The communi- ty leader who holds the pact is the one who is entrusted with negotiating and recording its terms. Benny Sokkong is the chosen budong (peace pact) holder of the village of Tanglag, Lubuagan, in the province of Kalinga. As a young boy, he watched and listened as his father held sensitive discussions with elders from other villages. He saw how peace and harmony were ensured. By the time he came down to Manila in 1978, hoping to study den- tistry, he was already skilled in the ritual preparations of materials involved in holding peace pacts. Lacking the means 47 Pahiyas: A Philippine Harvest nance his education, Benny took a night job as a security guard. He also became a member of BIBAK, a cultural organization of highlanders from the northern Cordilleras with a chapter in Manila. Although BIBAK was conceived as a performing group that could be invited to school programs, cultural shows, and festivals to present northern Cordillera culture, it also developed into a support group for highlanders in the city. It helps organize traditional weddings, funerals, and other large community events, and it transports people, equipment, and mate- rials to and from these events. Benny found himself working not only with kinsmen from Kalinga but also with other highlanders from different parts of the Cordilleras. His triple life in Manila — as security guard, dental student, and culture bearer — intensified as he was about to finish his dental degree. He accepted an invita- tion to teach Kalinga music at the University of the Philippines. With the teaching job came lucrative work as an instrument maker. Cordillera culture has a high visibility in Manila, and many schools, cultural troupes, and community organizations regularly purchase its frag- ile bamboo instruments. They know their reliable source is the instructor at the 48 College of Music, not commercial centers like the Baguio market, for the instru- ments there are made for the tourist trade. Now a dentistry graduate and working as a dental technician, Benny set up a workshop/factory in Baguio city, the hometown of his wife, who is a Kalinga- [baloi nurse. The new facility has made it easier to keep up with orders, and his res- onant instruments, full of the sound of the mountains, fulfill their purposes in rituals and other cultural events. Benny continues to commute to Quezon City in metropolitan Manila to teach at the university every week. But he travels just as regularly to Tanglag to set- tle disputes and conflicts among his kins- men. He looks forward to the day when he, like his father before him, will offici- ate at a full-scale budong, a peace pact between communities, which requires an intimidating array of financial, physical, cultural, and spiritual resources, but which assures these communities a har- monious, peaceful coexistence. Reviewing the life stories of these admirable men and women, one can begin to reflect on the questions, what is tradition, and how is it related to the national life of the Philippines a century after the birth of the nation? Tradition is society's perception that there are proper ways of doing things. Undertaking activi- ties in the right way is important because SMITHSONIAN FOLKLIFE FESTIVAL this ensures the health and well-being of the community. As conditions change and time passes, parts of tradition may alter or even disappear to suit changing needs, — but the core, the heart of the “proper way,” must remain recognizable. The tra- dition bearer has invested time and ener- gy in mastering the knowledge, skills, and meaning needed for “the proper way.” Thus, as artist and community are drawn into conditions of change, the cen- ter can stand to remind us all of what is healthy, whole, and lasting. The germ charged with meaning is passed on, grows, and develops. Traditional masters have made a difficult journey in time and space while living and acting in a world full of tumult and change. The core, the germ of their vision and wisdom, will carry us all, as a nation, into the future. Elena Rivera Mirano is professor of music at the University of the Philippines. She is an author and performer of traditional Philippine music. Her book Subli: One Dance in Four Voices won the 1989 Philippine National Book Award. She is also artistic director of the Cherubim and Seraphim, the official children’s choir of the University of the Philippines. | 1998 Pahiyas: A Philippine Harvest Traditional Music in Philippine Cultures [? an environment of modern, technological material- ism, Philippine musical traditions remain rooted in epeaanty and ancient wisdom about life and nature. They provide valuable, alternative perspectives on Philippine life, tat and culture. Even a fleeting survey of these musical traditions reveals a multisided prism that reflects Philippine society and culture as a complex amalgam of forms in time and space. These forms present striking varieties and nuances, and delineate not only distinct regional and cultural borders and social structures, but also connections to peoples and cultures outside the Philippines. kulintang are suspended in pyramid for- mation from the lowest drone gong (bandil) to the highest of the melodic gongs called sagungguan. The gongs of the kulintang from western Mindanao are laid in a row. In the ensembles of the The kaleidoscopic variety of indigenous musical traditions is easily seen in their instruments, performance techniques, repertoires, and languages. Flat gongs, from the uplands of northern Luzon, are played in a variety of styles and in groups ranging from five to six musicians among the Kalinga, Bontoc, Bago, and Gaddang communities, to an ensemble of three among the Ifugao, accompanied by a single conical drum among the Applay, and an ensemble of two gongs and two drums among the Ibaloi of Benguet. Such an abundance of musical styles also can be found for bossed (knobbed) gongs, which cover a much wider area from Palawan to the southern islands of Mindanao and Sulu. Among the Bagobo, Manobo, and Bla’an in eastern Mindanao, sets of graduated gongs called Maguindanao, Maranao, Tausug, Sama, Yakan, and Subanen, the kulintang is Musicians from the Manobo community in Malaybalay, Bukidnon Province, Mindanao, perform on the tangkol (bamboo zither) and kudyapi (stringed lute). Instruments like these are found throughout the Philippines. Photo by E. Caballero, courtesy Cultural Center of the Philippines 1998 SMITHSONIAN FOLKLIFE FESTIVAL Ramon P. Santos musically complemented by larger gongs with varying resonance and tone colors. On the other hand, aerophones (flutes and trumpets), idiophones (buzzers, stamping tubes, log and bamboo slit drums), and chordophones (lutes and zithers), mostly made of bamboo and local timber, also represent specific lan- guage groups and communities through their physical and musical characteristics. Melodic drones from these instruments usually combine with kinetic movements in physical and metaphysical space to create an intense, integrated form of expression. This integration is character- istic of pagipat healing rites of the Maguindanao and the death ceremonies of mattala’'tam among the Aetas from Kalinga Apayao and himmung among the Ifugao. Vocal repertoires offer an even more intriguing variety of forms and styles, from epics such as the Ifugao’s Hudhud and the Mansaka’s Manggob to forms of lyrical poetry and recitation, e.g., the 49 Musicians on harp and guitar play lively balitaw songs based on the Spanish jota and sequidilla, on the island of Cebu. Stringed instruments introduced by the Spanish in the 17th century remain popular today in traditional Philippine music. Photo by Rey S. Rastrollo, courtesy Cultural Center of the Philippines lbaloi badiw, Maranao bayok, and Kalinga dango. Another type of oral repertoire evolved in Christian communities across the archipelago in four centuries of cultural encounter between East and West. These musical expressions took their present hybrid forms through aesthetic assimila- tion, selective synthesis, and cultural cross-breeding. The varying degrees of acculturation mirrored in these forms indicate the people’s resiliency and cre- ative response to change while preserving fundamental aesthetic values. In Christian population centers, indige- nous practices such as epics and rituals gave way to musical resources introduced by Spain. One of these is the long romance narrative later known as awit and kurido. The genius of local literary composers easily assimilated this form, creating highly imaginative stories that combine characters and events from medieval Europe with local heroes and familiar places. Although initially dissem- 50 inated as written literature, the awit and kurido in time became committed to oral memory and were easily quoted in formal and informal discourse. Related genres from Spain also became part of the musi- co-literary and theatrical experience of the early Christian Filipinos, including the komedya and its subgenre moro- moro, named for its perennial plot of Christian-Moorish conflict, and the sar- swela, romantic comedies featuring members of the Philippine upper class at the turn of the 20th century. In these communities, gongs and bam- boo instruments were replaced by the guitar; by the rondalla, a plucked string ensemble that evolved from the Spanish estudiantina, by the comparza, the brass band, and its local versions, the musikong bumbong and banda boca; and by a variety of instrumental group- ings that accompany other vocal and the- atrical performances. The impact of Christianity can also be seen in the hybridization of religious practices in rural communities. The sanghiyang in Cavite province is still a trance ceremony, but its practitioners now invoke the names of saints and use rosary beads and scapulars. In Batangas, the swbli, a secular folk dance propagat- ed since the 1930s, is now being rediscov- ered as a complex religious ritual of semi-improvised dances, chanting, and drum playing in honor of the Holy Cross and the Holy Child (Santo Nino). Locally created musical activities are mostly related to the liturgical cycle of Christmas, Lent, Easter, and Santacrusan, the May commemoration of the finding of the Holy Cross by Constantine and Helena. The spiritual depth of rural Christian Filipinos comes to the surface during Lent, when people perform parali- turgical rituals and acts of self-abnega- tion and penitence. The chanting of the life and Passion of Christ, pabasa and pasyon, and their theatrical reenactment, senakulo, are almost synonymous with SMITHSONIAN FOLKLIFE FESTIVAL popular Filipino religious worship, whether they are expressed in Tagalog, Kapampangan, Ilonggo, Sebuano, or Bicol and whether they use ancient regional airs or rock ’n’ roll tunes. The dynamic kaleidoscope of musical life in Philippine cultures has assumed a significant role in nation-building over the last 100 years. From their virtual iso- lation and derogated status in the emerg- ing Christian society of the 19th century, these musical practices have gained new strength in the present century. Indigenous and folk artists are now closing ranks with their urban counter- parts to form their own cultural troupes, creating their own choreographies, and sometimes performing Western-derived tunes on gongs and bamboo instruments. As contributors of new structural forms and aesthetic meanings to contemporary musical expression, traditional musical cultures have been selectively adapting to the artistic norms of mainstream society, not only to survive, but also to continu- ously enrich and expand the techniques and repertoires of their unique musical heritage. ( e e Suggested Listening Folk Songs of the Philippines. Folkways 8791. Hanunoo Music from the Philippines. Folkways 4466. Music of the Magindanao in the Philippines, vols. 1 and 2. Folkways 4536. Ramon P. Santos, an ethnomusicologist as well as a composer, is a professor of music at the University of the Philippines. His own works are strongly influenced by his stud- ies of Philippine and Asian musical tradi- tions. He is also secretary-general of the National Music Competition for Young Artists. 1998 Pahiyas: A Philippine Harvest Philippine Food hat is the most typical Philippine food? Is it sini- gang, a cold, sour stew that equally accommodates fish, meat, fowl, or prawns — so refreshing in hot weath- er? Is it adobo, meat, shellfish, or vegetables cooked in vinegar, which keeps without refrigeration? Is it pancit, the many kinds of noodles found at all celebrations? Could it be rellenong manok, the capon stuffed for Christmas? Or might it be pritong manok, chicken fried after a vinegar and garlic marinade? Even Filipinos cannot frame a simple answer to the question, so varied is their cuisine. Sinigang is obviously indige- nous, with all its ingredients found in the countryside, and with its analogs in Southeast Asia. Adobo, too, is indigenous but bears a Spanish/Mexican name, per- haps because of its similarity to the Mexican adobado. Pancit is obviously a Chinese contribution, but it has been indigenized by native ingredients and tastes. The capon and its stuffing are Spanish in origin and the fried chicken is American, but both have been adapted to the local palate. The variety is explained by history and social adaptation. First, there was food drawn only from natural surroundings: marine, river, and other creatures from the waters on and around the archipel- ago’s 7,000 islands; other animals: fowl, birds, and other creatures from field and forest; and vegetation for edible leaves, pods, seeds, roots, flowers, tendrils, as well as spices, condiments, and fruits. Indigenous cuisine is found everywhere with regional differences depending on the ecosystem: lowland or highland, inte- rior or shoreline. Chinese traders, who have been visiting since the 9th century or earlier, brought noodles, soybean products, and pork. 1998 Their dishes entered the local diet at a popular level, and are now found in mar- kets, sidewalk carts, restaurants called panciterias, school cafeterias, and homes of all social levels. So indigenized has comida china become that some dishes bear Spanish names — probably because panciterias were among the first places for public eating during the Spanish colo- nial period. Most of the dishes have been so well integrated into eating patterns that many Filipinos consider them not foreign but native born. Spanish dishes and cooking techniques came with the colonizers and instantly assumed positions of prestige. For one thing, many of their principal ingredients — olive oil, saffron, hams, and sausages — were imported and expensive. For another, the food of officials, friars, and other foreigners seemed superior and desirable because these people comprised an elite social class. Thus, fiesta food is often Spanish: paella, stuffed turkeys and chickens, morcon, mechado, and rich desserts of the Spanish tradition. Christmas, too, features Spanish dishes, since Christianity arrived with the Spaniards: jamon en dulce, ensaimadas, queso de bola, apples, oranges, and chestnuts. American dishes and preparation styles — pressure-cooked, precooked, fast, and SMITHSONIAN FOLKLIFE FESTIVAL Doreen G. Fernandez A meal served on banana leaves in Paete, Laguna Province. The foods in this meal were prepared mostly from local products and include bagoong (shrimp paste) and sticky rice, representing an indigenous cuisine. Photo by Richard Kennedy instant foods — were introduced with American colonization, education, stan- dards of hygiene, and technology. The multitude of advertisements for ham- burgers, fried chicken, fast food, junk food, and soft drinks might make one think that this is the most typical Philippine food. But typical Philippine food is all of the above. The indigenous cuisine is alive and well in the provinces, where the ingredients are always available, inexpen- sive, and sometimes even free. The flavor- ing sauces and dips — patis or fish sauce, bagoong or shrimp paste, and calamansi (native lime) — are used alone or in combinations to fine-tune even foreign food to local palates. The indigenous, peasant diet of rice, fish, and vegetables has been rated by nutritionists among the healthiest in the world with its high carbohydrate/low protein level and minimal fat. ail Pahiyas: A Philippine Harvest Indigenized cuisines originally from China, Mexico, and the United States are fairly ubiquitous, although more readily found in towns and cities, in restaurants large and small, and on the tables of the middle and upper classes. Imported or foreign cuisine that has not been indigenized is eaten and under- stood as foreign: Japanese, Italian, French, and Middle Eastern. Globalization has made these cuisines known, avail- able, and attractive through the media and through the experience of travelers, the educated, and those who have worked and lived abroad. Indigenous, indigenized, and imported foods meet and mix on the Philippine landscape. They speak of a history of trade, colonization, foreign influence, and social transformation. They also illumine the social structure. At home among peasants and workers, indigenous cuisine can also be found on the elite’s tables, where it is the food of memory — childhood and provincial beginnings and ancestral holiday tables. Methods of preparation may have changed from long, slow boiling over wood fires to microwave cooking, but Ww bo indigenous cuisine does not seem likely to disappear under the onslaught of fast food, for it remains a deep cultural and personal preference. Indigenized cuisine is found on urban and upscale tables and in public eating places. The Philippines has the best Spanish restaurants in Asia because they are not foreign here, but part of a 300- year history. Imported food is generally expensive and exclusive, although stalls selling shawarma (Middle Eastern skew- ers of meat) established by returning overseas contract workers are creeping into villages and subdivisions. Tasting the local variations in Philippine food is savoring the many fla- vors of the Philippine culture and envi- ronment. Try kinilaw, for example, on an island like Bohol. Fish from clean waters is dressed fresh with palm vinegar and condiments to create one of the islands’ oldest dishes. Sample the /echon at a bar- rio fiesta. Unlike the Spanish cochinillo asado, this could be a full-grown pig stuffed with tamarind or lemongrass leaves and spit-roasted over coals. Compare the many varieties of pancit: from seaside towns served with oysters, squid, or shrimp, from inland communi- SMITHSONIAN FOLKLIFE FESTIVAL A meal served on china in Malolos, Bulacan Province. The recipes for several of these dishes are inspired by Spanish cuisine, and include the use of vinegar, saf- fron, and olive oil. Photo by Richard Kennedy » ties served with meat and vegetables, its noodles fat or thin, transparent or opaque with egg, shaken in broth or water (/uglog), sautéed or fried, sauced or plain. Try dishes that retain their native names: /aing, taro leaves with coconut milk and chile; pinais, shrimp and young coconut wrapped in banana leaves and steamed in coconut water. Taste Chinese dishes with Chinese names — lomi, mami, kekiam — and those with Spanish names — arroz caldo, | camaron rebozado. Venture to taste the | work of young chefs who prepare mango, coconut, and venison in nouvelle ways. | Try local fried chicken; let your tongue | tell you how it differs from American | style and illuminate for you some princi- | ples of Filipino flavor. Food is not only for the eating, but also | for the contemplation of history, society, — and taste. Suggested Reading Fernandez, Doreen G. Tikim: Essays on Philippine Food and Culture. Manila: Anvil Publishing, Inc., 1994. Doreen Fernandez is professor of literature | and communication at the Ateneo de Manila University. She writes books and articles on cultural, theater, literary, and culinary history. Her weekly column, “In | Good Taste,” appears in the Philippine Daily | Inquirer. 1998 Pahiyas: A Philippine Harvest Filipino-American Youth Performing Filipinicity b ilipinicity, according to nationalist scholar Antonio Molina, is the quality of being Filipino regardless of location or surroundings, a quality that describes many Filipino-American youth in America. How can we understand their cultural identity, created from a Philippine her- itage in an American context? Any expla- nation is necessarily complex, given their diversity of language backgrounds, class origins, and histories in the United States. Filipino Americans (informally, Fil-Ams) have successfully assimilated into the American mainstream, often becoming invisible to the general population while remaining highly visible to one another. Filipinos came to America over 250 years ago, before the Philippines or the United States was a nation. The pioneer Filipino Americans were crew on Spanish galleons that brought luxury goods from China to Mexico for eventual transship- 1998 ment to Europe. They sailed from ports such as Vigan and Manila for the six- month voyage to Acapulco, Mexico. There some jumped ship, and by the close of the 18th century, these seamen had estab- lished the first documented Filipino set- tlement in America in the bayous near New Orleans. Filipino settlement in the United States was gradual; groups came under a variety of circumstances and for a variety of rea- sons. Besides serving on ships, “Manilamen” (another term for Filipinos) worked on the haciendas of Mexican California, and some were even enlisted as members of the Royal Hawaiian Band. By the turn of the 20th SMITHSONIAN FOLKLIFE FESTIVAL Ricardo D. Trimillos century young intellectuals began study- ing in the United States as pensionados (government-sponsored scholars). A decade later sakadas (workers) were pro- viding cheap and dependable labor for the plantations of Hawai'i, the farms of California, and the salmon industry of Alaska and Washington. Although the early migrants were mostly male, they were eventually followed by couples and entire families. World War II brought another opportunity — citizenship which could be obtained by serving in the U.S. armed services. Until the outbreak of war in 1941, the Philippines’ commonwealth status made relocation to the United States simple. Following the end of the war the number of U.S.-bound Filipinos increased despite U.S. efforts to limit it. They were encouraged by relatives already in the States, by opportunities for study and work, and by the promise of a better life than their postwar homeland could offer. After the imposition of mar- tial law and the rise of the Marcos dicta- torship in 1972, there was another wave of emigration largely from the profes- sions, business, and academe. Meanwhile, ongoing since 1898, the American military, missionaries, and businessmen were bringing home Filipina brides, and Filipino men living in the States were marrying non-Filipinas. Their part-Filipino offspring would fur- ther enrich Fil-Am identity and shape its version of Filipinicity. Young Filipino-American dancers perform the tinikling at the annual Philippine Festival in Washington, D.C. This dance from the Visayan Islands has become a standard part of most Filipino-American community gatherings as well as public events. Photo by Paul Tahedo 53 Pahiyas: A Philippine Harvest Danongan Kalanduyan, director of the Mindanao Kulintang Ensemble of Seattle, Washington, performs with his group. Filipino Americans and others join to perform music from the Muslim region of Mindanao. Photo by Xander Hobayan Strategies for identity formation in America have been both proactive and defensive, the former arising from pride in cultural achievement and the latter from anxiety about cultural loss through assimilation. Instrumental to both strate- gies, folk dance is the oldest and most widespread focus for Filipino identity. Organized by adults for their children, the dance represents a community-based, grassroots effort to maintan identity. Filipino youth come together (under watchful parents, of course!), participate in cultural learning, and garner positive recognition from non-Filipinos through public performance. Dance groups gener- ally draw upon the choreographies of Bayanihan, the Philippines’ most success- ful folkloric company. For example, their tinikling bamboo dance has become a cultural icon and is now practically de rigeur for the close of any dance pro- gram. More recently some American troupes, like the L.A.-based Kayamanan ng Lahi, are pursuing greater ethno- graphic integrity by seeking models directly in community culture bearers. The rondalla (plucked string band) is 54 the ubiquitous ensemble of the Spanish- influenced lowlands and stands as a Philippine national icon. It provides fes- tive accompaniment for song, dance, and socializing. Rondallas were popular among prewar immigrants, who soon learned, however, that playing in American dance bands was much more profitable. At present there are youth ron- dallas in such diverse locations as Boston, San Diego, and Seattle. It is a challenge to sustain rondallas overseas. Their musical demands are high — one must be able to play by ear and by nota- tion, and their instruments are crafted only in the Philippines, principally in Pampanga and Cebu. A rondalla is pre- sented at the Smithsonian Festival. Filipino choral groups are very popu- lar: three centuries of Spanish Catholicism have made choral singing central to Philippine heritage. The chorus is also popular in many Fil-Am commu- nities, which sponsor groups such as the Philippine Chorale (New York City), the Mabuhay Singers (Daly City, California), and the Silangan Singers (Honolulu). Choral singing is often the major, if not SMITHSONIAN FOLKLIFE FESTIVAL the only, opportunity for youth to become © familiar with Philippine languages. Folk choral genres from the Visayas also are featured in the Festival. Youth have sparked an interest in kulintang, the gong-chime tradition of Muslim groups from the southern Philippines. Cultural organizations in New York (Amauan) and in California (World Kulintang Institute in Los Angeles, Kulintang Arts in San Francisco) have ) received National Endowment for the Arts | (NEA) grants to support residencies by master artists Dr. Usopay Cadar of the Maranao tradition and Danongan Kalanduyan of the Maguindanao. Kulintang master Kalanduyan is the sin- gle Filipino-American artist who has been awarded the prestigious National Heritage Fellowship from the NEA. Although most students have lowland Christian rather than Muslim forbears, they have become serious participants in the genre. Its ascendancy has significance for cultural identity: kulintang is clearly a Southeast Asian tradition without Spanish or American influence and is related to the gamelan gong orchestras of Java and Bali. It has become an icon of decolo- nization: associated with high status as entertainment in the courts of the sul- tanates and structured by a highly codi- fied system of music theory, improvisa- tion, and aesthetics, it is art music. Maguindanao kulintang is included as part of the Folklife Festival program. Young Fil-Ams have also resuscitated several moribund traditions. Thirty years ago, for example, they initiated a renais- sance of Philippine martial arts, particu- larly escrima and arnis, which were maintained in secret by early immigrants to Hawai‘i and California. There are now a national association, a calendar of competitions, and studios and clubs nationwide. As cultural activists, Filipino-American descendants from the mountain tribes of Luzon formed BIBAK, a network for Pahiyas: A Philippine Harvest Members of BIMAK, an organization in the Washington, D.C., area, participate in the annual Philippine Heritage Parade in Washington, D.C. BIMAK represents Filipino Americans whose families came from upland tribal communities in Luzon. BIMAK and BIBAK organizations across the United States are proud of their heritage and work to keep these traditions alive in their families and communities. Photo by Paul Tahedo defending the cultural rights of upland cultures. Members of these societies, which were put on display at the 1904 St. Louis Exposition and subjected to exoticization and other forms of misrep- resentation, are now demanding accurate and respectful treatment of their heritage. BIBAK, an acronym for the five major upland linguistic groups, provides work- shops on culture, crafts, dance, and music for the general community. It actively assists folkloric dance groups in appreciating the upland repertory. Each BIBAK chapter has young people in posi- tions of responsibility. The Kalinga upland group is presented at the Festival. Fil-Am youth have been creative in the present climate of pluralism and multi- culturalism, using opportunities to explore heritage that were not available in previous generations. Pilipino Cultural Nights (PCNs), presented on numerous college campuses, are evidence of this creativity. Most universities with a signifi- cant population of Filipinos (internation- al students as well as Fil-Ams) have them. Their typical format includes a selection of folk songs and dances, usually drawn from the Bayanihan repertory. In a style reminiscent of the homeland’s bodabil (vaudeville) shows, humorous skits about the Philippines and, increasingly, about life in America are interspersed. Recent PCNs sometimes select a single theme or create a unifying story line. More than just entertainment, some productions address social issues such as glass ceil- ings in employment for minorities, U.S.- Philippine relations, and “Tita Aida” 1998 (AIDS). Remarkably, PCNs are entirely organized, rehearsed, and presented by students, as one year’s producers share their experience with the next. Although originally intended as educational out- reach to the non-Filipino community, they have become largely a celebration of Filipinicity for friends and family. The PCN model has given rise to similar efforts by Korean, Chinese, and Vietnamese campus groups. We can encounter Filipinicity in a vari- ety of social settings, each reflecting a dif- ferent kind of commitment to heritage. In a nontraditional cultural setting, for example, an emergent Fil-Am theater addresses issues of homeland and dias- pora. For example, “Scenes from an Unfinished Country 1905/1995,” a work by the Pintig Cultural Group (Chicago), explores themes of American interven- tion. Sining Kulisan & Pinoy Ink [sic] (Vallejo, California) treats the Spanish period in its production, “Heart of the Son.” The adjective “Filipino” for jazz, rock, and hip hop carries specific and positive connotations in regional com- SMITHSONIAN FOLKLIFE FESTIVAL mercial music businesses. In classical music, besides performing Schubert and Bach, Fil-Ams may mark Filipinicity by programming kundiman art song or folk-inspired compositions, such as the violin classic “Hating Gabi.” In even more nontraditional settings, performing Filipinicity may involve a sar- torial dimension — for example, using accessorized kimona or barong tagolog (embroidered gauzy overblouse or over- skirt) as nightclub wear. It may also involve creating in-jokes by appropriating slang: three young L.A. artists collectively call themselves “The Badaf Pinoys.” (“Pinoy” is an informal, in-group term of self-reference derived from the final sylla- bles of “Pilipino,” while “Badaf” defies direct translation.) There are private displays of identity as well. For example, individual families continue regional customs of the reli- gious year. The Cebuano celebration of the Santo Nino (Christ Child) still takes place during January in Hawai'i, California, and Illinois, replete with songs, prayers, santos (icons), and food. 55 These World War II veterans are members of the Veterans of Foreign Wars Vicente Lim Post 5471 in Oxon Hill, Maryland. More than 120,000 soldiers from the Philippine Commonwealth Army fought alongside Americans against the Japanese. Thousands of these soldiers resettled in the U.S. after the war. Photo by Paul Tanedo During Holy Week, families in Washington, Texas, and West Virginia per- form the pasyon, a vernacular poetic account of Christ’s Passion that begins with Creation and ends with the Final Judgment; it also has songs, prayers, san- fos, and food. In New Jersey and Nevada Muslim Filipinos observe Ramadan with daytime fasting and singing the maulid, a poetic account about the life of the Prophet. These are the less public parts of identity. Pasyon and other religious gen- res are part of the Festival. There are challenges to the identity of Fil-Am youth. Assimilation looms large. Among early immigrants its pull was very strong. Its forces had already been at work in the homeland: an American- based public education system, a U.S.- style democracy, and a high degree of English fluency. In general, first-genera- tion immigrants kept many customs, maintained foodways, and retained their languages, speaking Bikolano or Pangasinan at home, for instance. The 56 second generation (the first American born) maintained some foodways, had passive understanding of the languages, and kept some of the customs, such as touching the back of an elder’s hand to one’s forehead as a sign of respect (mamano). The third and fourth genera- tions — most of today’s Fil-Am youth — are often unaware of which Philippine language their elders spoke, observe few of the customs, and know only a few of the Filipino foods served at celebrations, such as spring rolls (umpia), marinated meat (adobo), baked rice cake (bibingka), and banana fritters (cambo/maruya/baduya). But there is a contrasting segment of Filipino-American youth composed of the newly arrived. Typically having received early schooling in the Philippines and coming from urban rather than rural areas, they are au courant with the latest Manila fashions and music; their food- ways reflect the eclecticism of the pre- sent-day Philippines; and they are fluent in the national language, Pilipino, and often in another regional language. The two groups constitute polarities: at one end are the children of “old-timer” families, who do not speak a Philippine language, and who feel they have paid their dues by confronting generations of racism in America; and at the other is the “1.5 generation,” Filipino newcomers, who are generally unaware that their way was paved by the old-timers. These con- trasts generate tensions between, for example, an upwardly mobile third-gen- eration student from a farm labor back- ground and a Manila-oriented 1.5-gener- ation youth from a professional family who affects Philippine versions of cloth- ing, music, and dance. On a continuum between these polari- ties are other groups, including part- Filipino children, whose Filipino identity may be problematic and varied, depend- ing upon whether the other parent is Anglo, African, Asian, or Native American. SMITHSONIAN FOLKLIFE FESTIVAL Filipino identity is made even more com- plex by the emergence of ethnically defined gangs. The Centennial celebration itself prob- lematizes identity for Filipino-American youth. It raises issues about the two rele- vant countries — one, the source of eth- nic heritage, the other, the place of citi- zenship. U.S. intervention in the Philippines a century ago interrupted the © development of an independent Asian nation. However, that intervention enabled today’s youth and their forbears to become part of American life. Fil-Am identity emerges directly from the com- plex commingling of these two national and cultural streams. We hope that Filipino-American youth will find in our Festival program, Pahiyas: A Philippine Harvest, resonant moments of encour- agement and self-recognition. Suggested Reading Gonzalves, Theo.The Show Must Go On: Production Notes on the Pilipino Cultural Night.” Critical Mass 2, no. 2 (1995). Tiongson, Nicanor. “Filipinicity and the Tagalog kKomedya and sinakulo.” Kulture 1, no. 2 (1998). Tiongson, Nicanor, ed. CCP Encyclopedia of Philippine Art. Manila: Cultural Center of the Philippines, 1994. Trimillos, Ricardo D.“Music and Ethnic Identity, Strategies for the Overseas Filipino Youth Population.” Yearbook for Traditional Music 18(1985): 9-20. -“Asian American music, 6. Southeast Asian, ii. | Filipino.” In The New Grove Dictionary of American Music, ed. H.Wiley Hitchcock & Stanley Sadie, vol. 1, 83-84. London: Macmillan, 1986. Ricardo Trimillos is chair of Asian Studies and professor of elhnomusicology at the University of Hawaii, Manoa. He is also a research associate of the Cultural Center of the Philippines, Manila, and a member of the Advisory Board of the Smtibsonian Center for Folklife Programs & Cultural Studies. 1998 | \ ' { | | NS tio Na tic he Bal Th > Baltic Nations \ Song of Survival he Baltic nations emerged on the world news scene in 1988 and 1989 as if from nowhere. For 50 years they had literally disappeared from the map, subsumed into the monochromatic zone of the USSR. Only occa- sionally would Americans hear that the United States did not recognize the illegal incorporation of the three nations into the Soviet Union. When Gorbachev invoked glasnost and perestroika to release the tight controls on eco- nomic, political, cultural, and social life, the people of the three Baltic Demographics Estonia: Geographic size: 17,375 sq. miles; Population 1.5 million; Language: Estonian (offical); Religion: Lutheran, Russian Orthodox; Ethnic groups: 60% Estonian, 30% Russian, 1096 Other Latvia: Geographic size: 24 950 sq. miles; Population 27 million; Lanquage: Latvian (official); Religion: Lutheran, Roman Catholic, Russian Orthodox; Ethnic groups: 57% Latvian, 30% Russian, 4% Belarussian, 9% Other Lithuania: Geographic size: 25, 175 sq. miles; Population 3.7 million; Language: Lithuanian (official); Religion: Roman Catholic, Protestant, Russian Orthodox; Ethnic groups: 85% Lithuanian, 8% Russian, 7% Other countries organized grassroots movements that pushed the experiments to new limits. The demand to discuss the past openly and to raise the issue of “divorce” from the USSR startled and irritated the Kremlin. On August 23, 1989, people in the Baltics formed a human chain stretching 430 miles, connecting Tallinn, Riga, and Vilnius. They remembered the day in 1939 when Hitler and Stalin had made a secret pact that sealed their fate. Their 58 RUSSIA POLAND FINLAND Gulf of Finland RUSSIA ESTONIA Lake e Vos’ Tartu Kihnu@ Island eValga Riga Bay e . Valmiera LATVIA e Rézekne eee Daugavpils Siauliai A e Panevezys LITHUANIA e Kaunas Vilnius BELARUS Alytus massive demonstration told the world that they existed as nations and that they yearned to be masters of their own des- tiny. They sang their messages and called it the Singing Revolution. The strength of their conviction came from centuries of consciousness of who they are as people, bound by language, customs, and belief. The fact that they settled this Baltic coast so very long ago and stayed there while other tribes and SMITHSONIAN FOLKLIFE FESTIVAL Elena Bradunas nations migrated around them gave them a strong territorial claim. That their languages were neither Slavic nor | Germanic helped to insulate them through the many years of subjugation to those more powerful neighbors. The conservatism of the peasants who kept strong ties to land and customs enabled | traditions to endure. | Already in the 18th century, when the — Romantic Movement was sweeping | through Europe, the “lore” of these small | nations had been recognized, first by for- | eign and eventually by their own intel- | lectuals. The first Estonian and Latvian | national song festivals, held in 1869 and ! 1873 respectively, reawakened a sense of f unity. This ethnic awareness built a } national pride in all three countries that | led to their proclaiming independence from Russia in 1918. The period of independence was short lived, however, as World War II ushered in — the Soviets, then the Germans, and then the Soviets again, unleashing a blood bath © in all three Baltic lands and years of oppression. Closed borders, forced collec- | tivization, and strict controls on all aspects of cultural and social life did much to break the natural continuity of customs and traditions. However, language held its own in all three countries, despite dictums that everyone learn Russian. Privately, and cooperation with the Estonian Government and Estonian Ministry of Culture, the Latvian Government | and Latvian Ministry of Culture, and the Lithuanian Government and Lithuanian Ministry of Culture. Additional support comes from the Cultural Endowment of Estonia, the American Latvian Association, and the Lithuanian Foundation. This program is made possible by and is produced in 1998, | The Baltic Nations very carefully, people still held on to reli- gious beliefs and some family traditions. In Estonia, television antennas faced Finland so that people could have a glimpse of life in the West. Writers, artists, and scholars devised clever ways to circumvent Soviet censorship. For example, folklorists would argue that, under Soviet ideology, the ordinary folk, recording traditional cultural expressions increased on the professional, academic, and grassroots levels. Local folk in vari- ous rural regions and young people studying in urban settings formed per- forming groups to perpetuate song, dance, and musical traditions. Every- where there was an impetus to learn as much as possible about the past and to independent countries, society is under- going many changes. The market econo- my is affecting daily life, not always bene- ficially. Western popular culture is exert- ing a homogenizing influence, especially on the younger generation. The desire to join the ranks of “modern nations” some- times clashes with the urge to celebrate one’s cultural uniqueness. Will the people like the proletariat, should be held in esteem. In this way one could defend the study of pre-Soviet songs, tales, and tra- ditions, and interest in authentic folklore became a form of subtle resistance. During the 1970s collecting and Suggested Reading General Baltics Clemens, Walter C., Jr. Baltic Independence and Russian Empire. New York: St.Martin’s Press, 1991. Kirby, David G. The Baltic World 1772-1993. London & New York: Longman, 1995. Lieven, Anatol. The Baltic Revolution: Estonia, Latvia and Lithuania and the Path to Independence. 2nd ed. New Haven: Yale University Press, 1994. Misiunas, Romuald J., and Rein Taagepera. The Baltic States, Years of Dependence 1940-1990. Berkeley: University of California Press, 1993. Smidchens, Guntis.“A Baltic Music: The Folklore Movement in Lithuania, Latvia and Estonia, 1968-1991.” Ph.D. diss., Indiana University, 1996. Estonia Oinas, Felix J. Studies in Finnic Folklore. Bloomington: Indiana University Uralic and Altaic Series, vol. 147. Raun, Toivo. Estonia and the Estonians. 2nd ed. Stanford: Hoover Institution Press, 1991. Taagepera, Rein. Estonia: Return to Independence. Boulder: Westview Press, 1993. Latvia Dreifelds, Juris. Latvia in Transition. New York: Cambridge University Press, 1996. Plakans, Andrejs. The Latvians: A Short History. Stanford: Hoover Institution Press, 1995. Skultans, Vieda. The Testimony of Lives: Narrative and Memory in Post-Soviet Latvia. London: Routledge, 1998. Lithuania Bindokiene, Danute Brazyte. Lithuanian Customs and Traditions. Chicago: Lithuanian World Community, Inc., 1989. Eidintas, Alfonsas, with Vytautuas Zalys and Alfred Erich Senn. Lithuania in European Politics, The Years of the First Republic 1918-1940. Ed. Edvardas Tuskenis. New York: St. Martin’s Press, 1997. Milosz, Czeslaw. The Issa Valley. New York: Farrar, Straus, Giroux, 1981. Rowell, S.C. Lithuania Ascending. New York: Cambridge University Press, 1994. Senn, Alfred E. Gorbachev's Failure in Lithuania. New York: St. Martin's Press, 1995. 1998 actively relate that knowledge to the present. These activities were in full swing in the late 1980s. The numerous folk ensembles became an integral part of the mass rallies com- prising the “Singing Revolutions” in all of the Baltic countries continue to prac- tice and cherish their traditions now that these no longer serve the function of political resistance to a foreign oppressor? Hopefully, they will, although inevitably some transformations will occur. Our guests from the Baltic nations at the Festival have lived through many swift and significant changes. They have much to show and tell; we have much to learn. three Baltic nations. Some say they could not imagine the national re-awak- ening having occurred without the ensembles and the entire folklore movement. These ensembles continue to play a vital role today, as the authors in this sec- tion describe in their essays. In these newly e e e,e Baltic-American Communities merica has been connected to the Baltic countries primarily through the Baltic-American communities. Earlier immigrants lobbied the U.S. gov- ernment to recognize the fledgling countries at the end of World War |, and they continued to rally aid for them. After the countries were forcibly incorpo- rated into the Soviet Union, newly arrived refugees worked hard to ensure that the U.S. government would never recognize the legitimacy of that incor- poration. Many families did their best to aid relatives left behind or exiled to Siberia. For themselves they created their own press, ethnic education pro- grams for their youth, and a rich cultural and social network throughout the country. When the Iron Curtain finally came down, they rejoiced in near-dis- belief. Since then, many have been making frequent trips to their homelands and also hosting visiting guests and relatives here. Some Baltic Americans have returned from abroad to work in their professional capacities or even in politics. The most recent example is the current president of Lithuania, who is from Chicago. The Smithsonian Festival provides a forum for Baltic Americans to join in the presentation and celebration of their cultural roots. Elena Bradunas, an anthropologist and folklorist, worked at the American Folklife Center, Library of Congress, from 1977 to 1985 and is now based in Hawaii. Her pri- mary documentary work has been among the Lithuanian-American immigrants in the anthracite region of Pennsylvania. Since 1990 she has been making extended annu- al visits to Lithuania and studying the role of folklife in the post-Soviet society. SMITHSONIAN FOLKLIFE FESTIVAL 59 Traditional Culture in Estonia n prehistoric times the Finno-Ugric tribes, including ances- tors of the Estonians, populated vast areas between the Ural Mountains and the Baltic Sea. Estonian culture developed in close contact with the Balts (ancestors of the Indo-European Latvians and Lithuanians) and other Indo-European peoples: Scandinavians, Germans, and later also Russians. In the 13th century the Estonians were conquered by the Danes and Germans. In time, the German landholders took possession of the entire territory of Estonia, and most Estonians were reduced to serfdom. In 1721 Estonia became part of the Russian empire. Estonian Ingrid Ruutel Tallinn Paideve ESTONIA Lake e Vorts Tartu Pafnu e eValga LATVIA The Baltic Nations: Estonia yeasants remained serfs of the German andholders until the feudal system was ibolished in the middle of the 19th entury. The antiserfdom movement was wccompanied by a national awakening vith emphasis on Estonian-language ducation and publications and collect- ng folklore, as well as on political rights. Mn February 24, 1918, following the Russian Revolution, the independent Republic of Estonia was proclaimed. The var of independence against Russia was nded by the Tartu Peace Treaty on february 2, 1920, when Russia agreed orever to relinquish claims over Estonia. Nevertheless, the secret agreement in 1939 between Hitler and Stalin, the noto- “ious Molotov-Ribbentrop Pact, resulted in he Soviet invasion of Estonia and its annexation to the Soviet Union in 1941. This was in turn followed by the Nazi occupation. Both occupations were accompanied by political repression and deportations; Estonia lost one-fourth of its population. These losses were “replaced,” in accordance with the Soviet resettlement and russification policy, by hundreds of thousands of colonists from Russia. The perestroika led by Gorbachev sparked a unique movement, known as the Singing Revolution, in Estonia and other Baltic states. The efforts by Estonians to restore their independence succeeded; on August 20, 1991, the inde- pendent state of Estonia was restored. stonia’s folklore today falls into three basic categories. There is a repertoire of con- temporary folklore — anec- dotes, children’s games and rhymes, student songs, etc. — which is orally transmitted. Traditional music, dances, and tales, which live in the mem- ories of older people and continue to be practiced, are orally transmitted and also preserved in archives (the central archive for folklore and traditional music being the Estonian Folklore Archives in Tartu at the Estonian Literary Museum). The third form, the so-called secondary tradi- tion or folklorism phenomenon, consists of traditional heritage that has been transmitted through written sources, tapes, radio and television programs. It takes on a “second” life in modern soci- ety, in a new context, and is a resource for contemporary amateur and profes- sional art practice. The preservation of national culture and identity has been a vital question in Estonian history: nation-building as well as our very persistence as a nation have been extremely difficult under various occupations and subordination to A region where traditional culture has persisted with- out disruption is Setumaa. Pictured is a Setu wedding. Photo by Kaido Haagen SMITHSONIAN FOLKLIFE FESTIVAL Russians and Germans for hundreds of years. It continues to be vital in the pre- sent, because of the large Russian popu- lation in Estonia and because, as UNESCO’s “Recommendation on the Safeguarding of Folklore” (1989) describes, small nations are always more threatened by cultural assimilation in the situation where the adherence to one’s own culture “is often eroded by the impact of the industrialized culture pur- veyed by the mass media.” In two regions of Estonia the living tradition of folk song, dance, and music has managed to survive with its integrity intact up to the present time. These are the small island of Kihnu, off the western coast of Estonia, and the southeastern corner of Estonia, Setumaa. In Kihnu, people have preserved the ancient wedding ceremonies, singing old alliterative verses in Kalevala meter (the regilaulud or runosongs), and dancing traditional folk dances. Such weddings derive from clan wedding ceremonies that confirm the contract between two lineages. They have pre-Christian origins and are essentially similar to the ancient wedding rites of other Baltic-Finnic peo- ples. The “two-part” wedding is celebrat- ed separately at the homes of both the bride and the groom; the old ritual songs are performed at the main events in which both clans participate. An important wedding rite is the distri- bution of the dowry. The bride’s dowry chest has to be filled with items made by her and her friends, and this tradition has supported the persistence of handi- craft skills. Also worth noting is that the wedding ceremony includes dancing of old folk dances, which in other settings were long ago replaced by modern dances. Only in the last decade have old folk dances regained their place along- side contemporary dance forms in Kihnu’s public social events. Although the old wedding rites and songs have lost their religious and magi- cal connotations, they have retained their 61 The Baltic Nations: Estonia Traditional Culture in Estonia Ingrid Ruutel n prehistoric times the Finno-Ugric tribes, including ances- Z tors of the Estonians, populated vast areas between the Ural Mountains and the Baltic Sea. Estonian culture developed in close contact with the Balts (ancestors of the Indo-European Latvians and Lithuanians) and other Indo-European peoples: Scandinavians, Germans, and later also Russians. In the 13th century the Estonians were conquered by the Danes and Germans. In time, the German landholders took possession of the entire territory of Estonia, and most Estonians were reduced to serfdom. In 1721 Estonia became part of the Russian empire. Estonian Pafnu e Tallinn Paideye ESTONIA The Baltic Nations: Estonia peasants remained serfs of the German landholders until the feudal system was abolished in the middle of the 19th century. The antiserfdom movement was accompanied by a national awakening with emphasis on Estonian-language education and publications and collect- ing folklore, as well as on political rights. On February 24, 1918, following the Russian Revolution, the independent Republic of Estonia was proclaimed. The war of independence against Russia was ended by the Tartu Peace Treaty on February 2, 1920, when Russia agreed forever to relinquish claims over Estonia. Nevertheless, the secret agreement in 1939 between Hitler and Stalin, the noto- rious Molotov-Ribbentrop Pact, resulted in the Soviet invasion of Estonia and its annexation to the Soviet Union in 1941. This was in turn followed by the Nazi occupation. Both occupations were accompanied by political repression and deportations; Estonia lost one-fourth of its population. These losses were “replaced,” in accordance with the Soviet resettlement and russification policy, by hundreds of thousands of colonists from Russia. The perestroika led by Gorbachev sparked a unique movement, known as the Singing Revolution, in Estonia and other Baltic states. The efforts by Estonians to restore their independence succeeded; on August 20, 1991, the inde- pendent state of Estonia was restored. stonia’s folklore today falls into three basic categories. There is a repertoire of con- temporary folklore — anec- dotes, children’s games and rhymes, student songs, etc. — which is orally transmitted. Traditional music, dances, and tales, which live in the mem- ories of older people and continue to be practiced, are orally transmitted and also preserved in archives (the central archive for folklore and traditional music being the Estonian Folklore Archives in Tartu at the Estonian Literary Museum). The third form, the so-called secondary tradi- tion or folklorism phenomenon, consists of traditional heritage that has been transmitted through written sources, tapes, radio and television programs. It takes on a “second” life in modern soci- ety, in a new context, and is a resource for contemporary amateur and profes- sional art practice. The preservation of national culture and identity has been a vital question in Estonian history: nation-building as well as our very persistence as a nation have been extremely difficult under various occupations and subordination to A region where traditional culture has persisted with- out disruption is Setumaa. Pictured is a Setu wedding. Photo by Kaido Haagen SMITHSONIAN FOLKLIFE FESTIVAL Russians and Germans for hundreds of years. It continues to be vital in the pre- sent, because of the large Russian popu- lation in Estonia and because, as UNESCO's “Recommendation on the Safeguarding of Folklore” (1989) describes, small nations are always more threatened by cultural assimilation in the situation where the adherence to one’s own culture “is often eroded by the impact of the industrialized culture pur- veyed by the mass media.” In two regions of Estonia the living tradition of folk song, dance, and music has managed to survive with its integrity intact up to the present time. These are the small island of Kihnu, off the western coast of Estonia, and the southeastern corner of Estonia, Setumaa. In Kihnu, people have preserved the ancient wedding ceremonies, singing old alliterative verses in Kalevala meter (the regilaulud or runosongs), and dancing traditional folk dances. Such weddings derive from clan wedding ceremonies that confirm the contract between two lineages. They have pre-Christian origins and are essentially similar to the ancient wedding rites of other Baltic-Finnic peo- ples. The “two-part” wedding is celebrat- ed separately at the homes of both the bride and the groom; the old ritual songs are performed at the main events in which both clans participate. An important wedding rite is the distri- bution of the dowry. The bride’s dowry chest has to be filled with items made by her and her friends, and this tradition has supported the persistence of handi- craft skills. Also worth noting is that the wedding ceremony includes dancing of old folk dances, which in other settings were long ago replaced by modern dances. Only in the last decade have old folk dances regained their place along- side contemporary dance forms in Kihnu’s public social events. Although the old wedding rites and songs have lost their religious and magi- cal connotations, they have retained their 61 Nations: Estonia é Baltic ABOVE In 1989, to protest Soviet occupation, Baltic people joined hands to form a human chain that stretched from Estonia, through Latvia, to Lithuania. Photo by Peeter Langovits RIGHT St. John’s Day celebration on Kihnu Island, Estonia. Photo by Veera Nazarova symbolic significance. They promote the importance and festiveness of the wed- ding for the bridal couple and their fami- lies, help to prepare the bride for her new social status, and remind the newlyweds about their duties and responsibilities. The main bearers of tradition in Kihnu have been women. Kihnu men long ago discarded their traditional attire and songs, and the playing of traditional musical instruments, which used to be men’s domain, has today been adopted by women (mainly young girls). Sea- farers since time immemorial, the men have brought innovations back home. The openness of modern society has fur- 49 ther influenced the culture on Kihnu island. Radio, television, tape recorders, and recently also video have become a part of daily life, disseminating the glob- al commercial culture; passive listening has replaced active participation. Many Kihnu youth study on the mainland, where they take up residence after they graduate. In summertime they visit their native island and bring forms of contem- porary urban culture with them. Never- theless, when at home in Kihnu, girls wear traditional striped skirts (the fabric is always woven at home, even if the looms are borrowed) and sing and dance old Kihnu songs and dances. One of the SMITHSONIAN FOLKLIFE FESTIVAL remarkable characteristics of Kihnu cul- | ture is its ability to integrate various ele- ments over the course of time without losing its basic substance. The new has not completely superseded the old. Performing groups on the mainland have adopted some Kihnu songs, dances, | and instrumental melodies in their repertoire. Kihnu folk songs have also inspired professional composers. Thus Kihnu culture, though mainly in its newer forms, is perceived as an integral component of Estonian national culture. Organized folklore groups have become important mediators between traditional and contemporary culture; young people accept such a medium for learning and perpetuating the cultural heritage of their parents. The most famous such group today is Kihnumua, directed by Katrin Kumpan. Performers in the group represent a mix of genera- tions. Members of Kihnumua are fre- quently invited to weddings to perform the role of traditional wedding singers. Wedding songs are led by the older women in the group; girls sing as a cho- | rus and assist the brides. Another region where traditional cul- ture has persisted without disruption is Setumaa, a relatively isolated area whose | population is Eastern Orthodox. Its ancient folk song style has been pre- served, and the elderly women are still masters of their local singing language to the extent that they are able to impro- | vise new songs in the traditional manner. | Also important in Setu are the village feasts — kirmased — which sometimes coincide with a traditional calendar cele-_ bration such as Easter. Setumaa is the only region of Estonia where death laments and rituals of ancestor cults, such as a commemorative meal on a grave, have been preserved. Setu singing deviates considerably from other Estonian folk singing, partic- ularly in its polyphony and performance style. The Setu dialect is likewise unique, even incomprehensible to a northern 1998 The Baltic Nations: Estonia Estonian. While being an essential bearer of identity for the Setus, Setu folk songs, like the culture as a whole, strike other Estonians as strange. This strangeness is sometimes a source of embarrassment to Setus and has caused serious problems for those who have migrated to towns and tried to maintain their identity. A performer and researcher of Setu culture, Oie Sarv, who is the grand- daughter of a great Setu singer, Anne Vabarna, writes: In the environment where I live, there occurs desperate aspiration to mold all people alike, to level any deviation. The inside wants to fight against it, but unfortunately I miss the helping and caring support of my own culture. There are a lot of people like me in Tallinn [the capital of Estonia] and elsewhere, who are not satisfied with the present situation but wish to preserve their ancestral culture, in order to transmit it in turn to their own children. Those phenomena which in the past func- tioned naturally and implicitly should be attended at present consciously... (Sarv 1994:69). 1998 National song festivals are large affairs with the participants numbering in the tens of thousands, and the audiences in the hundreds of thousands. Pictured is the 1990 All-Estonian Song Festival. Photo by Gustav German Organized amateur cultural activities have provided urban Setus with such an opportunity to consciously practice their heritage. Setu ensembles of singers are active both in Setumaa and in cities where Setus have settled. They come together at the /eelopaev festival every three years and various other events. Their main objective is not to perform for an audience, especially for outsiders to the community. More important is the interaction and communication that take place among members of the community and foster the preservation and mainte- nance of cultural identity and unity. The attitude that was cultivated in the Soviet period, and that unfortunately is gaining ground in the current open-mar- ket society — the degradation of local cultural heritage, and traditional culture in general, as something obsolete and worthless — gives an enormous impetus to the bearers of the culture themselves, the young especially, to underestimate it. What is promoted via mass media chan- SMITHSONIAN FOLKLIFE FESTIVAL nels is always more popular. Still, during the last decade, recogni- tion of local cultural traditions has grown and consequently enhanced the appreciation of the native culture by its bearers both in Kihnu and in Setu. But it is impossible to revive all the old forms, and noticeable changes have taken place in those that have been retained. Alongside and/or replacing the old ritu- als and customs, new feasts have arisen in which old songs and dances are used with changed functions and in changed forms. In other parts of Estonia, folk songs, music, and dances have spread mainly in secondary forms. Among amateur folk groups are those which directly carry on the primary tra- dition, i.e., at least some of their mem- bers are authentic tradition bearers and teach younger participants, as is the case with the Kihnu and Setu groups. Other folk music and dance groups perform the so-called secondary tradition. They either 63 Che Baltic Nations: Estonia examples from authentic folklore ind try to perform them in the most gen- uine manner (although the primary tra- dition has been broken and the reper- toire is learned through recorded sources), or they perform folklore The preservation of national culture and identity has been a vital question in Estonian history. arrangements in a more stylized, up-to-date form. Authentic folklore groups, which began to be formed in Estonia in the 1960s, were rather rare. The groups who per- formed stylized arrangements and new creations “in folk style” were preferred at official festivals and were also chosen to represent the national culture abroad. The ideology at the time aimed to merge the nationalities and create new entities — the Soviet people and the Soviet cul- ture. Openly expressing one’s national self-consciousness and ethnic identity, even through the native culture, was regarded as “nationalistic” and was pro- hibited. “Nationalism” was to be replaced with “Soviet patriotism,” which had to be demonstrated at all official festivities. Every festival and even concert program had to be approved by appropriate state organs. The new, choreographed “folk dances” were performed to the accompaniment of special folk music arrangements as well as new works by contemporary com- posers. The so-called folk instrument or folk music orchestras might contain tra- 64 ditional as well as classical musical instruments and always played from written scores. Later, especially in the 1970s, the so-called kilakapellid, “country orchestras,” became popular, representing more spontaneous music- making and hav- ing stronger tradi- tional roots. Many skilled folk musi- cians, true carriers of traditional music, participated (and still participate) in such small orchestras; they were not able to perform as soloists at public festivities for a long time, because their style of music-mak- ing was not officially recognized. Only in the last decade have authentic folk musi- cians become appreciated anew. A new generation of folk musicians has appeared who follow traditional perform- ing styles and teach them to other young people. In spite of the fact that the inner quali- ties of traditional culture were not recog- nized during the Soviet period, that authentic folk art was forced into alien frames, its essence and meaning greatly distorted, even the officially accepted folkloric forms served as a means of national self-expression. The same has been true in the case of large song festi- vals — the first of which was held in Estonia in 1869 — at which numerous amateur choirs from all over the country — tens of thousands of singers — per- form and which hundreds of thousands of people attend. A sense of national and cultural identity and the need to mani- fest it have been carried through the course of history of all these festivities, regardless of what and whom they had to be devoted to officially. Professional composers such as Alo Mattiisen attempted in the 1980s to introduce into rock music elements of folk music — the monotonously repeat- ed melody that lasts one verse line, per- formed by a lead singer and chorus — SMITHSONIAN FOLKLIFE FESTIVAL while the arrangement, sound, and singing style of the singer were those of rock. These songs were performed together with old national songs during the recent “Singing Revolution” and became very popular at political rallies. The lines by the lead singer were repeat- ed by thousands of people, the majority of whom had never before sung old tra- ditional songs nor been rock music fans. (The singing of old folk songs by a lead singer and chorus had also been some- what popular during the Soviet era thanks to folklore ensembles like Leegajus and Hellero, but also thanks to a well-known composer of a number of folk song arrangements, Veljo Tormis, who has promoted such a singing style while performing as a lead singer him- self at various gatherings.) At the 1990 Song Festival, which was organized dur- | ing the process of restoring indepen- dence, barriers between performers and the audience crumbled, and all the par- ticipants joined as one rejoicing mass of — people, singing old and new popular songs and dancing spontaneously. Festivals of authentic folklore — local, | all-Estonian, and international — which started some 15 years ago, represent a new trend in the Estonian folklore move- ment. The first local festivals were Viru Saru in northern Estonia and Setu Leelopaevad and Viljandimaa Virred in southern Estonia. Their goal has been to | bridge the ancient cultural heritage of their district and contemporary culture by acquainting people with authentic traditional customs, songs, dances, instrumental music, games, and tales, popularizing traditional handicrafts, and disseminating the folklore of other The Baltic Nations: Estonia Finno-Ugrians and other cultures around the Baltic Sea. _ The same philosophy lies behind other local festivals (in recent years their num- ber has noticeably grown) as well as the international folklore festival Baltica, the largest folklore event in the Baltic states. This annual festival, begun in 1987, is organized by the Baltic National Com- mittee of CIOFF (Conseil International des Organisations de Festivals de Folklore et d’Arts Traditionnels) and is held in the three Baltic states on a rotating basis. Organizers first and foremost value inner freedom and naturalness in presentation, not stage efficiency. In addition to pre- serving, reviving, and developing national and regional cultural traditions, the Baltica festival aims as well to promote contacts with other countries and nations. The folklore movement in Estonia and in other Baltic countries is one of the reflections of the worldwide folklore movement of the last decades. On the one hand it is connected with the ideals of national identity, of retaining the his- forical and cultural memory of nations; on the other, with the ideals of cultural pluralism. Today the international exchange of folklore groups has become rather exten- sive, as there are numerous festivals in different countries where Estonian sroups participate, and foreign groups often visit local festivals arranged in Estonia. One of the new international festivals was started in 1993 in Viljandi by young graduates of the folk music department established at the Viljandi Cultural College in 1991. Their folk music groups, folk music summer schools, and festivals have become very popular, especially among young people. The essential purpose of international festivals, as we see it, is to widen the cul- tural competence of the Estonian audi- ence, to learn to understand different cultures, and through all this to create a more tolerant society. This way we may also better comprehend the values of our 1998 own traditional culture. Understanding and respect towards strangers together with preserving and ensuring of one’s own identity helps to create harmony; it guarantees the right of all nations and cultures to permanent existence in a lin- guistically, culturally, ethnically diverse, and interesting world. Work Cited and Suggested Reading Koiva, Ottilie, and Rutel, Ingrid, eds. and comps.” Kihnu regilaulud” (Kihnu wedding songs). In Vana kannel (The ancient kanne/). Monumenta Estoniae Antiquae, vol. 7, part 1. Tartu: Eesti Keele Instituut, 1997. Pino, Veera, and Sarv, Vaike.’ Setu surnuitkud |-II’ (The Setu death dirges). Ars Musicae Popularis. Tallinn: Eesti Keele Instituut, 1981-1982. (with Russian and English summaries) Ruiutel, Ingrid.“Estonian Folk Music Layers in the Context of Ethnic Relations.” Paper presented at Congressus Octavus Internationalis Fenno-Ugristarum Jyvaskyla, 10-15 August 1995. In Orationes plenariae et conspectus quinquennales, part 1, ed. Heikki Leskinen. Jyvaskyla, Finland, 1995, 117-141. Sarv, 0.Connections between family and folk culture in modern times.” Abstract of paper presented at the Nordic, Baltic, Finno-Ugric Conference: Family as the Tradition Carrier, Vosu, Estonia, 25-29 May 1994. Tallinn: Folklore Department, Institute of Estonian Language, 1994, 68-69. Vissel, Anu.“ Eesti karjaselaulud |-lV” (Estonian herding songs). Ars Musicae Popularis. Tallinn: Eesti Keele Instituut, 1982-1992. (with Russian and English summaries) e e Suggested Listening Pahnapuu, Vera. Setukeste /aule (Setu folk songs). Comp. Vaike Sarv. Forte FA 0084 (Tallinn). Cassette. Setu Songs. Global Music Centre, Mipu Music MIPUCD 104. Suu laulab, sida muretseb. .. (an anthology of Estonian folk songs). Comp. |. Ruutel. Forte (Tallinn). CD (with English and Russian summaries) Ingrid Riititel, director of the Folk Music Department of the Institute of Estonian Language, holds degrees in folklore, tradi- tional music, and philological sciences. She has studied and collected the folk music of Estonians and other Finno-Ugric peoples and published 200 scholarly works. She is a member of the scientific board of the Inter- national Institute of Traditional Music in Berlin and a liaison member of the Inter- national Council for Traditional Music. SMITHSONIAN FOLKLIFE FESTIVAL 65 Latvian Traditional Culture and Music alvia is a northern European country on the eastern shore of the Baltic Sea, with a territory of 24,950 sq. miles. It is gen- erally flat and forested, with higher elevations in the northeast and east, where there are numerous lakes. The original inhabi- fants were Indo-European-speaking Balt tribes and Finno- Ugric Livs, of whom only a small group has survived on the northwestern shore and in some towns. Latvia's present popula- tion is more than two and a half million, of whom almost a million live in its capital, Riga. For 300 years after the German Crusaders’ conquest in the 13th century, Latvia and Estonia were ruled — under the name of Livonia — by the Livonian Order and the Catholic Church. Livonia was dissolved in 1561, and three parts of what is now Latvia developed separately: Kurzeme as the Duchy of Courland; Vidzeme as a part of the Latvian-Estonian province Liefland, ruled by the Swedes; and Latgale as a part of the Polish-Lithuanian state. After the Russian conquest in the 18th century they became three separate provinces within the Russian empire. Latvia achieved its independence in 1918, 66 SMITHSONIAN FOLKLIFE FESTIVAL Valdis Muktupavels Latgale LATVIA Kurzeme e Liepaja Rézekne Zemgale Daugavpils e Street musicians Trae On) MCU eM Elan) 1998 | The Baltic Nations: Latvia uniting the three distinctive regions. Latvia was occupied by and incorporated into the USSR in 1940, and regained its independence in 1991. Christianity reached all social strata only after the Reformation, while some bagan rites and practices survived into the 20th century. Before World War Il a majority of Latvians (64 percent) were Lutherans. Twenty-six percent of the country’s population — only Latgale and a small enclave in western Kurzeme — were Catholic. Half a century later these two main confessional groups were almost equal in number. People’s sense of religious identity has tended to become stronger in the 1990s. The Latvian language has changed very little over the centuries, and together with Lithuanian it is regarded as a sur- viving dialect of early Indo-European. There are, in fact, two literary language traditions: Latvian, which has developed on the basis of the central and southern dialects and has been the language of the Protestant Church, and Latgalian, the language of the Catholic Church. In addi- tion, the Finno-Ugric Livs have produced a significant body of published materials in their almost extinct language. Dainas and Singing Traditions ajor differences in musi- cal style and repertoire exist between Protestant Vidzeme and Kurzeme on the one hand and Catholic Latgale on the other. On the whole, traditional singing is preserved much better in Latgale, while modern lyrical and other popular styles are com- mon in most of Vidzeme and Kurzeme. Despite the significant differences, howev- er, there is a remarkable uniting entity — dainas. Daina — the basic form of the Latvian folk song text — is a short, self-contained quatrain of two non- rhyming couplets; when sung, the couplet or each line of text is usually repeated. Dainas are sung as accompaniments 1998 both to the ordinary events of daily life and to special events and communal cel- ebrations. As such, they only rarely tell stories, but rather comment on per- formed rituals, express feelings, or con- dense folk wisdom into pithy epigrams. Dainas contain many mythological images, episodes, and motifs. The court- ship and wedding of cosmic deities, such as the sun and the moon, are reflected in some rather extensive song cycles. The first recordings of dainas are from the 17th century; more systematic collec- tion began in the second half of the 19th century. The compilation of Latvian folk songs by Krisjanis Barons, Latvju dainas, appeared in 1894-1915 and comprised about 300,000 song texts and their variants in six volumes. “When They Sing, They Are Howling As Wolves” This extraordinary description by Sebastian Miinster, author of the 16th- century book Cosmographia about the singing in Livonia, is, in fact, the first written evidence of a unique drone singing tradition which is still practiced in certain areas, especially in the swifi region in Kurzeme. Singers are any group of people, among whom there is at least one recognized soloist, who starts the singing. Usually after half of the four-line stanza is sung, the counter- singer repeats it, while a vocal drone part is performed by vilcejas, “those who drawl, pull (a tone).” The drone is sung on the vowel e (as in “there”) with a sharp, intense voice. This vocal drone is closely connected to the so-called recited style, which is one of the two basic singing styles in Latvian folk song. The recited style is characterized by the domination of text over melody, and the respective songs are part of traditional events and celebra- tions; the recited style occurs in family celebration songs, especially at weddings, in lullabies, in a good portion of calen- dar celebration songs, and in tunes asso- SMITHSONIAN FOLKLIFE FESTIVAL ciated with work in the fields. During singing, a quatrain is followed rather freely by other quatrains. The choice of the following dainas is up to the soloist; it depends on his/her ability, skillfulness, and knowledge, as well as the context in which the singing takes place. Though each quatrain is short, the singing can go on for hours. In contrast, the “sung” songs are per- formed mostly solo, but other singers can join as well. The melody of the sung songs, with its range often exceeding an octave, is as important as the text. From the Cradle to the Grave In Latvia’s traditional culture two ritual cycles — seasonal rituals and rituals marking the progression of family mem- bers through major stages of life — were intended to assure wealth, fertility, and continuity. Many themes and symbols of these cycles overlapped, in particular the sun. Festivals of the calendar cycle are linked to the major stations of the sun — the summer and winter solstices and the spring and fall equinoxes. (The world is pasaule, “under the sun”; after death the human soul goes singing to aizsaule, “beyond the sun,” or to vina saule, “that sun, the other sun.”) One of the most developed vocal gen- res — ligotnes — is connected with Jani, the midsummer solstice celebration on June 23. Janis is the central mythological figure of this orgiastic midsummer night feast, the celebration of which combines features of solar, phallic, and fertility rites. The singing of /igotnes can start a fortnight before and can continue a week after midsummer, but the culmination is reached on the evening and the subse- quent night of the celebration. Melodies of the songs vary from place to place, and several different melodies might be used in one place during the celebration. In rural areas singing accompanies autumn work in the fields and vakare- sana, communal spinning and sewing on autumn and winter evenings. It is also 67 » Baltic Nations: Latvia The Livs Dainis Stalts he Livs, an ancient Finno-Ugric people, today live in various concen- trations in the country of Latvia. Known as White Indians (baltie indiani) in reference to American Indians, with whom they believe they share some cultural attributes and historical experiences, they strive to preserve their language and traditions. Some of these traditions are extraordinarily beautiful, such as the Rite of Spring, which is held at the top of the highest sandy elevation on the seashore. The tradition reflects the belief that in waking returning migrant birds with special songs and rituals on the first day of spring, Livs communicate with the souls of their ancestors, which have been embodied in tiny birds called tshitshorljinlists. With the birds’ return also returns hope. The Livs may have inhabited Latvian territory for more than 5,000 years. The earliest records of the Livs are inscriptions on 7th- and 8th- century Scandinavian rune stones. Artifacts uncovered at grave sites attest to the Livs’ skills as craftsmen, makers of tools, weapons, and builders of ships. Letters and chronicles mention the prosperity that existed in Liv-dominated regions around the 12th century. This relative prosperity, however, attracted marauders and pillagers; in the early 13th century the first Teutonic Crusaders subjugated the indigenous people in the name of Christianity, acquiring lands and creating a ruling class which prevailed in the territory of Latvia for over 700 years. During these centuries the majority of the Livs died in wars, of bubonic plague, and of hardship. After the abolition of serfdom in the 19th century, the rebirth of the Liv nation, who then numbered 3,000, began. The first Liv-language books and the first Liv dictionary were published. But after World War |, only 1,500 Livs remained. Latvia's declaration of independence in 1918 inspired a second Liv renaissance. Livs organized themselves in communities and established choral societies and associations for Livs and friends of Livs. They pro- duced a newspaper and built a cultural center. Along the Latvian shore in the Kurzeme region, some local schools began to teach the Liv language. The renaissance was disrupted by the 1940-1941 invasion of Latvia by the Soviet Union. The Liv societies were dissolved, the cultural center closed, and language teaching banned. Deportations to Siberian gulags and flight to the West reduced the Liv population in Latvia by more than half. During their 50 years of occupation, the Soviets made every effort to ban Livs from the dozen or so fishing villages in the northern part of Kurzeme that were their ancestral homes. Fishing boats and equipment were destroyed, schools closed, and the people evacuated to all parts of Latvia. Only at certain Liv folk festivals could the scattered members of the nation meet and celebrate with their music and dance ensembles. 68 SMITHSONIAN FOLKLIFE FESTIVAL Traditional Liv singers. Photo by Imants Predelis With the collapse of the Soviet regime, the region along the Baltic seashore was returned to the Livs; they were recognized officially as an ancient founding member of the Latvian people in the new laws of the republic. The prospect of keeping Liv alive as a spoken language is rather bleak. No more than several dozen people speak it and only one family, mine, is known to speak it at home. Still, the Livs can hold their sacred rites by the seashore, communicate with the souls of their ancestors, and | celebrate their traditions with their relatives and friends. Livs, today numbering 500, can freely utter their ancient pledge, “Minaa un Livii. Min rou un min out" (lam a Liv. My people is my honor). Dainis Stalts is a folklore specialist for the Latvian Ethnographical Open-Air Museum and was a member of the Latvian Parliament from 1993 to 1995. He has been a key activist within the Liv community for many years. 1998 The Baltic Nations: Latvia an indispensable part of all ritual and religious events. After a christening in church, singing took place at home during a feast, which in southwestern Kurzeme was followed by didisana, ritual swinging and rocking of the baby by all participants in the celebration, accompa- nied by special songs. Rural weddings started in the bride’s house with a farewell party, at which girlfriends of the bride would sing. Since there should be much noise and joy after the marriage ceremony, singing and dancing were essential parts of the celebration. The central musical event at the wedding was apdziedasanas, ‘singing back and forth” — antiphonal, humorous, competitive singing, involving two opposing groups of singers (e.g., boys and girls, relatives of the bride and bridegroom, members of the household and guests); each group sang in turn, teasing or making fun of the other, largely improvising the words. At about midnight, when the bride’s crown was taken off and replaced with a woman’s headdress, all participants em- braced the new couple in a circle and sang songs called micosanas dziesmas to mark this particular event. Of music accompanying stages of the life cycle, that for funerals bears the strongest relation to Christian ceremony; it is mostly psalms and parts of the litur- gy that are sung in the house, on the way to the cemetery, and by the grave. The funeral is preceded by vakesana, praying and singing by the corpse the night before the funeral, a custom which was still observed throughout the country until the end of the 19th century but now is practiced only in Latgale. In addition to the music performed in ritual contexts, both men and women sing at the table during feasts, in pubs, and at other social occasions. Courtship and wedding songs are the most com- mon, but certain mythological, soldiers’, sailors’, humorous, and drinking songs are important as well. 1998 Singing Bones and Golden Strings A popular legend tells of the magic power of pipes that are made from a reed growing on a grave. When played, those “singing bones” reveal the reason for the death and return the person to life. Various bark or clay whistles, heavenly aura and a fine, deeply touch- ing tone quality. The violin became very popular in the 19th century, first as a solo and then as an ensemble instrument with zither and accordion. The dominance of the accor- wooden flutes and ~ Daina — the basic form of the reeds, hornpipes, wooden and birch- bark trumpets were made and played by shep- herds, not only for entertainment but to collect the herd in the morning and gather it in the evening. Hornpipes were used to calm the herd or to direct its movement. Horns and trumpets announced forthcoming weddings and signaled important moments of the wedding ritual. Goat- horns, usually with three finger-holes, were played during communal work in the fields or at matchmaking ceremonies. The making and playing of instru- ments — except for shepherds’ instru- ments, which boys and girls made — was traditionally a male activity. However, rattle-sticks (¢rideksnis, a wood- en stick with hanging bells and jingles) and eglife (a fir-tree top decorated with colored feathers and with hanging bells and jingles) were used by women to ac- company singing in wedding or winter solstice rituals. The instrument most characteristic of Latvia and significant in Latvian cul- ture is the kokles — a box zither with five to twelve or more strings that is supposed to be the instrument of God (compare it to the kannel in Estonia, the kankles in Lithuania, and the kan- tele in Finland). The tree for its wood must be cut when someone has died but is not yet buried. To emphasize the special value and importance of the instrument, it is traditionally named golden strings. It has an Apollonian, SMITHSONIAN FOLKLIFE FESTIVAL Latvian folk song text — is a short, self-contained quatrain of two nonrhyming couplets. dion increased in the second half of this century, and it is still the main instru- ment used for traditional dance music. A Singing Nation More than 200 years ago Latvian music was mostly peasants’ music, but various kinds of popular music were developing. Following the abolition of serfdom, Latvian social life blossomed in the mid- 19th century. Singing societies emerged all over the country and sought choral works that represented the spirit of the emerging feeling of unity and “Latvian- ness.” Four-part harmonizations of Latvian folk songs served this purpose well, and so more and more composers used folk materials as a source for their arrangements. Choral singing culminated in a large musical event — the Song Festival. The first Latvian Song Festival, held in 1873, became a political event of the first importance, symbolizing the reawaken- ing and unity of the new nation. Subsequent festivals involved thousands of participants and dramatically concen- trated national aspirations. After World War II the Song Festival was reinterpret- ed in terms of Soviet ideology and was successfully incorporated into the regime-supported musical life. 69 Baltic Nations: Latvia Dainas he noted folklore group Skandinieki sang the following daina in July 1988, as they led the Baltica folklore festival procession past the KGB building in Riga, Latvia. On this occasion the three flags of independent Estonia, Latvia, and Lithuania were carried in an open procession under Soviet rule for the first time. It is one of the events which sparked the “Singing Revolution.” BELOW The organizers of the 1993 Song Festival, Riga, Latvia. Photo by Leons Balodis Bass Hornpipes and Artificial Braids In the period between the world wars, professional and popular musical life in the cities and countryside was vibrant. Traditional music had lost its signifi- cance in most of the country, although it continued to exist in remote districts, especially in Latgale and western Kurzeme. Thus the need for national music intensified, and in addition to choral activities, a variety of other phenomena developed on the basis of traditional culture. Efforts were made to 70 The song is a traditional magic charm to ward off evil: Lai bij vardi, kam bij vardi Man pasami stipri vardi; Daugavinu noturéju, Mietu daru vidina. Sita mani, dura mani, Ka ozola blukeni; Neiesita, neiediira, Ka térauda gabala. Visi mezi guni dega, Visi celi atslegam; Ar Dievina palidzinu Visam gribu cauri tikt. “improve” the old, forgotten instru- ments, especially the kokles, and to cre- ate folk instrument ensembles. Though the Soviet occupation in 1940 and World War II interrupted such activities, the “modernization” of instru- ments continued in the postwar period and resulted in soprano, alto, tenor, and bass modifications of kokles, hornpipes, and box-shaped fiddles. Following the Soviet pattern, numerous kokles ensem- bles emerged, along with folk song and dance ensembles, and a state folk music instrument orchestra existed from 1947 SMITHSONIAN FOLKLIFE FESTIVAL | have words, | have strong words — | can drive a stake into the ground And stop the Daugava River. They beat me, they stabbed me Like a wooden stump; They didn’t hit me, they didn’t stab me Like a piece of steel. All the forests are aflame, All the roads are locked; With God's help | want to pass through it all. until 1961. Uniform, stylized folk cos- tumes, girls’ wreaths, and artificial braids became the emblems of all those _ groups. The folk music orchestra never gained much public support in Latvia, while the kok/es ensembles, like the folk song and dance ensembles, were quite well accepted. Even in the 1990s those ensembles are to some extent recog- nized as an expression of “national music” or “national dance.” When the Singing Revolution Is Over The folklore movement as a socially sig- nificant body of activities, aimed at the preservation and dissemination of the treasures of Latvian folklore, started in the late 1970s, a bit later than in the other Baltic countries. It concentrated on traditional music, dance, customs, crafts, and especially on their archaic or | authentic forms. Numerous folklore groups — among which Skandinieki was the first — folklore clubs, and workshops emerged at the end of the 1970s and the beginning of the 1980s. Folklorists arranged dance parties, singing, instrument-playing and danc- ing workshops. As the attention of folk- lorists was directed not towards music per se but towards music as a part of The Baltic Nations: Latvia celebration or ritual, certain efforts were undertaken to preserve or renew the ritu- als themselves. The cultivation of renewed ethnic music traditions in the 1980s took on the dimen- sion of a national resistance movement, in opposition to Soviet totalitarianism and russification. The most striking expression of this movement was the folklore festival Baltica ’88. The movement culminated in the “Singing Revolution,” a form of non- violent resistance against the occupying regime, consisting of huge, peaceful meet- ings and much singing of popular and folk songs. Nevertheless, ethnic music did not become a symbol of the restored iden- tity of national music, and in the 1990s its influence has decreased more and more. Today, while mainstream folklore ensembles show and teach traditional music “as it used to be,” a different atti- tude has emerged among other individu- als and groups — a “post-folklore” that leaves space for rather free interpretation of traditional music influenced by rock, minimalism, ethnic music of other parts of the world, or other forms. Among these groups are Ilgi and Rasa. These various perspectives enrich the process through which Latvian people are revi- talizing their musical heritage. Valdis Muktupavels is a lecturer and ethno- musicologist at the Centre for Ethnic Studies, University of Latvia and Latvian Culture Academy. His research and publications have focused on the field of organology and the traditional culture of Latvia and other Baltic lands. He has contributed to the revival of several Latvian traditional musical instru- ments, like the kokles, bagpipes, pipes, horns, mouth harp, and hurdy-gurdy. He is the artistic director of the Rasa group and has performed as a kokles and bagpipe soloist, as well as with other musicians in the Baltics and around the world 1998 A modern kokles orchestra. Photo by Imants Prédelis ° Suggested Reading Apkalns, Longins. “Folk music.” In Latvia, ed. Vito Vitauts Simanis. St. Charles: The Book Latvia, Inc., 1984. Boiko, Martin.”Latvian Ethnomusicology: Past and Present.” Yearbook for Traditional Music (1994):47-65. Brambats, Karl.The Vocal Drone in the Baltic Countries: Problems of Chronology and Provenance.” Journal of Baltic Studies 14 (1983): 24-34. Braun, Joachim.” Die Anfaenge des Musikinstrumentenspiels in Lettland.” Musik des Ostens 6 (1971): 88-125. Jaremko, Christina.“The Baltic Folk Zithers: An Ethnological and Structural Analysis.” M.A. thesis, UCLA, 1980. Reynolds, Stephen. “The Baltic Psaltery and Musical Instruments of Gods and Devils.” Journal of Baltic Studies 14 (1983): 5-23. Vikis-Freibergs, Vaira, ed. Linguistics and Poetics of Latvian Folk Songs. Kingston and Montreal: McGill-Queen’s University Press, 1989. e e Suggested Listening Balsis no Latvijas (Voices from Latvia). Auss RS 001 and MC. IIgi. Barenu dziesmas. Supula dziesmas (Wedding songs. Orphan songs). Plate Records TM001-93 and MC. ___. Riti (Roll). Labvakar LBR 001. Muktupavels, Valdis. Zelta kokles (Golden Kokles. Latvian traditional instrumental music). Micrec. Rasa. Latvia: Music of Solar Rites. INEDIT, Maison des Cultures du Monde W 260062. Seasonal Songs of Latvia: Beyond the River. EMI, Hemisphere 7243 4 93341 20. Voix des Pays Baltes. Chants traditionnels de Lettonie, Lituanie, Estonie. Documents d’archives. INEDIT, Maison des Cultures du Monde W 260055. SMITHSONIAN FOLKLIFE FESTIVAL Fa [The Tenacity of Tradition in Lithuania Zita Kelmickaite ithuanians belong to the Baltic group of Indo-Europeans who ace in the Baltic territories about 3,000—2,500 B.c. Tacitus, a Roman historian of the Ist century, made note of farmers and amber collectors in this area, but the name “Lithuania” appeared in a historical source for the first time in 1009 4.0. Lithuanian is the most archaic of the continuously spo- ken Indo-European languages and is of great interest to com- parative linguists. The state of Lithuania came into being with the coronation of its first Christian king in 1253. After his assassination, the country remained pagan until 1387, continuing to fight the Germanic Crusaders. Two hundred years later it had expand- ed to become one of the largest states in medieval Europe, extending from the Baltic Sea south to the Black Sea and east to Muscovy. Treaties with Poland brought Christianity and, in 1569, uni- fication into a commonwealth of the two nations. Gradually the commonwealth weakened, and in 1795 Lithuania was incorpo- rated into the Russian empire. Failed armed revolts against the Russians resulted in the banning of Lithuanian books and further oppression. Out of the resistance grew a cultural and political awakening that led to the establishment of an independent republic on February 16, 1918. Independence was lost in 1940, when Soviet troops acted on the clandestine Molotov-Ribbentrop Pact and invaded the coun- try. German occupation followed from 1941 until 1944, when the Soviets returned and annexed Lithuania. At least 20,000 resistance fighters lost their lives, and more than 350,000 Lithuanians were exiled to Siberia during the Soviet occupation. After a series of mass meetings during the perestroika period, Lithuania was the first of the Soviet republics to declare the reestablishment of its independence on March 11, 1990. In territory, Lithuania encompasses 25,175 square miles, about the size of West Virginia. Its population is 3.7 million, of which approximately 80 percent are Lithuanians. The majority are Roman Catholic. The four main ethnographic regions are Aukstaitija (east), Zemaitija (west), Dzikija (southeast), and Suvalkija (southwest). Visiting the cemetery on All Souls’ Day. Photo by Zenonas NekroSius 72 SMITHSONIAN FOLKLIFE FESTIVAL Siauliai i e *Klaipeda SE aR LITHUANIA Kaunas i BELARUS |. i Vilnius Alytus POLAND The Baltic Nations: Lithuania The Importance of Tradition to Lithuanians radition holds a very spe- cial meaning for Lithu- anians. For centuries they lived under the threat of extinction and learned to resist their occupiers in a passive yet per- sistent manner, using patience, persever- ance, stubbornness, and conservatism. By holding on to their customs, their lan- guage, their religion, and by establishing close ties to their land, Lithuanians safe- guarded themselves against complete cultural subjugation to those who held political sway over them. Lithuanians and their ancestors the Balts remained in essentially the same location and did not mix with their neighbors for over 4,000 years. Even when the territory they governed 1998 expanded, they did not move to settle it. Their attachment to their lands and homes can be illustrated by many exam- ples. For one, sacred space remained sacred over time: the cathedral in Vilnius, first built in the mid-13th centu- ry, stands on the site of a pagan temple. For another, a settlement that is dated to 1000 B.c. has recently been found in Vilnius on Castle Hill. Because of their strong attachment to home, the deportations of Lithuanians to Siberia during the first years of Soviet occupation were especially harsh. The stories and reminiscences of the depor- tees speak not only of the hardships of exile but of the constant longing for home. The same sentiment pervades all the exile songs that were first sung pub- licly during the mass meetings in 1988— 1989 (e.g., “In spring all the birds fly on home/But we, will we ever return?”). The importance of home and being home was demonstrated again soon after Lithuania declared its independence: huge military aircraft brought back the remains of those who had died in Siberian exile so that they could be reburied in their fami- ly cemeteries. Today, if people are not buried in their hometown, usually a handful of dirt from their birthplace is scattered on their coffin. Together with the concept of home, land itself had profound meaning to Lithuanians. For farmers it was natural to treat it with reverence. One would never spit on the ground. In songs and sayings earth is addressed as if it were a personified being; indeed it once was a pagan deity, Zemyna. Before starting their spring plowing, farmers knelt down to kiss the ground and crossed them- SMITHSONIAN FOLKLIFE FESTIVAL In 1989, one million people participated in the “Baltic Way,” a human chain extending from Estonia to Lithuania. OR ATEN eM Ural Ty 73 Che Baltic Nations: Lithuania \ves. Bread was plowed into the first furrow as a sacrifice to the land. The collectivization of agriculture under the Soviets forced people off their individual farms onto large collective farms. The liberal use of pesticides and indiscriminate drainage of wetlands wreaked havoc on the environment and the landscape. Bulldozers razed homes, orchards, cemeteries, even entire villages. By holding on to their customs, their language, their religion, and by establishing close ties to their land, Lithuanians safeguarded themselves against complete cul- tural subjugation to those who held political sway over them. Much that was sacred was desecrated. An important tie was severed — the almost spiritual relationship between a farmer and his land. As more people return to work the newly privatized lands, it remains to be seen what consequences the Soviet experience will have. Lithuanians are slow to make changes, and when they do choose something new, they often hold on to the old “just in case it may still be useful.” During fieldwork expeditions folklorists often find tools and work implements that are obsolete but that have not been discard- ed. Lithuanians probably were exhibiting the same tendency to conservatism when they maintained their pagan traditions in conjunction with Catholic practices. Almost 200 years after the formal bap- tism of the nation, the first Lithuanian book was published — a catechism. In the introduction were a list of pagan deities and an admonition to the faithful against practicing pagan customs in their honor. Pantheistic religious relics and elements of ancient rituals survive to the present day in songs, proverbs, sto- ries, and customs. And there is no sense 74 of dissonance; elements from different belief systems and historical periods coexist and combine in a unique way. It is this uniqueness that Lithuanians now celebrate as they — very consciously — reflect on their ethnic heritage. The Role of Folk Songs in the Lives of Lithuanians Ask Lithuanians about their culture, and invariably they will mention songs. Lithuanians love to sing. The most accomplished singers will know hundreds of songs — songs that are passed to other generations and to other villages. The archive at the Lithuanian Institute of Literature and Folklore in Vilnius has over 600,000 col- lected songs. At the end of the 17th century Pastor T. Lepner’s Der Preusche Littauer (The Prussian Lithuanian) characterized Lithuanian singing thus: They are all composers, since they create their own melodies, though some of the melodies they learn from the Germans. Most of their voices are strong.... Usually women and girls sing until dawn grinding grains, the humming from which gives them a bass line.... The content of their songs — themes of love or anything that comes to mind, what they see around them.... Men do not exhibit a tendency toward this art. During a recent recording expedition, comments by singers echo and extend Lepner’s observations: “If you sing, you have a life.” “Our life was so hard — had I not sung, I would have gone insane.” Lithuanian songs often reflect the female perspective on love, longing, chores, and even the horrors of war. Since women were the primary singers SMITHSONIAN FOLKLIFE FESTIVAL and guardians of the aural tradition, the | songs tend to be gentle with generous use of diminutive forms. Mythological and metaphorical references abound. Characters in songs are usually family members, young maidens, suitors, tillers of the soil. The texts interweave mono- logue and dialogue to move the story along. Nature and human conditions are juxtaposed in lyrics and express a com- mon sentiment. For example, The morning star bids goodbye to her father-moon, before going to the sun, draped in clouds with hard rain falling. A young girl says goodbye to her mother before going to her mother-in-law, sigh- ing and wiping tears. Song is very much alive in Lithuania. Lithuanians do not sing for the benefit of | an audience; for them singing is a way of | being together. In earlier times Lithuanians sang work songs at various tasks such as cutting wheat and other songs specific to seasons and celebra- tions. Now they sing traditional and newer songs at family gatherings, wed- dings and christenings, or any time com- | pany sits down together and the mood strikes them. But when recording older singers, we often hear, “Oh, how they once sang! They would make the fields ring. One group would vie with another to see who could sing better.” Nostalgia itself may be a tradition for Lithuanians. The time, place, and type and style of song may have changed, but the ability of song to create a sense of togetherness, or communitas, as anthropologists call it, has persisted. Two social developments illustrate this phenomenon. The Rasa (Dew) festival, organized on the castle mound of Kernavé on June 23, 1967 (St. John’s Day and Midsummer's Eve), marked the arrival of a national cultural movement of youth dissatisfied with Soviet ideology and looking to the pagan past and traditional culture to restore a sense of balance and goodness 1998 The Baltic Nations: Lithuania f (. ' to modern society. The “Ramuva” move- ment sought to renew old traditions and to break away from Soviet holidays and state-sanctioned, stylized folklore. Named in reference to sacred pagan groves, the movement was characterized by an inter- est in authentic, national, ethnic culture — at the forefront of which was song. Since 1968, the Ramuva Society of Vilnius University has organized 27 sum- mer fieldwork expeditions in 22 regions of Lithuania. Close to 1,500 students and professors have taken part in these expe- ditions. Their collections have been deposited at the Lithuanian Folklore Institute. The Ramuva movement expanded the bounds of official ethno- graphic studies and gave a patriotic tinge to the study of folklore. For this reason, although the Soviet government allowed students to collect folklore for academic purposes, it feared the effects of young people gathering together and singing during the expeditions — such as their engagement in perpetuating the tradi- tions and the power of the songs to unite them against the Soviets. So the govern- ment prohibited such gatherings. 1998 The fieldwork expeditions and the Ramuva movement inspired the forma- tion of many folk ensembles in villages and cities throughout Lithuania. From 1980 to 1989, close to 900 folk ensembles appeared on the scene. The example of city ensembles as well as ethnographic expeditions, folk music gatherings, invi- tations to rural artists to give concerts in cities, and increased radio and television program time dedicated to folklore encouraged village artists to form ensem- bles. During this period, ensemble termi- nology was defined. Village groups that draw on continuous traditions and per- form their own area’s folklore are now called ethnographic ensembles. Groups that indirectly adopt or re-create tradi- tions are called folklore ensembles. Today there are hundreds of ensembles, and their continued existence proves the vitality of song in modern Lithuania. The second dramatic demonstration of the power of song occurred during the days of the mass meetings organized by Sajtidis, the grassroots movement for independence in the late 1980s and early 1990s. Folk ensembles would come SMITHSONIAN FOLKLIFE FESTIVAL The traditional clothing of each region is woven and worn in a particular way and has a specific pattern, color, and style of tailoring. Photo by Henrikas Sakalauskas together and begin to sing. When three or four ensembles would start a song together, the audience would join, and soon the entire crowd in the stadium or park would be singing together. Eventually older people became embold- ened to sing partisan songs and exile songs — songs which not so long before they had sung only in private and with great caution. The repertoire of those songs spread throughout the country in no time. They helped unite people in sentiment and cause. The experience of singing as a group in communal harmo- ny was nothing new for Lithuanians; what was unique was that song had become a weapon of resistance. That same power of song was evident on January 13, 1991, when thousands of Lithuanians gathered around the Parliament building, radio and television headquarters, and the television tower to protect their newly declared freedom from Soviet tanks and troops. While they waited through the night, they sang. The song and music stopped when tanks started to roll and gunshots were fired. | was standing next to an older woman 75 : Baltic Nations: Lithuania n it became clear that something yminous was happening. She turned to me and said, “I don’t know what would be better: to pray or to sing?” Both were perceived to be equally sacred. \t present, the interest in folk songs and traditional culture that existed in the 1980s has waned somewhat. Although many people long for that The Hill of Crosses is located in central Lithuania. It is custom- ary for people to leave a cross and pray when visiting the site. Photo by Virgilijus Usinavicius Land of Crosses ee illustration of the interplay between tradition and history is the Hill of Crosses in Siauliai. The mound was once a fortress. For more than a century, people erected crosses on the hill for all sorts of reasons and occasions, such as supplications for health and wealth and commemorations of births, deaths, or wed- dings. The Soviet government could not tolerate such an expression of spiritual belief, and the hill was totally annihilated in 1961, 1973, and again in 1975. But the crosses reappeared, almost overnight. The destruction stopped in 1980, and now the hill is again covered with thousands of crosses. They stand witness to the strength of tradition among Lithuanians. Before the Soviet occupation, crosses and chapel poles had been an integral part of 76 spiritual atmosphere which prevailed while people were standing hand in hand in the Baltic Way or protecting the Parliament or television tower on the night of January 13th, the authenticity of that powerful emotional experience cannot be re-created. Lithuania's landscape for hundreds of years. They were constructed near homesteads, at crossroads, by waysides, and when old ones deteriorated, new ones were placed in their stead. Sometimes chapels were nailed directly to trees. It is quite likely that these manifesta- tions of Christian belief actually originated in some earlier totems used by the pagans to mark sacred space around them. The sun, moon, and snake motifs that decorate the crosses clearly harken back to pre-Christian nature worship, though now these symbols are appreciated purely for their aesthetic appeal. It is important to note that this form of decora- tion has held its appeal for a very long time, thus illustrating the conservatism of both Lithuanian craftsmen and the people who patronized them. SMITHSONIAN FOLKLIFE FESTIVAL Family: The Safeguard of Lithuanian Traditions The attachment to group singing illus- trates Lithuanians’ gregarious side. It was that sense of collective, experienced through song and its open public affir- mation, that helped sustain them as a group, both in Lithuania and as exiles and refugees abroad. Family traditions, on the other hand, — do not lend them- selves easily to public display, and yet they are the key to understand- ing a cultural group’s attitudes, values, and morals. During all the years of the Soviet occupation, only the family was not penetrated by the all-regulat- ing and all-sanc- tioning Communist Party. The family nur- tured religion and national sentiment — and safeguarded traditions; tradi- tions, in turn, strengthened familial ties. Lithuanians have always honored the memory of their dead. It is very impor- tant to Lithuanians to carry out the will of a deceased loved one. To this day, in almost all regions of Lithuania the departed is mourned all night with funeral hymns. (It is a wonder how well these hymns and other funeral traditions have been preserved given the strength of the atheistic sovietization.) Graveyards are considered sacred places whose tran- quility is not to be disturbed. Periodic visitations and upkeep of graves are obligations taken very seriously. Lighting of vigil candles at cemeteries on Vélines, the eve of All Souls’ Day, is so important that both November 1 (All Saints’ Day) 1998 The Baltic Nations: Lithuania and November 2 (All Souls’ Day) are des- ignated holidays. This allows people to return to their family graves, even if they are at some distance. Christmas Eve is the day for family re- unions, of both the living and the de- ceased. At the traditional Christmas Eve dinner, KtCias, an extra place setting is set and food is left on the table all night for the souls of the deceased. The meatless dishes, some special to this night only, are shared in reverence. Reconciliation and the forgiving and settling of debts must be done by Christmas Eve. It is believed that one’s disposition on the holiday will remain with the person for the year. This Christmas Eve gathering has always been celebrated quietly and in private, but its effect is powerful and deep. Regardless of whether they are believed or simply artic- ulated, such traditions help strengthen the ties between the living and the dead, the past and the present, and are a means of keeping a balance between material reali- ty and a person’s spiritual life. The fact that the shadow of our ances- tors seems to be real and close at hand strengthens the sense of obligation that many Lithuanians feel toward their cul- tural heritage. Perhaps this is what makes many of us so passionate about our commitment to our traditions. Others may criticize us, saying we are overly conscious in the way we interact with our songs, dress, music, and our historical past. We reply that we must be conscious; otherwise there is the danger that our children will only hear someone else’s song, story, and belief. Now that freedom has come and we are masters in our own home, we are still not out of danger. Marcelius Martinaitis, a much- loved and respected poet, writes: 1998 When land is taken away, everybody is a witness. When speech becomes silent, the conscience speaks up. When ethnic traditions are taken away, a people sleep the eternal sleep of dead nations. Land remains in its place, a language can be protected by the written form, but the Zita Kelmickaité is a musicologist and assistant professor at the Lithuanian Academy of Music. In 1993 she received the National Jonas Basanvicius Award for out- standing work in the promotion of ethnic culture. livelihood of the traditions is lost forever and never resurrected. Like life for a person, traditions are given only once. Ethnic catastrophes are almost unfelt — like radiation. We can’t afford the risk. ° Suggested Reading Ambrazevicius, Rytis, comp. Lithuanian Roots, An Overview of Lithuanian Traditional Culture. Vilnius: Lithuanian Folk Culture Center, 1994. Balys, Jonas. Lithuanian Folksongs in America: Narrative Songs and Ballads. Boston: Lithuanian Encyclopedia Publishers, 1958. BukSaitiené, Laima, and Danuté Kristopaité Auk taiciu melodijos (Melodies from Aukstaitija). Vilnius: Vaga, 1990. (with Russian and English summaries) Cetkauskaité Genovaité Dztiku melodijos (Melodies from Dzukija). Vilnius: Vaga, 1981. (with Russian and English summaries) Encyclopedia Lituanica, vols. 1-6. Boston: Juozas Kapocius, 1971-1976. Vélius, Norbertas. The World Outlook of the Ancient Balts. Vilnius: Vaga, 1989. e e Suggested Listening Balys, Jonas. Lithuanian Folk Songs in the United States. Folkways 4009. Lithuanian Folk Music. Authentic folklore, compiled by Genovaite Cetkauskaité 33 Records ADD 33 CD004. Available through Bomba Records, Zygimantu 6, Vilnius 2600, Lithuania, tel. (3702) 223358, fax (3702) 225715, or Vilnius Ploksteliu Studija, Barboros Radvilaités 8, Vilnius 2600, Lithuania, tel. (3702) 610419, fax (3702) 610491. Lithuanian folk music KANKLES, prepared by Vida Palubinskiené and produced by Egidijus Virbasius, 1996; and Lithuanian folk music WIND INSTRUMENTS, original recordings from 1935-1939, prepared by Riita Zarskiené, produced by Egidijus VirbaSius, 1997. Both recordings are from the collections of the Folklore Archive of the Lithuanian Institute of Literature and Folklore, Antakalnio 6, Vilnius 2055, Lithuania, fax (3702) 226573. Sutaras. Proteviu Sauksmas (Call of the ancestors). CD Lituanus/Jade JACD 065. Available from Antanas (Sutaras) Fokas, P.0. Box 94, Vilnius 2000, Lithuania, fax (3702) 261474. Ula Folk Ensemble. Lithuanian Traditional Music. BIEM ncb AECD-5. Available from Ciurlionio 1-35, Vilnius 600, Lithuania, tel. (3702) 222755, fax (3702) 359633. SMITHSONIAN FOLKLIFE FESTIVAL 77 VO io Bra Ze Grande/R lO te Desert Images by David Lauer Rio Grande/Rio Bravo Basin Culture & Environment mn Compiled by Lucy Bates, Olivia Cadaval, Heidi McKinnon, Diana the Rio Grande/Rio Bravo _ sever 2nacynis Vidaurri; translation editors Ileana Cadaval Adam and Basi Nn $ A P rev \ ew Patricia Fernandez de Castro He who drinks water from the Rio Bravo his year’s Festival program forms ; . part of a larger Rio Grande/Rio ) will never leave its shores. Bravo Basin project that includes: —Popular saying collected by Gregorio Garza, Field Researcher, Laredo, Texas * Folklife Field Research Schools held in Texas, New Mexico, and Colorado Colorado Springs : : 3 to train local academic and commu- nity scholars and to direct local research for the Folklife Festival and other public programs Production of local public programs in collaboration with local organiza- tions to present research carried out in the region (sponsored by the Texas Folklife Resources and the Texas Council for the Humanities) Smithsonian Folklife Festival pro- grams for 1998 and 1999 Production of educational materials and a film documentary. Sind @ : This collaborative training and research yaaree ; ee . Texas “ : approach builds on our work with bina- tional institutions, researchers, and com- ee munity members that participated in = wks = earlier Smithsonian projects in the U.S.- Chihuahua naan C AN =) Mexico borderlands region. The follow- con W® San Antonio “ty : “ q : s ing article offers samples of project research reports and reflects the multivo- cality of the region. Ojinagca ; Ciudad Acuna \) e Chihuahua @ Hidalgo © Co chu a Mondiog ey +f This project is cosponsored by El Consejo Nacional para Laredo, \ } la Cultura y las Artes with support from the U.5.-Mexico Monterey eee a Fund for Culture (The Rockefeller Foundation, M E X Cc 20 len e *| Matamoros Fundacion Cultural Bancomer, the Fondo Nacional para Dur ango Saltillo” 5 la Cultura y las Artes), SBC Foundation, Texas Folklife amaulipgs cy Resources, and the Texas Council for the Humanities. Folklife Fieldwork Research Schools were supported by Colorado College, Tierra Wools, the University of New Mexico, University of Texas—Pan American, and a grant from Smithsonian Outreach Funds. 1998 SMITHSONIAN FOLKLIFE FESTIVAL 79 ande/Rio Bravo Basin “Ge Rio Grande/Rio Bravo Basin # is a complex cultural, ecologi- z ge © cal, and political landscape. The river travels through mountains, deserts, plains, and subtropics and the states of Colorado, New Mexico, and Texas in the United States and the states of Chihuahua, Coahuila, Nuevo Leon, Durango, and Tamaulipas in Mexico. In its almost 2,000-mile journey, it is known by different names: El Rio Grande del Norte, Rio Bravo, the Wild River, Rio de las Palmas, Po’soge, the Rio Grand. Many diverse groups of people live in the Rio Grande/Rio Bravo Basin, each with its own personal and collective experiences. Po’soge, the Rio Grande del Norte, is one of the longest, most celebrated, and most vital rivers in North America, yet it is one of the most endangered. Water diversion has made the desert bloom through centuries-old Native American and Hispano acequias and 20th-century locks and canals. Only by allowing it a measure of its previous wildness will the Rio Grande survive as an ecologically healthy river. —Enrique Lamadrid University of New Mexico Much research on rivers focuses on water and land rights, environment, history, architecture, health, and archeology. In this project, we asked, together with our Rio Grande/Rio Bravo colleagues, “What about living people? What about the cul- tural heritage and creativity of groups whose experiences have been shaped by the river?” In particular our challenge was to research, plan, and produce a program on how local cultures contribute to a sustainable river-basin environment. Our approach was to engage scholars, educa- tors, and individuals — formally and informally trained — who are involved in community cultural work. We sought to understand relationships between cul- ture and environment and to see how contemporary traditions can be relevant 80 The river between Texas and Chihuahua, near Presidio and Ojinaga. El rio entre Chihuahua y Texas, cerca de Ojinaga y Presidio. Photo by / Foto de David Bosserman to balancing human prosperity with environmental sustainability. We asked: 1) What kinds of communities live in the region today? 2) What is their traditional knowledge for managing the environment? 3) Can local culture provide a founda- tion for sustainable development projects? These questions led us to explore the many meanings of the Rio Grande/ Rio Bravo. After a review of the field research, we decided that to adequately treat the rich- ness and magnitude of the project requires an additional year’s planning and production. This year, we are pre- senting a small Festival program that will preview cultural regions, expressive traditions, and issues that will be fea- tured at the 1999 Festival. Many voices and perspectives have shaped this pro- gram. The collaborative process has been as important as the public product. The goal of the Smithsonian project is to understand a region’s diversity through its natural resources, cultural traditions, and historical experiences. SMITHSONIAN FOLKLIFE FESTIVAL The research of our Rio Grande/Rio Bravo Basin fieldworkers team was focused on community enterprises, recy- cling projects, and, in general, on sights and sounds of the river that exemplify the region’s environment. After learning “what, how, and why,” researchers reached the heart and soul of the study, the essential spirit of an individual or community being researched. In each community enterprise, one detects a cul- tural weight, a force that projects values and richness, and that points to the diversity of life in the region. —Juanita Elizondo Garza University of Texas—Pan American The Rio Grande/Rio Bravo Basin is nur- tured by tributaries, both natural and cultural. Priscilla Chavéz likes to recall how her father insisted his children learn things that could never be stolen from them. Land can be lost, but the culture en- dures, as much a part of the Rio Grande Valley as the river itself. “My father made good corn flour,” she said. “It was the best. And he told my sister, ‘I am I | | 1998 | | Rio Grande/Rio Bravo Basin going to pass this heritage to you.’ And she continued making corn flour, and she makes the best.... To the boys he left the music...” —Recorded by Enrique Lamadrid University of New Mexico Carolina Carbajal from Las Cruces, New Mexico, with a staff made from sotol. Carolina Carbajal de Las Cruces, Nuevo Mexico, con una ramo de sotol. Photo by / Foto de Elaine Thatcher A river provides raw materials. The Ysleta women potters dig river clay in several local spots. When Fermina and her sisters were young and working with their grandmother, the family had sources in four hills. Each hill produced a different color of clay, ranging from pale pink to dark. Today they dig clay wherever they find it. Fermina had found a deposit of good clay but said she had only had access to it for a brief time before it was fenced off and posted. —Elaine Thatcher in si’ tu, Santa Fe, New Mexico The Rio Grande/Rio Bravo is a desert river of limited resources. It flows through an arid region of cooperation and conflict over water. The water in the ditch connects us to the river. But it connects us to each other as well.... Even if there are con- flicts over the watering schedule and you are mad at your neighbor, you know you have to figure out how to resolve it. Over the long term, it keeps people interacting in a very positive way. —Riparian biologist Manuel Molles interviewed by Enrique Lamadrid University of New Mexico 1998 Great River, Mighty River ike the semi-desert lands it crosses, the Rio Grande/Rio Bravo is a natural wonder whose power and beauty we appreciate the more we get to know it. | first saw the river when | moved to Nuevo Laredo, Tamaulipas, on the other side of the border from Laredo, Texas. There on the border, | came to know a river that equally separates, conjoins, and gives life to these two communities. For at the same time that the river is a boundary marker between countries, it is also the shared resource that has allowed communities to thrive together for centuries. First as ranching settlements and now also as international commercial gateways, the towns of Nuevo Laredo and Laredo — like Matamoros and Brownsville, Mier and Roma, Piedras Negras and Eagle Pass, Ciudad Juarez and El Paso — literally live off the river. Why bring our river to the Smithsonian Folklife Festival? When Olivia Cadaval, Richard Kurin, Cynthia Vidaurri, and | first discussed the idea in El Paso, one of our central concerns was to address the relation- ship between the river and the communities it has fostered, not only on the U.S.-Mexico border but throughout the watershed. About 13,000,000 persons live in the Rio Grande/Rio Bravo Basin. Many of them are first-generation inhabitants of the U.S. Southwest and northern Mexico. The families of others have been here for a long time. Wide open spaces, clear air, life in the desert and the mountains, and the solace these offer have attracted many. But ironically the growth of cities, industry, agriculture, and ranching have so polluted the river that it is one of the most endangered on the continent.To survive in this environment, the diverse peoples who have made this region have developed strong and tenacious cultures. The river's degradation is a threat to their way of life. The people of the basin have responded with creativity, responsibility, and initiative in an effort to protect their cultural heritage and enhance the vigor of the river and its communities. It is this intense vitality that the Festival celebrates. Acequia, the Spanish word for “irriga- tion canal,” is derived from the Arabic as-saquiya (water carrier). Secondary and lateral ditches are called sangrias, a metaphorical term that expresses the same wisdom as the Spanish saying: “E/ agua es la sangre de la tierra,’ “Water is the blood of the land.” Another say- ing: “El agua es vida,” “Water is life.” —Enrique Lamadrid University of New Mexico Human practices can be in harmony or at odds with the logic of the river. Looking at the Pueblo communities on the Rio Grande, we see the large issues of cultural survival, economic develop- ment, and environmental maintenance. Control of water is part of that cultural struggle to survive. For example, our value system for use of land and water is incompatible with that of the juris- prudence system. We are taught to con- SMITHSONIAN FOLKLIFE FESTIVAL —Patricia Fernandez de Castro El Colegio de la Frontera Norte serve the water; but the laws say we must use the water, even when we do not need to use it, in order to maintain our water rights. Moreover, the attempt to manage the Rio Grande [by building a dam] adversely affected the very social fabric of Cochiti Pueblo. For some 20 years we were not able to carry out our planting rituals. Agriculture is not just a food source for us; it is intimately con- nected to who we are. This year, for the first time in two decades, we will plant —Regis Pecos, State of New Mexico, Office of Indian Affairs again. A river is the focus of values that can bring together or divide communities. The matachines of the East Mountains on the outskirts of Albuquerque perform their important rituals of environmental maintenance and renewal along the waterways of the Rio Grande Valley. But recent urban development threatens their 8&1 Grande/Rio Bravo Basin practices. Matachin Bernadette Garcia explains: “See, the developers go and sell all this property, but they don’t put in the deeds that we have access rights accord- ing to the original land grants. Then we end up having to fight them in court be- cause of that. So the people who buy don’t know about it. So they happily move in. Then it’s time for our fiestas and our procession. And they say, ‘No you can’t go through our land. This is my property.’ Here is where all the fights Matachines at the Feast of San Ysidro, Albuquerque, New Mexico. Los matachines en la Fiesta de San Ysidro, Albuquerque, Nuevo Mexico. Photo by / Foto de Miguel Gandert The last hand-pulled ferry on the river at Los Ebanos, Texas. Fl ultimo chalan tirado a mano en el rio en Los Ebanos, Texas. Photo by / Foto de Charles Weber 82 SMITHSONIAN FOLKLIFE FESTIVAL begin. It shouldn’t be like that. It’s only once a year that we have to go in proces- sion to the spring. We will always go in procession to the spring. Or until they —Barbara Gonzales University of New Mexico Field School Participant run us over.” A river invites journey, settlements and resettlements, borders, and social networks. | I was born in Veracruz on the Gulf of | Mexico. I married when I was young. My | husband was from Ciudad Victoria in the neighboring state of Tamaulipas, and he was picking cotton at that time. We met, we married, and since his family lived over in Ciudad Victoria he said: “Let’s go.” And we did. After 20 years of marriage I came to Matamoros on the border. Here in Matamoros, at the maquiladora, we interact with each other, tell each other things, know each other, fight and share our problems. We take time in between our work for each other.... Sometimes we sell things to make a little extra money. —Eustolia Almaguer Vazquez interview by Alma Jiménez El Colegio de la Frontera Norte As the field research trip came to an end, a Texas researcher remarked upon her different experiences of crossing the Rio Grande. In Texas, the river forms an international boundary, and crossing means a forced stop by government authorities on each bank. But in Colo- rado and New Mexico the river can be crossed and crisscrossed without the need for a single halt to identify one’s nationality. This experience shed light on the relationship between a geological formation and arbitrary boundaries. —Juanita Elizondo Garza University of Texas-Pan American 1998 Rio Grande/Rio Bravo Basin Los Chileros |: late August one of the most celebrated seasonal rituals of the upper Rio Grande begins: the chile harvest. Here, chile is a sta- ple. As people say, “La comida sin chile es como un beso sin bigotes,”“Food without chile is like a kiss without a moustache.” Eduardo and Priscilla Chavez have been roasting and sell- ing chile in the north valley of Albuquerque for as long as anyone can remember. Their chile stand near the St. Carmel Church on Edith Boulevard is a popular meeting place for local residents, for Indians from the nearby pueblos of Sandia, Santa Ana, and Santo Domingo, and for tourists. As Mrs. Chavez says, “Chile brings people together.” Mr. Chavez says, “The next best thing to growing chile is selling it.” —Enrique Lamadrid, University of New Mexico A chile stand in Santa Fe, New Mexico. Un puesto de chiles en Santa Fe, Nuevo Mexico. Photo by / Foto de Olivia Cadaval A river inspires singers, poets, and story- tellers. In the U.S. Southwest, Za Llorona is a legend of a weeping woman encoun- tered near rivers, streams, and acequias in the region. There are many versions of this tale, but they all recount the story of a Native woman who drowns her chil- dren out of hate for their Spanish father. She forever haunts the waterways search- ing for her children. La Llorona lives in the hearts and minds and ros of Mexican Americans everywhere. Her story is told in schools, on camping trips, and in many other places. Even las aguas negras (sewage waters) have heard her cries. From John Dodd, Hispanic Folk Music of New Mexico and the Southwest (1980): Yesterday I wept wanting to see you, Oh Weeping Woman And today I cry from seeing you. —Molly Timko, University of New Mexico Field School Participant 1998 The river is the heart of a life-sustaining environment. Atrisco, New Mexico, began as a 1692 Spanish merced, or land grant, west of the river from Albuquerque, bestowed jointly on a group of Tiwa Indians and Spanish settlers. The name is of Aztec origin meaning “place by the water.” The size of the tract varied as the Rio Grande shifted its course. Until recent times the community made its living through agriculture. Although the peo- ple of Atrisco no longer depend on agri- culture for their livelihood, the waters of the Rio Grande still nourish family gar- dens, orchards, and alfalfa fields. The traditional acequias and the water they carry symbolize the spirit of a commu- nity that has learned to defend its cul- ture, lifestyle, and values. One of the rites of spring along the upper Rio Grande is the annual clean- ing of the acequias from the acequia madre, or mother channel, down to each field. Everyone is obligated to par- ticipate in the effort. At the Northern Tiwa Indian pueblo of Picuris, special music is sung to help keep the work SMITHSONIAN FOLKLIFE FESTIVAL rhythms of cleaning the ditch. Instead of beats on a drum, the cadence comes from the percussion of shovels hitting the ground. The flowing of the first water of the spring in the ditch is an occasion marked with blessings, excite- ment, and anticipation. When the com- puertas, or floodgates, are opened near Indian pueblos, the waters are blessed with sacred cornmeal. In Hispano com- munities, the priest blesses the water and the processions that honor the patron saint of agriculture, San Isidro Labrador. —Enrique Lamadrid University of New Mexico Guillermo “Willie” Mancha owns a neighborhood store which has been an institution in Eagle Pass, Texas, since 1948. Three generations of his family have prepared and sold traditional Mexican foods that are part of the ranching culture of the region. For a century Mexican ranchers have created an economy of fruits, vegetables, and livestock, which become ingredients for regional foods such as tamales, chorizo (sausage), menudo (tripe stew), fajitas 83 Rio Grande/Rio Bravo Basin (flank steak), and barbacoa de cabeza (cow’s head barbecue). The custom was to consume the entire animal, prefer- ably a goat, desde la barba hasta la cola, “from the beard to the tail.” They say Mexicans combined barba (beard) and cola (tail), to coin the term barba- cod, the origins of barbecue. —Mario Montano Colorado College A river defines complex economic, social, and political environments. Contem- porary river basin cultural communities have creatively responded to historical and environmental challenges in differ- ent ways. This can be seen in the story of the Raramuri Indians of Chihuahua, Native communities who were forced to migrate from the countryside. Considered the most majestically scenic area of Northern Mexico, the Sierra Madre Occidental is the homeland of an indigenous tribe called the Raramuri [Tarahumara]. Over the years Raramuri families have steadily been migrating to urban areas in the Mexican states of Chihuahua, Sinaloa, and Durango. Raramuri commonly visit the cities in order to sell or trade crafts, medicinal herbs, and textiles; to purchase goods that are not available in their home communities; and to work as wage laborers for short periods of time. In the fall of 1995, Ciudad Juarez created a neighborhood in the northwestern area of the city for migrant Raramuri. Many women from this community sell medic- inal herbs near a local market in Ciudad Juarez. Most of the herbs are brought down from the Sierra usually during the early fall. Taught at an early age to recognize medicinal herbs found in their homeland, Raramuri know their uses in curing particular diseases. Only a few crafts are made in this community, but several women often travel to the Sierra to gather craft mate- rials unavailable in the urban area. For example, some Raramuri women gather 84 The Arellanos and Their Land Grant he Embudo Valley in New Mexico has a wide variety of environmental zones ranging from desert grassland to pinon-juniper and sub- alpine. The Rio Grande sustains the whole region. The area's history of Hispano agriculture and silvi- culture goes back to the Embudo Land Grant of 1725. Estevan Arellano'’s mother, Celia Archuleta, Map of the Arellano centenary ranch. is a direct descendant of Francisco Martin, one of § the three original grantees. The Arellanos feel the strong link to their land strengthened and rein- forced through the maintenance of foodways and other practices that follow the annual agri- cultural cycle. —kKen Rubin | Colorado College Field School Participant | yt $e 3. 3 = rH y. & Mapa del rancho centenario de los Arellano. Drawing by / Dibujo de Joanna Stewart midst the incredible variety in the garden there is a harmony between the plants, the soil, and the human hands that nurture the harvest. According to Estevan Arellano’s philosophy of farm- ing, it is important to achieve a natural landscape. “| just let [plants] go and find their own niche where they like to be. ... They continue moving and finding their own place where it's more natural for them.” Estevan’s thoughts on chemical pesticides make clear his personal connection to the land. “Pesticides are the worst thing you can do to the soil,” he explains.” Soil is a living organism, and it has feelings, it has a soul, it has everything a human being has. So if you want it to produce, you have to treat it kindly.” —Joanna Stewart, Colorado College Field School Participant pine needles or bear grass (palmilla) to weave baskets (waris). But the women also find materials in Ciudad Juarez to sew traditional Indian clothing and weave sashes (fajas). They are expert seamstresses. —Genevieve Mooser Eastern New Mexico University SMITHSONIAN FOLKLIFE FESTIVAL Rio Grande/Rio Bravo Basin xtle is a fiber extracted from the lechugilla plant and used to weave ham- mocks, rugs, and bags. The Department of Ecology of the State Government of Coahuila is encourag- ing people to work by offering scholarships to learn this skill and by helping to support family-run workshops. Craftsman José Isabel Quiroz learned how to weave ixtle from his father, who still works with him. Quiroz’s wife puts the finishing touches on the crafts. Cecilio Hernandez crushing the lechugilla blade to release the fibers. Photo by Imelda Castro Santillan erbalist Maclovia Zamora travels throughout the Upper Rio Grande harvesting regional plants and talking about their use in Hispano and Native American traditions. She harvests cedar from the East Mountain area of Albuquerque to make smudges that are burned during ritual cleaning and purifica- tion practices in Native communities. Maclovia Zamora col- lecting cedar for making smudges. Photo by Heidi McKinnon Brick-making in Ciudad Juarez n the Colonia Mexico 68 neighborhood in Ciudad Juarez, many of the brick-making fami- lies have created a space or “yard” for their homes, kilns, and brick-making businesses. The Colonia lies adjacent to the Juarez Industrial Park, the second largest maquiladora manufac- turing area in the city. Don Serafin explains how he started his own brick business in the Colonia: “| watched how they worked and how they mixed the earth and loaded it, fired it, the whole process. Before, everything was lyrical, every- thing rustic, and that is how | taught myself. | simply watched how the older people worked — that's how | learned and liked it. That's why | started to work on my own, and | am still here...” —FErin Ross, Southwest Center for Environ- mental Research and Policy, New Mexico State University 1998 SMITHSONIAN FOLKLIFE FESTIVAL Tierra Wools he mission of Tierra Wools is to produce and sell yarn and hand-woven woolen goods; to teach Rio Grande weaving, spinning, dyeing, and related skills. We shall maintain a hiring prefer- ence for low- to moderate-income people; ensure that provisions will be made so that low- to moderate-income employees will have finan- cial access to ownership; help further the history and culture of the area by maintaining and evolving the Rio Grande weaving tradition; maintain a preference for purchasing locally grown wool, especially churro wool; and main- tain our primary place of business within a 50- mile radius of Los Ojos, New Mexico. Antonio Manzanares with a churro sheep on his ranch in Los Ojos, New Mexico. Photo by Cynthia Vidaurri 85 Rio Grande/Rio Bravo Basin immediate economic necessity and the long-term dream of owning a piece of land are factors that drive many low- income families of migrant farmworkers to live in colonias. To help them achieve their goals, the United Farm Workers of San Juan, Texas, developed a unique program that emphasizes dedication to public action, volunteerism, respect for all cultures, and egalitarianism. Amid telephones, faxes, and computers, campesinos use modern technology while still maintaining traditional val- ues and practices. —Victor Hernandez and Cynthia Cortez University of Texas-Pan American Field School Participants Dolores Venegas teaches women tradi- tional craft-making in Rio Bravo, Tamaulipas, using recycled materials and others readily available in the sur- rounding region. Carrizo, reed cane, for pinatas is found along the banks of the Rio Bravo/Rio Grande; flower baskets are made from old tin cans; and glue is produced from flour, vinegar, salt, and water. Newspapers and mazorca (corn husks) are also used. —RBeverly Ortiz, University of Texas-Pan American Field School Participant As we followed the Rio Grande, crossing and crisscrossing this river, we became aware of the great environmental and cultural issues that persist along this vast area. From the headwaters in Colorado to the Gulf of Mexico, every region of the Rio Bravo/Rio Grande faces its own issues of history, language, culture, reli- gion, and sustenance. —Juanita Elizondo Garza University of Texas-Pan American 86 “It Was a Way Out of the Fields” FY" weekend at places with names like El Flamingo, Prieta’s Bar, or Club 77, the sound of conjunto music blares as dancers twirl to huapangos, polkas, redovas, and shotis. This tradition has survived in what was once an isolated cultural area in South Texas known to the conjunto aficionado as “el valle” (the valley). At one time, the area was more like Mexico than the United States, but during the first half of this century it adapted American traditions, developing a unique blend that is now known as Tex-Mex. Traditional dance music is heard in the small local clubs and dance halls where some dance styles have remained relatively unchanged for the past 50 years. But accordion-driven Tejano music coexists with traditional dance music in venues that appeal to the younger generations. In his accordion- repair shop sanctuary, Amadeo Flores entertains a steady trickle of conjunto aficionados, star per- formers, and occasional college students looking for their roots, with an unceasing flow of humor and musical anecdotes. Although he has lived most of his life in the area, he has frequently traveled where his music has taken him. Amadeo is also an expert bajo sexto musician, accordionist, accordion tuner, part-time historian, and full-time player of weekly conjunto gigs. His history as a performer began in the forties, when music was a pastime, and over the years he has developed it into his liveli- hood. When asked why the public turned to the accordion-driven conjunto, he answers without hesi- tation, “It’s something they understand and they can dance to. They want something simple and return to it.” On this day Amadeo was showing off publicity photos of his accordion-repair clients and his current musical competitors, some of whom could be his grandchildren and are, in fact, his pupils. He survives and thrives in a changing musical world through his appreciation of younger generations and his irrepressible sense of humor. —David Champion and Ramon de Leon Narciso Martinez Cultural Center San Benito, Texas Olivia Cadaval received her Ph.D. in American studies at George Washington University. Cynthia Vidaurri received her masters in sociology at Texas A & I University and has taught Chicano and borderlands studies at Texas A & M—Kingsville University. They are founders of the Latino Cultural Resource Center at the Center for Folklife Programs & Cultural Studies and co-curators of the Rio Grande/Rio Bravo Basin program. Festival program interns Lucy Bates, Heidi McKinnon, and Diana Robertson are graduates from University of Edinburgh, University of New Mexico, and University of California at Los Angeles, respectively. Ileana Cadaval Adams is an independent writer and translator. Patricia Fernandez de Castro is a Ph.D. candidate at the University of Chicago and researcher at El Colegio de la Frontera Norte. SMITHSONIAN FOLKLIFE FESTIVAL 1998 | Rio Grande/Rio Bravo Basin La cultura y el medio ambiente en la cuenca del Rio Bravo/Rio Grande: Una vision preliminar Aquel que beba agua del Rio Bravo nunca de sus orillas se alejara. —Dicho recopilado por Gregorio Garza Investigador, Laredo, Texas Rio Bravo, Rio Grande fe las tierras semi-desérticas que cruza, el Rio Bravo/Rio Grande es una maravilla natural cuyo poder y belleza apreciamos mejor mientras mas lo conocemos. Vi el Rio por primera vez cuando me mudé a Nuevo Laredo, Tamaulipas, al otro lado de la frontera con Laredo, Texas. Aqui en la frontera llegué a conocer un rio que al igual separa que une y da vida a estas dos comunidades. Porque el Rio, a la vez que es una frontera entre paises, es el recurso comUn que ha permitido a las comunidades fronterizas florecer juntas durante siglos. Primero como ranchos y villas y ahora como puertos de comercio internacional, las comunidades de Nuevo Laredo y Laredo — como Matamoros y Browns- ville, Mier y Roma, Piedras Negras y Eagle Pass, Ciudad Juarez y El Paso — literalmente viven del Rio. iPor qué traer nuestro Rio al Festival de las Culturas Populares del Smithsonian? Cuando Olivia Cadaval, Richard Kurin, Cynthia Vidaurri y yo empezamos a discutir esta idea en El Paso, una de nues- tras preocupaciones centrales era tratar la relacion entre el Rio y las comunidades que han surgido a su vera, no solo en la frontera México-Estados Unidos sino a lo largo y ancho de la cuenca. Alrededor de 13,000,000 personas viven en la cuenca del Rio Bravo/Rio Grande. Muchas de ellas son habitantes recientes del Sudoeste de E.U. y del Norte de México. Las familias de otras han estado aqui durante mucho tiempo. Los espacios abiertos, el aire puro, la vida del desierto y de las montanas han atraido a muchos. Pero, ironicamente, el crecimiento de las ciudades, de la industria y de los ranchos han conta- minado tanto al Rio que es uno de los que estd en mayor riesgo en el continente. Para sobrevivir en este medio ambiente, los diferentes pueblos que han hecho esta region han tenido que desarrollar una cultura tenaz y fuerte. La degradacion del Rio es una amenaza a su modo de vida. La gente de la cuenca ha respondido creativa y responsablemente, iniciando un esfuerzo para proteger su herencia cultural y fortalecer al Rio y a sus comunidades. Es esta intensa vitalidad lo que el Festival celebra. 1998 —Patricia Fernandez de Castro El Colegio de la Frontera Norte SMITHSONIAN FOLKLIFE FESTIVAL Compilado por Lucy Bates, Olivia Cadaval, Heidi McKinnon, Diana Robertson y Cynthia Vidaurri; redaccion por Ileana Cadaval Adam y Patricia Fernandez de Castro | programa del Festival de este ano forma parte del proyecto sobre la cuenca del Rio Bravo/Rio Grande, que incluye: * Los Talleres de Capacitacion para la Investigacion de Campo que se realizaron en Texas, Nuevo México y Colorado para entrenar a investi- gadores locales y para dirigir la investigacion en la region para el Festival de Tradiciones Populares y para otros programas publicos. La produccion de programas publi- cos locales en colaboracion con organizaciones locales para presen- tar la investigacion que se realizo en la region (auspiciados por Texas Folklife Resources y Texas Council for the Humanities) * Los programas del Festival Smithsonian de Tradiciones Populares para 1998 and 1999 ¢ La produccion de materiales didacticos y una pelicula documental Esta manera colaborativa de capacitacion e investigacion continua nuestro trabajo binacional con instituciones, investi- gadores y miembros de la comunidad que han participado en proyectos anteriores del Smithsonian en la region de la fron- tera México-Estados Unidos. El siguiente articulo ofrece muestras de los reportes de la investigacion para el proyecto y refleja la multivocalidad de la region. Este proyecto ha sido coauspiciado por El Consejo Nacional para la Cultura y las Artes con el apoyo de Fideicomiso para la Cultura Meéxico/USA (la Fundacion Rockefeller, la Fundacion Cultural Bancomer y el Fondo Nacional para la Cultura y las Artes); la Fundacion SBC; Texas Folklife Research y Texas Council for the Humanities. Los Talleres de Capacitacion para la Investigacion de Campo recibieron apoyo de Colorado College, Tierra Wools, la Universidad de Nuevo México, la Universidad de Texas — Pan Americana y una subvencion del Fondo de Smithsonian Outreach. 87 Rio Grande/Rio Bravo Basin Ps a cuenca del Rio Bravo/Rio Grande forma un complejo paisaje cultural, ecologico y politico. El rio navega por montanas, desiertos, llanos y subtropicos y cruza los estados de Colorado, Nuevo México y Texas en los Estados Unidos y los estados de Chihuahua, Coahuila, Nuevo Leon, Durango y Tamaulipas en México. En su trayectoria de mas de 3220 kilometros se le conoce con nombres diferentes: Rio Grande del Norte, Rio Bravo, Rio de las Palmas, Po’soge. La cuenca del Rio Bravo/Rio Grande esta poblada por muchos grupos diversos de individuos con sus propias experiencias personales y colectivas. Po’soge, el Rio Grande del Norte 0 Rio Bravo, es uno de los rios mas largos, celebrados y vitales de Norte América, y también uno de los mas amenazados. El desierto ha florecido gracias a las aguas repartidas por las antiguas acequias indigenas y novohispanas y los canales y presas del siglo XX. El Rio Bravo solo podra de sobrevivir como un rio ecologicamente sano si se le deja un poco de su antigua bravura. —Enrique Lamadrid Universidad de Nuevo México Mucha de la investigacion sobre rios se en- foca en los derechos de tierra y agua, el medio ambiente, la historia, la arquitectura, la salud y la arqueologia. En este proyecto, nos preguntamos, con nuestros colegas del Rio Bravo/Rio Grande — 7Y qué de la gente que aqui vive? ;Y qué de la herencia cultural y de la creatividad de grupos cuya experiencia se ha forjado por el rio? Nuestro particular reto fue investigar, disenar y producir un programa que muestre como las culturas locales con- tribuyen a un medio ambiente sostenible en la cuenca del rio. Nuestra técnica fue recurrir a académicos, profesores, e indi- viduos con preparacion formal e informal comprometidos con el trabajo cultural en su comunidad. Intentamos entender la relacion entre cultura y medio ambiente 88 La bendicion de la acequia durante Ia Fiesta de San Ysidro, Albuquerque, Nuevo México. Acequia blessing for the Feast of San Ysidro, Albuquerque, New Mexico. Photo by / Foto de Molly Timko y ver como las tradiciones contem- poraneas pueden ser pertinentes para equilibrar la prosperidad humana con la sustentabilidad del medio ambiente. Para ello nos preguntamos: 1) {Qué tipos de comunidades viven hoy en dia en la regi6n? 2) En qué consiste su conocimiento tradicional para manejar el medio ambiente? 3) ;Puede la cultura local formar los cimientos para proyectos de desarr- ollo sostenible? Estas preguntas nos indujeron a explorar los varios significados que tiene el Rio Bravo/Rio Grande. Después de revisar la investigacion de campo, decidimos que un proyecto de semejante magnitud y riqueza requeriria un afo mas de planificacion para su pro- duccion. Por lo tanto, este ano presentare- mos un pequenio programa en el Festival que ofrecera una introduccion a la pro- blematica, las regiones culturales y las tradiciones expresivas que conformaran el programa del Festival de 1999. Muchas voces y perspectivas han formado este programa y el proceso colaborativo ha sido tan importante como su producto. SMITHSONIAN FOLKLIFE FESTIVAL El proyecto El objetivo del proyecto iniciado por el Smithsonian tiene como fin entender la diversidad de la region a través de su naturaleza, medio ambiente, tradiciones culturales y experiencias historicas. Nuestro equipo enfoco su investigacion de campo en las empresas comunitarias, el reciclaje y, en lo general, en los paisajes y los sonidos humanos y natu- rales representativos del medio ambien- te ribereno. Después de entender el “qué, como y por qué,” los investi- gadores llegaron al coraz6n de su estu- dio, el espiritu 0 esencia del individuo o de la comunidad bajo investigaci6n. En cada empresa se discierne la fuerza y riqueza de valores culturales, caracteris- ticos de la diversidad en la region. —Juanita Garza, Universidad de Texas—Pan Americana 1998 Rio Grande/Rio Bravo Basin La cuenca del Rio Bravo/Rio Grande se nutre de tributarios naturales y culturales. A Priscilla Chavez le gusta recordar como su papa insistia en que sus hijos aprendieran lo que nunca se les podria robar. La tierra podra perderse, pero la cultura perdura como parte tan integra del valle del Rio Grande como el rio mismo. “Mi papa hacia buena harina de maiz. Era la mejor. Y le dijo a mi her- mana — Voy a dejarte esta herencia a ti. Y ella continua haciendo la mejor harina de maiz.... A los muchachos les dejo la musica....” —Grabado por Enrique Lamadrid Universidad de Nuevo México Un rio provee materia prima. Las alfareras de Ysleta extraen la arcilla riberena de varios sitios. Cuando Fermina y sus hermanas eran jovenes y trabajaban con su abuela, la familia iba a buscarla en cuatro cerros. Cada cerro producia arcilla de distinto color, desde un rosado palido a uno oscuro. Ahora extraen arcilla dondequiera que la encuentran. Fermina encontro un deposito de calidad pero solo tuvo acce- so a él por corto tiempo antes de que fuera cercado. —Grabado por Elaine Thatcher in si’ *tu, Santa Fe, Nuevo México El Rio Bravo/Rio Grande es un rio de desierto en el que los recursos son limi- tados. Fluye por una arida region carac- terizada tanto por la cooperacion como por los conflictos sobre el uso de agua. El agua de la acequia nos conecta al rio. Pero también nos une a unos con otros.... Aunque haya conflictos sobre el horario de riego y estés enojado con tu vecino, sabes que tendras que resolver- los tarde 0 temprano. A largo plazo, eso hace que la gente mantenga buenas relaciones.” —Bidlogo ripario Manuel Molles entrevistado por Enrique Lamadrid Universidad de Nuevo México 1998 Acequia, la palabra castellana para canal de riego, se deriva del arabe, as- saquiya (cargador de agua). Las ace- quias secundarias y laterales se Ilaman sangrias, un término metaforico que expresa la sabiduria misma de los dichos populares: “El agua es la sangre de la tierra” y “El agua es vida.” — Enrique Lamadrid Universidad de Nuevo México Los costumbres humanas pueden estar 0 no en harmonia con la logica del rio. Observando a las comunidades Pueblo a lo largo del Rio Grande, apreciamos la problematica de la supervivencia cultural, del desarrollo economico y de la conser- vacion ambiental. El control del agua forma parte de esa lucha cultural para sobrevivir. Por ejemplo, nuestro sistema de valores en cuanto al uso de la tierra y el agua es incompatible con el del sistema jurisprudencial. Aprendemos a conservar el agua pero al mismo tiempo las leyes dicen que debemos usarla ain cuando no la necesitemos, para asi mantener nues- tro derecho sobre ella. Ademas la decision de construir una presa para controlar al Rio Grande afecto negativamente el pro- pio tejido social del Pueblo Cochiti. Durante unos veinte anos no pudimos realizar nuestros rituales agricolas. La agricultura no es simplemente una fuente de alimentacion para nosotros; esta inti- mamente relacionada a nuestra identi- SMITHSONIAN FOLKLIFE FESTIVAL dad. Este ano, por primera vez en dos décadas, sembraremos de nuevo. —Regis Pecos, Oficina de Asuntos Indigenas del Estado de Nuevo México Un rio es un eje de valores que puede unir o dividir comunidades. Los Matachines de la Sierra Oriental en las afueras de Alburquerque danzan ri- tualmente para mantener y renovar la tierra y el agua del valle del Rio Grande. Sin embargo, el desarrollo urbano reciente amenaza sus costumbres. La matachin Bernadette Garcia explica: “Los empresarios urbanos venden todas estas propiedades, pero no ponen en las escrituras que tenemos derecho de acce- so segun las mercedes originales. Aca- bamos teniendo que luchar por ellos en la corte. La gente que compra no sabe nada de esto y se muda muy contenta. Entonces vienen nuestras fiestas y pro- cesiones. Dicen — No pueden pasar por nuestros terrenos porque son nuestros. Es ahi cuando comienzan las peleas. No debe de ser asi. Es solo una vez al ano que tenemos que ir en procesion al ojo de agua. Siempre haremos una proce- sion al ojo en primavera. O hasta que nos atropellen.” —Barbara Gonzales Participante del Taller de Investigacion de Campo con la Universidad de Nuevo México Rita Morales frente a un altar ala Virgen de Guadalupe en la fabrica maquiladora donde traba- ja en Matamoros, Tamaulipas. Rita Morales, a maquiladora factory worker, next to an altar to the Virgin of Guada- lupe in the factory where she works in Matamoros, Tamaulipas. Photo by / Foto de Alma Jiménez 89 Rio Grande/Rio Bravo Basin ) invita viajes, asentamientos, re- sentamientos, fronteras y lazos sociales. Naci en Veracruz, en el Golfo de México. Me casé muy joven. Mi esposo era de Ciudad Victoria, en el vecino estado de Tamaulipas, y en esa época él estaba trabajando en el algodon. Nos conoci- mos, nos casamos y como su familia estaba alla en Ciudad Victoria, pues dijo — yamonos — y nos fuimos. Después de estar casada veinte anos, vine a Matamoros en la frontera. Aqui en Matamoros, en la maquiladora, uno convive, se Cuentan sus cosas, se cono- cen, se pelean unas con otras, se cuen- tan sus problemas. Se dan su tiempo entre el trabajo para convivir.... A veces como vendemos cosas, nos ayudamos. —Entrevista con Eustolia Almaguer Vazquez por Alma Jimenez El Colegio de la Frontera Norte Al terminarse la investigacion de campo, una investigadora de Texas comento sobre sus diferentes experiencias al cruzar el Rio Bravo/Rio Grande. En Texas, el rio es una frontera interna- cional y cruzar implica aduanas fede- rales de ambos lados, pero en Colorado y Nuevo México el rio se cruza y se vuelve a cruzar sin necesidad de pararse para identificar su nacionalidad. Esta experiencia le ayudo a entender la relacion entre formaciones geologicas y barreras arbitrarias. —Juanita Garza Universidad de Texas—Pan Americana Un rio inspira a cantantes, poetas y na- rradores. En el Sureste de Estados Unidos la Llorona es una leyenda de una mujer que se encuentra llorando a la orilla de los rios, arroyos y acequias de la region. Hay varias versiones pero todas cuentan de una mujer indigena que ahoga a sus hijos enfurecida contra el padre espanol. Por siempre rondara los sitios de agua en busca de sus hijos. La Llorona vive en los corazones y las 90 Los chileros finales de agosto, uno de los ritos mas celebra- dos del Rio Grande del Norte comienza: la cosecha del chile. Aqui el chile es, mas que condi- mento, alimento basico.Como dice el dicho,“La comida sin chile es como un beso sin bigote.” Desde que se acuerda la gente, Eduardo y Priscilla Chavez han rescoldado y vendido chile en el valle Las ladrilleras de Ciudad Juarez nel barrio Colonia México 68 de Ciudad Juarez, muchas de las familias ladrilleras han creado un espacio 0 patio para su casa, su horno y su negocio de ladrillos. La Colonia queda al lado del Parque Industrial Juarez, el segundo en la ciudad por su extension. Don Serafin explica como empezo su propio negocio de ladrillos en la colonia.Estuve observando como trabajaban y como revolvian la tierra, como la cargaban, como la quemaban, toda la elaboracion. Antes todo era lirico, todo rustico y fue como me ensené yo. Lo unico fui viendo como trabajaban los senores de antes, fue como aprendi y me gusto. Por eso es que comencé a trabajar por mi cuenta y aqui estoy todavia...” —Erin Ross, Centro de Investigacion y Reglamentacion Ambiental del Suroeste Universidad del Estado de Nuevo México al norte de Alburquerque. Su tiendita de chile en la calle Edith cerca de la iglesia del Monte Carmel es un lugar donde se reinen amigos, vecinos, turistas e indigenas de los cercanos Pueblos Sandia, Santa Ana y Santo Domingo. Como dice la sefiora Chavez, | “El chile une a la gente.” El senor Chavez dice“Si no | se puede sembrar el chile, hay que venderlo.” —Enrique Lamadrid Universidad de Nuevo México Gerardo Caballero dentro del horno para hacer la- drillos en el patio de su casa en Ia colonia Mexico 68. Brick-maker Gerardo Caballero inside a brick-making oven in his yard. Photo by / Foto de Erin Ross mentes y los rios de los méxico-ameri- canos en todas partes. Su historia se cuenta en las escuelas, en excursiones y en muchos otros lugares. Hasta las aguas negras han oido sus llantos. De John Dodd, Hispanic Folk Music of New Mexico and the Southwest (1980): Ayer lloraba por verte, ay Llorona y hoy lloro porque te vi —Molly Timko Participante del Taller de Investigacion de Campo con la Universidad de Nuevo México SMITHSONIAN FOLKLIFE FESTIVAL El rio es el corazon de un medio ambi- ente que sostiene la vida. Atrisco, al oeste del rio en Alburquerque, Nuevo México, comenzo como una merced de la corona espafiola en 1692 otorgada conjuntamente a un grupo de indios tiwas y colonos espanoles. El nombre es de origen azteca y quiere decir “lugar cerca del agua”. El tamano del terreno ha variado segun los cam- bios del cauce del Rio Grande. Hasta tiempos recientes, la comunidad se dedi- caba a la agricultura. Aunque la gente de Atrisco ya no depende en la agricul- tura para sobrevivir, las aguas del Rio 1998 | Rio Grande/Rio Bravo Basin Grande todavia riegan sus jardines, arboledas y campos de alfalfa. Las ace- quias tradicionales y el agua que llevan simbolizan el espiritu de una comu- nidad que ha aprendido a defender su cultura, su estilo de vida y sus valores. Uno de los ritos de primavera en el Rio Grande del norte es la “saca” [limpieza] anual de las acequias. Todos estan obligados a participar y a con- tribuir en el trabajo. En el pueblo de Picuris de los indios tiwas, hay cantos especiales para acompaniar la limpia de las acequias. En vez de tocar un tambor, el ritmo se marca con los golpes de las palas contra el suelo. La entrada de las primeras aguas de la primavera en las acequias es una ocasion muy anticipada y celebrada con bendiciones y alegria. Cuando se abren las compuertas cerca de las comu- nidades Pueblo, las aguas son bendeci- das con harina de maiz sagrado. En los pueblos hispanos, el sacerdote bendice el agua y las procesiones que honran al santo patrono de la agricultura, San Isidro Labrador. —Enrique Lamadrid Universidad de Nuevo México Mujeres raramuri vendiendo hierbas y flores en la banqueta en Ciudad Juarez, Chihuahua. Raramuri women selling herbs and flowers outside on the sidewalk in Ciudad Juarez, Chihuahua. Photo by / Foto de Genevieve Mooser 1998 Desde el ano 1948, la Tienda y Marqueta de la familia Mancha ha sido una insti- tucion cultural en Eagle Pass, Texas. Ahora, Guillermo, “Willie” Mancha, el hijo mayor, esta encargado de supervi- sar a la tercera generacion de hijos y sobrinos que continuan preparando y vendiendo las comidas tradicionales tipicas de las rancherias mexicanas de esta region. Por mas de un siglo los rancheros mexicanos han creado una economia a base de frutas, verduras y ganado, los ingredientes para comidas regionales como tamales, chorizo, menudo, fajitas y barbacoa de cabeza. La costumbre era de consumir el animal entero, preferiblemente chivo, desde la barba hasta la cola. Se dice que de alli viene la palabra barbacoa, de la combinacion de barba y cola. —Mario Montano, Colorado College El rio define com- plejos ambientes economicos, sociales y politicos. Las comu- nidades riberenas contemporaneas han respondido a los retos histori- cos y medio ambi- SMITHSONIAN FOLKLIFE FESTIVAL creativamente y de diferentes maneras Los Mancha metiendo la carne en el pozo detras de su tienda en Eagle Pass, Texas. The Manchas setting the prepared meat in the pit behind their store in Eagle Pass, Texas. Photo by / Foto de Mario Montano entales. Esto se puede ver en la historia de los indigenas raramuri de Chihuahua, comunidades nativas que fueron forzadas a emigrar de sus tierras. La Sierra Madre Occidental se considera como el area mas majestuosa y pintoresca del norte de México. Aqui viven los rara- muri. Por anos las familias raramuri han emigrado a zonas urbanas, principalmente de los estados de Chihuahua, Sinaloa y Durango. Los raramuris suelen visitar las ciudades para vender artesanias tradi- cionales, hierbas medicinales y textiles; para obtener productos que no se pueden con- seguir en la Sierra; y para obtener trabajos asalariados temporales. En octubre de 1995, una comunidad raramuri se establecio en el noroeste de Ciudad Juarez. Muchas mujeres de esta comunidad venden hierbas medici- nales cerca del mercado municipal de Ciudad Juarez. Las hierbas son comunmente traidas de la Sierra al comienzo del otono. Desde pequenos, a los raramuri se les ensena a conocer las hierbas medicinales de la Sierra, de modo que conocen sus propiedades curativas. Se produce poca artesania en esta comu- nidad, pero algunas mujeres van a la Sierra a conseguir material artesanal que no se encuentra en una zona urbana. Por ejemplo, consiguen las hojas de pino o la palmilla para hacer canastas (waris). Sin embargo, en Ciudad Juarez encuentran materiales para coser vestidos y fajas tradicionales. Las mujeres raramuri son excelentes costureras. —Genevieve Mooser, Universidad de Nuevo México Oriental 91 ide/Rio Bravo Basin x > San Juan, Texas. Participantes en la escuela de investigacion de campo del programa del Rio Bravo/Rio Bravo trabajando con los miembros del Sindicato de Campesinos Unidos en Rio Grande/Rio Bravo Folklife Field Research School participants working with United Farm Workers Union in San Juan, Texas. Photo by / Foto de Charles Weber Los Arellano y su merced de tierra | Valle de Embudo en Nuevo Mexico tiene una gran diversidad de habitats que incluyen planicies desérticas, bosques de pino y junipero y matorral subalpino. El Rio Grande sustenta la region entera. La historia de agricultura y silvicultura novohispana en la region comienza con la merced de Embudo de 1725. La madre de Estevan Arellano, Celia Archuleta, es descendiente directa de Francisco Martin, uno de los tres cesionarios originales. Los Arellano sienten lazos fuertes con su tierra que se intensifican y refuerzan preservando ciertas costumbres tradicionales. —Ken Rubin, Participante del Taller de Investigacion de Campo con Colorado College aes de la variedad enorme que existe en el jardin, hay un sentido de armonia entre plantas, tierra y manos que la cosechan. En la filosofia agricola de Estevan Arellano, es muy importante lograr un paisaje natural.“ Yo dejo que las plantas busquen su propio nicho. ...se mueven y encuen- tran su lugar mas natural.” La actitud de Estevan hacia los insecticidas revela su relacion con la tierra. “Los insecticidas son la peor cosa que se le puede hacer a la tierra. La tierra es un organismo vivo; tiene emociones, tiene un alma, tiene todo lo que tiene un ser humano. Si quiere que produzca, hay que tratarla con carino.” —Joanna Stewart, Participante del Taller de Investigacion de Campo con Colorado College EI ixtle | ixtle es una fibra que se extrae de la lechuguilla y se usa para tejer hamacas, tapetes y bolsas. La Direccion General de Ecologia del Estado de la Secretaria de Desarrollo Social del Gobierno de Coahuila ofrece becas a las personas que quieran aprender a trabajar el ixtle y ayuda a familias con talleres artesanales de este tipo. El artesano José Isabel Quiroz Garcia aprendio a tejer el ixtle de su padre, con quien todavia trabaja. Su esposa le pone los detalles finales a las artesanias. 92 SMITHSONIAN FOLKLIFE FESTIVAL Tierra Wools | ls mision de Tierra Wools es producir y vender estambre y tejidos de lana hechos a | mano, y ensenar a tejer, hilar, teniry trabajos relacionados en la tradicion de tejido Rio Grande. Daremos prioridad en el empleo a personas de bajo a mediano ingreso; aseguraremos que habran mecanismos para que estas personas tengan acceso a préstamos | para financiar propiedades; ayudaremos a propagar la historia y la cultura de la region manteniendo y desarrollando la tradicion del | tejido del Rio Grande; daremos preferenciaen | la compra a la lana de la region, sobre todo a la” lana churro; y mantendremos nuestro principal | centro de negocios dentro de un radio de 50 millas de Los Ojos, Nuevo México. if F | | Rio Grande/Rio Bravo Basin La necesidad economica y el sueno de ser dueno de su propia tierra son fac- tores que impulsan a muchas familias de trabajadores agricolas migrantes de bajo ingreso a vivir en asentamientos urbanos marginales 0 “colonias.” Para ayudarles a realizar su meta, el Sin- dicato de Campesinos Unidos de San Juan, Texas, desarrollo un programa especial que enfatiza dedicacion a la accion publica, trabajo voluntario, respeto por todas culturas y egalitaris- mo. Trabajando con teléfonos, faxes, y computadoras, los trabajadores agrico- las utilizan la tecnologia moderna al mismo tiempo que conservan valores y practicas tradicionales. —Victor Hernandez y Cynthia Cortez Participante del Taller de Capacitacion para la Investigacion de Campo con la Universidad de Texas—Pan Americana Dolores Venega le ensena a las mujeres de Rio Bravo a hacer artesanias tradi- cionales utilizando materiales reciclados y otras materias primas de la region. El carrizo para las pinatas se encuentra a la orilla del Rio Bravo/Rio Grande; las canastas para arreglos florales se hacen con latas usadas; y el pegamento se hace con harina, vinagre, sal y agua. También utiliza periodicos y mazorcas. —Beverly Ortiz, Participante del Taller de Capacitacion para la Investigacion de Campo con la Universidad de Texas—Pan Americana Era una via para salir del campo ee fines de semana en lugares como El Flamingo, Bar Prieta o Club 77 la musica de conjunto satura el ambiente mientras las parejas bailan al compas de huapangos, polkas, redovas y chotises. Esta tradicién ha sobrevivido en el sur de Texas, en lo que una vez fue una region cultural aislada conocida por los aficionados a la musica tejana de conjunto como el Valle. En un tiempo, la region era mas como México que como Estados Unidos, pero a mediados de este siglo se introdujeron tradiciones musicales estadounidenses y surgid algo que no es mexicano ni americano sino tex-mex. La musica tradicional se escucha en los pequeiios clubes y salones de baile — en locales donde perviven estilos de baile que no han cambiado en 50 aios. Ahora la nueva musica tejana convive con la mas tradicional. Amadeo Flores entretiene al continuo flujo de aficionados, musicos y estudiantes universitarios que pasan por el santuario de su taller de reparacion de acordeones con su incesante platica sobre la musica y refranes, dichos y chistes. Aunque ha vivido la mayor parte de su vida en el Valle, la musica le ha servido de vehiculo para conocer todo el pais. Ademas de afinador de acordeones, Amadeo es acordeonista, toca bajo sexto y es historiador. Su historia como musico comenzo en los anos cuarenta, cuando la musica para él era un pasatiempo; con el tiempo la ha convertido en una manera de ganarse la vida. Cuando le preguntan qué es lo que atrae a la gente a la musica de conjunto con acordeon, contesta sin vacilar, "Es algo facil de entender y bailar. Quieren algo sencillo y vuelven a esto.” Hoy Amadeo estaba presumiendo con sus fotos de publicidad de los clientes a quienes les repara sus acordeones y de sus rivales musicales, algunos de los cuales podrian ser sus nietos y, de hecho, son sus alumnos. Con su aprecio por las nuevas generaciones y su sentido de humor incon- tenible, Amadeo prospera en el cambiante mundo musical. —David Champion y Ramon de Leon, Centro Cultural Narciso Martinez, San Benito, Texas Al seguir el Rio Bravo/Rio Grande, cruzando y volviendo a cruzarlo, nos dimos cuenta de la enorme problematica cultural y ambiental que persisten en este trecho vasto. Desde su origen en Colorado hasta el Golfo de México, cada region del Rio Bravo/Rio Grande enfrenta su propia polemica sobre la histo- ria, el idioma, la religion y los medios de vida. —Juanita Garza Universidad de Texas—Pan Americana Olivia Cadaval recibio su doctorado en la Universidad de George Washington. Cynthia Vidaurri recibié su maestria en la Universidad Texas A & 1 y fue profesora de estudios chi- canos y fronterizos en la Universidad de Texas A & M-Kingsville. Son fundadoras del Centro Latino de Recursos Culturales en el Centro de Estudios Culturales y Programas de Tradicién Popular y co-directoras del programa sobre la cuenca del Rio Bravo/Rio Grande. Las pasantes del programa del Festival Lucy Bates, Heidi McKinnon y Diana Robertson son graduadas de la Universidad de Edimburgo, la Universidad de Nuevo México y la Universidad de California en Los Angeles, respectivamente. Illeana Cadaval Adam es escritora y traductora independiente. Patricia Fernandez de Castro esta termi- nando su doctorado en la Universidad de Chicago y es investigadora de El Colegio de la Frontera Norte. 1998 SMITHSONIAN FOLKLIFE FESTIVAL 93 94 Ay Festival Concerts Soe Om foie ae eee ee SMITHSONIAN FOLKLIFE FESTIVAL Fourth Annual Friends of the Festival Ralph Rinzler Memorial Concert Jazz and First-Generation American Klezmer Musicians lezmer is the traditional instrumental music of the Jews of Eastern Europe and, s far as we know, dates from the 16th cen- ey The term “klezmer” itself derives from the Hebrew words kley zemer, “vessel of song,” referring to the musical instruments. Heavily influenced by the existing folk genres in the area — e.g., Romanian, Russian, Polish, Ukrainian, Hungarian, Bulgarian, Gypsy — and traditional Jewish cantillation, klezmer was filtered through Jewish ears and consciousness. Immigrant klezmer musicians who came from Eastern Europe to America during the early 20th century found a ready market for their skills. Many large American cities had Jewish neighbor- hoods filled with large young families. Yiddish was spoken by the vast majority. The newly arrived klezmorim found work using the old repertoire at weddings, society, labor union, and syna- gogue functions. Those adept at reading music could also find employment in Yiddish theaters. American-born musicians began to perform klezmer music in the mid- 1920s. Max Epstein (clarinet/saxo- phone/violin) was playing violin in a Yiddish theater orchestra at the age of 12, in 1924. Although he plays American dance music, Epstein’s klezmer clarinet and violin are totally European in overall style. He follows in the tradition of his idols, the European-born Dave Tarras (1897-1989) and Naftule Brandwein (1889-1963). Brandwein’s was the domi- nant clarinet approach — somewhat rough, but daring and exciting — until the advent of Tarras in the late 1920s. Most of the first-generation American 1998 players followed the style and repertoire of Dave Tarras — smooth, graceful, and elegant. I would compare the two: Brandwein is to Tarras as early Benny Goodman is to Artie Shaw. Aside from Epstein, the most important first-generation American klezmer clar- inetist was Tarras’s son-in-law, the awe- some Sam Musiker (1916-1964), who was the featured jazz clarinet soloist in the Gene Krupa band from 1938 until 1942. As with most in his generation, Musiker was an outstanding saxophonist as well. Jazz was an important compo- nent of Sam’s klezmer playing and com- posing. His younger brother, Ray Musiker (born 1926), plays with a more “classi- cal” tone, and his compositions reflect the more “modal” approach of contem- porary jazz. Others who play in the Tarras style are Howie Leess, a devotee of Artie Shaw and a brilliant improviser on the tenor sax; Leess’s first cousin, Danny Rubinstein, who plays marvelous modern jazz on sax as well; Paul Pincus, a Juilliard graduate who spent many years as a clarinetist and bass clarinetist in Broadway pit orchestras and plays elegant saxophone with little jazz influence; and Rudy Tepel, for years a band leader at Hasidic wed- dings, who employs a curious “society” sax vibrato on the clarinet and a punchy sax style reminiscent of Charlie Barnet. An anomaly among first-generation SMITHSONIAN FOLKLIFE FESTIVAL Peter Sokolow American klezmer clarinetists, Sid Becker- man follows neither Brandwein nor Tarras. Sid’s style derives from that of his father, Shloimke Beckerman (1883-1974), a good technician on both clarinet and saxophone who played in a Paul White- man big band unit at New York’s posh Palais Royale in the early 1920s. He was the only one of the immigrant generation who played the saxophone well. Sid’s playing is totally devoid of jazz influence and surprisingly lacking in vibrato, which also is apparent on the few recordings made by his father in the 1920s. On Sid’s other instruments, trumpet and trom- bone, the jazz influence varies. When klezmer came to America, it moved indoors, from open fields to cater- ing halls, where it found — pianos! There weren’t many pianists in klezmer in the immigrant generation; the piano remained for the first-generation Americans, so many of whom were given music lessons by their parents. Klezmer dance bands used piano for “oom-pah” rhythm. The younger pianists such as my father, Abraham Sokolow (1896-1987), emulated the dynamic style of George Gershwin (1898-1937), whose innovative harmonies and rhythms pervaded American dance music from the 1920s until World War II. Some of these ideas found their way into klezmer music, introduced by Abe Ellstein, who played with Dave Tarras; Sam Eisenberg, who played with Max Epstein; and Sam Medoff, pianist and arranger on the 1930s and 1940s radio series, “Yiddish The Fourth Annual Ralph Rinzler Memorial Concert is made possible with support from The Recording Industries Music Performance Trust Funds, the Ruth Mott Fund, Friends of the Festival, and Kate Rinzler. 95 The revivalists have... brought our old-time ~ catering-hall dance music onto the concert stage, into the recording studio, and on television and radio. Melodies in Swing.” Some bands used the accordion in addition to or as a substi- tute for the piano. The archetypal klezmer drummer in America was Irving Gratz (1907-1989), the mighty little man who played for Dave Tarras. An immigrant who played a pure klezmer style — rolls on the snare drum, steady bass drum, and cymbal accents — Gratz’s “time” was impecca- ble: no rushing or slowing down, no jazz whatsoever. The drummers who put some Krupa into klezmer were the youngest Epstein brother, Julie (born 1926, in my opinion the best today), Sol Gubenko (brother of jazz vibist Terry Gibbs), Marvin Kutcher (nephew of trombonist Sam), and Si Salzberg. I am the “bridge” between the first two generations of American klezmer and the 96 revivalists of Henry Sapoznik’s age and younger. I learned the music from Tarras, Gratz, Tepel, the Epstein brothers, and Sid Beckerman, all of whom I performed with regularly, starting in the late 1950s. Oddly, I learned a newer, more “yank- ified” klezmer than that of the revivalists, who went to the old Abe Schwartz, Harry Kandel, and Naftule Brandwein record- ings for their style and repertoire. Even though I have been playing this music since before many of the “kids” were born, their basic approach predates mine! Many of my colleagues and I have intro- duced the revivalists to the style and repertoire of the Dave-Tarras-and-later period, which spans the years from 1930 to 1960. After 1960, klezmer music became dormant, awaiting rediscovery and revitalization through the efforts of SMITHSONIAN FOLKLIFE FESTIVAL Peter Sokolow, Henry Spoznik, Howie Lees, and Sid Beckerman (left to right) perform in the early 1990s. Photo courtesy Peter Sokolow the dedicated scholars and performers of | the klezmer revival. The revivalists have redefined our old music, lending a patina | of artistry to the old, derogatory term klezmer, meaning a musical simpleton only capable of playing old Yiddish tunes poorly. They have brought our old-time catering-hall dance music onto the con- cert stage, into the recording studio, and on television and radio, giving new careers and a modicum of fame and pub- lic recognition to a bunch of old, semi- | retired veterans. We “old guys” would like | to thank the “young guys” for getting us | a part in this wonderful music scene. Pete Sokolow is a veteran of New York's Jewish music scene. Cofounder of Klezmer Plus!, he is highly regarded for his New | Orleans and early jazz stylings. ! J 1998 Klezmer! Old-Time Music and the Klezmer Revival: A Personal Account y the time I graduated from high school in 1971, I knew that I had a great affinity for traditional music — especially “old-time” music from Appalachia. Cutting loose from my Orthodox Jewish upbringing and liturgical studies under my cantor father, I put my Jewish music in deep freeze and careened my way through rock and protest, winding up with “authentic folk.” Dubbing myself “Hank,” I ventured forth with my $10 Japanese banjo intent on embodying the hard livin’, hard travelin’ repertoire of rural Americans. Haunting the numerous coffeehouses in Greenwich Village or heading to the Wailing Wall of folk music, Washington Square Park, I would play a host of antique American songs with other children and grandchildren of East European Jewish émigrés. The music scene was awash with fiddlers, banjo play- ers, mandolin players, and guitarists who, with their long stringy, beards and intense gazes, looked like nothing less than stu- dents playing hooky from beys medresh, the Jewish house of study. I fit right in. One band I sat in with was The Wretched Refuse String Band, whose name under- scored the relatively recent immigrant backgrounds of the musicians’ families. The following few years were filled with listening to 78 rpm recordings of bands like Uncle Dave Macon and the Fruit Jar Drinkers, Dr. Humphrey Bates and the Possum Hunters, and my favorite, Charlie Poole and the North Carolina Ramblers. In 1972, I formed my own old-time band, The Delaware Water Gap String Band. The DWG soon became a popular group 1998 in the bite-size universe shared with other urban revival old-time bands like the New Lost City Ramblers and the blue- grass-oriented Greenbriar Boys, in which Ralph Rinzler played. To this 19-year-old Brooklyn boy, North Carolina seemed like an amalgam of Shangri-La and Tobacco Road. My dream was to go as soon as possible. In the sum- mer of 1973 I got a chance to make a field trip to Mt. Airy to the home of Tom- my Jarrell and Fred Cockerham, two of the most wonderful players of old-time music. Septuagenarians both, the irascible Tommy and the dryly self-deprecatory Fred made perfect teachers. They were generous, demonstrative, appreciative, accessible, and endlessly authentic. Over the next few years I made half a dozen trips; these remain some of the most pow- erful and wonderful memories I have. At breakfast one morning on one of these trips, Tommy offered me scrambled eggs, bacon, and biscuits drenched in bacon-fat gravy. I opted for just coffee. The genial Tommy pressed me with “Come on, Hank, eat up!” We parried and thrusted until Tommy, getting more and more obstreperous, blurted out: “What's the matter with you, Hank? What're you, a damned Jew?” Whoa! I’m still not sure if I was more startled by Tommy’s language or his knowing that pork is not kosher. In any case I stam- mered out: “Why, yes, Tommy, I am.” It turned out that, touched and impressed as he and Fred were about the boundless enthusiasm Jews had for their music and SMITHSONIAN FOLKLIFE FESTIVAL Henry Sapoznik culture, they were still puzzled about the proliferation of us in old-time music. After all, their own kin took nearly no interest in it. Tommy asked me, “Hank, don’t your people got none of your own music?” Well, of course we had “our own” music: cantorial melodies I sang with my father, Hasidic tunes we sang in yeshiva, numer- ous songs sung with gusto during Pass- over. There was also the Israeli music I deeply loathed. But where were the great fiddlers, the driving elemental dance tunes, and exuberant, unself-conscious genres of music? Above all, where were the Jewish Tommys and Freds? I didn’t know, but I meant to find out. And did. Excerpted from Klezmer! A Social History of Yiddish Music in America (Schirmer Press, forthcoming). Suggested Reading Sapoznik, Henry.”Klezmer Music: The First Five Hundred Years.” In Musics of Multicultural America, ed. Kip Lornell and Anne Rassmusen. New York: Schirmer Press, 1998. e e Suggested Listening Dave Tarras: Yiddish-American Klezmer Music 1925-1956. Yazoo 7001. Klezmer Plus! Featuring Sid Beckerman and Howie Leess. Flying Fish 70488. Henry Sapoznik is a leader in the revitalization of traditional Yiddish music. He is currently working on a history of music and a documentary for public radio on the history of Yiddish radio. 97 Folkways at 50: Festivals and Recordings ifty years ago, an immigrant audio engineer with a deep love of American music, Moses Asch, started his third record company in New York City after suffering two bankruptcies. He called the new company Folkways Records and decid- ed he would use it to create a kind of public archive of the world’s sounds. He was also deter- mined to provide a record label for those whose voices were rarely heard beyond their com- munities, from the Pi most traditional Pete Seeger and Moses Asch at Folkways’ office, New York City, 1956. artists to the most _ Photo © David Gahr avant-garde. He would eventually produce over 2,100 LP records and keep them all in print until his death in 1986. In 1987 the Smith- sonian Institution acquired Folkways Records as well as the Moses and Frances Asch Collection of archival materials, now both part of the Center for Folklife Programs & Cultural Studies. In 1998 we look back over a half-centu- ry of activities that have profoundly influenced the music of our time, and Support for Folkways At 50 comes from BMI (the American performance rights organization), the United States Postal Service, M.A.CE. (Mississippi Action for Community Education), Global Arts/Media Foundation, PA.CE.R.S. (Program for Academic and Cultural Enhancement of Rural Schools) Small Schools Cooperative & Community Celebration of Place Project, KOCH International, Smithsonian Magazine, Smithsonian Institution National Museum of American History, TRO The Richmond Organization, Columbia Records and Sony Music Entertainment, Michael Asch, Walter Beebe and the New York Open Center, Andrew Dapuzzo and Disctronics, David Glasser, Charlie Pilzer, and Airshow Mastering, Inc., Judith DeMaris Hearn, Ella Jenkins, Richard Kurin, Mark Miller and Queens Group, Inc., Microsoft Corporation/Media Acquisitions Department, Arnold L. Polinger, Razor & Tie Entertainment, and The Recording Industries Music Performance Trust Funds. 98 look forward to new technologies and new directions through which to do the same for the future. It is appropriate to celebrate Folkways’ 50th anniversary at the Folklife Festival. Folkways Records was a touchstone of the early folk music revival through its sup- port of many influential artists and its participation in many events. Moses Asch housed Sing Out! magazine during its early years; he recorded at the Newport SMITHSONIAN FOLKLIFE FESTIVAL wT — IE Anthony Seeger Folk Festival; he published the recordings i of generations of researchers and schol- . ars — including some of those who would eventually have a major influence | on the Smithsonian Folklife Festival. For example, recordings of Doc Watson and | his family by Ralph Rinzler, founding director of the Festival, were first issued on Folkways; Bernice Johnson Reagon, African-American scholar, singer, song- | writer, and folklorist with the Festival’s African Diaspora Program, recorded her first album on Folkways. Moreover, the philosophies of Folkways and the Folklife Festival were similar: to celebrate cultural | diversity and human artistry; to provide | an educational framework through which to understand cultural manifestations; and to encourage people to delve as deeply as they wish into the subject mat- | ter by providing substantial supplemental | material — liner notes in the case of | Folkways and program books like this one in the case of the Folklife Festival. In three 50th anniversary concerts we recognize the importance of music for children in the Folkways legacy, look back at some of the influential artists recorded by Moses Asch in the 1940s, and | then look forward to artists who appear ~ on the most recent compact disc issued | by Smithsonian Folkways Recordings. Children’s Matinee, Friday, June 26th, 5:30 — 7:00 p.., Featuring Ella Jenkins | and Larry Long with Children from Rural Schools in Alabama Music for children has been one of the most influential parts of Folkways Records — many people heard their first Folkways record in a classroom. Moses Asch thought children should be exposed to good, authentic music from many cul- 1998 Folkways at 50 tural traditions. In this afternoon concert we celebrate not only the contributions ‘of musicians who perform for children but the creativity of children themselves. Folkways Founders/U.S. Postal Service Folk Musicians Stamp Concert, Friday, June 26th, 7:00 — 9:00 p.m. In 1998 the U.S. Postal Service is issuing a stamp series commemorating four important figures in the folk music revival of the 1950s and 1960s: Lead Belly, Woody Guthrie, Sonny Terry, and Josh White. All four artists recorded for Moses Asch. To honor these men who played prominent roles in both Folkways and 20th-century American music, we are inviting musicians whose styles have been strongly influenced by them to per- form at an evening concert. Featured artists are Toshi Reagon, Josh White, Jr., Arlo Guthrie, and the Willie Foster Blues Band. Heartbeat: Voices of First Nations Women Concert, Sunday, June 28th, 5:30 — 9:00 p.m. Because most traditional Native women’s music has been performed in private set- tings — in their homes or during tribal ceremonies — very little of this music has been heard outside the women’s own communities. Yet women’s music is a growing and dynamic part of Native music today. In addition to traditional women’s genres, women have recently begun to perform music previously ‘restricted to men. A number of singer/ songwriters also have created songs that use Native languages and rhythms and often deal with issues of concern to con- temporary American Indians. Some of the artists featured on a new Smithsonian Folkways recording of Native women’s music will be presented in a concert that celebrates both the release of the album and the half-centu- ry that Folkways Records and Smith- sonian Folkways Recordings have been introducing wider audiences to commu- 1998 nity-based music. The program will fea- ture Sharon Burch (Navajo singer/song- writer), Joy Harjo and Poetic Justice (contemporary poetry and jazz), Judy Trejo and her daughters (Paiute tradi- tional songs), Mary Youngblood (Aleut- Seminole flute player), Tzo’kam (tradi- tional Salish songs), and Sissy Good- house (Lakota traditional singer). Anthony Seeger, Ph.D., is curator and direc- tor of Smithsonian Folkways Recordings. e Suggested General Reading Goldsmith, Peter. Making People’s Music: Moe Asch and Folkways Records. Washington, D.C.: Smithsonian Institution Press, 1998. The first comprehensive biography of the man who founded Folkways Records, his vision, and his influence on 20th-century music. Suggested Listening for the Children’s Matinee Jenkins, Ella. Songs Children Love to Sing. Smithsonian Folkways 45042. Long, Larry. Here | Stand: Elders’ Wisdom, Children’s Songs. Smithsonian Folkways 45050. Smithsonian Folkways Children’s Music Collection. Smithsonian Folkways 45043. Suggested Listening for the Folkways Founders Concert Leap BeLty Folkways: The Original Vision (Smithsonian Folkways 40001) with songs by Lead Belly and Woody Guthrie; Lead Belly’s Last Sessions (Smithsonian Folkways 40068); and the Lead Belly Legacy Series (Smithsonian Folkways 40044, 40045, 40105). Wooby Gutrie Folkways: The Original Vision (Smithsonian Folkways 40001) with songs by Lead Belly and Woody Guthrie; This Land Is Your Land (Smithsonian Folkways 40100); and, for children, Nursery Days (Smithsonian Folkways 45036). Sonny Terry Sonny Terry: The Folkways Years (Smithsonian Folkways 40033) and Sonny Terry and Brownie McGhee Sing (Smithsonian Folkways 40011). Josh Wuite The original acetate masters recorded by Moses Asch were preserved for over 50 years and released in April on Josh White: Free and Equal Blues (Smithsonian Folkways 40081). Suggested Reading & Listening for the First Nations Women Concert Bataille, Gretchen. American Indian Women: A Guide to Research. New York: Garland, 1991. Green, Rayna. American Indian Women: A Contextual Bibliography. Bloomington: Indiana University Press, 1979. . Women in American Indian Society. New York: Chelsea House, 1992. Jamieson, Kathleen. Native Women in Canada: A Selected Bibliography. Ottawa: Social Sciences and Humanities, 1983. Burch, Sharon. The Blessing Ways. Canyon (R546. Touch the Sweet Earth. Canyon (R535. . Yazzie Girl. Canyon CR534. Goodhouse, Sissy. The Third Circle: Songs of Lakota Women. Makoche 113. . Tiwahe. Makoche 140. Harjo, Joy, and Poetic Justice. Letter from the End of the Twentieth Century. Silver Wave 914. Heartbeat: Voices of First Nations Women. Smithsonian Folkways 40415. Heartbeat 2: More Voices of First Nations Women. Smithsonian Folkways 40455. Youngblood, Mary. The Offering. Silver Wave SD 917. SMITHSONIAN FOLKLIFE FESTIVAL 99 1998 Tee CMU Bie Ae Sa ce LOUTS ue ear ot Pate ame ein eRe eR odin: Se Spec etn phan aad 103 ATIC OATES een RIA oo cele cet cop mniiman AG lara n SS e agp cee vat apy 104 Special Concents Sok xinibithompas ebay Siew ee neha ee eee oe = Secs She UR 109 DAT AOCNCOULCS Met epee Me Pein: A CRED. Le FMA sna ete kee eas 110 Byseniieh PrOStAms ic /SPCCANEVEMIS, sure sy | sea Rene soe Ciscoe as ona so 130 FT Fo MCCALL OTN NMR We Pan grea cepa ye se tins eo oa) x gatas hd ch inden 134 SPONSORS Toc! COMUMMOUTO Lower rhe w Wet se eigen a hee las METS eT LE, Be, 132 Stall eey peer ee ene ee ee ee Ce Ce la ee 136 Bducational Ofienncsm eee tei ce | fai kin kann gs ck ee 138 Baird SaolutheyReScivall ies rus Geen leon .re cst aicens, 540 aoe ola.» Shaneberipuepeecege 139 Smmchsonianvurolkways RECOLGINGS] sts o =p ay sg Sa ap 1s Cee 140 SMITHSONIAN FOLKLIFE FESTIVAL 101 General Festival Information General Festival Information Festival Hours The Opening Ceremony for the Festival takes place at the Wisconsin Ballroom Tent at 11 a.m., Wednesday, June 24. Thereafter, Festival hours are 11 a.m. to 5:30 p.m. daily, with evening events to 9 p.m. except July 4. Festival Sales Traditional Wisconsin, Philippine, Estonian, Latvian, Lithuanian, and Rio Grande/Rio Bravo Basin food is sold. See the site map on the back cover for locations. A variety of crafts, books, and Smithsonian Folkways recordings related to the 1998 Festival are sold in the Festival Marketplace on the Mall- side lawn of the National Museum of American History. Press Visiting members of the press should register at the Press Tent on the Mall near Madison Drive and 12th Street. 1998 First Aid A first aid station is located near the Administration area on the Mall at Madison Drive and 12th Street. Restrooms & Telephones There are outdoor facilities for the public and visitors with disabilities located near all of the program areas on the Mall. Additional restroom facilities are available in each of the museum buildings during visiting hours. Public telephones are available on the site, opposite the National Museums of American History and Natural History, and inside the museums. Lost & Found/ Lost Children & Parents Lost items may be turned in or retrieved at the Volunteer Tent near the Administration area at 12th Street near Madison Drive. Lost family mem- bers may be claimed at the Volunteer Tent also. Metro Stations Metro trains will be running every day of the Festival. The Festival site is easily accessible from the Smithsonian and Federal Triangle stations on the Blue and Orange Lines. SMITHSONIAN FOLKLIFE FESTIVAL Services for Visitors with Disabilities To make the Festival more accessible to visitors who are deaf or hard of hearing, audio loops are installed in the main music tent in each program area. Sign-language interpreters are on site every day of the Festival. Check the printed schedule and signs for interpreted programs. Special requests for interpreters should be made at the Volunteer Tent. Service animals are welcome. Oral interpreters are available for individuals if a request is made three full days in advance. Call (202) 287-3417 (TTY) or (202) 287-3424 (voice). Large-print copies of the daily schedule and audio-cassette and Braille versions of the pro- gram book are available at Festival information kiosks and the Volunteer Tent. A limited number of wheelchairs are available at the Volunteer Tent. Volunteers are on call to assist wheelchair users and to guide visitors with visual impairments. There are a few designated parking spaces for visitors with disabilities along both Mall drives. These spaces have three-hour time restrictions. 103 Festival Participants Wisconsin Music and Dance Traditions CLETE BELLIN ORCHESTRA — CzecH OLD-TIME Cletus Bellin, piano/vocals; Forestville Gene Burmeister, trumpet; Green Bay Bill Jerabek, drums/vocal harmony; Denmark Joseph Jerabek, tuba; Casco Diana Schroeder, accordion; Manitowoc John Wiedow, trumpet; Green Bay Gary Drzewiecki, polka dancer; Pulaski Julie Drzewiecki, polka dancer; Pulaski Harse & SCHLEI — SCHRAMMEL MUSIC Elfrieda Haese, vocals; Colgate Heidi Schlei, zither/vocals; Sussex Linda Hartwich, polka dancer; Trempealeau Randy Thull, polka dancer; River Falls Kart & THE CountrY DUTCHMEN — DuTcHMAN Music Nic Dunkel, trumpet; Black Earth Karl Hartwich, concertina; Trempealeau Tony Kaminski, tuba; Trempealeau Jeff Langen, drums; LaCrescent, MN Frank Melmer, banjo; Owatonna, MN Gary Schroeder, trumpet; Fairfax, MN Frank Montano, Woodland flute; Bayfield Norm DomBrowski & THE Happy Nores — POLISH POLKA Ken Camlek, trumpet/vocals; Stevens Point Joe Dombrowski, trumpet/vocals; Stevens Point Mark Dombrowski, saxophone/ clarinet/vocals; Stevens Point 104 Norm Dombrowski, drums/vocals; Stevens Point Marie Kubowski, piano/concertina/ violin/vocals; Stevens Point Joe Larson, bass; Stevens Point NORSKEDALEN TRIO — NORWEGIAN FIDDLE Eleanor Bagstad, piano; Westby Tilford Bagstad, fiddle; Westby Beatrice Olson, accordion; Westby QUEENS OF HARMONY — AFRICAN- AMERICAN GOSPEL Julia Love Brown, tenor/high tenor; Milwaukee Dorothy Johnson, baritone/lead; Milwaukee Joyce Johnson, tenor/high tenor; Milwaukee Jessie McCullum, tenor/high tenor; Milwaukee Ella Ray, baritone/lead; Milwaukee STEVE & VERNE MEISNER ORCHESTRA — SLOVENIAN-STYLE POLKA Rick Hartman, drums; Whitewater Gary Hendrickson, banjo; Monroe Steve Meisner, accordion/bass/ piano; Whitewater Verne Meisner, accordion; Waukesha Larry Sokolowski, saxophone; De Forest VATRA — TAMBURITZA Ivo Gretic, berde; Greenfield Boris Kuzmanovic, brac/vocals; Greendale Davor Pozgaj, bugarija/vocals; Milwaukee Christopher Ulm, brac/vocals; Milwaukee Ryan Werner, prim/brac/éelo; West Allis Craft Traditions Annabelle Argand, needleworker; Madison Else Bigton, furniture builder; Barronett Andrej Borzecki, shrine maker; Armstrong Creek Joe Bunij, shrine maker; Armstrong Creek Ray Cadotte, dance regalia maker; Lac du Flambeau Jose Chavez, altar/santos/retablos maker; Franklin Rosa Chavez, altar maker; Franklin Venerable Ngawang Chojor, sand mandala maker; Madison Betty Piso Christenson, egg decorator; Suring Diane DeFoe, birch-bark basket maker; Bayfield Pat Ehrenberg, quilter; Ripon Jean Giese, rosemaler; De Soto Nancy R. Hall, black ash basket weaver; Wittenberg Sidney Hall, black ash basket weaver; Wittenberg Margaret Hart, moccasins/regalia maker; Cumberland Bernie Jendrzejczak, papercutter; Hales Corner Joe Krevs, accordion repairer/ maker/player; Milwaukee George Leazer, clay doll maker; Milwaukee Marie Leazer, rag doll maker; Milwaukee Wang Xiong Lee, metalworker; La Crosse Stephanie Vuljanic Lemke, egg decorator; Mazomanie Constance Mahairas, icon painter; La Crosse Hazel M. Maki, rag rug weaver; Washburn George McCormick, wooden doll carver; Milwaukee Vera Mednis, sash weaver; Warrens Kim Nishimoto, corn husk doll maker; De Pere Phil Odden, woodcarver; Barronett Christine Okerlund, quill basket maker; Wittenberg Linda Ollerman, quilter; Ripon Ron Poast, Hardanger fiddle maker; Black Earth Elda Schiesser, papercutter; New Glarus Mildred Schuman, beadwork artist; Lac du Flambeau Velma Seales, quilter; Milwaukee Blanche Shankle, quilter; Milwaukee Eileen Skinaway, beadwork/regalia artist; Luck Irene Vuorenmaa, rag rug weaver; Hurley SMITHSONIAN FOLKLIFE FESTIVAL Sidonka Wadina, wheat weaver; Lyons Kou Xiong, marriage broker; Madison Dang Yang, geej maker/player; Milwaukee Long Yang, basket maker; Sheboygan Moa Yang, needleworker; Watertown Occupational/ Recreational Traditions Jeff Ackley, wild rice harvester; Crandon Neena Ackley, wild rice treader; Madison Vicki Ackley, wild rice harvester; Madison Ed Beaumont, logger; Brantwood Joe Belliveau, tree farmer; Tomahawk Norma Belliveau, wreath maker/ tree farmer; Tomahawk Fred Benjamin, moccasin game singer; Lac Court Oreilles Brooks Big John, decoy carver/fish- erman/fishing guide; Lac du Flambeau Bradley Boon, dairy farmer; Greenwood Duane Boon, dairy farmer; Greenwood Dale Buhrow, beer brewer; Chippewa Falls Mark Bussian, 4-H activities/ pig showing; Columbus John Bussman, cheese maker; Monroe Bill Casper, sturgeon fisherman; Fond du Lac Chris Dimka, shoemaker; Sheboygan Harold Hettrick, duck hunter; Ferryville Roger King, ginseng grower; Wausau Randy Krahenbuhl, cheese maker; Monticello Shelley Krahenbuhl, cheese maker; Monticello Willi Kruschinski, boatbuilder/lure maker; Winchester Betty Lacapa, wild rice parcher; Lac Court Oreilles 1998 Tony Mayotte, wild rice harvester; Lac Court Oreilles Tim Murphy, beer brewer; Chippewa Falls Dennis O'Donnell, “junque’ artist/dairy farmer; Frederic Arthur Oksuita, beer brewer; Stevens Point Peggy Rau, dairy farmer; Dorchester Zak Rau, dairy farmer; Dorchester Bill Schlinsog, cheese maker/grader; Madison Mary Lou Schneider, sturgeon decoy carver; Fond du Lac Harold Schumacher, ginseng grow- er; Marathon Tim Smith, deer hunter; Green Bay Paul “Sugar Bear” Smith, heritage gardener; Oneida Pam Walker, cranberry grower; Wisconsin Rapids Ryan Walker, cranberry grower; Wisconsin Rapids Hollis Ward, tavern owner; Elkhorn Cindy Wills, 4-H activities/pig show- ing; Belmont Darron Wills, 4-H activities/pig showing; Belmont Gina Wills, 4-H activities/pig show- ing; Belmont James Van Wychen, cranberry grow- er; Warrens Nodji Van Wychen, cranberry grow- er; Warrens John Zappa, beer brewer; Stevens Point Foodway Traditions Dorthy Hodgson, pasty maker; Shullsburg Eric Olesen, kringle baker; Racine Debra Usinger, sausage maker; Milwaukee 1998 University of Wisconsin Marching Band Mike Leckrone, Director of Bands Galen S. Karriker, Assistant Director of Bands John Biester, Announcer Gary Smith, Photographer Gary Moore, Security Officer Clarinet Jennifer Ceman, Christopher Goss, Amy Krier, Missy Mayer Saxophone Ben Bares, Brianna Benjamin, Tracy Daluge, Mike Dettman, Christopher Herlache, Andrew Klaetsch, Nicole Kreuziger, Amanda Newby, Laurie Strobel Trumpet Anne Abrahamson, Nicole Ammerman, Franz Arvold, Jon Berge, Rachel Berger, Ryan Beverung, Erika Breiby, Scott Brown, Jonathan Claas, Ryan Cook, Jolene Crosby, Derek Daun, Robert Detlefson, Pat Feldhausen, Mark Flanner, Steve Geiger, Merris Gullickson, Melissa Hampton, Paul Henslin, Scott Hurley, Raymond Konyn, Rob Koth, Jennifer Lange, Chad Leblanc, Steve Lindley, Paul Lindorf, Sarah Macleish, Scott Magee, Melissa Martin, Maureen McDonald, Nicholas Myhre, Chris Nelson, Jill Newman, Cara Olbrantz, Heidi Platt, Adam Plotkin, Brad Pope, Brian Pope, T. Gregory Reed, Kristen Riebau, Daniel Ries, Jason Reisterer, Neal Rozga, Jason Rymer, Heidi Salzmann, Chris Sawyer, Kimberly Scheidegger, Steve Schmitt, Cathie Schallue, Anna Sics, Benjamin Socie, Erica St. John, Chris Stillwell, Mathew Sullivan, Bill Utter, Stephanie Volden, Katie Wachowski, Justin Woodley Fluegel Horn Bob Bailey, Joel Dreier, Nathan Lukecart Mellophone Emily Engel, Ellen Ezerins, Elizabeth Mergener, Laura Pedersen, Chris Remington, Rae Dawn Rippchen, Jamie Ruprecht, Raechal Sager, Steve Schrammel, Sara White Trombone Damon Bach, Geoff Bares, Derek Berget, John Buchholz, Cassie Carbon, Karey Clark, Tony Diehl, Tim Drews, Jeff Gentile, Laura Hageman, Erik Hoven, Gregory Ingersoll, Brad Knoll, Chris Knudson, Natalie Krueger, Kyle Manske, Edward Niles, Tim Nowaczyk, Daniel Olson, Craig Parker, Sue Peck, Greg Piefer, Eric Plate, Erin Pyzik, Amy Quackenbush, Kim Rauwald, Daniel Rooney, Gretchen Scheidler, Zac Schultz, Sarah Simonis, Brian Skinner, Brett Slaney, Joel Sohre, Ray Tainter, Jake Thull, William Tills, Geoffrey Wawrzyniak, Michael Whisler, Marie Zimmer, Brian Zweig Euphonium Andy Forster, Ann Kaminski, Rob Konitzer, Kevin Krause, Branden Linley, Michael Tessmer, Dan Uttech, David Wirch Tuba Zachery Dachel, Daniel Evans, Hugh Francis, Shane Haack, Cari Jo Keller, Hans Peterman, Mark Pronovici, Michael Schmidt, Kyle Schneider, Rob Scholl, Andy Schuh, Mindy Tempelis Percussion Aaron Faessler, Brian Frailing, Tricia Horwitz, Joel Jacklin, Tony Larocca, Brent Lavin, David Muencheberg, Kristin Sebranek, Geoff Seufert, Kevin Sprewer Field Assistants Sean Chandler, Bill Garvey, Carl Gitchel, Mark Messer, Cindy Schwibinger, Fritz Statz, Michael Stone, Janice Stone, Matthew Whiting SMITHSONIAN FOLKLIFE FESTIVAL Festival Participants Pahiyas: A Philippine Harvest Cluster A: Binding, Weaving, Lashing Boatbuilders Lydia Ignacio Fojas; Aklan Province Norman P. Fojas; Aklan Province Epic Singer Lang Sengid Kambay; South Cotabato Province Kiping Maker Miguelito V. Abuso; Lucban, Quezon Province Traditional Builders Sylvio S. Bobos; Manila Arnelio Manzano; Manila Weavers Miguelita A. Bangkas; Davao del Sur Province Baingan Adzad Dawan; Maguindanao Province Susima M. Dela Cruz; Aklan Province Salinta Barra Monon; Davao del Sur Province Rhodora D. Sulangi; Aklan Province Maria Todi Wanan; South Cotabato Province Cluster B: Beating, Tapping, Pounding Goldsmith Roberto L. Gorobat; Paracale, Bicol Silversmith Julio R. Ramirez; Pampanga Province 105 Festival Participants Cluster C: Carving, incising, Molding Boatbuilder Bua Hudasan Kara; Maguindanao Province carvers Fermin R. Cadapan; Paete, Laguna Province Rodico A. de Dios; Pampanga Province Leon D. Tayaban; Ifugao Province Kulintang Maker Zacaria AKman Amboa; Maguindanao Province Philippine Kitchen Milagros S. Enriquez; Malolos, Bulacan Province Nicanora Teresa C. Santiago; Malolos, Bulacan Province Basketball Court ARNIS MASTERS, CEBU CITY Arnold G. Canete Mario Isagani A. Talledo KULINTANG ENSEMBLE, MAGUINDANAO PROVINCE Aga Mayo Butocan, Leader Sinsuat Delawangan Dalgan Kanapia Sibay Kalanduyan Dinanding Dilawangan Kalimudan Labaya Sagire Piang Samaon Silongon Solaiman, kudyapi player PASIKING (KALINGA ENSEMBLE), KALINGA-APAYAO PROVINCE Benicio D. Sokkong, Leader Damaso L. Balway Calixto B. Cabannag Inocencio L. Damagon Jose Marie K. Felipe, Jr. Imelda S. Polittude Dancers: Benedicto L. Damagon Fidel P. Tayawa 106 TALAANDIG ENSEMBLE, BUKIDNON PROVINCE Victorino Saway, Leader Jean S. Gangga Marlon P. Necosia Adolino L. Saway Rodelio L. Saway Liza L. Saway Orlanda P. Saway Narita T. Sihagan Chapel CHORAL ENSEMBLE, BACONG, NEGROS ORIENTAL PROVINCE Exuferio V. Tinguha, choirmaster & parol maker Glenn S. Aurea, parol-making assistant Leona R. Aurea, cantora/soprano Simplicia V. Baro, cantora/soprano Catalina T. Gajilomo, cantora/ soprano Angel M. Honculada, parol-making assistant Genoveva T. Sagarino, cantora/alto Sylvia T. Vendiola, cantora/soprano Musiconc BUMBONG, BULACAN PROVINCE Alfredo C. Anastacio, snare drum Antonio A. Anastacio, harmonica Rodrigo C. Anastacio, bass drum Antonio D. Bautista, trombone Roberto C. Capiral, trumpet Ernesto B. de Dios, trombone Roderic C. Garcia, cymbals Melchor FE. Gimenez, clarinet Bernabe A. Ignacio, bamboo bass Zosimo B. Miday, trumpet Rizalino A. Remigio, saxophone Domingo M. Rosco, saxophone Roman A. Santa Ana, bamboo bass Maximo C. Santiago, harmonica RONDALLA MARIKINA, MARIKINA CITY, MANILA Marcial R. de Jesus Arcadio R. dela Cruz Edgardo G. Labrado Rodolfo T. Poblea Montano M. Santos Teofilo M. Santos SUBLI ENSEMBLE, BATANGAS PROVINCE Abdon O. Cruzat, Leader Dancers: Rufina V. Boongaling Beda M. Dimayuga Bibiana C. Escalona Miguela C. Maquimot Simeon C. Maquimot Leonardo E. Valdez Drummers: Felix C. Cruzat Severino D. Cruzat Jose E. Manalo The Baltic Nations: Estonia, Latvia, Lithuania Estonia Music and Dance Traditions ALLE-AA Ulle Jantson Ott Kaasik Ando Kiviberg Urjo Jaama Tuule Kann Aare Kivivali Toivo Luhats Raivo Sildoja Aivar Teppo Margus Veenre Enrik Visla KIHNUMUA (KIHNU GROUP) Singers Ly Leas Reene Leas, lace maker/singer Argo Lilles Veera Nazarova Veronika Nazarova Heldy Odinchenko, embroiderer/singer Liisi Sang Kulli Sepp SMITHSONIAN FOLKLIFE FESTIVAL KULDATSAUK (SETU GROUP) Singers Taimi Auser Ego Koiv Helena Kudre, lace maker/singer Eevi Laanetu Valve Poolak Maret Vabarna, sash maker/singer LEIGARID Dancers & Makers of Traditional Clothing Tiiu Aasa Marget Indov Sille Kapper Merike Reinok Oie Rekand Lembe Torop Dancers & Game Leaders Tonu Aas Heinar Kukk Alar Leming Tonu Linno Margus Paap Paavo Saare Musicians Elina Aasa Parra Eero Sommer Jaan Sommer Toomas Torop Craft Traditions Tiit Sarapuu, boatbuilder Kati Sihvre, traditional clothing maker Aivar Siim, herbalist Valdur Tilk, woodworker Liina Veskimagi, wool processor Latvia Music and Dance Traditions DANDARI Elina Kule Braze Elina Hermane Inta Jansone Zigmars Kristsons Zane Kriumane Sandra Lipska Lauris Neikens Ilmars Pumpurs Valdis Putnins Ernests Spi¢s leva Tamane Juris Zalans 1998) RASA Karlis Freibergs Gita Lancere ‘Ruta Muktupavela Valdis Muktupavels Iveta Tale SALMANIS FAMILY Indra Cekstere Ilze Primane Aina Salmane Peteris Salmanis Uldis Salmanis Anda Skuja Davis Skuja Talivaldis Skuja Zane Zvaigzne STALTS FAMILY Martins Heimrats Zoja Klujeva Marga Stalta ‘Helmi Stalte Julgi Stalte Dainis Stalts Davis Stalts Raigo Stalts Ricards Stalts Valda Vitola Craft Traditions Olgerts Gerdins, fishing net maker Juris Indans, traditional craftsman Maris Jansons, musical instrument maker Aldis Kalcenaus, boatbuilder Maris Karlsons, ceramicist Daina Kraukle, weaver Ilga Madre, knitter Inita Straupe, weaver Vitauts Straupe, metal jewelry maker Vilnis Vinceviés, blacksmith Ingrida Zagata, potter 1998 Lithuania Music and Dance Traditions Veronika Povilioniené, singer INSULA Alvydas Alimas Sigita Dacieneé Jonas Latakas Rita Macijauskiené Vygandas Norvilas Milda Rickute Loreta Sarkaité Valdemaras Skugaras Elvyra Spudyte Linas Ulkstinas Zenaida Vaicikauskaité Gintaras Vaitkaitis MARCINKONYS VILLAGE FOLK ENSEMBLE Ruta Antulyte Jonas Bajoriunas Joné Cerebiejiené Juzé Cesnuleviciené Stanislovas Cesnulevicius Juzeé Grigiene Antanina Kokiené Juozas Korsakas Biruté Korsakiené Vincas Miskinis Aldona Paulauskiené Roze Packauskiené Jonas Sereicikas Petronélé Sereicikiené Joana Serencikiené Rozalija Vilcinskiené SODAUTO (LITHUANIAN FOLK ENSEMBLE OF GREATER BOSTON) Birute Banaitiené Bronius Banaitis Vytautas Bazikas Gintaras Cepas Valentina Cepiené Andrius Dilba Vytautas Dilba Teresé Durickas Darija Giniunaite Danuté Kazakaitiené Kristina Kriksciukaité Lilija Kulbiené Aidas KupCinskas Gita Kup¢inskiene Kestutis Kveraga Rikanté Kveragiené Juraté Narkeviciené Gintautas Narkevicius Kotryna Rhoda Henrikas Rimkus Vida Rimkuviené Danguolé Senutiené Renata Svedaité Janina Svediené Rima Tamulé Orinta Vaiciulyté SUTARAS Antanas Fokas Bronislovas Glovickis Robertas Kunickas Gintautas Paukstis Laimutis Zemaitis TryS KETURIUOSE Daina Norvaisyte Gabriele Sirkaité Ingrida Varniene Daiva Vycinieneé Craft Traditions Vytautas Jarutis, blacksmith Alfredas JonuSas, amber worker Ruta Jonuskiené, sodas (straw craft) designer Monika Kriukeliené, weaver Stasys Mickus, fence maker Adelija Mickuviene, Easter egg deco- rator Raimundas Puskorius, woodcarver Leokadija Salkovska, verba binder SMITHSONIAN FOLKLIFE FESTIVAL Festival Participants Rio Grande/ Rio Bravo Basin Charles Aguilar, musician/ farmer/fiesta organizer; Bernalillo, New Mexico Estevan Arellano, centenary rancher/historian/sculptor/ writer; Embudo, New Mexico Michael Blakeman; San Juan/ Rio Grande National Forest, Del Norte, Colorado José Guadalupe Alejandro Bautista, Ramamuri woodcarver/bilingual teacher/runner; Cuidad Juarez, Mexico David Champion, conjunto musician; Mercedes, Texas José Cisneros; Big Bend National Park, Big Bend, Texas Marta Cruz Moreno, Ramamuri bas- ket weaver/ seamstress; Cuidad Juarez, Chihuahua, México Silvestre Amadeo Flores, conjunto musician/accordion tuner; Alice, Texas Jesus Godinez, conjunto musician; Alice, Texas Arnold Herrera, drummaker/ drummer/educator; Cochiti Pueblo, New Mexico José Maldonado, conjunto musician; McAllen, Texas Rita Morales Alvarez, maquiladora worker/brickmaker/foodways; Matamoros, Tamaulipas, México José Isabel Quiroz Garcia, ixtle weaver; Saltillo, Coahuila, México Moises Quiroz Cortéz; Saltillo Coahuila, México Luis Roman, refablo painter/ muralist/sign painter; Ojinaga, Chihuahua, México Maria Elena Russom, Tierra Wools weaver; Los Ojos, New Mexico Juan Antonio Tapia, conjunto musi- cian; Brownsville, Texas Dolores Venegas, paper crafts; Rio Bravo, Tamaulipas, México Clemente Zamarripa, vaquero/ horsehair braider; Santa Elena, Texas 107 Festival Participants Folkways at 50 Anniversary Concerts Children’s Matinee Ella Jenkins; Chicago, IL Larry Long; Minneapolis, MN Slater Huff; Packers Bend, AL CHILDREN FROM MONROE HIGH SCHOOL; PACKERS BEND, AL Angel Carstarphen LaKecia Carstarphen Paulette Carstarphen Adrienn Cheeseboro Kimberly Cheeseboro Latonya Cheeseboro Yshika Cheeseboro Rapheal Davis Domoneek McCoy Tromesha Packer Bryant Timmons Patricia Tunstall CHILDREN FROM T.W. MarTIN HIGH SCHOOL; GOODSPRINGS, AL Shawn Bromley Courtney Dotson Jon Dotson Stephanie Hicks Ryan Logan Brandon Morris Jada Parker Cameo Raney Brandon Reynolds Josh Salter Landon Waid Sabrina Williams 108 Folkways Founders/U.S. Postal Service Folk Musicians Stamp Concert Arlo Guthrie; Housatonic, MA Abe Guthrie Annie Guthrie Cathy Guthrie Sarah Guthrie Toshi Reagon; Brooklyn, NY Josh White, Jr.; Detroit, MI Tue WILLIE FosteR BLUES BAND Willie Foster; Greenville, MS John Horton, III; Greenville, MS Roosevelt Rogers; Greenville, MS Richard E. Taliaferro; Greenville, MS Larry Wright; Leland, MS Heartbeat: Voices of First Nations Women Concert Sharon Burch; Santa Rosa, CA Sissy and Cedric Goodhouse; Fort Yates, ND Christina Gonzalez; Schurz, NV Delgadina Gonzalez; Schurz, NV Joy Harjo AND Poetic JUSTICE Charlie Baca; Albuquerque, NM Richard Carbajal; Phoenix, AZ Joy Harjo; Hollywood, CA Derek James; Los Angeles, CA John Williams; Albuquerque, NM Susan Williams; Albuquerque, NM Judy Trejo; Wadsworth, NV TZO’KAM Joyce Fossella; Vancouver, BC Judy Lemke; North Vancouver, BC Irma Rabang; Sumner, WA Maria Stiglich; Langley, BC Freda Wallace; Vancouver, BC Flora Wallace; Vancouver, BC Russell Wallace; North Vancouver, BC Mary Youngblood; Sacramento, CA SMITHSONIAN FOLKLIFE FESTIVAL Ralph Rinzler Memorial Concert Sid Beckerman, clarinet Lauren Brody, accordion/piano/vocals Steven Greenman, violin Margot Leverett, clarinet/saxophone Paul Pincus, tenor saxophone Mark Rubin, bass/tuba Henry Sapoznik, banjo/ vocal/producer/director Peter Sokolow, keyboard/ vocal/musical director Michael Spielzinger, drums Steven Weintraub, dance instructor 1998 CHILDREN’S MATINEE _ FRIDAY, JUNE 26 5:30 - 7:00 p.m. WISCONSIN BALLROOM STAGE Ella Jenkins Larry Long with Youth & Elders from Rural Alabama This concert has been made possible with support from the P.A.C.E.R.S. (Program for Academic and Cultural Enhancement of Rural Schools) Small Schools Cooperative of Alabama. FoLkways FounDERS/U.S. PosTAL SERVICE Fok Musicians Stamp CONCERT Fripay, JUNE 26, 7:00 - 9:00 p.m. Battics Music STAGE The Willie Foster Blues Band: Arlo Guthrie Willie Foster Toshi Reagon John Horton, Ill Josh White, Jr. Roosevelt Rogers Richard E. Taliaferro Larry Wright This concert has been made possible with support from the United States Postal Service, BMI, M.A.C.E. (Mississippi Action for Community Education), and Global Arts/Media Foundation. Special Concerts and Exhibition HEARTBEAT: VOICES OF First NATIONS WOMEN SUNDAY, JUNE 28, 5:30 - 9:00 P.M. Battics Music STAGE Sharon Burch Judy Trejo Sissy and Cedric Goodhouse christina Gonzalez Delgadina Gonzalez Mary Youngblood Joy Harjo and Poetic Justice: Joy Harjo Susan Williams John Williams Richard Carbajal Derek James Charlie Baca Tzo’kam: Russel Wallace —- Flora Wallace Maria Stiglich Joyce Fossella Judy Lemke Irma Rabang Freda Wallace This concert has been made possible with support from the Smithsonian Institution National Museum of American History. KLEZMER! THE TRIUMPHANT RETURN OF YIDDISH MUSIC Tuirspay, JULY 2, 5:30 - 9:00 p.m. Batics Music STAGE Sid Beckerman Paul Pincus Michael Spielzinger Steven Greenman Peter Sokolow Lauren Brody Mark Rubin Steven Weintraub Margot Leverett Henry Sapoznik This concert has been made possible with support from the Friends of the Festival, The Recording Industries Music Performance Trust Funds, and the Ruth Mott Fund. EUIGES A photography exhibit on the Chihuahuan Desert in conjunction with the Rio Grande/RioBravo Basin Smithsonian Folklife Festival program. Una exhibicion fotografica sobre el desierto de Chihuahua en conjunto con el programa de la cuenca del Rio Bravo/Rio Grande del Festival Smithsonian de Culturas Populares. June 19 - August 30, 1998 19 de junio - 30 de agosto de 1998 S. Dillon Ripley Center, Third Level Tercer Piso Photography Fotografia: David Lauer, Nacho Guerrero, Marco Antonio Hernandez Sound Documentation Documentacion de Sonido: Andrés Camou, David Lauer, Maria Teresa Guerrero This exhibition is sponsored by the Smithsonian Center for Folklife Programs & Cultural Studies, the Smithsonian International Gallery, and the Mexican Cultural Institute with support from the Fideicomiso para la Cultura Mexico/USA (Fondo Nacional para la Cultura y las Artes, Fundacion Cultural Bancomer & The Rockefeller Foundation) and MCI. 1998 Desert Voices, Desert Y VO SMITHSONIAN FOLKLIFE FESTIVAL Ligh 5c “The desert is not an empty space, not uninhabited land, but a remark- able place where life is fragile but tenacious.” “El desierto no es un espacio vacio, ni una tierra de nadie, sino un lugar insolito donde la vida resiste con una exitencia tenaz y fragil’ 109 11:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 110 FESTIVAL SCHEDULE Wednesday, June 24 Wisconsin Ballroom Stage Heritage Stage Kitchen German-American Music: Karl & the Country Dutchmen Slovenian-Style Polka: Steve & Verne Meisner Orchestra Norwegian Fiddle Music: Norskedalen Trio Gech-American Music: Clete Bellin Orchestra African-American Gospel: Queens of Harmony Instruments Made & Played Schrammel Music: Haese & Schlei Instruments Made & Played Tavern Wisconsin Talk Opening Ceremony # Danish Specialties Sausages Finnish Dishes Mexican Foods Polish-Style Polka: Norm Dombrowski & the Happy Notes Se Slovenian-Style Polka: Steve & Verne Meisner Orchestra German-American Music: Karl & the Country Dutchmen Wisconsin Old-Time Dance Workshop Ongoing Demonstrations Demonstrations of religious crafts work, textile work, decora- tive arts, doll making, egg decorating, instru- ment making, basket making, Native American beadwork. Ojibwe Woodland Flute Music: Frank Montano African-American Gospel: Queens of Harmony Hmong Music Norwegian Fiddle Music: Norskedalen Trio Presentations in the rice camp of rice win- nowing, treading, roasting, drying, moc- casin games: 12:00, 3:00 Activities related to occupational knowl- edge & recreational skills including shoe- Pasties Norwegian Foods Danish Specialties making, metalwork- ing, logging, tree growing, boatbuilding, ice fishing, lure mak- ing, decoy carving, duck & deer hunting. Agricultural presen- taions: Cheese making, beer brewing, indige- Welcome to Holly's Bar Sheepshead & Euchre Jokes & Lies Concertina/ Accordion Workshop Schrammel Music: Haese & Schlei Tuba Workshop Walloon Songs Duckpin Bowling nous crops (ginseng, cranberry marsh, three sisters garden). Milking: 12:00, 2:00, 4:00 Pig Showing: 11:00, 1:00, 3:00 SMITHSONIAN FOLKLIFE FESTIVAL Images of the Holy Fish Tales The Hmong Marriage Broker & Immigration to Wisconsin Hunting Stories Mother Tongues Quilts & Storycloths Wisconsin Accents 1130-1230 Family Activity—Leam rosemaling at the aft “Decorative” tent. 2:00 Special Presentation of doll makers at the “Dolls” tent. Rio Grande/ Rio Bravo The Basin/ La Cuenca Stage Honorable Esteban Torres, Secretary I. Michael Heyman, Richard Kurin, Honorable Salvador H. Laurel, Honorable Saulius Saltenis, Honorable Ramona Umblija, Honorable Jaak Allik, Honorable Herb Kohl, Honorable Tommy G. Thompson, Arnold Goldstein, Diana Parker, Honorable David Obey Conjunto Music Workshop Fiesta Traditions Crafts & Natural, Found & Industrial Materials & Amadeo Flores y su conjunto Women & Sustainable Development & Art Traditions Amadeo Flores y su Conjunto Rio Conversations Ongoing Presentations & Activities: Demonstrations and family activities on Basin crafts and occupational skills. aft Marketplace | Sales Tent Lithuanian Verba Making: Leokadija Salkovska Philippine Woodcarving: Leon Tayaban & Indicates Sign Language Interpreted eRe Indicates Tq r family programs and children’s activities. 1998 \ Chapel Basketball Court | Schedules are subject to change. Check signs in each program area for specific information. Philippines Religious Music (Bamboo Band) Tagalog Songs & Poetry Readings Filipino Classical Music (Rondalla) Maguindanao Kulintang Playing Arnis (Martial Arts) Philippine Marches (Bamboo Band) Sari-sari Philippine Store Kitchen FESTIVAL SCHEDULE Wednesday, June 24 Foodways Main Music Stage Baltic Nations: Estonia, Latvia, Lithuania Pub Stage Opening Ceremony Honorable Esteban Torres, Secretary I. Michael Heyman, Richard Kurin, Honorable Salvador H. Laurel, Honorable Saulius Saltenis, Honorable Ramona Umblija, Honorable Jaak Allik, Honorable Herb Kohl, Honorable Tommy G. Thompson, Amold Goldstein, Diana Parker, Honorable David Obey Church Art Aklanon Cuisine Maguindanao Sagayan Performance Gayak: Preparation as Art Tagalog Cuisine Maguindanao Lute Performance Tagalog Cuisine Concepts of Home Bagobo Cuisine Cebuano Devotional Singing Fiesta Music (Bamboo Band) Dancing Christmas Star Lanterns Cluster Demonstrations: Cluster A (Binding/Weaving/ Lashing), Tent 1: Talaandig woven traps: 11:45-12:45; Bagobo hemp dyeing & weaving: 12:45- 1:45, 3:30-4:30; silk weaving: 1:45- Folk Songs and Dances (Rondalla) Kalinga Music & Dances Talaandig Kaamulan 2:45, 4:30-5:30; Maguindanao lute performance: 2:45- 3:30. 2 Cluster B (Beating/Tapping/ Pounding) Goldsmithing: 11:45- 12:45, 2:30-3:30; silversmithing: 12:45- Family Activity: Talaandig Kiping Storytelling e (Tagalog e480 ait Decorative Rice T Wafers) Paglalakbay: Travel Stories Batangas Cuisine T’boli Topical Singing 1:45, 4:15-5:15; Kalinga gong music 1:45-2:30; kulintang playing 3:30-4:15 Tagalog santos carv- ing: 12:45-1:45; Ifugao carving: 1:45-2:30, 4:30-5:15; Kapampangan santos & furniture carving: 2:30-3:30; kulintang making: 3:30-4:30 Cluster C (Carving/Indsing/ Molding) Maqguindanao boat carving: 11:45-12:45; Latvian St. John’s Day Cheese Lithuanian Blueberry Dumplings Estonian Caraway Cheese Latvian Pies Lithuanian Boba Bread Ongoing demonstrations Estonia: Boat mak- ing, herbalist, national costumes, summer kitchen, swing, wood- working. Latvia: Activities table, basket making, SMITHSONIAN FOLKLIFE FESTIVAL Latvian Traditional Music Dandari Salmanis Family Rasa Stalts Family Lithuanian Traditional Music: Sutaras Veronika Povilioniené Trys Keturiuose Insula Estonian Music: Teppo & Veenre Estonian Music: Luhats & Visla Estonian Violin Duet: Torop & Jaama Latvian Liv Music: Stalts Family Latvian Traditional Music: Rasa Estonian Traditional Music: Leigarid Alle-aa boat & net making, blacksmith, ceramics, jewelry making, musi- cal instruments, tex- tiles & woodworking. Lithuania: Amber jewelry, Easter eggs, forge, shrine carving, straw ornaments, Lithuanian Music: Sutaras Lithuanian Folk Ensemble: Insula weaving, wood crafts & village table Family activities will be offered throughout the day. For details see daily schedules at the Information booth e 11:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 111 11:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 112 FESTIVAL SCHEDULE Thursday, June 25 Wisconsin Ballroom Heritage Kitchen Tavern Wisconsin Stage Stage Talk Polka: Steve & Verne Meisner Orchestra Hmong Music Oneida Corn Soup & Polish-Style Polka: Norm Dombrowski & the Happy Notes Norwegian Fiddle Music: Norskedalen Trio Gech-American Music: Clete Bellin Orchestra German-American Music: Karl & the Country Dutchmen Polish-Style Polka: Norm Dombrowski & the Happy Notes Slovenian-Style Polka: Steve & Verne Meisner Orchestra Gech-American Music: Clete Bellin Orchestra Wisconsin Old-Time Dance Workshop Ongoing Demonstrations Demonstrations of reli- gious crafts work, tex- tile work, decorative arts, doll making, egg decorating, instrument making, basket mak- ing, Native American beadwork. African-American Gospel: Queens of Harmony Schrammel Music: Haese & Schlei Ojibwe Woodland Flute Music: Frank Montano Norwegian Fiddle Music: Norskedalen Trio Vocal Traditions Fiddle Workshop African-American Gospel: Queens of Harmony Ojibwe Woodland Flute Music: 22 CS Frank Montano Presentations in the rice camp of rice win- nowing, treading, roasting, drying, moc- casin games: 12:00, 3:00 Activities related to occupational knowl- edge & recreational skills including shoe- Sausages Danish Specialties Pasties Greek Specialties Welcome to Holly’s Bar Badger Button Box Music Packerlore Jokes & Lies Schrammel Music: Haese & Schlei Fish Tales The Hmong Marriage Broker Images of the Holy Basket Makers Hmong Instruments Slovakian Foods Mexican Foods Sausages Wild Rice making, metalwork- ing, logging, tree growing, boatbuilding, ice fishing, lure mak- ing, decoy carving, duck & deer hunting. Agricultural presenta- tions: Cheese making, beer brewing, indige- Sheepshead & Euchre Tuba Workshop Duckpin Bowling nous crops (ginseng, cranberry marsh, Three Sisters garden). Milking: 12:00, & 2.00, 4:00 Pig Showing: 11:00, 1:00, & 3:00 SMITHSONIAN FOLKLIFE FESTIVAL Native Plants: Three Sisters Garden & Wild Rice Norwegian Decorative Arts Wisconsin Weather Inventors 11:30-12:30 Family Activity: Learn papercutting at the “Decorative” tent. ete afr 2:00 Special Presentation of hunting traditions at the “Hunting Shack.” Rio Grande/ Rio Bravo The Basin/ La Cuenca Stage Culture & Local Development Projects & Art Traditions Amadeo Flores y Su conjunto Pueblo Culture in Education Amadeo Flores y su conjunto Local Culture & Tourism Fiesta Traditions Rio Conversations Ongoing Presentations & Activities: Demonstrations and family activities on Basin crafts and occupational skills. aft Marketplace Sales Tent Stage Horsehair Braiding: Clemente Zamarripa Ukrainian Egg Decorating: Betty Piso Christenson & Indicates Sign Language Interpreted. exe Indicates T Family Programs and Phildren’s Activities. 1998 Schedules are subject to change. Check signs in each program area for specific information. ‘Philippines Religious Music (Rondalla) Music of the Revolution (Bamboo Band) Daigon, Pastores, and Folk Songs Folk Songs and Dances Dancing Christmas Star Lanterns Serenata Cluster Demonstrations: Cluster A (Binding/ Weaving/Lashing): Tent 2: Woven toys: 11-00-11:45; Aklan boatbuilding & rituals: 11:45-12:45, 3:30-4:30; Kalinga weaving: 12:45-1:45; 1998 pineapple fiber weaving: Kalinga Music & Dances Arnis (Martial Arts) Talaandig Kaamulan Maguindanao Kulintang Music Fiesta Music (Bamboo Band) Arnis (Martial Arts) Kalinga Peace Pact 1:45-2:45, 4:30-5:30, Kalinga instrument making: 2:45-3:30. Cluster B(Beating/ Tapping/Pounding): Food pounding: 11:00- 11:45; kulintang music: 11:45-12:30; silver- smithing: 12:30-1:30, 4:00-5:00; Kalinga gong Bagobo Bossed Gong Performance Body Language Basketball (Team Tanduay) Representing Us Family Activity Program: Talaandig Toy Making ece aqr The Philippine Centennial music: 1:30-2:15; gold- smithing processes: 2:15-3:15; Talaandig gong music: 3:15-4:00 Cluster C(Carving/ Incising/Molding) Talaandig drum & flute making: 11:00-11:45; Kapampangan santos & furniture carving: 11:45- Philippine Kitchen Talaandig Cuisine Cebuano Cuisine Kiping: Tagalog Decorative Rice Wafers FESTIVAL SCHEDULE Thursday, June 25 Baltic Nations: Estonia, Latvia, Lithuania Foodways Lithuanian Potato Dishes Estonian Daily Fare Tagalog Cuisine Maguindanao Cuisine Tagalog Cuisine Batangas 12:45; kulintang mak- ing: 12:45-1:45; Ifugao carving: 11:45-2:30; Tagalog santos carving: 2:30-3:30; Maguindanao boat carving: 3:30-4:30; Maquindanao cooking, kulintang playing, rituals: 4:30-5:30. = Latvian Sklandu Pies Lithuanian Potato Dumplings with Meat Estonian Barley Dishes Latvian Daily Fare Ongoing demonstrations Estonia: Boat mak- ing, herbalist, national costumes, summer kitchen, swing, woodworking. Latvia: Activities table, basket making, boat & net making, SMITHSONIAN FOLKLIFE FESTIVAL Main Music Stage Estonian Traditional Music Kihnumua Luhats/Visla Alle-aa Latvian Traditional Music: Stalts Family Dandari Salmanis Family Rasa Lithuanian Traditional Music: Marcinkonys Village Folk Ensemble & Veronika Povilioniene Trys Keturiuose Insula Sutaras blacksmith, ceramics, jewelry making, musical instruments, textiles & woodworking Lithuania: Amber jewelry, Easter eggs, forge, shrine carving, straw ornaments, weaving, wood crafts Pub Stage Latvian Folk Music: Salmanis Family & Latvian Traditional Music: Rasa Lithuanian Music: Sutaras Lithuanian Folk Ensemble: Insula Estonian Music: Teppo & Veenre Estonian Music: Luhats & Visla Estonian Games: Leigarid B&B Estonian Music: Alle-aa & village table. Family activities will be offered throughout the day. For details see daily schedules at the Information booth it 11:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-9:00 For information on Evening Concerts and Dance Parties see page 130. 113 11:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 114 FESTIVAL SCHEDULE Friday, June 26 Wisconsin Ballroom Heritage Kitchen Tavern Wisconsin Stage Stage Talk Cech-American Ojibwe Woodland Pasties Welcome to Local Politics Music: Flute Music: Holly's Bar Clete Bellin Frank Montano Orchestra ®B Polish Foods Beer: From the Brewery to the Tap The Hmong Marriage Broker Schrarmmel Music: Haese & Schlei German-American Music: Karl & the Country Dutchmen Norwegian Fiddle Instruments Made Danish Specialties Concertina/ Indigenous Crops: Music: & Played Accordion Rice, Cranberries, Norskedalen Trio Workshop Ginseng Rio Grande/ Rio Bravo Marketplace | The Basin/ Sales Tent La Cuenca Stage Stage Conjunto Music Workshop Philippine BS Parol Making (Christmas Migration Lanterns): Experiences Exuferio V. Tinguha & Oral Traditions African-American Sheepshead & Papercutting Arts Slovenian-Style Sausages Polka: Gospel: Euchre Steve & Verne Queens of Meisner Orchestra Harmony Cech-American Hmong Music & Wisconsin Regions Music: Games Clete Bellin Orchestra Schrammel Music: Haese & Schlei German-American Pasties Music: Karl & the Country Dutchmen Ojibwe Woodland Flute Music: Frank Montano Images of the Holy Weird Weddings & Other Gigs Hmong Healing Rituals & Customs Slovenian-Style Polka: Steve & Verne Meisner Orchestra Norwegian Fiddle Music: Norskedalen Trio Sausages & Changing Shifts African-American Gospel: Queens of Harmony Polish-Style Polka: Norm Dombrowski & the Happy Notes Cranberry Dessert Sturgeon Season Polish Hop Dance Wild Rice Duckpin Bowling Wisconsin Forests Workshop Hmong Music Ongoing Presentations in the making, metal work- indigenous crops (gin- 2:00-3:00 Demonstrations rice camp of rice win- _ing, logging, tree seng, cranberry marsh, Family Activity: Learn Demonstrations of nowing, treading, growing, boatbuild- Three Sisters garden). egg decorating religious crafts work, roasting, drying, moc- _ing, ice fishing, lure at the ete textile work, decora- casin games: 12:00, making, decoy carv- Milking: 12:00, 2:00, “Slavic Crafts” aTr tive arts, doll making, 3:00 ing, duck & deer 4:00 tent. egg decorating, hunting. instrument making, Activities related to Pig Showing: 11:00, 2:00 basket making, Native occupational knowI- Agricultural presen- 1:00, 3:00 Special Presentation of American beadwork. edge & recreational taions: Cheese mak- ginseng at the ginseng skills including shoe- ing, beer brewing, gardens. SMITHSONIAN FOLKLIFE FESTIVAL Amadeo Flores y su conjunto Ranching Culture Women & Sustainable Development Latvian Folk Music: 2 Rasa Regional Culture Amadeo Flores y su conjunto Ongoing Presentations & Say . Activities: Indicates Sign Language Interpreted Demonstrations and family activities on Basin crafts and occupational skills iff eS mily programs and children’s activities. ‘ft 1998 Schedules are subject to change. Check signs in each program area for specific information. Philippines Cebuano Devotional Singing Religious Music (Bamboo Band) Tagalog Songs & Poetry Reading Filipino Love Songs (Rondalla) Dancing Christmas Star Lanterns Fiesta Music (Bamboo Band) Cebuano Pasyon Cluster demonstrations: Cluster A (Binding/ Weaving/Lashing): Tent 3: T’boli hemp weaving & dyeing: 11:00-12:00, 2:30- & 3:30; T’boli singing:12:00-12:45, 4:15-5:00; assembling kiping (Tagalog deco- Kalinga Music & Dances Philippine strings (Lute & Rondalla) Arnis (Martial Arts) Maguindanao Kulintang Playing Talaandig Kaamulan Folk Songs & Dances (Rondalla) Philippine Percussion Instruments (Kalinga, Talaanding, Bagobo) fative rice wafers): 12:45-1:45; arnis (mar- tial arts): 1:45-2:30, 3:30-4:15 Cluster B (Beating/ Tapping/Pounding): Tagalog hemp weav- ing: 11:00-11:45; gold- smithing:11:45-12:45, 2:30-3:30; silver- Talaandig Woven Traps & Pukpuk: Filipino Beat Assembling Paroles (Christmas Star Lanterns) Maguindanao Lute Performance Culture & Memory Gayak: Preparation as Art Filipino Time smithing: 12:45-1:45, 4:15-5:15; Kalinga gong music: 1:45-2:30; kulintang playing 3:30-4:15 Cluster C (Carving/ Incising/Molding) Kapampangan santos & furniture carving: 11:00-12:00, 3:45- Philippine Kitchen Kiping: Tagalog Decorative Rice Wafers Tagalog Cuisine Aklan Cuisine Kiping: Tagalog Decorative Rice Wafers Bagobo Cuisine 4:45; Ifugao carving: 12:00-12:45, 4:45- 5:30; Maguindanao boat carving: 12:45- 1:45; Tagalog santos carving: 1:45-2:45; kulintang making: 2:45-3:45. FESTIVAL SCHEDULE Friday, June 26 Baltic Nations: Estonia, Latvia, Lithuania Estonian Fish Soup Latvian Wrapped Herring Lithuanian Potato Dishes Estonian Herring Latvian Parpalinu Soup Lithuanian Herring Dishes Ongoing demonstrations Estonia: Boat mak- ing, herbalist, national costumes, summer kitchen, swing, wood- working. Latvia: Activities table, basket making, boat & net making, blacksmith, ceramics, SMITHSONIAN FOLKLIFE FESTIVAL Main Music Stage Latvian Traditional Music: Rasa Dandari Stalts Family Salmanis Family Lithuanian Traditional Music: Marcinkonys Village Folk Ensemble Veronika Povilioniene Trys Keturiuose Insula = Pub Stage Lithuanian Folk Ensemble: Insula & Lithuanian Music: Sutaras Estonian Violin Duet: Torop & Jaama Estonian Music: Teppo & Veenre Estonian Music: Luhats & Visla Estonian Music: Alle-aa Estonian Traditional Music: Luhats/Visla Aivar Teppo Kuldatsduk Tuule Kann Leigarid jewelry making, musical instruments, textiles & woodworking Lithuania: Amber Jewelry, Easter eqgs, forge, shrine carving, straw ornaments, weaving, wood crafts & village table Family activities will Latvian Music: Dandari Latvian Folk Music: Salmanis Family be offered throughout the day. For details see daily schedules at the Information booth ‘ft 11:00 12:00 1:00 2:00 __ 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 115 11:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 116 FESTIVAL SCHEDULE Wisconsin Ballroom Stage Slovenian-Style Polka: Steve & Verne Meisner Orchestra Heritage Stage Hmong Music Saturday, June 27 Kitchen Oneida Corn, Beans & Squash Tavern Welcome to Holly's Bar Gech-American Music: Clete Bellin Orchestra Ojibwe Woodland Flute Music: Frank Montano cc with Cranberries Fiddle Workshop Wisconsin Talk America’s Dairyland Ethnic Communities Polish-Style Polka: Norm Dombrowski & the Happy Notes African-American Gospel: Queens of Harmony Se Greek Foods Norwegian Fiddle | Music: Norskedalen Trio Schrammel Music: Haese & Schlei Sausages Beer: From the Brewery to the Tap Concertina/ Accordion Workshop German-American Music: Karl & the Country Dutchmen Hmong Instruments & Vocals Danish Specialties Tavern Stories Slovenian-Style Polka: Steve & Verne Meisner Orchestra African-American Gospel: Queens of Harmony Pasties S| Schrammel Music: Haese & Schlei Hmong Healing Rituals & Customs Doll Makers Wisconsin Regions Woodland Indian Crafts Rio Grande/ Rio Bravo The Basin/ La Cuenca Stage Crafts & Access to Resources & Amadeo Flores y Su conjunto Environmental Impacts on Traditional Cultures Art Markets Amadeo Flores y su Conjunto Living on the River Family Activity: Learn to Polka att Instruments Made & Played Shore Lunch Cribbage Footwear: Moccasins & Allen-Edmonds Migration Experiences Polish-Style Polka: Norm Dombrowski & the Happy Notes Norwegian Fiddle Music: Norskedalen Trio [ Pork Dishes iil Duckpin Bowling Polka Workshop Ongoing Demonstrations Demonstrations of religious crafts work, textile work, decora- tive arts, doll making, egg decorating, instru- ment making, basket making, Native American beadwork. Croatian Songs Presentations in the rice camp of rice win- nowing, treading, roasting, drying, moc- casin games: 12:00, 3:00 Activities related to occupational knowl- edge & recreational skills including shoe- Sausages making, metalwork- ing, logging, tree growing, boatbuilding, ice fishing, lure mak- ing, decoy carving, duck & deer hunting Agricultural presen- taions: Cheese mak- ing, beer brewing, indigenous crops (gin- seng, cranberry marsh, Three Sisters garden). Milking: 12:00, 2:00, 4:00 Pig Showing: 11:00, 1:00, B30 SMITHSONIAN FOLKLIFE FESTIVAL From Generation to Generation Amadeo Flores y SU Conjunto Packerlore 2:00 Special Presentation of boatbuilding skills in the “Fishing” tent. Rio Conversations Ongoing Presentations & Activities: Demonstrations and family activities on Basin crafts and occupational skills. aft Marketplace Sales Tent Stage Polish Papercutting: Bernice Jendrzejczak Woodcarving: Luis Roman =p S Indicates Sign Language Interpreted ese Indicates T family programs and children’s activities. 1998 Schedules are subject to change. Check signs in each program area for specific information. ‘Philippines Religious Music (Rondalla) Music of the Revolution (Bamboo Band) Daigon, Pastores & Folk Songs Folk Songs and Dances (Rondalla) Dancing Christmas Star Lanterns Serenata Cluster demonstrations: Guster A (Binding/ Weaving/Lashing)— Tent 1: Silk weaving 11:30-12:30, 2:45-3:45; Maquindanao lute per- formance: 12:30-1:15, 3:45-4:30; Bagobo hemp dyeing & weav- ing: 1:15-2:15, 4:30- 1998 PHILIPPINE-AMERICAN PERFORMANCES Likas Pamana Young Filipinos of Pittsburgh Tanghalang Pilipino Philippine Performing Arts Company, Inc. Philippine American Literary, Sports, and Arts Foundation Mutya Philippine Dance Company, Inc. Pilipino American Cultural Arts Society, Inc. & Procession & Concert 5:30; Bagobo gong per- formance: 2:15-2:45 Cluster B (Beating/ Tapping/Pounding)— Food pounding: 11- 11:45; kulintang music: 11:45-12:30; silver- smithing: 12:30-1:30, 4:00 -5:00; Kalinga gong music: 1:30-2:15; gold- Family Activity : ese Kalinga Bamboo afr Instrument Making & Arnis (Martial Arts) Balikbayan Travel Stories Filipino Americans Talaandig Beadwork Marian Devotions Celebrating the Sea smithing: 2:15-3:15; Talaandig gong music 3:15-4:00 Cluster C (Carving/ Incising/Molding)— Talaandig drum & flute making: 11:00-11:45; Kapampangan santos & furniture carving: 11:45- 12:45; kulintang mak- Philippine Kitchen Talaandig Cuisine Cebuano Cuisine Kiping: Tagalog Decorative Rice Wafers Tagalog Cuisine Maguidanao Cuisine Tagalog Cooking Batangas Cuisine ing: 12:45-1:45; Ifugao carving: 1:45-2:30; Tagalog santos carving 2:30-3:30; Maqguindanao boat cary- ing: 3:30-4:30; Maquindanao cooking, kulintang playing, ritu- als: 4:30-5:30. FESTIVAL SCHEDULE Saturday, June 27 Baltic Nations: Estonia, Latvia, Lithuania Pub Stage Latvian Potato Pancakes with Salmon Lithuanian Christmas Eve Dishes Estonian Breads Latvian Side Dishes Lithuanian Mushroom Dishes Estonian Curd Pie Ongoing demonstrations Estonia: Boat mak- ing, herbalist, national costumes, summer kitchen, swing, wood- working. Latvia: Activities table, basket making, boat & net making, SMITHSONIAN FOLKLIFE FESTIVAL Main Music Stage Lithuanian- American Folk Group Sodauto Lithuanian Traditional Music Marcinkonys Village Folk Ensemble & Veronika Povilioniené es Insula Estonian Traditional Music: Tuule Kann Leigarid Luhats/Visla Alle-aa Latvian Traditional Music: Rasa Dandari Stalts Family Salmanis Family blacksmith, ceramics, jewelry making, musical instruments, textiles & woodworking Lithuania: Amber jewelry, Easter eqgs, forge, shrine carving, straw ornaments, weaving, wood crafts Estonian Music Luhats & Visla Estonian Games: Leigarid Estonian Music: Alle-aa Estonian Music: Luhats & Visla Latvian Traditional Music: Rasa Latvian Folk Music: Salmanis Family Lithuanian Music Sutaras Lithuanian Folk Music: Insula & village table Family activities will be offered throughout the day. For details see daily schedules at the Information booth iff 11:00 12:00 1:00 2:00 __ 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 117 FESTIVAL SCHEDULE Sunday, June 28 1:00 2:00 3:00 4:00 5:00 Karl & the Country Dutchmen Traditional Crafts & Slovenian-Style Family Activity: Pasties Beer: From the Basket Makers Polka: Song Workshop Brewery to the Tap Steve & Verne Meisner Orchestra © itt Gech-American Hmong Music & Croatian Concertina/ Fish Tales Music: Games Specialties Accordion Clete Bellin Orchestra Workshop Slovenian-Style Norwegian Fiddle Danish Specialties Tavern Stories The Hmong Polka: Music: Marriage Broker Steve & Verne Norskedalen Trio Meisner Orchestra Polish-Style Polka: African-American Hmong Food Tuba Workshop Quilters Regional Culture Amadeo Flores y Su conjunto Saint's Day Fiesta Workshop Norm Dombrowski Norm Dombrowski | Gospel: & the Happy Notes | Queens of Harmony | German-American | Norwegian Fiddle Sausages Sheepshead & Seasonal Crafts Music: Music: Euchre Karl & the Country | Norskedalen Trio Dutchmen = A= Polish-Style Polka: | Walloon Songs Pasties Changing Shifts Hunting Stories & the Happy Notes Wisconsin Old- Time Dances a Hmong Music Presentations in the Rouladen Duckpin Bowling Generational Farms Amadeo Flores y Su conjunto Rio Conversations Ongoing : : Rio Grande/ Wisconsin Rio Bravo Marketplace Ballroom Heritage Kitchen Tavern Wisconsin The Basin/ Sales Tent 11:00 Stage Stage Talk La Cuenca Stage Stage Cech-American African-American Danish Specialties Schrammel Music: Images of the Holy Weaving Music: Gospel: Haese & Schlei Traditions Clete Bellin Queens of Estonian Orchestra Harmony & Music (Violin les Duet): German-American | InstrumentsMade | Sausages Welcome to Immigration to Amadeo Flores y Toomas Torop & 1 2 : 0 0 Music: & Played Holly's Bar Wisconsin SU Conjunto Urjo Jaama Philippine Woodcarving, Religious Figures and Furniture: Fermin Cadapan 5:30-9:00 For information on Evening making, metal work- ing, logging, tree growing, boatbuilding, ice fishing, lure mak- ing, decoy carving, duck & deer hunting. indigenous crops (gin- 2:00 seng, cranberry marsh, Special Presentation of Three Sisters garden). weaving traditions in the “Textiles” tent. Ongoing Demonstrations Demonstrations of religious crafts work, roasting, drying, moc- textile work, decora- casin games: 12:00, tive arts, doll making, 3:00. egg decorating, instru- ment making, basket making, Native American beadwork. Presentations & Activities: Demonstrations and family activities on Basin crafts and occupational skills. rice camp of rice win- ay. nowing, treading, = Indicates Sign Language Milking: 12:00, Interpreted & 2:00, 4:00 Pig Showing: 11:00, 1:00, 3:00 ese Indicates t family programs and children’s activities. Programs and Special Events see page 130. Activities related to occupational knowl- edge & recreational skills including shoe Agricultural presen- taions: Cheese mak- ing, beer brewing, it 118 SMITHSONIAN FOLKLIFE FESTIVAL 1998 Schedules are subject to change. Check signs in each program area for specific information. Philippines Chapel Basketball Sari-sari Philippine Court Store Kitchen | | Cebuano Kalinga Music & Talaandig Woven Kiping: Tagalog "| Devotional Singing Dance Traps Decorative Rice Wafers & Arnis (Martial Arts) Demonstration Religious Music (Bamboo Band) Philippine String Instruments (Lute & Rondalla) Tagalog Cooking Cross-Cultural Easter Traditions Tagalog Songs and Poetry Reading Assembling Paroles (Christmas Star Lanterns) Aklan Cooking Arnis (Martial Arts) Maguindanao Lute Performance Filipino Love Songs (Rondalla) Maguindanao Kulintang Playing Family Activity: T'’boli Topical Singing ete Pa aqr & Healing Tagalog Cooking Dancing Christmas Star Lanterns Fiesta Music (Bamboo Band) Talaandig Kaamulan Bagobo Cooking Se Be Bawdy Music Folk Songs and Dances (Rondalla) Kiping: Tagalog Decorative Rice Wafers A Space of Your Own Cebuano Pasyon Talaandig 11:00-12:00, 3:45- 4:45; Ifugao carving: 12:00-12:45, 4:45- 5:30; Maguindanao boat carving: 12:45- 1:45; Tagalog santo carving: 1:45-2:45; kulintang making: 2:45-3:45 rice wafers): 12:45- 1:45; arnis (martial arts): 1:45-2:30, 3:30- 4:15; T’boli hemp weaving & dyeing 2:30-3:30 Cluster Demonstrations: Cluster A (Binding/ Weaving/Lashing): Tent 2: Pineapple fiber weaving: 11:30-12:30, 2:30-3:30; Aklan boat building & rituals: 12:30-1:30, 3:30-4:30; Kalinga instrument making: 1:30-2:30; Tagalog woven toys: 4:30-5:15 Cluster B (Beating/ Tapping/Pounding): Tagalog hemp weaving & dyeing: 11:00-12:00; T’boli singing: 12:00- 12:45, 4:15-5:00; assembling kiping (Tagalog decorative Cluster C (Carving/ Incising/Molding): Kapampangan santos x & furniture carving: ee SMITHSONIAN FOLKLIFE FESTIVAL FESTIVAL SCHEDULE Sunday, June 28 Baltic Nations: Estonia, Latvia, Lithuania Foodways | MainMusic | Pub Stage Stage 11:00 Estonian Traditional Music: Kuldatsduk Luhats/Visla Torop/Jaama Tuule Kann Latvian Folk Music: Salmanis Family Lithuanian Soups 12:00 Latvian Liv Music: Stalts Family Estonian Sauerkraut 1:00 Latvian Lithuanian Folk Traditional Music: Music: Insula Salmanis Family Latvian Salads Stalts Family Rasa Dandari 2:00 Lithuanian- Lithuanian American Folk Music: Group: Sutaras Sodauto Lithuanian Stuffed Potato Sausage 3:00 Lithuanian Estonian Traditional Accordion Duet: Music: Luhats & Visla 435 Sutaras & Estonian Trys Keturiuose Estonian Folk Sauerkraut aa Ensemble: Casserole Village Fo Kihnumua ° Ensemble & __4:00 Veronika Povilioniene Insula Estonian Games: Leigarid Latvian Sauerkraut Stew Estonian Violin __5:00 Duet: Torop & Jaama Ongoing blacksmith, ceramics, & village table 5:30-9:00 demonstrations jewelry making, Family activities will Estonia: Boat mak- musical instruments, be offered throughout For ing, herbalist, national —_textiles & the day. For details information ae summer woodworking. see daily schedules at on Evening itchen, swing, wood- the Information working. Lithuania: Amber booth Programs jewelry, Easter eqgs, and Special Latvia: Activities forge, shrine carving, ete Events see table, basket making, straw ornaments, aqr page 130. boat & net making, weaving, wood crafts 119 1:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 120 FESTIVAL SCHEDULE Wednesday, July 1 Wisconsin Ballroom Stage Slovenian-Style Polka Steve & Verne Meisner Orchestra Heritage Stage Norwegian Fiddle Music: Norskedalen Trio Kitchen Tavern Welcome to Holly's Bar Pasties Wisconsin Talk Hunting Stories Gech-American Music: Clete Bellin Orchestra Hmong Music Schrammel Music: Haese & Schlei Shore Lunch Tamburitza Music: Vatra African-American Gospel: Queens of Harmony Croatian Foods Cross-Cultural Accordion Styles Workshop & Woodworking: From Dolls to Doorways The Hmong Marriage Broker Polish-Style Polka: Norm Dombrowski & the Happy Notes Ojibwe Woodland Flute Music: Frank Montano Sheepshead & Euchre Cheese Dishes eae Arts Gech-American Music: Clete Bellin Orchestra Schrammel Music: Haese & Schlei Sausages Fiddle Workshop Images of the Holy Slovenian-Style Polka: Steve & Verne Meisner Orchestra African-American Gospel: Queens of Harmony Tavern Talk am Mexican Foods Indigenous Crops: Rice, Cranberries, Ginseng Rio Grande/ Rio Bravo The Basin/ La Cuenca Stage Crafts & Natural, Found & Industrial Materials 2 eS Fiesta Traditions Conjunto Music Workshop Native Traditions Amadeo Flores y Su Conjunto Conservation & Recreation Polish-Style Polka: Norm Dombrowski & the Happy Notes German-American Music: Karl & the Country Dutchmen Wisconsin Old-Time Dance Workshop Ongoing Demonstrations Demonstrations of religious crafts work, textile work, decora- tive arts, doll making, egg decorating, instru- ment making, basket making, Native American beadwork Vocal Traditions Tamburitza Music: Vatra Ojibwe Woodland Flute Music: Frank Montano Presentations in the rice camp of rice win- nowing, treading, roasting, drying, moc- casin games: 12:00, 3:00 Activities related to occupational know!- edge & recreational skills including shoe Pasties Walloon Songs Sausages Jokes & Lies Cranberry Dessert Duckpin Bowling indigenous crops (gin- seng, cranberry marsh, Three Sisters garden). making, metalwork- ing, logging, tree growing, boatbuilding, ice fishing, lure mak- ing, decoy carving, Milking: 12:00, 2:00, duck & deer 4:00 hunting. Pig Showing: 11:00, Agricultural presen- 1:00, 3:00 taions: Cheese mak- ing, beer brewing, SMITHSONIAN FOLKLIFE FESTIVAL Water Ways Quilts & Storycloths Hmong Healing Ritual & Customs 12:30-1:30 Family Activity: Learn sewing skills inthe ee “Quilts” tent. T 2:00 Special Presentation of egg decorating in the “Slavic Crafts” tent. Art Traditions Amadeo Flores y su conjunto Rio Conversations Ongoing Presentations & Activities: Demonstrations and family activities on Basin crafts and occupational skills. itt Marketplace Sales Tent Stage Latvian Instrument Making: Maris Jansons Philippine Woodcarving: Leon Tayaban S Indicates Sign Language Interpreted eve Mdicates aqr family programs and children’s activities. 1998 Schedules are subject to change. Check signs in each program area for specific information. Philippines | Chapel Basketball Sari-sari Philippine Court Store Kitchen Religious music (Bamboo band) Bagobo Bossed SB Gong ete Performance aqr Kalinga Music and Dances Talaandig Cooking Artists Plus Cebuano Cooking Arnis (Martial Arts) Being Filipino Kiping: Tagalog Decorative Rice Wafers) Music of the Revolution (Bamboo Band) Talaandig Music and Dance Coconut: The Tree of Life Daigon, Pastores and Folk Songs Maguindanao Kulintang Music Tagalog Cuisine Cross Cultural Program: Oral Tradition and Nation Folk Songs and Dances (Rondalla) Tagalog Fiesta Music (Bamboo band) Maguindanao Cooking Talaandig Toy making & Arnis (Martial Arts) Tagalog Cooking Faith and Ritual Dancing Christmas Star Lanterns Philippine | Percussion Instruments Conflict and Negotiation Serenata Tagayan and Pulutan Cluster demonstrations: Cluster A (Binding/ Weaving/Lashing) Tent 3: Tagalog hut lashing 11:00-11:45; assembling arts): 1:45-2:30; assem- bling kiping: 2:30-3:30; children’s activity pro- gram: I’boli singing: it 4:30-5:15. Cluster B (Beating/ Tapping/Pounding) food pounding: 11:00- 11:45; kulintang playing (11:45-12:30; silver- smithing: 12:30-1:30, 4:00-5:00; Kalinga gong music: 1:300-2:15; gold- smithing: 2:15-3:15; Talaandig gong music 3:15-4:00 Custer C (Carving/ Incising/Molding) Talaandig drum & flute making: 11:00-11:45; Kapampangan religious figure & furniture carv- ing: 11:45-12:45; kulin- tang making: 12:45- 1:45; Ifugao carving 1:45-2:30; Tagalog reli- gious figure carving: 2:30-3:30; Maguindanao boat carving: 3:30-4:30; Maguindanao cooking, kulintang playing, ritu- als: 430-530. ZB paroles: Christmas lanterns): 11:45-12:45; Tboli hemp weaving & dyeing: 12:45-1:45, 3:30-4:30; amis (martial 1998 FESTIVAL SCHEDULE Wednesday, July 1 Baltic Nations: Estonia, Latvia, Lithuania Foodways Estonian Caraway Cheese Latvian St. John’s Day Cheese Lithuanian Blueberry Dumplings Estonian Breads Latvian Pies Lithuanian Boba (Buckwheat Bread) Ongoing demonstrations Estonia: Boat mak- ing, herbalist, national costumes, summer kitchen, swing, wood- working Latvia: Activities table, basket making, boat & net making, SMITHSONIAN FOLKLIFE FESTIVAL Main Music Stage Latvian Traditional Music Dandari Rasa Stalts Family Salmanis Family Lithuanian Traditional Music Veronika Povilioniene & Marcinkonys Village Folk Ensemble Trys Keturiuose Sutaras Estonian Traditional Music: Alle-aa Tuule Kann Luhats/Visla Leigarid blacksmith, ceramics, Jewelry making, musical instruments, textiles & woodworking Lithuania: Amber jewelry, Easter eggs, forge, shrine carving, straw ornaments, weaving, wood crafts Pub Stage Lithuanian Music: Sutaras Lithuanian Folk Music: Insula Estonian Traditional Music: Kuldatsduk Estonian Games: Leigarid =a Estonian Music: Luhats & Visla Estonian Accordion Duet: Teppo & Veenre Latvian Music: Dandari Latvian Folk Music: Salmanis family & village table. Family activities will be offered throughout the day For details see daily schedules at the Information booth ft 11:00 12:00 1:00 2:00 __ 3:00 4:00 __ 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 121 11:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 122 FESTIVAL SCHEDULE Thursday, July 2 Wisconsin German-American Music: Karl & the Country Dutchmen Instruments Made & Played Pasties Jokes & Lies Slovenian-Style Polka: Steve & Verne Meisner Orchestra Norwegian Fiddle Music: Norskedalen Trio Sausages Tamburitza Music: Vatra Gech-American Music: Clete Bellin Orchestra German-American Music: Karl & the Country Dutchmen Slovenian-Style Polka: Steve & Verne Meisner Orchestra Cech-American Music: Clete Bellin Orchestra & Polish-Style Polka: Norm Dombrowski & the Happy Notes Learn to Polka Ongoing Demonstrations Demonstrations of reli- gious crafts work, tex- tile work, decorative arts, doll making, eqg decorating, instrument making, basket mak- ing, Native American beadwork. African-American Gospel: Queens of Harmony Schrammel Music: Ojibwe Woodland Flute Music: Frank Montano Haese & Schlei African-American Gospel: Queens of Harmony Tamburitza Music: Vatra Norwegian Fiddle Music: Norskedalen Trio Presentations in the rice camp of rice win- nowing, treading, roasting, drying, moc- casin games: 12:00, 3:00. Activities related to occupational knowl- edge & recreational skills including shoe- Hmong Foods Oneida Corn Soup Wild Duck & Wild Rice B Cheese Dishes ra making, metalwork- ing, logging, tree growing, boatbuilding, ice fishing, lure mak- ing, decoy carving, duck & deer hunting. Agricultural presen- taions: Cheese making, beer brewing, indige- SMITHSONIAN FOLKLIFE FESTIVAL Tavern Tales Music Sheepshead & Cribbage Tamburitza Workshop Holly's Stories Tuba Workshop Haese & Schlei Duckpin Bowling Nous crops (ginseng, cranberry marsh, Three Sisters garden) Milking: 12:00, 2:00, 4:00 Pig Showing: 11:00, 1:00, 3:00 Badger Button Box Schrammel Music: Ballroom Heritage Kitchen Tavern Wisconsin Stage Stage Talk Working in Wisconsin Industry & The Hmong Marriage Broker Ice Fishing Hunting Stories Basket Makers Songs in Many Languages Wisconsin Regions Hmong Healing Rituals & Customs America’s Dairyland 11:30 -12:30 Family Activity: Learn to weave with = wheat inthe @a@ “Slavic Crafts” ar tent. 2:00 Special Presentation: Cranberries. Rio Grande/ Rio Bravo The Basin/ La Cuenca Stage Culture & Local Development Projects & Art Traditions Amadeo Flores y su conjunto Traditional Culture in Education Amadeo Flores y su conjunto Conservation and Recreation Conjunto Music Workshop Rio Conversations Ongoing Presentations & Activities: Demonstrations and family activities on Basin crafts and occupational skills. iff Marketplace Sales Tent Stage Basket Weaving: Marta Cruz Ho-chunk Black Ash Basket Making: Nancy R. Hall Ses = Indicates Sign Language Interpreted ese (ndicates aqr family programs and children’s activities. 1998 Schedules are subject to change. Check signs in each program area for specific information. | Cebuano Devotional Singing Religious Music (Bamboo Band) Tagalog Songs & Poetry Reading Filipino Love Songs (Rondalla) Dancing Christmas Star Lanterns Cluster Demonstrations: Cluster A(Binding/ Weaving/Lashing): Tent 1: Bagobo hemp dyeing & weaving: 11:00-12:00, 1:30-2:30; silk weav- ing: 12:00-1:00, 3:15- 4:15; Bagobo gong performance: 1:00- 1998 Philippines Chapel Basketball Sari-sari Court Store Kalinga Music and Dances Arnis (Martial Arts) Maguindanao Kulintang Music Talaandig Music and Dance Music of the Revolution (Bamboo Band) Filipino Love Songs (Rondalla) Talaandig Music and Dance 1:30; Maguindanao lute performance 2:30-3:15; Coconut frond plaiting: 4:15- 5:00 Cluster B (Beating/ Tapping/Pounding): Tagalog hemp weav- ing: 11:00-11:45; goldsmithing: 11:45- Talaandig Woven Traps Beauty Tips Talaandig Dugso Dance Performance The Faces of Gender Instruments Christmas in the Philippines Lore 12:45, 2:30-3:30; sil- versmithing: 12:45- 1:45, 4:15-5:15; Kalinga gong music: 1:45-2:30; kulintang music: 3:30-4:15 Cluster C (Carving/ Incising/Molding): Kapampangan reli- gious figure & furni- Maguindanao Lute Philippine Bamboo Lullabies and Baby Philippine Kitchen Kiping: Tagalog Decorative Rice Wafers Cross-Cultural Program: Steamed Things in Leaves Aklanon Cuisine Tagalog Cuisine Bagobo Cuisine Kiping: Tagalog Decorative Rice Wafers Kalinga Rice Wine ture carving: 11:00- 12:00, 3:45-4:45; Ifugao carving: 12:00- 12:45, 4:45-5:30; Maquindanao boat carving: 12:00-1:45; Tagalog religious fig- ure carving: 1:45-2:45; kulintang making: 2:45-3:45 FESTIVAL SCHEDULE Thursday, July 2 Baltic Nations: Estonia, Latvia, Lithuania Latvian Daily Fare Lithuanian Potato Dishes Estonian Daily Fare Latvian Sklandu Pies Lithuanian Potato Dumplings with Meat Estonian Barley Dishes Ongoing demonstrations Estonia: Boat mak- ing, herbalist, nation- al costumes, summer kitchen, swing, woodworking. Latvia: Activities table, basket making, boat & net making, blacksmith, ceramics, SMITHSONIAN FOLKLIFE FESTIVAL Main Music Stage Lithuanian Traditional Music: Marcinkonys Village Folk Ensemble and Veronika Povilioniene Trys Keturiuose Insula Sutaras Estonian Traditional Music: Kihnumua Luhats/Visla Tuule Kann Alle-aa Latvian Traditional Music: Dandari Rasa Stalts Family Salmanis Family jewelry making, musical instruments, textiles & woodworking Lithuania: Amber jewelry, Easter eggs, forge, shrine carving, straw ornaments, weaving, wood crafts & village table Family activities will Pub Stage Estonian Accordion Duet: Teppo & Veenre & Estonian Music: Alle-aa & Tuule Kann Latvian Folk Music: Dandari Latvian Folk Music: Rasa Lithuanian Folk Music: Insula Lithuanian Folk Music: Sutaras be offered throughout the day For details see daily schedules at the Information booth it 11:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 123 11:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 124 FESTIVAL SCHEDULE Friday, July 3 Wisconsin Ballroom Stage Cech-American Music Clete Bellin Orchestra Heritage Stage Hmong Music Kitchen Cheese Dishes Welcome to Holly's Bar & Wisconsin Talk Stories from the Cloth Tamburitza Music: Vatra Schrammel Music: Haese & Schlei Cranberry Dishes Beer: From the Brewery to the Tap & Hunting Stories German-American Music: Karl & the Country Dutchmen African-American Gospel: Queens of Harmony Sausages Jokes & Lies Packerlore Rio Grande/ Rio Bravo The Basin/ La Cuenca Stage Conjunto Workshop Migration Experiences Oral Traditions Slovenian-Style Polka: Steve & Verne Meisner Orchestra Cech Songs Pasties Tavern Stories Polish-Style Polka: Norm Dombrowski & the Happy Notes Norwegian Fiddle Music: Norskedalen Trio Finnish Dishes German-American Music: Karl & the Country Dutchmen Instruments Made & Played Croatian Cooking Tuba Workshop Sheepshead & Euchre Decorating Eggs The Hmong Marriage Broker Native Crops: Corn & Wild Rice Tamburitza Music: Vatra Family Activity: Learn to Dance the Kolo Ongoing Demonstrations Demonstrations of religious crafts work, textile work, decora- tive arts, doll making, egg decorating, instru- ment making, basket making, Native American beadwork. | African-American Gospel: Queens of Harmony Music: Norskedalen Trio Ojibwe Woodland Flute Music: Frank Montano Presentations in the rice camp of rice win- nowing, treading, roasting, drying, moc- casin games: 12:00, 3:00 Activities related to occupational knowl- edge & recreational skills including shoe- ae Foods | making, metalwork- ing, logging, tree growing, boatbuilding, ice fishing, lure mak- ing, decoy carving, duck & deer hunting. Agricultural presen- taions: Cheese mak- ing, beer brewing, Fiddle Workshop Sturgeon Season Amadeo Flores y Su Conjunto Desert Culture Women & Sustainable Development & Regional Culture Norwegian Fiddle Sausages The Tailgate Party Duckpin Bowling indigenous crops (gin- seng, cranberry marsh, Three Sisters garden). Milking: 12:00, 2:00, 4:00 Pig Showing: 11:00, 1:00, 3:00 & SMITHSONIAN FOLKLIFE FESTIVAL Wisconsin Accents Packerlore 12:30-1:15 Cross-cultural session on cheese making in the “Cheese Making” tent. Amadeo Flores y su conjunto Ongoing Presentations & Activities: Demonstrations and family activities on Basin crafts and occupational skills. ‘ft Marketplace Sales Tent Stage Philippine Paro! Making: Exuferio V. Tinguha Estonian Embroidery BS Indicates Sign Language Interpreted ese Indicates qr family programs and children’s activities. 1998 Schedules are subject to change. Check signs in each program area for specific information. Philippines ‘| Chapel Basketball Sari-sari Philippine Court Store Kitchen Religious Music Tagalog Fiesta Kalinga Bamboo Talaandig Cooking (Rondalla) Music (Bamboo Instrument Band) Making & Pasyon Arnis (Martial Arts) The Christmas Cebuano Cooking Calendar Music of the Tales of Gold Revolution (Bamboo Band) Kalinga Dance and Music & Tagalog Songs & Poetry Readings Talaandig Music and Dance Growing Up in Music Folk Songs and Dances (Rondalla) Kiping: Tagalog Decorative Rice Wafers Tagalog Cooking Maguindanao Kulintang Music Legacy of the Americas Talaandig Beadwork Philippine Marches (Bamboo Band) Cross-Cultural Program: Dancing Christmas Star Lanterns Arnis (Martial Arts) Filipino Classical Music (Rondalla) Kalinga Dance and Music Cluster demonstrations: Cluster A (Binding/ Weaving/Lashing), Tent 2: Tagalog woven toys 11:00-11-45; Aklan boat instrument making 2:45-3:30; T’boli singing 4:30-5:15 3:15-430. Cluster B (Beating/ Tapping/Pounding): Cebuano hemp pound- ing: 11:00-11:45; kulin- tang music: 11:45-12:30; silversmithing: 12:30- 1:30, 4:00-5:00; Kalinga building & rituals: 11:45- 12:45, 3:30-4:30; Kalinga weaving: 12:45-1:45; pineapple fiber weaving: 1:45-2:45; Kalinga Indsing/Molding): Family Activity: ese afr Performing Asia Bagobo Bossed Gong Performance gong music: 1:30-2:15; goldsmithing: 2:15-3:15; Talaandig gong music: Cluster C (Carving/ Talaandig drum & flute making: 11:00-11:45; Kapampangan religious figure & furniture carving: Maguindanao Cooking Tagalog Cooking Batangas 11:45-12:45; kulintang making: 12:45-1:45; Ifugao carving: 1:45- 2:30; Tagalog religious figure carving: 2:30-3:30; Maquindanao boat carv- ing: 3:30-4:30; Maguindanao cooking, kulintang playing, ritu- als: 4:30-5:30. & FESTIVAL SCHEDULE Friday, July 3 Baltic Nations: Estonia, Latvia, Lithuania Main Music | Pub Stage Stage Lithuanian Potato Dishes Latvian Folk Music Rasa Estonian Traditional Music Leigarid Tuule Kann Luhats/Visla Alle-aa Latvian Liv Music: Stalts Family Estonian Herring Lithuanian Folk Music: Sutaras Latvian Traditional Music: Dandari Rasa Stalts Family Salmanis Family Latvian Parpalinu Soup Lithuanian Folk Music Insula Lithuanian Herring Dishes Estonian Violin Duet: Torop & Jaama Lithuanian Traditional Music: Sutaras Trys Keturiuose Insula Estonian Fish Soup Estonian Accordion Duet: Tonurist & Kann Latvian Herring Ongoing demonstrations Estonia: Boat mak- ing, herbalist, nation- al costumes, summer kitchen, swing, woodworking Latvia: Activities table, basket making, boat & net making, blacksmith, ceramics, jewelry making, musical instruments, textiles & woodworking. Lithuania: Amber jewelry, Easter eggs, forge, shrine carving, Straw ornaments, weaving, wood crafts & village table Family activities will be offered through- out the day. For details see daily schedules at the Information booth iff SMITHSONIAN FOLKLIFE FESTIVAL 11:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-9:00 For information on Evening Programs and Special Events see page 130. 125 11:00 12:00 1:00 2:00 3:00 4:00 5:00 5:30-7:00 For information on Evening Programs and Special Events see page 130. 126 FESTIVAL SCHEDULE Saturday, July 4 Wisconsin German-American Music: Karl & the Country Dutchmen African-American Gospel Queens of Harmony = Sausages Ballroom Heritage Kitchen Tavern Wisconsin Stage Stage Talk Tamburitza Workshop Immigration to Wisconsin Polish-Style Polka: Norm Dombrowski & the Happy Notes Ojibwe Woodland Flute Music: Frank Montano Pasties Cech-American Music: Clete Bellin Orchestra Schrammel Music: Haese & Schlei Mexican Foods Norwegian Fiddle Music: Norskedalen Trio Slovenian-Style Polka: Steve & Verne Meisner Orchestra Polish-Style Polka: Norm Dombrowski & the Happy Notes Tamburitza Music: Vatra African-American Gospel: Queens of Harmony Family Activity: Song Workshop itt Wild Duck Greek Foods Tamburitza Music: Vatra Gech-American Music: Clete Bellin Orchestra Wisconsin Old-Time Dance Ongoing Demonstrations Demonstrations of religious crafts work, textile work, decora- tive arts, doll making, egg decorating, instrument making, basket making, Native American beadwork. Instruments Made & Played Norwegian Fiddle Music: Norskedalen Trio Hmong Music Presentations in the rice camp of rice win- nowing, treading, roasting, drying, moc- casin games: 12:00, 3:00. Activities related to occupational knowl- edge & recreational skills including shoe Sausages Tavern Tales Concertina/ Accordion Workshop Natural Fibers in Crafts Water Ways Rio Grande/ Rio Bravo The Basin/ La Cuenca Stage Crafts & Access to Resources & Amadeo Flores y Su conjunto Agricultural & Ritual Cycles & Norwegian Foods Sheepshead & Cribbage Beer: From the Brewery to the Tap Sports Talk Working in Wisconsin Industry Doll Dioramas America’s Dairyland Art Markets Amadeo Flores y Su conjunto Living on the River Duckpin Bowling Water Ways Cornish Foods Holiday Cookout making, metalwork- ing, logging, tree growing, boatbuild- ing, ice fishing, lure making, decoy carv- ing, duck & deer hunting. Agricultural presen- taions: Cheese mak- ing, beer brewing, Holly's Stories Fish Tales indigenous crops (gin- seng, cranberry marsh, Three Sisters garden) Milking: 12:00 Pig Showing: 11:00, 2 1:00 SMITHSONIAN FOLKLIFE FESTIVAL Hunting Stories Hmong Healing Ritual & Customs & 2:00 Special Presentation: Ice fishing decoys at the fishing area. Amadeo Flores y su conjunto Rio Conversations Ongoing Presentations & Activities: Demonstrations and family activities on Basin crafts and occupational skills. itt Marketplace Sales Tent Stage | Decoy/Lure Carving: Willi Kruschinski Tierra Wools Weaving: Maria Elena “Nena” Russom 2 Indicates Sign Language Interpreted ©» Indicates it family programs and children’s activities. 1998 | chapel Basketball Sari-sari | Court Store Schedules are subject to change. Check signs in each program area for specific information. Philippines Philippine Kitchen The Cross and the Crescent Cebuano Devotional Singing Kalinga Music and Dances Kiping: Tagalog Decorative Rice Wafers & Philippine Strings Arnis (Martial Arts) (Lute and Rondalla) Religious Music (Bamboo Band) Tagalog Cuisine Cross-Cultural Wedding Traditions Maguindanao Kulintang Music Surviving Modernity Aklanon Cooking Family Activity: Maquindanao Lute Performance Philippine Marches (Bamboo Band) Filipino Love Songs (Rondalla) Tagalog Cuisine ese afr Foreigners: The T’boli Gaze Dancing Christmas Star Lanterns Talaandig Music and Dances Bagobo Cooking Americans: The Filipino Gaze Tagalog fresta Music (Bamboo Band) Folk Songs and Dances (Rondalla) Kiping: Tagalog Decorative Rice Wafers Philippine Inside & Outside Percussion Instruments Kalinga Rice Wine Cluster demonstrations: Custer A (Binding/ Weaving/Lashing), Tent 3: I'boli hemp weaving & dyeing: 11:00-12:00, 2:30-3:30; Tboli singing: 12:00- 12:45, 4:15-5:00; assembling kiping: 12:45-1:45; amis (mar- tial arts): 1:45-2:30, 3:30-4:15. 1:45-2:30; goldsmithing: 2:30-3:30; kulintang playing: 3:30-4:15 Maguindanao boat carv- ing:12:45-1:45; Tagalog religious figure carving: 1:45-2:45; kulintang making: 2:45-3:45. Custer B (Beating/ Tapping/Pounding)— Tagalog hemp weaving : 11:00-11:45; goldsmithing: 11:45- 12:45; silversmithing: 12:45-1:45, 4:15-5:15; Kalinga gong music: Custer C (Carving/ Incising/Molding)— Kapampangan religious figure & furniture carv- ing: 11:00-12:00, 3:45- 4:45; Ifugao carving: 12:00-12:45, 4:45-5:30; FESTIVAL SCHEDULE Saturday, July 4 Baltic Nations: Estonia, Latvia, Lithuania Foodways Main Music | Pub Stage Stage Latvian Lithuanian Folk Traditional Music: Music: Sutaras Estonian Breads Stalts family Dandari Rasa Lithuanian Folk Music: Insula Salmanis family Latvian Potato Lithuanian Pancakes with Traditional Salmon Music: Estonian Marcinkonys Accordion Duet: Village Folk Tonurist & Kann Ensemble Veronika Povilioniené Lithuanian Trys Keturiuose Estonian Mushroom Dishes Insula Music: Ses | Sommers & Aasa BS Estonian Estonian Violin Traditional Duet: Music: Torop & Jaa Leigarid 'e Estonian Curd Pie Alle-aa Latvian Folk Kuldatsduk Music: Kihnumua Rasa Latvian Folk Music: Dandari Latvian Side Dishes Singing Revolution Special Program: Estonia, Latvia, Lithuania Lithuanian Christmas Eve Dishes jewelry making, musical instruments, textiles & woodworking Lithuania: Amber jewelry, Easter eggs, forge, shrine carving, straw ornaments, weaving, wood crafts & village table Family activities will be offered through- out the day. For details see daily schedules at the Information booth Ongoing demonstrations Estonia: Boat mak- ing, herbalist, nation- al costumes, summer kitchen, swing, woodworking. Latvia: Activities table, basket making, boat & net making, blacksmith, ceramics, itt SMITHSONIAN FOLKLIFE FESTIVAL 11:00 12:00 1:00 2:00 Sbai08 4:00 5:00 5:30-7:00 For information on Evening Programs and Special Events see page 130. 127 FESTIVAL SCHEDULE 5 unday, i uly 5 Rio Grande/ Wisconsin Rio Bravo Marketplace Ballroom Heritage Kitchen Tavern Wisconsin The Basin/ Sales Tent 11:00 Stage Stage Talk La Cuenca Stage Stage Slovenian-Style African-American Pasties Welcome to Fish Tales Desert Resources Polka: Gospel: Holly's Bar Steve & Verne Queens of Meisner Orchestra Harmony Lithuanian Amadeo Flores y Instrument Su Conjunto Making: Antanas Fokas Slovakian Foods Fiddle Workshop The Hmong Marriage Broker = Family Activity: Norwegian Fiddle Wild Rice Tamburitza Passing on Learn to Polka Music: Norskedalen Trio ese 2:00 ur Workshop Traditions Polish-Style Polka: | Hmong Music Cheese Dishes Sheepshead & Working in Norm Dombrowski Euchre Wisconsin Industry & the Happy Notes Tamburitza Music: Ojibwe Woodland 1 2 :0 0 Vatra ; Flute Music: Frank Montano & Traditional Crafts Indigenous Crops: Rice, Cranberries, Ginseng Schrammel Music: Haese & Schlei Gech-American Music: Clete Bellin Orchestra Regional Culture Amadeo Flores y Su conjunto Saint's Day Fiesta Workshop Beer: From the Brewery to the Tap The Dairy Farmer ; 0 German-American | Ojibwe Woodland Cranberry Dishes 3 0 Music: Flute Music: Karl & the Country Frank Montano Dutchmen African-American Schrammel Music: Saint's Day Fiesta Norwegian Fiddle Hunting Stories Music: Gospel: Haese & Schlei Philippine 4 E 0 0 Norskedalen Trio Queens of Woodcarving: ° Harmony Fermin Cadapan Slovenian-Style Tamburitza Music: Booyah Concertina/ Wisconsin County Polka: Vatra Accordion Fairs Steve & Verne Workshop Meisner Orchestra 5:00 Vocal Traditions Duckpin Bowling Hmong Healing Rio Conversations Rituals & Customs Dance the Polka Cornish Specialties 5:30-9:00 | | Ongoing Presentations in the skills including shoe- beer brewing, indige- 2:00 Demonstrations rice camp of rice win- making, metalwork- Nous crops (ginseng, Special Presentation: For Demonstrations of nowing, treading, ing, logging, tree cranberry marsh, Prentice Loader at the information religious crafts work, roasting, drying, moc- growing, boatbuilding, Three Sisters garden). logging area. on Evening textile work, decora- casin games: 12:00, ice fishing, lure mak- Programs Ongoing Presentations & Activities: Demonstrations and family activities on & Indicates Sign Language Interpreted ete Mndicates a{r family programs and children’s activities. Basin crafts and occupational skills. itt 128 SMITHSONIAN FOLKLIFE FESTIVAL 1998 tive arts, doll making, 3:00 ing, decoy carving, : egg decorating, instru- duck & deer hunting. and Special ment making, basket Activities related to Events see making, Native occupational knowl- Agricultural presen- page 130. American beadwork. edge & recreational taions: Cheesemaking, Schedules are subject to change. Check signs in each program area for specific information. Philippines \ ‘| chapel Religious Music (Rondalla) Pasyon Music of the Revolution (Bamboo Band) Daigon, Pastores, | and Folk Songs Folk Songs and Dances (Rondalla) Dancing Christmas Star Lanterns | Serenata Cluster demonstrations: Cluster A (Binding/ Weaving/Lashing), Tent 2: Woven toys, 11:00-11:45; Aklan boat building & rituals: 11:45-12:45, 3:30-4:30; Kalinga weaving: 12:45- 1:45; pineapple fiber weaving: 1:45-2:45, Basketball Court Kalinga Music and Dances Sari-sari Store Family Activity ait Bagobo Bossed Gong Performance FESTIVAL SCHEDULE Sunday, July 5 Baltic Nations: Estonia, Latvia, Lithuania Philippine Kitchen Talaandig Cuisine Arnis (Martial Arts) Talaandig Music and Dance ——————— | Maguindanao Kulintang Music & Body Covering & Body Language & Maguindanao Lute Performance Church Art Latvian Sauerkraut Stew Cebuano Cuisine Lithuanian Soups Estonian Sauerkraut Casserole Tagalog Cuisine Tagalog Fiesta Music (Bamboo Band) Family Activity: Talaandig Toy Making e Arnis (Martial Arts) Kalinga Peace Pact 4:30-5:30; Kalinga instrument making 2:45-3:30 Cluster B (Beating/ Tapping/Pounding): Food pounding: 11:00- 11:45; kulintang music, 11:45-12:30; silver- smithing: 12:30-1:30, 4:-00-5:00; Kalinga Filipino Time A Space of Our Own gong music: 1:30-2:15; goldsmithing: 2:15- 3:15; Talaandig gong music: 3:15-4:00 Cluster C (Carving/ Incising/Molding)— Talaandig drum & flute making: 11:00-11:45; Kapampangan religious figures & furniture carv- Maguindanao Latvian Salads Cuisine Lithuanian Stuffed Potato Sausage Tagalog Cuisine Estonian Sauerkraut Batangas Cuisine ing: 11:45-12:45; kulin- fang making: 12:45- 1:45; Ifugao carving 1:45-2:30; Tagalog reli- gious figures carving 2:30-3:30; Maguindanao boat carving: 3:30-4:30; Maguindanao cooking, kulintang playing, ritual: 4:30-5:30 B& Ongoing demonstrations Estonia: Boat mak- ing, herbalist, national costumes, summer kitchen, swing, wood- working Latvia: Activities table, basket making, boat & net making, SMITHSONIAN FOLKLIFE FESTIVAL Foodways Main Music Pub Stage Stage Lithuanian Traditional Music: Veronika Povilioniené & Marcinkonys Village Folk Ensemble Trys Keturiuose Insula 11:00 Estonian Violin Duet: Torop & Jaama & Estonian Music: Sommers & Aasa 12:00 Estonian Accordion Duet: Tonurist & Kann 1:00 Estonian Traditional Music: Leigarid Luhats/Visla Alle-aa Latvian Folk Music: Dandari 2:00 Latvian Liv =a a Music: Stalts Family Latvian Traditional Music: Stalts Family Dandari Rasa Salmanis Family blacksmith, ceramics, jewelry making, musi- cal instruments, tex- tiles & woodworking Lithuania: Amber jewelry, Easter eqgs, forge, shrine carving, straw ornaments, weaving, wood crafts & village table 3:00 Lithuanian Folk Music: Sutaras 4:00 Lithuanian Folk Music: Insula 5:00 Family activities will be offered throughout 5:30-9:00 the day For For details see daily informatior schedules at the on Evening Information booth Programs and Specia' ote Events see a{r page 130. 129 IVAL SCHEDULE Evening Programs and Special Events =e» a ae - <= All Evening Programs are Sign Interpreted Wednesday, June 24 — St. John’s Day Celebration in the Baltic Program Area; Bonfire begins at 5:30 p.m.— This all-day event, based on the most popular summer holiday in the Baltics, will include a traditional procession, songs, and folk dances, and will culminate with traditional ceremonies from Estonia, Latvia, and Lithuania around a bonfire. Thursday, June 25 — Rio Dance Party at the Baltic Main Music Stage, 5:30 p.m., with South Texas conjunto music. Thursday, June 25 — Wisconsin Concert at the Baltic Main Music Stage, 7 p.m. Friday, June 26 — Children’s Matinee at the Wisconsin Ballroom Stage, 5:30-7 p.m.— Music for children has been one of the most influential parts of Folkways Records, celebrat- ing its 50th anniversary this year. This concert features Folkways recording artists Ella Jenkins and Larry Long, along with singers from Packers Bend and Good Springs, Alabama. This concert is made possible with support from the P.A.C.E.R.S. Small Schools Cooperative & Community Celebration of Place Project, and The Recording Industries Music Performance Trust Funds. Friday, June 26 — Folkways Founders/U.S. Postal Service Folk Musicians Stamp Concert at the Baltic Main Music Stage, 7-9 p.m. — The Smithsonian Folklife Festival celebrates “Folkways at 50” marking the anniversary of this historic record label founded in1948. The U.S. Postal Service is issuing a stamp series commemorating four important figures in the folk music revival of the 1950s and 1960s: Woody Guthrie, Lead Belly, Josh White, and Sonny Terry. This concert will feature Arlo Guthrie, Josh White Jr., Toshi Reagon, and the Willie Foster Blues Band, contemporary musicians who have carried on the traditions of these Folkways artists. This concert is supported by the United States Postal Service, BMI, Global Arts/Media Foundation, and The Recording Industries Music Performance Trust Funds. Saturday, June 27 — Philippine/Philippine-American Program at the Philippine Basketball Court, 5:30 p.m. — A traditional procession led by the Philippine delegation and Philippine Americans will circle the Festival site, culminating in a concert of Philippine music and dance. Sunday, June 28 — Heartbeat: Voices of First Nations Women at the Baltic Main Music Stage, 5:30 p.m. — Several of the artists featured on a new Smithsonian Folkways recording, Heartbeat 2: More Voices of First Nations Women, will be present- ed in this concert, which celebrates both the release of the recording and the Folkways anniversary. This program honors Native American women singers from across the continent, and includes Sharon Burch (Navajo singer/songwriter), Joy Harjo and Poetic Justice (contemporary poetry and jazz), Judy Trejo and 130 SMITHSONIAN FOLKLIFE FESTIVAL ese ot ee ee her daughters (Paiute traditional songs), Mary Youngblood (Aleut-Seminole flute player), Tzo’kam (traditional Salish songs), and Sissy Goodhouse (Lakota traditional singer). This concert is supported by The Recording Industries Music Performance Trust Funds. Wednesday, July 1— Baltic/American Dance Party at the Baltic Main Music Stage — Baltic Americans and the general audience can learn traditional dances. Estonian dancing: 5:30- 6:30 p.m.; Latvian dancing; 6:30-7:30 p.m.; and Lithuanian dancing: 7:30-9 p.m. Thursday, July 2 — Ralph Rinzler Memorial Concert: “Klezmer! The Triumphant Return of Yiddish Music” at the Baltic Main Music Stage, 5:30 p.m. — This year’s fourth annual Ralph Rinzler Memorial Concert, honoring the achieve- ments of the longtime Festival director, will feature klezmer music (Eastern European Jewish music). Veteran klezmer musi- cians Peter Sokolow, Sidney Beckerman, and Paul Pincus will perform with “new generation” musicians Henry Sapoznik, Michael Spielzinger, Margo Leverett, Lauren Brody, and Mark Rubin. The concert will be followed by a dance party with instruction by Steve Weintraub. This concert is supported by the Friends of the Festival, The Recording Industries Music Performance Trust Funds, and the Ruth Mott Fund. Friday, July 3 — Wisconsin Tailgate Party in the Wisconsin Program Area, 5:30 p.m. — Tap into the spirit of Wisconsinites’ enthusiastic support for the Packers and Badgers, as we replicate a Wisconsin tailgate party on the Mall. Included will be the University of Wisconsin marching band doing their traditional “fifth quarter,”costume judging, and polka dancing, as well as roving bands and speakers drawn from Packerlore. Saturday, July 4 — Wisconsin Polka Dance Party at the Wisconsin Ballroom Stage, 5:30—7 p.m. — To feature this popular Wisconsin dancing tradition we are hosting a “polka party” drawn from the variety of polka styles present in the state—German, Slovenian, Czech, and Polish. Professional polka instructors will teach various styles of polka dance. Sunday, July 5 — Pan-Festival Polka Dance Party at the Wisconsin Ballroom Stage, 5:30 p.m. — Although there is atremendous diversity in the cultures presented in this year’s Festival, there are many shared customs as well. Come join in this final dance party which features distinct polka styles from the traditions of the Baltic nations, Rio Grande, and Wisconsin. 1998 NEW BOOKS ABOUT THE FESTIVAL AND FOLKWAYS Smithsonian Folklife Festival: Culture Of, By, and For the People by Richard Kurin 184 pages, over 200 photos Full color Issn 0-9665520-0-8 Special Festival Price: $14 Available at the Festival Marketplace or through mail order: 202-287-7297 or 1-800-410-9815 Add $1 for shipping and handling for mail order. Smithsonian Folklife Festival Culture Of, By, and For the People This book provides a Festival history, an explanation of how the Festival is produced, analysis of various programs and some of the best images and quotes about the Festival over the past 32 years. Excellent for reference and as an attractive gift. Making People’s Music: Moe Ash and Folkways Records by Peter D. Goldsmith 468 pages, illustrations Hardbound $34.95 ; ISBN 1-56098-812-6 A history of Folkways and a window into folk music and the cultural history of 20th-century America. Reflections of a Cultural Broker: A View from the Smithsonian by Richard Kurin 315 pages, illustrations Hardbound $34. 95; Soft cover $17.95 ISBN 1-56098-789 ISBN 1-56098-757-x An account of the practice of A representation in various Smithsonian museums, festivals, and special events. Available through Smithsonian Institution Press Call 1-800-785-4612 or 703-661-1599 to order Festival Supporters Major Sponsors: Wisconsin The Wisconsin program is made possible by and is produced in coop- eration with the Wisconsin Arts Board and the Wisconsin Sesquicentennial Commission on the occasion of Wisconsin’s 150th anniversary of statehood. Wisconsin corporate contributors include AT&T, SC Johnson Wax, and The Credit Unions of Wisconsin. Philippines The Philippines program is pro- duced in collaboration with the Cultural Center of the Philippines and the Philippine Centennial Commission and is supported by the American International Group, Inc., The Starr Foundation, Bell Atlantic, the Asian Cultural Council, and the Philippine Centennial Foundation/USA. The Baltic Nations This program is made possible by and is produced in cooperation with the Estonian Government and Estonian Ministry of Culture, the Latvian Government and Latvian Ministry of Culture, and the Lithuanian Government and Lithuanian Ministry of Culture. Additional support comes from the Cultural Endowment of Estonia, the American Latvian Association, and the Lithuanian Foundation. Rio Grande/ Rio Bravo Basin This project is cosponsored by El Consejo Nacional para la Cultura y las Artes with support from the U.S.- Mexico Fund for Culture (The Rockefeller Foundation, Fundacion Cultural Bancomer, the Fondo Nacional para la Cultura y las Artes), SBC Foundation, Texas Folklife Resources, and the Texas Council for the Humanities. Folklife Fieldwork Research Schools were supported by Colorado College, 132 Tierra Wools, the University of New Mexico, University of Texas-Pan American, and a grant from Smithsonian Outreach Funds. Ralph Rinzler Memorial Concert This program is made possible with support from The Recording Industries Music Performance Trust Funds, the Ruth Mott Fund, Friends of the Festival, and Kate Rinzler. Support for Folkways at 50 comes from BMI (the American performance rights organization), the United States Postal Service, M.A.C.E. (Mississippi Action for Community Education), Global Arts/Media Foundation, P.A.C.E.R.S. (Program for Academic and Cultural Enhancement of Rural Schools) Small Schools Cooperative & Community Celebration of Place Project, KOCH International, Smithsonian Magazine, Smithsonian Institution National Museum of American History, TRO, The Richmond Organization, Columbia Records and Sony Music Entertainment, Michael Asch, Walter Beebe and the New York Open Center, Andrew Dapuzzo and Disctronics, David Glasser, Charlie Pilzer, and Airshow Mastering, Inc., Judith DeMaris Hearn, Ella Jenkins, Richard Kurin, Mark Miller and Queens Group, Inc., Microsoft Corporation/Media Acquisitions Department, Arnold L. Polinger, Razor & Tie Entertainment, and The Recording Industries Music Performance Trust Funds. In-Kind Contributors General Festival Allegro Industries, Garden Grove, CA Allied Resinov’s Prod., Conneaut, OH Kay and Marie Andrews, Culpeper, VA Ashby & Associates Video Production Services, Alexandria, VA Bardo Rodeo, Arlington, VA Ben & Jerry’s Ice Cream and Yogurt, Washington, DC Bergwell Productions, Inc., Chadds Ford, PA Bethesda Bagel, Inc., Bethesda, MA Circuit City Foundation, Richmond, VA Cloister Spring Water Co., Lancaster, PA The Coca-Cola Co., Washington, DC Costco Wholesale, Fairfax, VA Costco Wholesale, Springfield, VA Deer Park Spring Water, Alexandria, VA Domino’s Pizza, Inc., Ann Arbor, MI Ecko Housewares, Franklin Park, IL Fresh Fields, Georgetown, Washington, DC FORCWare, Columbus, OH FUJIFILM USA, Elmsford, NY Global Village Productions, Alexandria, VA Goodmark Foods, Raliegh, NC Heartland Mills, Marienthal, KS Herrs Food, Inc., Elk Ridge, MD Krispy Kreme, Winston-Salem, NC McCormick & Company, Inc., Hunt Valley, MD Media Visions, Springfield, VA Media Visions Video Duplication, Springfield, VA Ocean Spray Cranberries, Lakeville, MA Olympic Espresso, Washington, DC Ottenberg’s Bakery, Washington, DC Papa John’s, International, Louisville, KY Peirce—Phelps, Inc. Audio/Video Products, Beltsville, MD ProCom Associates Video Production Services, Wilmington, DE Quantegy, Inc., Lodi, NJ Ricola, Inc., Morris Plains, NJ Shoppers Food Warehouse, SMITHSONIAN FOLKLIFE FESTIVAL Corporate Headquarters, Lanham, MD Silver Lynx, Denver, CO Sony Electronics, Inc., Teaneck, NJ Spectrum Medical, Inc., Silver Spring, MD The Stanley Works, New Britain, CT Subway, McLean, VA Sugar Association, Washington, DC TDK Electronics, Port Washington, NY Tyson’s Bagel Market, Tysons Corner, VA Utz Quality Foods, Hanover, PA Wal-Mart, Fairfax, VA Wells Lamont, Niles, IL Westwood-Squibb Pharmcueticals, Inc., Buffalo, NY Whatsa Bagel; Connecticut Ave. NW, Washington, DC William B. Reily Coffee Co., Baltimore, MD Wilkins Coffee, Capial Heights, MD Wisconsin Milk Marketing Board Wisconsin Tissue, Columbia, MD Wrigley Company, Chicago, IL Yale Security Group, Charlotte, NC Wisconsin Allen-Edmonds Shoe Corporation, Port Washington, WI Blount, Inc., Zebulon, NC Central Maryland Research and Education Center—University of Maryland College of Agriculture, Clarksville, MD DEC International, Inc./Boumatic, Madison, WI E&M Farm, Cambridge, MD Federated Realty Group, Cedarburg, WI Fred Usinger, Inc., Milwaukee, WI JNVW, Inc., Canby, OR Jack Walters and Sons, Corp., Allenton, WI Jacob Leinenkugel Brewing Co., Chippewa Falls, WI Midwest Express Airlines, Milwaukee, WI Miller Brewing Co., Milwaukee, WI Packerland Transport, Inc., Green Bay, WI Schneider National, Inc., Green Bay, WI Stevens Point Brewery, Stevens Point, WI Hunt Wesson, Inc./Swiss Miss, 1998 Menomonie, WI University of Wisconsin, Madison, WI Weber-Stephen Products Co. , Palatine, IL Wisconsin State Cranberry Growers Association, Wisconsin Rapids, WI The Baltic Nations Estonia Estonian Institute Estonian National Folklore Council Estonian Tourist Board Estonian Music Council Potter’s Violins, Bethesda MD Saku Beer Solness Ltd. Lithuania Linu Audiniai, Vilnius, Lithuania Lithuanian Department of Tourism Rio Grande/ Rio Bravo Basin El Colegio de la Frontera Norte Colorado College Coordinacion Estatal de la Tarahumara Culturas Fronterizas Direccion General de Ecologia del Estado de la Secretaria de Desarrollo Social del Gobierno del Estado de Coahuila Ganados del Valle Mexican Cultural Institute, Washington, DC Narciso Martinez Cultural Center Texas Folklife Resources Tierra Wools United Farm Workers, San Juan, TX University of New Mexico University of Texas—Pan American Donations to the Festival received after press time are acknowledged on the Center for Folklife Programs & Cultural Studies’ Web site at . 1998 Special Thanks: Our gratitude to all of the volun- teers who make the Festival possible. Wisconsin Araxy Arganian Jim Armbruster, University of Wisconsin, Dairy Science Program Donna Bahler, Historic Cheesemaking Center, Monroe, WI Nadine Bailey, Timber Producers Association Brenda Baker, Madison Children’s Museum Bob Becker Rusty Bishop, University of Wisconsin, Dairy Research Center Randy Brun, Marathon Feed Inc. Kathryn Campbell, Smithsonian Institution National Museum of American History Arlan Carter, Northland Fishing Museum Marie Chernokov Migmar Chungkyi Harold Closter, Smithsonian Institution National Museum of American History Mert Cowley Pete Dawson, Jacob Leinenkugel Brewing Co., Chippewa Falls, WI Randy Deer, Milwaukee Zoo Marlene Dombrowski Katheryn Etter Margaret Fay, Wisconsin Department of Agriculture Bill Gruber, Village of Plain, Plain, WI Arnold Grummer Fr. James Gunn, Dickeyville Grotto, Dickeyville, WI Bridgit Haggerty Tom Hartsock, Pork Pines Farm Bill Hartwig Mike Headley, Smithsonian Institution Office of Exhibits Central Fr. Dennis Heifner, St. Elias Orthodox Church, La Crosse, W1 Dale Heikkinen Gayda Hollnagel, La Crosse Tribune, La Crosse, WI John Jaeggi, University of Wisconsin, Dairy Research Center David C. Jones, JVNW, Inc., Alexandria, VA Craig Karr, Wisconsin Department of Natural Resources Galen S. Karriker, University of Wisconsin—Madison Marching Band Mary Klein, Swarthout Museum, La Crosse, WI Robert Kratochvil, Central Maryland Research and Education Center, University of Maryland College of Agriculture Chuck Lau, University of Wisconsin Extension Service Michael Leckrone, University of Wisconsin—Madison Marching Band Phil Loen, JVNW, Inc., Canby, OR Tina Lynch, Smithsonian Institution Office of Exhibits Central Jerry Mannigel, Weyerhaeuser Company Jay Martin, Manitowoc Maritime Museum Agnes McCluskey, Our Lady of the Fields Shrine, Loreto, WI Ezquiel Mendez John Michael, Kohler Art Center Connie Miller, Wisconsin Arts Board Henrik Moe, DEC International, Inc./Boumatic, Madison, WI Tom Moreland, Central Maryland Research and Education Center, University of Maryland College of Agriculture Tsering Namgyal Shel O’Hare, Wisconsin Arts Board Zolay Oskay, United Community Center, Milwaukee, WI Bill Plank, J.J. Plank Corporation, Appleton, WI Janet Pressler Sandy Price, Blount, Inc., Zebulon, NC Ron Rambadt Sharon Reese, Historic Cheesemaking Center, Monroe, WI Virginia Riddle, Allen-Edmonds Shoe Corporation, Port Washington, WI Jeri Riha, JVNW, Inc., Canby, OR Nathan Roth Debbie Rothberg, Smithsonian SMITHSONIAN FOLKLIFE FESTIVAL Festival Supporters Institution National Museum of Natural History, Office of Education Jeff Schnieder, Smithsonian Institution Office of Physical Plant—Greenhouse/ Nursery Branch Patrick Scullion Ed Silva, Cedar Pond Cranberries, Wareham, MA Peyton Smith, University of Wisconsin—Madison John Tarr, Four Lakes Council, Boy Scouts of America, Madison, WI Renee Tertin, Wisconsin Arts Board Carl Thieler, Timber Producers Association Scott Thom, Wisconsin Department of Tourism Trina Nelson Thomas, Outgamie County Historical Society Jerry Thomm Paul Thompson, DEC International, Inc./Boumatic, Madison, WI Marge Timmerman, Dickeyville Grotto, Dickeyville, WI George Tzougros, Wisconsin Arts Board Carola Ward Jennifer Wellman, Wisconsin Arts Board Barbara Welsch, J.J. Plank Corporation, Appleton, WI Chris Wood, Hillfield Publishing, Green Bay, WI Helena Wright, Smithsonian Institution National Museum of American History Serina Yang Mary Jane Zdroik Michael Zimmer, Rogers Street Fishing Village, Inc., Two Rivers, WI Doran Zwygart, Historic Cheesemaking Center, Monroe, WI WISCONSIN SESQUICENTENNIAL COMMISSION: Dean Amhaus Pat Blankenburg Kass D’Angelo Marti Fox Kate LaRocque Kathy Malzer Valorie Overheu Joedy Simonsen Beth Walsh Jennifer Welsh 133 Festival Supporters VIEMBERS OF THI BARN TASK FORCE: Pat Blankenburg, Wisconsin Manufacturers and Commerce Roger Cliff, Wisconsin Farm Bureau Federation Bob Denmen, Wisconsin Farmers Union Bill Geary, Wisconsin Agri-Business Council and Foundation Alan Geisthardt, Walters Buildings Jim Haney, Wisconsin Manufacturers and Commerce Kim Markham, Wisconsin Department of Agriculture Don Peterson, Wisconsin Farm Progress Days, Inc. Tom Thieding, Wisconsin Farm Bureau Federation Bob Walton Pahiyas: A Philippine Harvest Mia Abeya Patricia Afable Corazon Alvina Soliman Archsiwals Dorezil Nakano Bangkas Bauan Technical High School Dez Bautista Bulanao Provincial Hospital Dr. Linda Burton Rita Cacas Usopay Cadar Nora Cadawas Dionisio Canete Gloria Caoile Mayor Bienvenido Castillo of Bauan Bernardita Reyes Churchill Cecily Cook Julito B. Cortes Melvin Cruz Regina C. Cruz Colonel Julius de la Torre PAF Romulo de los Reyes Baltazar N. Endriga Rommel Faustino Doreen G. Fernandez Mayor Bayani Fernando John Forbes Kelly Gannon Jocelyn Batoon Garcia Kevin Herbert Baby Herrera Victoria Herrera Nestor O. Jardin Frank Jenesta Danongan Kalanduyan 134 Dr. Lucretia R.Kasilag Kitanglad Integrated NGO J. Michael Korff-Rodrigues Kutawato Arts Council Salvador Laurel Ariel Libria Tom Lovejoy Mayor Conrado Lumabas, Jr. Jose Maceda Margaret Magat Edward Pablo M. Maglaya Dennis Marasigan General Clemente P. Mariano AFP Minonga Mashod Jon Melegrito Moharrim Mohammed Luis J. Morales Greta Morris Franklin Odo Office of Muslim Affairs Office of the Southern Cultural Communities Carmen Padilla Ramon Paterno Mitzi Pickard Elizabeth Punsalan Zenaida Quismorio Ambassador Raul Rabe Commander Ahiron J. Radjaie PN Deanna Ongpin-Recto Daniel Salcedo Samahang Pangkultura at Sining ng Koronadal (SPSK) Ralph Samuelson Erico San Pedro Vice Admiral Edward Ma. R. Santos AFP Ramon P. Santos Smithsonian Horticulture Services Division Daniel Sullivan Margaret Sullivan Stacey Suyat Paul Tanedo Paul Taylor University of the Philippines, Diliman, Quezon City Rosalinda Yangas The Baltic Nations: Estonia, Latvia, Lithuania Baltic-American Festival Committee Embassy of Estonia Embassy of Latvia Embassy of Lithuania Elena Bradunas Galya Coleman, Finnair John MacDonald Estonia EsTONIAN COMMITTEE Jaak Allik, Minister of Culture, Chairman Alar Ojalo, Coordinator of State Program Ingrid Riititel, Chairman of Program Council, Scientific Coordinator Kale Jarvela, Igor Tonurist, Program Managers Riina Vanhanen, Designer Linda Sade, Planning and Budget Liivi Soova, Handicrafts Paul Hagu, Scientific Documentation Anu Tarvis, Editing Mart Maripuu, Recordings Ats Joorits, Press (Voice of America) Annely Akkermann Mati Aunver City Paper - The Baltic States Cityphoto Coastal Corporation DHL Worldwide Express ESTMA Estonian Open-Air Museum Estonian Folklore Society Estonian Television Estonian Tourist Board Liina Keerdoja Mati Koiva Laine Koiva Rein Koppelmann Toivo Kuldsepp Maris Laja Merike Lang Markus Larsson Peeter Laum Aarne Leima Lore Listra Laine Lovi Mainor Language Center Mart Maripuu Maritime Agency ESTMA Victoria Middleton Talvi Moss SMITHSONIAN FOLKLIFE FESTIVAL Anne Ojalo Recording Company FORTE Ulle Reimets Hermann Reisid Travel Agency Cardo Remmel Saare Paat Factory Ltd. Jaan Salulaid Linda Sade Saku Beer Brewery Ltd. Liivi Soova H.E. Kalev Stoicescu, Ambassador to US. Anu Tarvis U.S. Embassy in Estonia U.S. Information Agency Voice of America-Estonian Service Madis Valge Tiiu Valm Riina Vanhanen Ulle Vorno Latvia Liana Eglite, Embassy of Latvia H.E. Ojars Kalnins, Ambassador to US. Janis Kukainis and the American Latvian Association Valdis Kupris Latvia Cinema-Photo-Phono-Video Archive Latvia Ethnographical Open-Air Museum Archive Ilmars Mezs, U.S. Information Centre Ramona Umblija, Minister of Culture U.S. EmBassy IN LATVIA H.E. Larry C. Nepper, Gregory Elttman, Robert Latge Lithuania Arvydas Barzdukas Robin Chandler Duke H.E. Alfonsas Eidintas, Ambassador to Canada Jonas Genys, Lithuanian American Council Laima & John Hood Rita Kazragiené, Lithuanian Embassy Alé KeZelis, LAC, Inc. Gita Kupcinskas Dalé Lukas and the Washington, D.C. Special Lithuanian Committee to assist at the Festival 1998 ee | | ; . . | Regina NaruSas and the Lithuanian American Community, Inc. Algis Rimas, Lithuanian American Council Ramune Rimas Emilija Sakadolskis H.E. Stasys Sakalauskas, Ambassador to U.S. Mirga Viculis U.S. EmBassy IN LITHUANIA Daiva Dapsiené, Lisa Helling Rio Grande/ Rio Bravo Bravo Basin Aurora Abrego Pablo Manuel Aguirre Loera Adriana Alarcon Laura Andujo Guadalupe Arizpe de la Vega Governor Leonard Armijo Roland Simon Arriola Diana Borja David Bosserman Juan Briga Octavio E. Chavez - Juanita Valdez Cox Governor Walter Dasheno Alejandra de la Paz Paulina del Moral Tyrus Fain Elizabeth Ferguson Alberto Fierro Jerry Freeman Timothy Fuller Miguel Gandert George R. Gause, Jr. Jestis Guajardo lan Hancock LaDonna Harris Meredith Hubel Isabel Hucuja José N. Iturriaga de la Fuente Pat Jasper Colleen Keane Laura Lechuga Solis Denise Louie Helen Lucero Elisa Lyles José Antonio MacGregor Marcela Madarriaga Darla Martinez Estella Martinez 1998 Rubén Martinez Patricia Mendoza William Merrill José Oscar Morales S. Pedro Moreno Victor Nelson Cisneros Rogelio Nufiez Regis Pecos Pedro Pérez Mata Eduardo Reyes Langagne Alvaro Rodriguez-Tirado Bea Roeder Juan Manuel Saldivar-Cantu Roberto Salmon Rafael Santin Ray Seefeldt Telma Alicia Soto Palma Scott Storment Enrique Suarez y Toriello Governor Joseph Suina Lt. Governor Simon E. Suina Eliseo Torres Peter Treadway Dawn Turton Tom Vaughn Monica Velarde Monte Youngs Mary Yturria Folkways at 50 Concerts Ruby Buck Laura Caldwell Quint Davis David Gahr Rob Gibson Vanessa Greene Todd Hulslander Harold Leventhal Worth Long Bob Jones Bernice Johnson Reagon Matt Sakakeeny Pete Seeger Toshi Seeger Dr. Jack Shelton Smithsonian Productions Tommie Syx John Tyler United States Postal Service Staff Smithsonian Bureau and Office Support Office of the Secretary Office of Inspector General Office of Membership & Development Office of Planning, Management & Budget Office of the Under Secretary Office of Communications: Public Affairs, Visitor Information and Associates’ Reception Center Office of the Comptroller Office of Contracting: Travel Services Office Office of Equal Employment & Minority Affairs Office of the General Counsel Office of Government Relations Office of Human Resources Office of Imaging, Printing & Photographic Services Office of Information Technology Office of Physical Plant: Facilities Services, Design Construction, Environmental Management & Safety Office of Protection Services Office of Public Affairs Office of Risk & Asset Management Office of Special Events & Conference Services The Smithsonian Associates Smithsonian Business Management Office: Museum Shops, Smithsonian Press/Productions Smithsonian Magazine SMITHSONIAN FOLKLIFE FESTIVAL Festival Supporters Office of the Provost Accessibility Program Anacostia Museum Center for Museum Studies National Museum of American History: Director's Office, Division of Cultural History, Office of Public Services National Museum of the American Indian National Museum of Natural History National Anthropological Archives Office of Exhibits Central Office of Fellowships & Grants Office of International Relations Office of Sponsored Projects Smithsonian Center for Latino Initiatives Smithsonian Institution Traveling Exhibition Service Smithsonian Office of Education 135 Festival Staff Smithsonian Folklife Festival Director, Center for Folklife Programs & Cultural Studies: Richard Kurin Deputy Director: Richard Kennedy Festival Director: Diana Parker ADMINISTRATIVE & FISCAL SUPPORT Administrative Officer: Barbara Strickland Administrative Assistants, Folklife: Bill Holmes, Sharleen Kavetski Administrative Assistants/Receptionists: Ramona Dowdal, Bernard Howard, Marni Hoyt Special Events Coordinator: Linda Benner Participant Coordinator: Craig Stinson Assistant Participant Coordinators: Ilze Akerbergs, Helen Burghardt, Margaret Crawford Housing Coordinator: Cristina Stensvaag Social Coordinator: Johari Rashad Computer Specialist/ Assistants: R.C. Forney, Dale Dowdal, Pam Rogers, David Mealo, Alexander Kovetski Volunteer Coordinator: Valerie Pawlewicz Assistant Volunteer Coordinator: Rachel Mears Marketplace Co-Managers: Marlene Graves, Judy Luis-Watson Concessions Cash Manager: A.C. Stickel Consignment Coordinator: Suporia Harris Consignment Assistant: Brian Posey Foodways Coordinator: Beverly Simons Program Book Sales Coordinator: Dawn Benner TECHNICAL SUPPORT Technical Director: Pete Reiniger Assistant Technical Director: Deb Sullivan Carpenters: Dovid Adler, Anthony LaGreca Electrician: Gary Johannsen Pipefitter: Marc Breau 136 Crew Chiefs: Diana Lees, Lynn Joslin, Lisa Ogonowski Administrative Assistant, Technical: Julie Wolcott Exhibit Workers: Deborah Baker, James Barnes, Matthew Hartel, Shara Kane, Steve Laronga, Terry Meniefield, Cheryl Zook Sound/Stage Staff: Teresa Ballard, Dennis Blackledge, Saul Brody, Frank Brown, Amanda Bishop, Noah Bishop, Barney Cable, E.L. Copeland, Henry Cross, Rachek Cross, Megan Denos, Gregory Dishmon, Vicki Fleming, Licia Galinsky, Gregg Lamping, Al McKenney, Paul-Douglas McNevich, Mark Puryear, Claudia Telliho, James Welsh, Scott Young Supply Coordinator: Chris Aplin Assistant Supply Coordinator: Herb Ruffin I Logistics Coordinator: Zoe Burkholder DESIGN & PRODUCTION Art Director: Kenn Shrader Production Manager: Kristen Fernekes Design Assistant: Jennifer Harrington Design Interns: Jennifer Langdon Graves, Annie Stone EDITING Carla Borden, Peter Seitel, Kristen Fernekes DOCUMENTATION Documentation Coordinator: Jeff Place Photo Documentation Coordinator: Stephanie Smith Video Documentation: Charlie Weber Documentation Interns: Lee Bickerstaff, Pilipa Esara, Jonah Horwitz, Melissa Jeffery, Lindsay Mayhood, Marla Mead, Brian Pfeiffer, Dagmar Pfensig, Elizabeth Sheridan Chief Volunteer, Documentation: Marilyn Gaston Epucation & PROGRAM SUPPORT Director, Cultural Studies & Communications: James Early Education Specialists: Betty Belanus, Marjorie Hunt, Diana Baird N’Diaye Intern Coordinator: Arlene Reiniger Education Interns: Alistair Farrell, Barri Williams Evening Programs Coordinators: Betty Belanus, Kate Rinzler, Ivy Young Accessibility Coordinator: John Franklin Program Assistant: Cenny Hester Public Information: Vicki Moeser, Kimberly Moffitt Public Information Intern: Susan Dyer Assistant to the Festival Director: Galeet Dardashti Sign-Lanuage Interpreters: Candas Barnes, Jean Bergey, Martin Hiraga, Diana Mele, Kimberley Underwood, Hank Young Sign Master: Ernest Hairston SMITHSONIAN FOLKWAYS RECORDINGS Director and Curator: Anthony Seeger Assistant Director: Amy Horowitz Engineer for Archival Recordings: Tom Adams, Ronnie Simkins Financial Assistant: Heather MacBride Fiscal Advisor: John Fawcett Licensing, Royalties, and International Sales: Kevin Doran Mail-Order Manager: Dudley Connell Marketing Director: Brenda Dunlap Marketing Assistant: Chris Weston Product Manager: Michael Maloney Production Coordinator: Mary Monseur Shipping Specialists: Lee Demsey, Judy Gilmore, Matt Levine Sound Production Supervisor: Pete Reiniger Interns: Ethan Johnson, Eduardo Nunes, Siv Ostlund, Charles Paul SMITHSONIAN FOLKLIFE FESTIVAL Wisconsin Curators: Richard March, Thomas Vennum Program Coordinators: Ruth Olson, Anne Pryor, Arlene Reiniger Wisconsin Technical Coordinator: Carl Eiche Program Assistants: Thomas Guthrie, Chuoa Ly Interns: Barbara Barnett, Laura Collins, Meredith Forster, Mary Lee, Megan Rice Chief Volunteer: Elisa Volkert Fieldworkers: Lisa Akey, Terese Allen, Mike Chiarappa, Janet C. Gilmore, Gina Grumke, Michelle Hartley, Anita Hecht, Cindy Kerchmar, Andy Kraushaar, Barbara Lau, Jim Leary, Richard March, Ruth Olson, Anne Pryor, Lynn Ramsey, Bob Rashid, Pete Roller, Craig Stinson, Evelyn Terry, Bob Teske, Thomas Vennum, Mai Zong Vue, Thomas U. Walker Presenters: David Bisonette, Mike Chiarappa, Cindy Kerchmar, Barbara Lau, Richard March, Ruth Olson, Anne Pryor, Bob Rashid, Pete Roller, Erin Roth, Gary Sturm, Evelyn Terry, Bob Teske, Mai Zong Vue, Mark Wagler, Joe Bee Xiong, Thomas Vennum Pahiyas: A Philippine Harvest Curators: Richard Kennedy, Marian Pastor Roces Program Director: Ramon Obusan Program Coordinators: Eva Mari G. Salvador, Andrea Yangas Research Director: Flora Elena R. Mirano Research Associate: Ricardo Trimillos Researchers: Marialita Yraola (supervising researcher), Edna Marcil M. Martinez (senior researcher), Eduardo Borbon, Ricardo Cruz, Leonido Gines, Jr., Maria Patricia B. Silvestre, Dennis Julio Y. Tan 1998 | | Presenters: Paulo Alcazaren, Carmencita J. Bernardo, Eduardo Borbon, Joseph Cristobal, Ricardo Cruz, Frank I. Depakakibo, Leonido Gines, Jr., Pacita O. Ignacio, Arnelio B. Manzano, Edna Marcil M. Martinez, Jojo Mata, Flora Elena Mirano, Oliver Patino, Maria Patricia B. Silvestre, Dennis Julio Y. Tan, Marialita Yraola, Consuelo Zapata Site Designer: Paulo Alcazaren Production Designer: Ricardo G. Cruz Production Staff: Frank I. Depakakibo, Dennis Julio Y. Tan Interns: Wendy Clupper, Grace Wang The Baltic Nations: Estonia, Latvia, Lithuania Curators: Kalev Jarvela (Estonia), Dainis & Helmi Stalts (Latvia), Zita Kelmickaité (Lithuania) Coordinators: Alar Ojalo (Estonia), Alvis Lidaks (Latvia), Vida Satkauskiené (Lithuania) Program Coordinator: Kerry Stromberg Program Assistant: Rebecca Maksel Festival Aide: Guntis Kalnins Embassy Liaisons: Jaan Salulaid (Estonia), Liana Eglite (Latvia), Rita Kazragiene (Lithuania) Baltic-American Festival Committee: Guna MacDonald (Coordinator), Liina Keerdoja (Estonian American Council), Aivars Osvalds (American-Latvian Association), Laima Sileikis- 1998 Hood (Lithuanian-American Committee, Inc.), Dale Lukas (LAC, Inc. Washington, D.C. rep- resentative) Researchers General program: Ilze Akerbergs, Elena Bradunas, Rebecca Maksel, Kerry Stromberg Estonia: Ingrid Ruiitel, Chair, Paul Hagu, Kalev Jarvela, Ats Joorits, Peeter Laum, Mart Maripuu, Alar Ojalo, Linda Sade, Aivar Siim, Liivi Soova, Anu Tarvis, Valdur Tilk, Igor Tonurist, Lembe Torop Latvia: Juris Gagainis, Juris Indans, Lilita Lidaka, Valdis Muktupavels, Inese Petersone, Guntis Smidchens, Ernests Spits, Daina Vitolina Lithuania: Giedré Ambrozaitiene, Biruté Imbrasieneé, Zita Kelmickaité, Juozas Kudirka, Vacys Milius, Jolanta Paskeviciené, Giedre Puodziukaityte, Vida Satkauskiené Presenters: Estonia: Kristiina Paul, Leena Valge, Silvi Valge Latvia: Andris Rutins, Guntis Smidchens, Liga Varesa Lithuania: Elena Bradunas, Audronis Braukyla, Darius Suziedelis Interns: Andrew Bryan, Sarah Everett Rio Grande/ Rio Bravo Basin Curators: Olivia Cadaval, Cynthia L. Vidaurri Program Coordinator: Heidi McKinnon Program Assistants: Lucy Bates, Heather Harbaugh, Diana Robertson, Sonya Salazar, Natalye Swetye Field school Media Instructor: Charles Weber Translators: Ileana Cadaval Adam, Lucy Bates, Patricia Fernandez de Castro Research Advisor:, Patricia Fernandez de Castro, Presenters: David Champion, Juanita Elizondo Garza, Enrique Lamadrid, Ramon de Leon, Mario Montano, Genevieve Mooser, Dan Sheehy Research Coordinators:, Juanita Elizondo Garza, Rodolfo Garza Gutiérrez, Enrique Lamadrid, Hector Romero Lecanda, Mario Montano, Cirila Quintero, Socorro Tabuenca Researchers: Armando Acosta, Estevan Arellano, Alejandro Arrecillas, Angelica Bautista, Mike Blakeman, Norma Cantu, Imelda Castro Santillan, David Champion, Jerry Chapman, Karen Chapman, Cynthia L. Chavez, Cynthia Cortez, Peter J. Garcia, Gregorio Garza, Barbara Gonzales, Steve Harris, Victor Manuel Hernandez, Alma Jiménez, Ramon de Leon, Heidi H. McKinnon, Genevieve Mooser, Marisa Oliva, Francis Ortega, Beverly Ann Ortiz, Gustavo Palacio Flores, Marcos Rodriguez, Rose Rodriguez- Rabin, Erin Ross, Ken Rubin, Joanna Stewart, John Stockley, Bob Tenequer, Elaine Thatcher, Molly Timko, Curtis Tunnell, Ethel Warrior, William Warrior SMITHSONIAN FOLKLIFE FESTIVAL Festival Staff Folkways at 50 Anniversary Concerts CHILDREN’S MATINEE Foikways Founbers/U.S. PosTAL SERVICE FOLK MUSICIANS STAMP CONCERT Curators: Anthony Seeger, Amy Horowitz Coordinator: Ivy Young HEARTBEAT: VOICES OF FIRST NATIONS WOMEN Curators: Howard Bass, Rayna Green Artwork: Linda Lomahaftewa Design: Watermark Design Office Research and Production Assistants: Allison Cooley, Emily Crow, Deena Gift, Kim Harper, Ann Hoog, Michael James, Lisa Levine, Carol Keesling, Nadia Khatchadourian, Renee Pastore, Ann Silverman, Sarah Grogan Ralph Rinzler Memorial Concert Curator: Henry Sapoznik Coordinator: Kate Rinzler Intern: Elise Berman 137 Educational Offerings Festival Teacher’s Seminar \s in previous years, the Center will offer a seminar for teachers during the Festival. “Bringing Folklife Into Your Classroom” is cosponsored by the Smithsonian Office of Education. This popular seminar, now in its fifth year, attracts Washington-area teachers who obtain hands-on experience in the folklorist’s methods of learning about culture: observing, documenting, interviewing, and interpreting. Instructors for the course, which meets June 23—27, are Drs. Marjorie Hunt and Betty Belanus of the Center for Folklife Programs & Cultural Studies. Visiting Students High school students from rural Wisconsin will be attending the Festival in preparation for producing their own festival based on the history and culture of their community. The students will work with staff involved in different parts of the Festival, and will take on these roles for their own production. (This project was made possible by the Flambeau School District, the Flambeau History Club, and New Paradigm Partners with support from the Annenberg Foundation, the Kellogg Foundation, and Rippin Foods.) Current Educational Offerings From the Center for Folklife Programs & Cultural Studies Workers at the White House This half-hour video documentary features the occupational folklife and oral histories of a broad range of White House workers — butlers, maids, doormen, chefs, plumbers, and others. Through their memories, skills, and values, these workers help us to understand the White House in human terms — as a home and a workplace, a public building and a national symbol. A 24-page educational booklet accompanies the video. Produced in cooperation with the White House Historical Association and the National Archives, copyright 1994. Grades 6-12. $24.95. Catalog # SF48003 Borders and Identity This bilingual kit explores the complex notion of identity along the United States/Mexico border. In four segments — on history, belief, expressive arts, and occupational traditions — students learn from the stories of border residents. This kit includes a four-part video, a poster- size cultural map, and a teacher/student guide with exercises for classroom use. Published 1996. Grades 6-12. $55.00 kit; $10 cultural map separately. Catalog * SF90010 Land and Native American Cultures This kit introduces students to the use of land in Native American communities through three case studies: the Hopi of Arizona; the Tlingit, Haida, and Tsimshian of Alaska; and the Aymara and Quechua of Bolivia and Peru. Units address subsistence, crafts, mythology, and ritual. The kit includes an extensive teacher/student guide with narrative, photographs, resource listing, and activity questions. A slide set accompa- nies the guide. Published 1997. Grades 9-12. $21.00. Catalog # SF90011 Wisconsin Powwow / Naamikaaged: Dancer for the People This two-video set shows how powwows incorporate historical traditions and modern innovations. The first video is a general treatment of the powwow as it is held by Ojibwe people in northern Wisconsin. The second follows a young Ojibwe, Richard LaFernier, as he dresses and paints himself for a powwow, honors his ancestors, and sings at powwows in northern Wisconsin. A 40-page accompanying booklet includes historical background, transcription of soundtrack, classroom questions, and suggestions for further reading and listening. Published 1996. Grades 6-12. $34.95. Catalog # SF48004 Learning About Folklife: The U.S. Virgin Islands & Senegal This kit concentrates on the rich folklife of the U.S. Virgin Islands and Senegal through a focus on foodways, music and storytelling, and celebrations. The kit contains a four-part video-cassette, two audio-cassettes, and a teacher's guide with maps, photographs, and line illustra- tions. Published 1992. Grades 6-12, $45.00. Catalog # SF90012 To order, write, FAX, or call: Smithsonian Folkways Mail Order, 414 Hungerford Dr., Suite 444, Rockville, MD 20850 Phone: (301) 443-2314 — FAX: (301) 443-1819 — Orders only: (800) 410-9815 All prices include shipping and handling. Visit the Smithsonian Institution on the Web at . 138 SMITHSONIAN FOLKLIFE FESTIVAL —EE ee 1998 NE eee ee ee 1998 Cael Friends ss Festival The Smithsonian Folklife Festival presents the wealth of American and world cultures for the education and enjoyment of visitors. But it doesn’t end with the celebration on the Mall; Smithsonian staff transform Festival research into traveling exhibitions, films, publications, learning guides, and Smithsonian Folkways recordings. Supported by a combination of federal and private funds, the Festival and its related programs depend on the generous assistance of the public to preserve grassroots cultures. We invite you to join us. As a Friend of the Festival, you will support the Festival and its work of cultural preservation, education, and research. You'll learn what happens behind the scenes at the Festival and about opportunities to vol- unteer on Festival projects. As a Friend at the $25 level, you will receive: * a newsletter about the Festival and the Center for Folklife Programs & Cultural Studies; * the Festival program book, which describes the featured Festival programs in a beautifully illustrated volume; and * a 10% discount, exclusive to the Friends, on Smithsonian Folkways recordings ordered through the mail- order catalogue. For our Friends at the $50 level: * we also include a one-size-fits-all Festival T-shirt. And for those at the $75 level: * you will receive all of the above and a Smithsonian Folkways recording selected from the most popular of Festival-related recordings. Our Rinzler’s Circle* members, at the $500 level, will receive: * all of the above gifts and other special recognition throughout the year. Please be sure to visit the Marketplace while you are at the Festival. We look forward to discussing the Friends program with you there and can enroll you as a member of the Friends of the Festival when you visit. Your assistance will play an integral part in supporting research and education about traditional cul- tures. * Ralph Rinzler was the long-time director of the Smithsonian Folklife Festival. Ralph passed away in July 1994. We have created the Circle to honor his outstanding commitment and accomplishments. SMITHSONIAN FOLKLIFE FESTIVAL 139 Folk and Blues Historic recordings from Lead Belly, Woody Guthrie, Sonny Terry, and Josh FOLKWAYS CELEBRATING FIFTY YEARS OF FOLKWAYS RECORDINGS €> Smithsonian Folkways White — four artists being Recordings celebrates honored with stamps unveiled the fiftieth anniversary of at the Folkways Founders/ . Serpe ae —, ees st ~ Folkwa ayes oo HAR DOPRAVEL IN ae American Indian Music Many of the artists featured at the Heartbeat: Voices of First Nations Women Concert (Sunday, June 28, 5:30-9:00 p.m.) perform on these two eclectic and spirited CDs. Resa , | (Friday, ihe 26 5: 30: 7:00 a in. i Children’s Music These Ella Jenkins and Larry Long recordings give a taste of the wide variety of children’s music available on Smithsonian Folkways. See Ella and.Larry at the Children’ S SoS “Be E WTA ins. we Crean Ph We > Sad Songs Rota acum > 2 oe love to aS YT ule ie 99 oS ‘ Music from the Music and Dance Southwest from Wisconsin Tex-Mex, Hispanic, and Wisconsin’s diversity of American Indian sounds on cultures is celebrated with these CDs richly these titles: a 2-video set complement this year’s of American Indian Rio Grande/Rio Bravo Basin traditions and a CD of program. European-rooted polka. Naamikaaged: Dancer for the People Native i ai 2 im Set American cise Smithsonian Institution Secretary: |. Michael Heyman Under Secretary: Constance Berry Newman Provost: Dennis O'Connor Center for Folklife Programs & Cultural Studies Director: Richard Kurin Deputy Director: Richard Kennedy Festival Director: Diana Parker Director, Smithsonian Folkways Recordings: Anthony Seeger Director, Cultural Studies & Communications: James Early Administrative Officer: Barbara Strickland Senior Ethnomusicologist: Thomas Vennum, Jr. Chair, Research & Education: Olivia Cadaval Assistant Director, Smithsonian Folkways Recordings: Amy Horowitz Curators, Folklorists, Education & Cultural Specialists: Betty J. Belanus, Marjorie Hunt, Diana Baird N’Diaye, Peter Seitel Program/Publications Manager: Carla M. Borden Program Manager: John W. Franklin Coordinator, Latino Cultural Resource Network: Cynthia Vidaurri Technical Director: Pete Reiniger Art Director: Kenn Shrader Archivist: Jeffrey Place Assistant Archivist: Stephanie Smith Program Specialist: Arlene L. Reiniger Media Specialist: Charlie Weber Fiscal Managers: Bill Holmes, Heather MacBride Folkways Fulfillment Manager: Dudley Connell Folkways Promotion Manager: Brenda Dunlap Folkways Assistant Promotion Manager: Chris Weston Folkways Manufacturing & Distribution Coordinator: Mike Maloney Folkways Production Coordinator: Mary Monseur Folkways Fulfillment Staff: Tom Adams, Lee Michael Demsey, Judy Gilmore, Matt Levine, Ronnie Simpkins Program Assistant: Cenny Hester Administrative Assistant to the Director & Administrative Officer: Linda Benner Administrative Assistant/Receptionist: Bernard Howard Volunteers: Dale Dowdal, Ramona Dowdal, Enid Hairston, Marni Hoyt, Beverly Simons Fellows & Research Associates: Roland Freeman, Dan Goodwin, Corinne Kratz, Ivan Karp, Alan Lomax, Worth Long, Rene Lopez, Kate Rinzler Advisors: Roger Abrahams, Jacinto Arias, Michael Asch, Jane Beck, Don DeVito, Pat Jasper, Ella Jenkins, Jon Kertzer, Barbara Kirshenblatt- Gimblett, John Nixdorf, Bernice Johnson Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos, Carlos Vélez-Ibanez National Park Service Secretary of the Interior: Bruce Babbitt Director, National Park Service: Robert Stanton Director, National Capital Region: Terry R. Carlstrom chief, United States Park Police: Robert E.Langston Commander, Special Forces, United States Park Police: Maj. Marvin Ellison Special Events, United States Park Police: Diana Smith Superintendent, National Capital Region-Central: Arnold M. Goldstein chief, Division of Visitor Services, National Capital Parks-Central: Donna Donaldson Associate Superintendent of Maintenance, National Capital Parks-Central: William Newman, Jr. Site Manager, National Mall, National Capital Parks-Central: Erin Broadbent Special Assistant for Partnerships, National Capital Parks-Central: Lisa Mendelson Concessions Specialist, National Capital Parks-Central: Nelson Hoffman Employees of the National Capital Area and the United States Park Police Major Sponsors Wisconsin The Wisconsin program is made possible by and is produced in cooperation with the Wisconsin Arts Board and the Wisconsin Sesquicentennial Commission on the occasion of Wisconsin's 150th anniversary of statehood. Wisconsin cor- porate contributors include AT&T, SC Johnson Wax, and The Credit Unions of Wisconsin. Philippines The Philippines program is produced in collaboration with the Cultural Center of the Philippines and the Philippine Centennial Commission and is supported by the American International Group, Inc., The Starr Foundation, Bell Atlantic, the Asian Cultural Council, and the Philippine Centennial Foundation/USA. The Baltic Nations This program is made possible by and is produced in cooperation with the Estonian Government and Estonian Ministry of Culture, the Latvian Govern- ment and Latvian Ministry of Culture, and the Lithuanian Government and Lithuanian Ministry of Culture. Additional support comes from the Cultural Endowment of Estonia, the American Latvian Association, and the Lithuanian Foundation. Rio Grande/Rio Bravo Basin This project is cosponsored by El Consejo Nacional para la Cultura y las Artes with support from the U.S.-Mexico Fund for Culture (The Rockefeller Foundation, Fundacion Cultural Bancomer, the Fondo Nacional para la Cultura y las Artes), SBC Foundation, Texas Folklife Resources, and the Texas Council for the Humanities. Folklife Fieldwork Research Schools were supported by Colorado College, Tierra Wools, the University of New Mexico, University of Texas-Pan American, and a grant from Smithsonian Outreach Funds. Ralph Rinzler Memorial Concert This program is made possible with support from The Recording Industries Music Performance Trust Funds, the Ruth Mott Fund, Friends of the Festival, and Kate Rinzler. Support for Folkways At 50 comes from BMI (the American perfor- mance rights organization), the United States Postal Service, M.A.CE. (Mississippi Action for Community Education), Global Arts/Media Foundation, P.A.C.E.R.S. (Program for Academic and Cultural Enhancement of Rural Schools) Small Schools Cooperative & Community Celebration of Place Project, KOCH International, Smithsonian Magazine, Smithsonian Institution National Museum of American History, TRO, The Richmond Organization, Columbia Records and Sony Music Entertainment, Michael Asch, Walter Beebe and the New York Open Center, Andrew Dapuzzo and Disctronics, David Glasser, Charlie Pilzer, and Airshow Mastering, Inc., Judith DeMaris Hearn, Ella Jenkins, Richard Kurin, Mark Miller and Queens Group, Inc., Microsoft Corporation/Media Acquisitions Department, Arnold L. Polinger, Razor & Tie Entertainment, and The Recording Industries Music Performance Trust Funds. 1998 Smithsonian Folklife Festival NATIONAL MUSEUM OF AMERICAN HISTORY NATIONAL MUSEUM OF NATURAL HISTORY 12th Street Tunnel Madison Drive Sani Sari e¢ Fo oe SSO THE BALTIC NATIONS PHILIPPINES yo 8 (S\me aS NATIONS See WISCONSIN RIO GRANDE/RIO BRAVO Taledye onal hu © © sustainable sean > ® rs S Cs SMITHSONIAN CASTLE Jefferson Drive Map L d ap Legen ©) First Aid ) Information To U.S. Capitol To Washington Monument