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FESTIVAL OF AMERICAN FOLKLIFE 1968

THE FOLK FESTIVAL PROGRAM 3 S. Dillon Ripley

THE INDEX OF AMERICAN DESIGN 4 E. O. Christensen

WHAT IS FOLKLORE? 7 Wayland D. Hand

WHAT IS FOLKLORE? 8 Richard M. Dorson

FOLKLORE 8 Bruno NettI

FOLKLORE AND FOLKLIFE 9 Don Yoder

THE HISTORIC ROOTS OF AMERICAN FOLKLIFE 10 C. Malcolm Watkins

WHY AMERICAN FOLKLIFE STUDIES? 12 Samuel Stanley

SURVIVAL OF SPANISH CRAFTS IN NEW MEXICO 13 Richard E. Ahlborn

A NOTE ON TEXTILE CRAFTS 15 Grace R. Cooper

PROGRAM 17

BASQUES 26 William A. Douglass

GENRES IN NEGRO ORAL POETRY AND SONG 28 Bruce Jackson

THE NEW ORLEANS LIFE AND NEW ORLEANS JAZZ 29 Richard B. Allen

APPALACHIAN DULCIMER 30 Scott Odell

FIDDLE CONTESTS AND CONVENTIONS 32 Guthrie T. Meade

INSTITUTE OF TEXAN CULTURES 35

SAN ANTONIO CONSERVATION SOCIETY 37

SMITHSONIAN MUSEUM SHOPS 39

GRAVESTONE CARVING IN EARLY NEW ENGLAND 40 Avon Neal and Ann Parker ©SMITHSONIAN INSTITUTION 1968 Secretary ol the Smithsonian Inbtilution, S. Dillon Ripley. Photo: Arnold Newman THE FOLK FESTIVAL PROGRAM gathered up and that records be Folk culture, transmitted faithfully preserved of everything orally or by imitation, supplies the by which tends to shape the char- raw material and energy from

S. Dillon Ripley acter of our rapidly advancing which fine arts culture takes its territory." nourishment; yet, we in America

In 1879, the Bureau of Amer- know relatively little about this ican Ethnology was founded under culture. Programs of study and the direction of John Wesley research exist in three graduate Powell. The Bureau was placed schools, and a few museums con- under the Smithsonian Institution duct activities which are an aid

by Congress, and its purpose was to Americans' understanding of The Festival of American Foll<- the study of the Indian cultures themselves, but much more must life oilers tine Smittisonian Insti- that made up the civilization of be done. tution an opportunity to sliow these United States before the As late as the 1930s, there ttirough demonstration and per- coming of the European. The work was a common belief that America formance some aspects of tlie of the Bureau of Ethnology forms had no aesthetic tradition of its cultural roots of the people of the background for much of the own and that this country had the United States. The Festival is work of the Office of Anthropol- never produced a culture in which a living exhibition of the crea- ogy of the Museum of Natural the arts could flourish. We know tivity of the many ethnic groups History and its imperative nature today that such a culture has been that make up the culture of this has been retained in the studies of our heritage but we have too fre- country. Urgent Anthropology which are quently failed to recognize and The Smithsonian's interest in being conducted around the learn from this heritage. We hope

American culture is not new. The world by our anthropologists of that this Festival will serve to first Secretary, Joseph Henry told societies which are disappearing bring American people more fully the Minnesota Historical Society or becoming acculturated for one into touch with their own crea- in 1856 "The everyday occur- reason or another. tive roots, and that from this rences of the present which are Folk culture is the base on acquaintance the way may be considered of little importance at which the society of a country pointed towards a richer life for the time become the materials of rests. The urgency for its study in some and a more meaningful history in the future. It is there- our own country has only recently understanding of the roots of our fore highly desirable that they be been realized. society. THE INDEX OF AMERICAN DESIGN

Hooked rug. Ca. 1838, probably madf

in New Hampshire. Index of American Design, National Gallery of Art

Excerpted from the Introduction of "The Index of American De- ing the depression of the 1930s. THE INDEX OF AMERICAN DESIGN sign is a record made by artists It was organized in response to by E. O. Chriitensen of a chapter in American history several needs: the need of artists

which is largely anonymous. It is for employment, the need of the Copyright, 79S0, by Pufa/zcat/ons Fund, Government work program to National Gallery ot Art the story, told in pictures of articles of daily use and adorn- devise projects which would main-

All rights reserved—no part of this book ment in this country from early tain the skills of the unemployed, may be reproduced in any form colonial times to the close of the and a public need for pictorial without permission in writing from nineteenth century. In the main information on American design the publisher, except by a reviewer who it is devoted to the craft traditions and craftsmanship. The apprecia- wishes to quote brief passages in connection with a review written lor which dominated American pro- tion of American Folk and popu- inclusion in magazine or newspaper. duction for more than two hun- lar art, which forms one of the dred years and left their heritage major categories of the Index, PRINTED IN THE to the developing mass-produc- grew more slowly. It had two UNITED STATES OF AMERICA tion technology, which has im- main sources: the ethnological First Printing pressed its forms on our con- collection which has made us temporary culture. aware of design horizons beyond Reprinted by permission of a Western tradition, and The Macmillan Company and the "The Index is the result of our own

National Gallery of ,\rt. conjunction of circumstance dur- the rise of modern art. "Modern artists helped to arts. This folk memory, which is world. But it is not complete. educate ethnologists and the mu- amazingly tenacious, is a store- The Second World War brought seum public to the aesthetic qual- house of the technical and sym- the activities of the project to an ity of primitive, folk and popular bolic innovations of the past, and, end before its work was done in art. Study of the art of primitive on more than one occasion has any state and before much had people led to an interest in the prepared the way for new devel- been accomplished in the South. art of peasants, artisans and ama- opments. It tells the story of crea- The first need of the Index is teurs, in the second decade of tiveness and inventive change completion. The second is a wider this century folk art received rec- when traditional design failed to distribution of its pictorial infor- ognition through its incorpora- meet new problems. The inven- mation. The National Gallery of tion in the collections of such tiveness that reshapes forms in Art tried to meet this through notables as John D. Rockefeller, response to the needs of a chang- making Index material available

Jr. and exhibits at the Whitney ing environment and the stimulat- to students through exhibitions

Museum of American Art, Colonial ing influence of one tradition . . . The question of availability

Williamsburg and The Museum of upon another is reflected many is important because the Index is Modern Art in New York. times in the Index. of value not only for the designer,

"There is this double aspect "The Index, as it stands, is the craftsman and the manufac- in the work of the craftsman who the largest and most comprehen- turer but even more for the his- is a bearer of folk memory in the sive collection of its kind in the torian, the student and the gen-

DESIGN THE INDEX OF AMERICAN

Hooked rug. Ca. 1838, probably made in New Hampshire. Index of American Design, National Gallery of Art.

Excerpted from the Introductiory of "The Index of American De- ing the depression of the 1930s. "Modern artists helped to arts. This folk memory, which is world. But it is not complete. THE INDEX OF AMEKICAN DESIGN sign is a record made by artists It was organized in response to educate ethnologists and the mu- amazingly tenacious, is a store- The Second World War brought by E. O. Chiristensen- of a chapter in American history several needs: the need of artists seum public to the aesthetic qual- house of the technical and sym- the activities of the project to an

which is Copyright, 7950, by PublicMiom Fund, largely anonymous. It is for employment, the need of the ity of primitive, folk and popular bolic innovations of the past, and, end before its work was done in Natiorial Gallery of Art. the story, told in pictures of Government work program to art. Study of the art of primitive on more than one occasion has any state and before much had articles of daily use and adorn- devise projects which would main- people led to an interest in the prepared the way for new devel- been accomplished in the South. All rights reserved—no part o/ this book ment in this country from early tain the skills of the unemployed, art of peasants, artisans and ama- opments. It tells the story of crea- The first need of the Index is may be reproduced in any form colonial times to the close of the and a for pictorial teurs. In the second decade of tiveness and inventive change completion. The second is a wider without permission in writing from public need nineteenth century, the publisher, except by a reviewer who in the main information on American design this century folk art received rec- when traditional design failed to distribution of its pictorial infor- wishes it is devoted (o quote brief passages in to the craft traditions and craftsmanship. The apprecia- ognition through its incorpora- meet new problems. The inven- mation. The National Gallery of connection with a review written lor which dominated American pro- tion of American Folk and popu- tion in the collections of such tiveness that reshapes forms in Art tried to meet this through inclusion in magazine or newspaper. duction for more than two hun- lar art, which forms one of the notables as John D. Rockefeller, response to the needs of a chang- making Index material available dred years and left their heritage major categories of Index, Jr. and exhibits at the Whitney ing environment and the stimulat- to students through exhibitions PRINTED IN THE the to the developing Museum of American Art, Colonial ing influence of one tradition . . . question of availability UNITED STATES OF AMERICA mass-produc- grew more slowly. It had two The tion technology, First Printing which has im- main sources: the ethnological Williamsburg and The Museum of upon another is reflected many is important because the Index is pressed its forms on our con- collection which has made us Modern Art in New York. times in the Index. of value not only for the designer, Reprinted temporary culture. by permission of aware of design horizons beyond "There is this double aspect "The Index, as it stands, is the craftsman and the manufac- The Macmillan Company and the "The Index is the result of a our own Western tradition, and in the work of the craftsman who the largest and most comprehen- turer but even more for the his- National Gallery o/ Art. conjunction of circumstance its kind in the torian, the student and the gen- dur- the rise of modern art. is a bearer of folk memory in the sive collection of eral public. As the late Constance Rourke, one of the soundest students of American culture, has

phrased it: "Not the least of the revelations of the Index may be those offered to the student of American social history. Fresh light may be thrown upon ways of living which developed within the highly diversified communities of our many frontiers and this

may in turn give us new knowledge of the American mind and

temperament. Finally, if the materials of the Index can be widely seen, they should offer an educa- tion to the eye, particularly for young people, which may result in the development of taste and a genuine consciousness of our rich national inheritance."

The aim of the Index of y American Design was to: Record material of historical significance which had not heretofore been studied and which stood in danger of being lost, to gather a body of traditional material which could form the basis of an organic development of American De- sign, to make usable source records of this material accessible to

artists, designers, manufacturers, museums, libraries and the gen- eral public, and to give employment to painters, graphic artists, photographers and commercial

artists. The Index recorded objects not only in museums but from private collections and scattered family heirlooms. They were all recorded in water color renderings and are available in photographs or slides at the National Gallery of Art, Washington, D. C. The In- Cornhusk doll tied with cornsilk. dex is maintained as a source of Designed by a Tennessee mountaineer. information on American design Index of American Design, National Gallery of Art. up to the twentieth century. FOLKLORE

Folklore is a convenient name WHAT IS FOLKLORE for a highly diversified body of lore, folk wisdom, and folk art by that is passed on from generation Wayland D. Hand to generation, most often without Director, Center for the benefit of the printed page and Study of Comparative without formal instruction. In- Folklore and Mythology volved in this process of popular University of California, transmission is a body of material Los Angeles passed on orally, such as folk tales, fables, jests, anecdotes, legends, folk beliefs, folk medical prescriptions, folk speech, prov- erbs, riddles, children's verses and rhymes. Reckoned with these oral traditions, also, are materials communicated musically, such as folk songs and ballads, and songs accompanying the dance. A second major category of material involves things which are enacted such as dances, pageantry, folk theatricals, and folk customs and magical practices, with or without verbal accompani- ment. A third and final category, consists of things which are made. Material folklore involves the manufacture of needful things for farm and fireside as well as the arts and crafts which enhance life. However folklore comes into being, its persistence over long periods of time, and its spread to South Carolina, Sea Island Basket Maker. Baskets made of sea grass bound far places, it is usually marked by with strips of split palmetto. Photo: Ralph Rinzler. variation occasioned by time and circumstance, and by the predis- positions of the people to whom it comes and by whom it is passed on. Folklore is most intimately connected with life itself, and mir- rors the triumphs and trials of the human spirit. From some points of view, folklore is fact refracted through human temperament, and enlarged upon by the wondrous and inexhaustible powers of the imagination. —

WHAT IS FOLKLORE? problems with faith healers and tury, intellectuals in Germany and home remedies. Judges may regu- England stumbled on and began by late divorce actions and property to study this hidden culture that Richard M. Dorson rights, but the practitioners of lay all about them. Anthropolo- Professor of l-Hstory and Folklore magic reveal and deal with illicit gists would discover faraway cul- University of California lovers, thieves, witches, and for- tures. Folklorists were discovering at Berkeley tune hunters. their own, and finding unsus- Early in the nineteenth cen- pected revelations and rewards.

Folklore is the culture of the people. It is the hidden sub- merged culture lying in the shad- ow of the official civilization about which historians write. Schools and churches, legislatures and courts, books and concerts represent the institutions of civilization. But surrounding them are other cultural systems based on tradition, systems that directly govern the ideas, beliefs, and be- havior of most of the world's peoples. Official religion is found in ecclesiastical creeds and doc- trines, but the religion of the folk Throwing a pot. Pholo: Run Sakji lives in legends of saints, miracles wrought by the prophets, bless- ings and charms and rituals learned in the family as safe- guards against demons. Political electioneering is the official process, but inherited political preju- dices, biases, rumors, and suspi- cions that find daily utterance FOLKLORE as its own. Typically, folklore belong to the politics of the folk. exists in those cultures in which by Formal learning is thrust at the traditions of technically more schoolboy in classroom and text- Bruno NettI sophisticated art, accepted only book, but his notions about sex Professor of Music and by minorities, also exists. The and power and life's goals are Anthropology methods and techniques of folk- molded by the age-old lore he University of Illinois lore research can also be used, drinks in from his peers. The however, for the study of arts not written literature of classic authors Folklore is art literary, musi- included under this definition, stands in contrast to the subter- cal, dramatic, and to an extent such as those of nonliterate cul- ranean oral expression and the visual — that lives primarily in oral tures. The folklorist, scholar and lowly channels of print that per- tradition, is used mainly by per- researcher in the materials de- meate civilized as well as less formers and listeners who are not scribed here, is interested in the literate societies. Medical doctors, sophisticated in the technical structure, history, psychology of drugstore prescriptions, and hos- theory of the arts, and is regarded folklore and its role in society and pitals share the solution of health by large segments of population culture. — —

FOLKLORE AND FOLKLIFE sort of tradition, the "lore" in content of the two areas, several

"folklore" carries with it sugges- present trends are evident in both. by tions of literary aspects of cul- First, Americans concerning them- Don Yoder ture, the "life" in "folklife" sug- selves with their own folk-cultural Chairman, Graduate gests totality of relationships in past are just now beginning to Croup—Folklore and Folklife community. Hence, in my usage realize how interdisciplinary this

to Folk culture is as Religious Thought of the terms, I prefer to include study has be. Associate Professor: folklore under folklife, as part to broad (and as studiable) as life University of Pennsylvania whole, and limit folklore to "ver- itself, and almost every discipline bal arts" or "folk literature," while has something to contribute to leaving folklife to denote the total our understanding of folk-cultural folk-cultural context. In other phenomena, whether we are

words, folklife is the total folk- studying a song, a riddle, a flail,

culture as seen in all of its rami- a plow, or a settlement pattern. fications and expressions, verbal, Sociologists, anthropologists, cul- material, and spiritual. tural geographers, art historians, While definitions of folklore and historical archeologists are and folklife differ as to content, only a few of the related disci- studying the two have tended to agree for plines whose scholars are

the most part on (1) a common folk culture and folk-cultural arti-

process and (2) a common facts. method. The common process The second contemporary which both have focused upon trend noticeable in both Europe

has been the process of transmis- and America is an increasing quest sion of cultural artifacts and sys- for and insight into the relevance tems from one generation to of folk-cultural studies. Our pres- another, within the framework of ent urban crisis, the racial crisis, community and tradition. In this and the international crisis are all

process, the usable past is com- helping the folklorist and the folk-

municated to the present. Folk- life scholar to find their way to in- lorists and folklife scholars also creased relevance. In studying the agree on a common method past as reflected in the living tradi-

Navaho Indum VVivnifit; field work, either direct or via the tions of the present, in looking questionnaire approach — which at traditional ways of organizing

Defining "folklore"—one of enables them to study folk-cul- life in the past, we realize how the favorite academic games of tural phenomena directly and cur- very much our own American re- the 20th Century—has enlivened rently. While the field-work ap- gional folk-cultural past continues most recent sessions of the Amer- proach is shared with other social to affect the everyday life of ordi- ican Folklore Society and many sciences, the folklorist and folk- nary Americans. To paraphrase a university classes and student life scholar must also study the common American proverb, "You forums. transition of his current materials can take the man out of the folk, In the English-speaking world, through history, adding a strong but you can't [always, success- two related terms are now being vertical or historical orientation to fully, or completely] take the folk balance the horizontal used for folk-cultural phenomena approach out of the man." To put it in per- and their study folklore and folk- to contemporary data. haps more academic terms, in E. life. While both contain the word Whatever term individual Estyn Evans' words, "Nothing less

"folk" and imply relationship to scholars may prefer, and despite than the whole of the past is nec- some sort of community and some the great variance in delimiting the essary to explain the present." THE HISTORIC ROOTS Folklife in America is essentially a condition of the past; even OF AMERICAN FOLKLIFE where it still exists it belongs to the past. Documenting and recording and collecting the artifacts of folklife where it survives today are there- by fore of prime importance to the cultural and social historian. In the C. Malcolm Watkins traditional patterns of daily existence and the sounds, forms, and tech- Acting Chairman, niques of folklife are the ingredients to help us understand better the

Division of Civil History origins of our own culture. Yet, in a world from which it is already Smithsonian Institution possible to escape into space and return alive, where today's events occurring on one side of the earth can be seen in the remotest parts of the other half, where a fourth dimension of time-space reduces distance to insignificance, where electric power transforms daily tasks into almost automatic simplicity— in such a world, with its homogen-

izing components, folklife is a vanishing anachronism which no amount

of artifice can cause to endure. Many of the folk crafts still continue to 10 be practiced, fortunately; but increasingly the stimulus for their survival is an urban, sophisticated market, far removed from the original essence of their identification with a folklife now nearing extinction. While today's city-bred customers thus help to prolong traditional skills, the motivation changes and the product becomes a different one. Until the urbanization and industrialization of America, virtually Overmanlle painting in (he parlor all life here folklife. In the cities, to sure, from t/ie Crowelt House, was fundamentally be and Vineyard Haven, Massacliusetts. even in the country, the sophisticated arts like silversmithing flourished and elegant architecture graced in the eighteenth century. One of the landscape. Expensive Oriental the figures, representing William porcelains found their way into Pitt and exhibited in the Growth remote plantation houses in the of the United States halls, is a South as well as merchants' man- unique example of three-dimen- sions in the North, while the for- sional folk art. Despite the upper- mally designed glass and ceramics class gentility of Federal-period of 18th-century English factories Newburyport, Lord Timothy was provided intellectualized accou- an earthy character for whom the trements for many people who picturesque assemblage of folk considered themselves persons of sculptures provided meaning and "good taste." satisfaction. In York, Pennsylvania, Notwithstanding, there was Lewis Miller left a most remark- an almost never-absent element able written and pictorial docu- of folk expression that went ment which, besides being folk 11 alongside sophisticated imports art in itself, is a demonstration of and urban skills. A notable exam- how completely the customs, ple, now in the Smithsonian's skills, and activities of a pre-in- Hall of Everyday Life in the Ameri- dustrial American community can Past, is the parlor of the combined to define a pattern of Crowell house, built in Vineyard folklife. Haven, Massachusetts, in 1808. The Today, true folklife and folk woodwork of this room shows the expressions, fragile and flickering accomplished hand of a skilled in a few belated cultural pockets, cabinetmaker, probably working are like stubs of candles guttering from an imported builder's hand- in the breeze. The impact of mod- book. Yet, set permanently into ern technology, communications, the overmantle is featured a naive and social attitudes is speedily re- landscape painting that all meets "Sir William Pitt" carved legating them to the historic past. of the criteria of true folk art. by Joseph Wilson. In the brief, dying interval in

Dominated by this single element, which they still exist, however, we the room as a whole, therefore, century, folk crafts were practiced are making haste to observe them becomes a folk expression. in the towns as well as in the and see, as it were, the past still

In the same hall is exhibited a country. Pottery, for example, was living. As a part of the work of the log house, built originally near made in a manner that adhered Museum of History and Tech- Wilmington, Delaware, about to ancient traditions, supplying nology, we are recording crafts-

1740. It is a classic example of utensils for cooking and dairying manship and music in a few last Middle Atlantic vernacular, or purposes that were governed by outposts of folklife, and are col- folk, architecture. Yet along one centuries of folk custom. The lecting the objects that are made wall of its living room, surround- Smithsonian's collections are rich there, to be placed alongside ma- ing an enormous fireplace, is pan- with such creative materials. Simi- terials of greater antiquity. In this eled sheathing of great sophistica- larly, woodcarvers in coastal way, the people of earlier generation. Here, again, is juxtaposition towns made ships' figureheads tions whose artifacts we collect of folk form and refined form, that are often masterpieces of folk come alive again, making more where the latter is merged and art. One of these, Joseph Wilson, meaningful our relations to them absorbed as a part of the basic carved a group of historic and and their now-stilled activities folk expression. mythologic personages for the ec- and skills. In so doing, we learn All through the colonial pe- centric "Lord" Timothy Dexter of more about ourselves and whence riod and well into the nineteenth Newburyport, Massachusetts, late we came. More than any other modern WHY AMERICAN are still numerous enclaves of via- nation, the United States is an FOLKLIFE STUDIES? ble culture groups which have re- amalgam of people from all over mained on the banks of the river. the world. Its "main stream" by To discover the American identity, flows from Europe with its myriad we must gain an understanding Samuel Stanley cultures which traditionally have of these cultural minorities on a Anthropology Program fed into and been nourished by scale similar to our knowledge of Western civilization. As European Coordinator, the American Indian. Office populations came to occupy the of Anthropology Specifically, what is known of New World, they discovered an- Smithsonian Institution Greek-American culture? Where other segment of their own spe- are the Greek communities in the cies long in possession of the United States? How many Greek land. This group, really hundreds speakers are there? What specific of tribes called American Indians, items of material culture are still was removed by thousands of unicjuely Greek produced? What years from the Western tradition. is the social organization of these For some scholars, notably anthro- Greek communities? Where can pologists, the recognition of this we fmd and what do we know separateness raised a series of of Greek cuisine, art, literature questions which could only be & ""^ and music? What are the proc- answered by intensive field re- esses by which so many of these search. This field work produced enclaves of Greek culture have some great collections of the ma- remained visibly Greek, while at terial culture of many American the same time so many persons of Indian tribes along with innumer- Greek descent have moved into able volumes of published works the mainstream? on the non-material aspects of These are only a few of the 5^ ^L^ /^ these cultures. The great museums very important questions which with their imaginative displays of can and must be raised if we American Indian life are testi- would understand our own ident- mony to the dogged scholarship ity as Americans. One can substi- of generations of dedicated field tute any ethnic group for Greek workers. Scholarly interest in the and appreciate the magnitude of American Indian has continued to our ignorance about our own so- grow until the present day. One ciety. Hence, we could raise these effect of all this interest has been c|uestions about such groups as the growing recognition and ac- Russians, Irish, Norwegians, Ital- ceptance of Indian culture as' a ians, Poles, Japanese, Chinese, valid, though in some ways strik- Navaho Incliin Sand Painting. Basques. Flioto: Ruri Sal

heritage. It seems unlikely that caravan from Mexico was totally tourist trade, professional pro- insufficient to meet everyday moters or even serious study can needs. While royal funds financed revive early crafts in New Mexico, meager assortments of church or- or for that matter in any other naments, and government salaries part of the United States, in a and personal income brought in manner that closely approaches goods for civil authorities, the av- their original completeness and erage Spanish settler had to pro- integrity. vide for his material needs by The Spanish crafts in New barter or craft skills. Mexico were, however, very much Considering the remarkably intact as recently as the late nine- Figure of San Acacio, c. 1825. rich heritage of peninsular crafts teenth century. Everyday house- — many based on refined Moor- hold objects of wood and wool bring a few fine pieces of furni- ish talents and later exported to reflected the chronic poverty of ture and fabric with him. And we Mexico— it may seem strange that Mexico's northern borderland know that several silver objects traditional Spanish skills were not after nearly three centuries of per- graced his table, as well as that of more developed in New Mexico. sistent Spanish settlement begin- the Lord's in the mission churches This region, however, was distant ning in 1598. of the Franciscans. But the isola- from the center of Spanish colo- Early in this long period, tion and poverty of life in colonial nial culture, and poor in the ma- dreams of instant wealth gave way New Mexico offered no appeal to terials and needs necessary to to settlements supported by farm- members of the dozens of craft highly organized crafts. In New

ing and grazing. It is true, of guilds in central Mexico. Mexico, even iron ore was scarce, course, that a governor might Infrequent references or ac- and therefore smithing did not —

develop. On the other hand, the yarns and gaudy, synthetic colors. when the rail lines reached Albu- daily needs of the settlers for food Some furniture even tried to take querque. containers were largely met by on the pretentions of style, espe- By the end of the next gener- Pueblo Indian pottery. And with cially Empire silhouettes. On the ation, traditional Spanish crafts the exception of 6-plank chests other hand, the abundance of survived largely in remote north- and perhaps a tripod stool or low commercial military containers ern villages of New Mexico. The table, furniture was not needed in stimulated tin work. And still an- mid-1930s produced a new sort homes where Spanish-Moorish other craft, ornamental straw of awareness in local craft stimu- precedent required only blankets work, remained relatively unaf- lated by the Work Projects Ad- to sit on and, unrolled, to sleep fected by extracultural influences. ministration. The characteristics of in. In fairness to Anglo-Ameri- these projects were typical of later

Textiles were among the can merchants, it should be noted craft revivals: research and de- most significant traditional crafts that commercial contacts were not velopment to produce immediate in New Mexico. Wool from Me- always harmful, and indeed com- economic gains by people outside rino sheep stained with local and merce from the east had been pre- of the craft-level culture. imported natural colors were ceded by goods brought up from The craft survivals of our worked into yarn. This was woven the Chihuahua Fair, established S|ianish Southwest may serve best up on horizontal harness looms in 1806. Wooden Mexican chests as modest monuments to the into runners that were joined in with painted scenes were adopted traditional skills of a people. The the center to form striped Rio in New Mexico by 1825. Earlier early cultural products of Spanish Grande blankets. There were also leather trunks, some with Spanish- New Mexicans were a function of checkered, twill weaves known as Moorish stitchery and others of another time. There seems little jergas and used as rugs; another Chinese origin, painted and rein- question that the study and col- textile was made up of backings forced with brass corners, were lection of these craft products as carrying the so-called colcha also used along the upper Rio they were originally made and stitch, apparently of local origin, Grande. used are in the interest of our which produced a tapestry-like One craft, however, was national heritage. effect. raised to the level of an art by Wood work was the other New Mexicans their religious major craft tradition maintained imagery. The region's first images Figure of San Pedro, c, 7925. by Spanish settlers in New Mexico. were Mexican school imports or Dolores Lopez of Cordova. After hundreds of sun-dried mud didactic sketches on animal hides lose bricks (adobes) were made and painted by Franciscans beginning laid up, a craft skill in itself, about 1700. All figures and panel wooden frames for openings and paintings of holy or saintly per- a roof of heavy beams (vigas) sonages were called santos. The were needed to complete a mod- first locally produced santos were est, dirt-floor house. Mortice and the labored efforts of a few skill- tenon frames with pintle ends for ful settlers around 1775. Santo- hinges and bevel-edged panels making was not a fully developed set in grooves provided doors for profession; it generally occurred entries and wall cupboards. By when farm duties lapsed in winter, the end of the 18th century new and payment for work was often forms included chair-height tables, in kind. Nevertheless, the selec- standing cupboards itrasteros), tion and use of woods, gesso and shelves and box-sized drawers set natural colors required careful at- in frames, as well as dovetailed tention and skill, and frequently and carved chests. produced intense expressions of Commerce over the Santa Fe high esthetic quality. As with many trail after 1822 brought about other traditional New Mexican changes in New Mexican crafts. crafts, the making of santos suf- Textiles suffered from industry and fered from the great quantity of chemistry; cheap Germantown materials introduced after 1880 A NOTE ON TEXTILE CRAFTS by Grace R. Cooper Curator in Charge, Division of Textiles, Department of Arts and Manufactures Smithsonian Institution

From antiquity to the last country's past. Examples of such The spinning of wool with a part of the eighteenth century, the work can be seen at the current simple wheel continued during conversion of fibers into mate- exhibition of the Copp family tex- the nineteenth century, however, rials was a handcraft. Wool fibers tiles in the Museum of History and especially in the rural areas and in may have been the first textile ma- Technology where daily, during the expanding West. Most fre- terial to be used by man to clothe the lunch hour, demonstrations quently handweaving was done by himself. The felting of wool may are given on a replica of an early a professional weaver, except in have been suggested by the mat- nineteenth-century loom. isolated areas. But the powered ting that results when pelts are Although the tools to convert machines for carding, spinning, worn with the wool or hair side fibers into yarns and threads and weaving continued to be im- factory-produced toward the body; however, it was changed with time—from hand to proved, making cloth for everyone. the spinning of fibers and the machine—the process is the same. cheap enough weaving of them into cloth that There is first the cleaning and Despite the technological ad- was to have the widest applica- aligning of the fibers, then draw- vances in machines for the proc- tion. Until power-driven machines ing them out and twisting them, essing of wool, silk, cotton, and came into being, spinning was a and finally winding up the fin- the synthetics, there has been an household industry, and there are ished yarn. The machine to upsurge by various people and still many areas of the world straighten or card the wool fibers groups in going back to the hand- where one can see women car- was perfected by the 1770s and crafts of yesteryear either for art- rying a distaff of wool in one introduced into the United States istic expression, for their own hand while twirling the spindle of in 1793. It was not uncommon for pleasure, or for financial benefit. thread in the other— Indians in people to have their wool carded the Andes Mountains of South by machine, although they would America to cite but one example. THE COPP FAMILY TEXTILES: A CEN- then take it home to spin with the TURY OF NEW ENGLAND DOMESTIC Weaving is another craft that is or great wheel. Wool common MANUFACTURES, exhibition. Spon- referred to in the earliest litera- was not commonly spun by ma- sored by the Division of Textiles. ture and one can still watch crafts- chinery until the second decade Museum of History and Technology, men treadling their looms in Ire- of the nineteenth century. About First Floor, Special Exhibition Area. land and other countries. this time, the power loom was in- SPINNING AND WEAVING DEMON- Spinning and weaving are troduced and full factory produc- STRATIONS DAILY, 10 a.m. to 1 p.m. handcrafts associated with our tion of wool cloth began. Skip James. Pht^o: Kichaid MTateniun SPONSORS AND We would like to thank the following organizations and individuals for CONTRIBUTORS their interest and contributions to the 1968 Festival of American Folk- life. Without their generous support the Festival could not have been produced.

Contributors Agricultural Research Center, Beltsville, Maryland

American Federation of Labor and the Congress of Industrial Organizations

Chili Appreciation Society

George Washington University

Ladies Committee of the Smithsonian Associates

Marriott Corporation, Washington Hot Shoppes

National Park Service

Odessa Chuckwagon Gang

The San Antonio Conservation Society, Inc.

Washington Convention and Visitors Bureau, Inc. 17

Washington Hotel Association, Inc.

Sponsors of Individual /Areas The Institute of Texan Cultures The Texas State Participants

The American Sheep Producers Council, Inc.

Mrs. Polk Guest and Mr. Raymond Guest, Jr. The Wool Processing Demonstration

The Washington State Arts Council

The Friends of the Lummi Indians The Lummi Indian Participants

Atlantic Richfield Company The New Mexico State Participants

The Governor's Office, State of Arkansas

The Arkansas State Arts and Humanities Council The Arkansas State Participants

The Idaho Arts and Humanities Commission The Basque Oinkari Dancers

Our Special thanks to Mr. Clarence Arata

Mr. O. T. Baker

Mrs. Clark Clifford Mr. and Mrs. Ewan Dingwall

' Mrs. Neville Murray Mr. Henderson Shuffler

Mrs. Henry P. Smith, III Mr. James Smith Mrs. W. Willard Wirtz — — — 1

PROGRAM

Continuous Craft Demonstrations 11:00 a.m. to 5:00 p.m. Sunday, 1:00 p.m. to 5:00 p.m.

Special Craft Demonstrations Butter Churning 12 noon and 4:00 p.m. Sheep Shearing twice an hour on the hour and half hour, 11:00 a.m. to 5:00 p.m. Soap Making 11:00 a.m. and 2:30 p.m.

Candy Making 11 :00 a.m., 1 :00 p.m. and 3:00 p.m.

Sorghum Making Thurs., Fri., Sat., 11:00 a.m. to 5:00 p.m. MillinE Saturday, 3:00 p.m.

WEDNESDAY, JULY 3 Concert and Square Dance 8:00 p.m.

THURSDAY, JULY 4

Texas Area City-Country Area— Jimmy Driftwood, MC 12 noon to 7:00 p.m. 3:30 p.m. Ed Young 12 noon-1:00 Baca Band Children's Concert Russell Fluharty 18 1:00-2:00 Tale Swap Seth Mize and Group 2:00-3:00 Solomon Family Lummi Indian Dancers 3:00-4:00 Mance Lipscomb Red Parham 4:00-5:00 Robert Shaw Skip James 5:00-7:00 Joe Morante and Los Bessie Jones and Sea Island Singers Conquistadores

Fireworks on Monument Grounds Program begins at 7:30 p.m. Fireworks at 9:30 p.m.

FRIDAY, JULY 5 AFTERNOON WORKSHOPS

Ballads Area 2:30 p.m. Sandy Paton, MC City-Country Area— :00 p.m. Country Music—Mike Seeger, MC Texas Area 1:00 p.m. -2:30 p.m. Afro-American Music— Bruce Jackson, MC Texas Area—3:00-5:00 p.m. Tale Swap Main Stage—2:00 p.m. Square Dancing—Margot Mayo

EVENING

Main Stage—8:00 p.m. Lummi Indian Dancers Jimmy Driftwood, MC Grandpa Jones Jean Ritchie

Red Parham and Bill McElreath Ralph Stanley and the Clinch Mountain Boys Seth Mize, Bookmiller Shannon and Leslie Walls Muddy Waters' Blues Band Dewey Shepherd Skip James Russell Fluharty The Swan Silvertones The Oinkari Basque Dancers —

SATURDAY, JULY 6 AFTERNOON WORKSHOPS

Ballads Area 2:30 p.m. Jean Ritchie City-Country Area— 12:30 p.m. -2:15 p.m. Doc Watson and Family City-Country Area— 2:30 p.m. -5:00 p.m. Blues and the Roots of Soul Music Dick Waterman and Bob Messinger, MCs Texas Area—12:30 p.m. -2:30 p.m. Reality and Texan Music Mack McCormick, MC Texas Area— 3:00 p.m. -5:00 p.m. Fiddlers Convention—Guthrie Meade, MC Main Stage— 1:00 p.m. (Dancing) Oinkari Basque Dancers

St. Nikola Serbian Dancers KJZT Czech Dancers

EVENING

Main Stage— 8:00 p.m. St. Nikola Serbian Dancers Mike Seeger, MC Preservation Hall Band Henry Crowdog Loman Cansler 19 Joe Heaney, Louis Killen, Norman Kennedy Sarah Cleveland Libba Cotton John Jackson Kilby Snow Jarrell, Jenkins & Cockerham Russell Fluharty Bessie Jones and Georgia Sea Island Singers Alma Barthelmy Ed Young and Brothers Doc & Merle Watson, Clint Hov^ard, Fred Price

Rev. F. D. Kirkpatrick and Jimmy Collier

SUNDAY, JULY 7 AFTERNOON WORKSHOPS

City-Country Area— 1:00 p.m. -3:00 p.m. Concert of Religious Music Ballads Area— 1:00 p.m. -2:30 p.m. Mike Seeger, MC Texas Area— 1:00 p.m. -2:30 p.m. Preservation Hall Band Ballads Area— 3:00 p.m. -4:30 p.m. American Indian Music and Dance

EVENING

Main Stage—8:00 p.m. Tigua Indian Dancers A tribute to the John A. Lomax Family Robert Shaw Shirley Lomax Mansell, Bess Lomax Hawes Baca Band

John A. Lomax, Jr., Alan Lomax Mance Lipscomb John Henry Faulk, MC The KJZT Czech Dancers Joe Morante and Los Conquistadores Solomon Family Band Hondo Crouch, Eldrich Dobie, Bob Murphy Lightnin' Hopkins —

SMITHSONIAN B

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MUSEUM OF HISTORY AND TECHNOLOGY STAGES A. - W TEXAS B. BALLADS C. CITY^COUNTRY D. MAIN CONCERTS O INFORMATION

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MUSEUM OF HISTORY AND TECHNOLOGY STAGES A. TEXAS B. BALLADS C. CITY^COUNTRY D. MAIN CONCERTS O INFORMATION CRAFTSMEN

Basketmakers Mrs. Susan Denson Mississippi (Choctaw Indian) Split-Cane Messrs. Donald and Thoniiis Robinson Louisiana Split-Oak Mrs. Edith Jones Washington (Lummi Indian) Cedar Bark Woodworkers Messrs. Freddy and Dallas Bump Arkansas Chairs Mr. Herman Benton New York Grain Scoops Mr. Russell Cartee Kentucky Rived Shingles Mr. Abe Dewey Missouri Cornshuck Seats

Carvers Mrs. Sue McClure and Mrs. Ethel Hogsed North Carolina Wooden Animals Mr. George Lopez New Mexico Santos Mr. Edsel Martin North Carolina Dulcimers

Mr. Edwin L. Kaye New Mexico Kachina Dolls Mr. Connard Wolfe West Virginia Stone and Wood Carvings Mr. Roy Harris Arkansas Wooden Figures Mr. Edgar Tolson Kentucky Wooden Figures Mr. Willard Watson North Carolina Toys Mr. Maurice Alexander Washington (Lummi Indian) Totem Poles

Potters Cornelison 22 family Kentucky Appalachian Miss Teresita Naranjo New Mexico (Santa Clara Pueblo) Indian

Quilters Mrs. Hobart Whitson North Carolina Mrs. Rosa Lee Watson and Mrs. Ora Watson North Carolina Mrs. Dolly Greer North Carolina Freedom Quilting Bee Alabama

Dollmakers Mrs. Charles Morlan Arkansas Appleface Mrs. Johnnie Head Arkansas Corncob Mrs. Letha Dickerson Kentucky Gourd-head Mrs. Thelma Hall Arkansas Nuthead and Woodenhead Mrs. Grace Owie Shelton North Carolina (Cherokee Indian) Cloth Miss Mallie Ritchie and Mrs. Kitty Singleton Kentucky Cornshuck Mrs. Roy Harris Arkansas Poppets

Cotton Processing Mrs. Hugh Daspit Louisiana Weaver, Spinner (Treadle Wheel) and Carder Mrs. Gladys LeBlanc Clark Louisiana Weaver, Spinner (Treadle Wheel) and Carder Mrs. Kay Bates Louisiana Weaver, Spinner (Treadle Wheel) and Carder Mrs. Lucille Guitroz Louisiana Weaver, Spinner (Treadle Wheel) and Carder

Wool Processing Mr. Jack Matthews Maryland Sheep Shearer Mrs. Elsia Trivett North Carolina Spinner (Treadle Wheel) Mrs. Margie Waldon Missouri Spinner (Walking Wheel) Miss Elizabeth Bass Missouri Carder Mr. Taft Greer Tennessee Weaver Mr. Norman Kennedy Virginia Milling, Spinning and Weaving Mr. Angus McLeod and group Massachusetts Milling Songs Mrs. Elizabeth Notah New Mexico Weaver, Spinner, Carder (Navaho) Mrs. Doris John New Mexico Weaver, Spinner, Carder (Navaho) Mrs. Florence Watson New Mexico Weaver, Spinner, Carder (Navaho) Mrs. Frances James Washington (Lummi Indian) Spinner (Electric Wheel)

Miscellaneous Mr. Isaac Doss Arkansas Blacksmith Mrs. Conchita Quintana New Mexico Tinsmith Mrs. Tillie Galbadon New Mexico Spanish-American Needlework Mr. Joe Washington and family Washmgton (Lummi Indian) Net Making and Setting Mr. and Mrs. Wally Kiser Kentucky Sorphum Production Mrs. Russell Cartee Kentucky Butter Churning, Sassafras Candy Making PERFORMERS

Anthony Alderman Virginia Fiddler Alma Barthelmy Louisiana Ballad Singer Loman Cansler Missouri Ballad Singer Caither Carlton North Carolina Fiddler Sarah Cleveland New York Ballad Singer Fred Cockerham North Carolina Fiddler and Banjo Picker Libba Cotton Washington, D. C. Country Songster and Guitar Player Henry Crowdog South Dakota Indian Singer and Story Teller Jimmy Driftwood Arkansas Ozark Ballad Singer Russell Fluharty West Virginia Hammer Dulcimer Player Dolly Greer North Carolina Ballad Singer Joe Heaney Conemara, Ireland; New York Irish Gaelic Ballad Singer Clarence and Clint Howard Tennessee Singers-Guitar Players John Jackson Virginia Songster-Blues Guitar Player Skip James Mississippi Country Blues Singer Thomas Jarrell North Carolina Fiddler and Banjo Picker Oscar Jenkins North Carolina Fiddler and Banjo Picker Bessie Jones and Georgia Sea Island Singers Georgia Shouts, Jubilees, Spirituals and Ring Games Grandpa Jones Tennessee Singer and Banjo Picker Norman Kennedy Aberdeen, Scotland; Williamsburg, Va. Scots Ballad Singer Louis Killen Newcastle, England; New York City English Ballad Singer Lummi Dancers Washington State Traditional Tribal Dancers 23 Margot Mayo Texas; Kentucky; New York Square Dance Caller

Bill McElreath North Carolina Mountain Clog Dancer Seth Mize Arkansas Fiddler Oinkari Dancers Idaho Basque Dancers Red Parham North Carolina Harmonica Player Preservation Hall Band Louisiana New Orleans Jazz Band Fred Price Tennessee Fiddler Kenneth Price Tennessee Banjo Picker Jean Ritchie Kentucky; New York Ballad Singer and Dulcimer Player Fred Roe Tennessee Fiddler Bookmiller Shannon .Arkansas Banjo Picker

St. Nikola Dancers Wisconsin Traditional Serbian Dancers Mr. and Mrs. Aubrey Smith West Virginia Fiddler and Guitar Player George Smith Maryland Square Dance Caller Dewey Shepherd Kentucky Fiddler and Ballad Singer John Kilby Snow Pennsylvania Autoharp Player Ralph Stanley and The Clinch Mountain Boys Virginia; Florida Mountain String Band Swan Silvertones New York Gospel Odell Tolliver Virginia Fiddler Leslie Walls Arkansas Guitar Player Muddy Waters and Group Illinois Blues Band Arnold Watson North Carolina Singer-Banjo Picker Doc Watson North Carolina Singer-String Instrumentalist Merle Watson North Carolina Guitar Player Rosa Lee Watson North Carolina Singer-Guitar Player Ed, G. D. and Lonnie Young Tennessee Afro-American Fife and Drum

FESTIVAL SPEAKERS & CONSULTANTS

Bruce Jackson New York Guthrie Meade Washington, D. C. Mack McCormick Texas Robert Messinger New York Sandy Paton Connecticut Caroline Paton Connecticut Jean Ritchie New York Mike Seeger Washington, D. C. Dick Waterman Massachusetts TEXAS A special program of Texan folklife has been arranged with the generous support and research assistance of the Institute of Texan Cultures, Henderson Shuffler, Director.

CRAFTSMEN Baskets Mrs. Maggie Poncho (Alabama—Coushatta Indian) — Rivercane baskets Mrs. Leona Syslestine (Alabama—Coushatta Indian) — Pine needle baskets Mrs. Kathryn Apelt—Armadillo baskets Desert Plants Mrs. Edith Perry—Food (jelly, tunas, nopales) Mr. Roger Stallings—Fiber (yucca rope and huraches, tumbleweed hats) Mr. George Use— Beverages (tequila, mescal, puike) Mr. John Davis—Ceremonial (peyote, aloe vera) Mr. Arnold S. Griffin —Stock Feed (prickly pear, mesquite) Mr. Dewey Compton— Medicinal (pears and leaves of cactus, loco vkieed) Blacksmith Mr. Julius Moultry

Saddle Maker Mr. Oscar Carvajal, Jr.

Grist Mill M,-. R. K. Wimbedey Mr. C. W. Wimberley Lye Soap Makers Mrs. Dorothy Buchanan Mrs. Mary Johnson Bread Baking and Oven Building Tigua Indians

MUSICIANS Baca Band Czech Dance Band KJZT Dancers Czech Dancers Mance Lipscomb Blues Songster and Guitarist 24 Los Conquistadores Mariachi Band Joe Morante Corridos Singer Robert Shaw Barrel House Piano Player Solomon Family Fiddle Band Tiqua Indians Tribal Dancers Lightnin' Hopkins Blues Singer and Guitarist

TALE TELLERS Hondo Crouch, Eldrich Dobie, Bob Murphy

TEXAN FOODS Under the direction of the "A Night In Old San Antonio" Committee of the San

Antonio Conservation Society, Mrs. J. A. Reaney, President.

Mexican style cooking is as indigenous to Texas and the Southwest as chowder is to

New England. The basic ingredient in most foods is corn which is ground, mashed, patted or rolled, baked or fried in combination with other basic ingredients of pinto beans, meat, chili peppers, herbs and spices. Traditional combinations and all time favorites are:

Tortillas con queso A wafer thin pancake of ground corn filled with cheese and a juicy tangy sauce of tomatoes and peppers; to be eaten with the fingers and enthusiasm.

Bean lacos The tortilla with a different treatment, a filling of retried pinto beans, lettuce, tomatoes, onions and hot sauce.

Tamales Moist juicy corn meal dough with a spicy meat filling; baked in a corn shuck. The star of many Texas gatherings and holiday celebrations.

Chili con carne Chunky beef in a savory peppery sauce with pinto beans. This popular typical dish

is sometimes called "a bowl of red."

Corn on the cob Shucked, boiled and buttered . . . and eaten immediately.

Anticuchos The renowned anticucho or "meat on-a-stick" is marinated in special spices, skewered, basted with a flavorful sauce and cooked over the coals. Bunuelos Crisp, crunchy dessert, an indefinable pleasure to the palates; a thin deep fried batter dough covered with cinnamon and sugar.

Candy Light and rich conclusion to the piquant foods of the menu: notable for its creamy brown sugar base and Texas pecans.

Watermelon The ambrosia of the Southwest; cool, sweet and refreshing; at its best in June and July.

Horseshoe sausage So-called because of its traditional shape and its association with the frontier range. German food Knockwurst, sauerkraut, and potato salad—basic fare popular in the German communities of New Braunfels as well as San Antonio.

Kolaches Delicious fruit-filled pastry attributed to the Czechs and considered a special

treat to all.

Pink lemonade All the more refreshing because it is pink. Photo: Run Sai<.ai

J..jfl —

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26 ^

TXANKAREKU is a historical dance which tells of a lallen hero in battle. Performed by the Oinkan Bascjue Dancers. Photo: Ralph Rinzler.

BASQUES The Basques inhabit a small, and Soule). Since the Middle mountainous corner of southwest- Ages, however, there has been a by ern France and northern Spain steady erosion of the Basque William A. Douglass an area which includes a portion language and culture— notably in Coordinator of the western Pyrenees and the the Spanish provinces of Alava Basque Studies Program lowlands along the Cantabrian and Navarra. Today there are Desert Research Institute Sea. The Basques have long been somewhat fewer than 100,000 University of Nevada regarded as the mystery people of Basque-speaking people in France Europe. They are both racially and and a little over 500,000 Basque- linguistically distinct from neigh- speaking people in Spain. boring European populations and The fact that the Basque peo-

scholars are still unable to explain l^le, while few in number and oc-

when or how they came to oc- cupying a small area that is in turn cupy their present homeland. The divided politically between two evidence for Basque racial unique- maior nations, have managed to ness is based upon their distinct retain their distinct language and

physical type and their unusual cultural heritage is ample testi- blood-type frequencies (vis-a-vis money to their resistance to out- other European peoples). Spoken side influences. The Basques were Basque, despite centuries of ef- quite successful in defending their forts by philologists and linguists homeland against the invasions of

to relate it to other tongues, re- the Romans, Visigoths, Franks, mains unique within the world Celts, and Moors. When the na- family of languages. tions of Spain and France Historically, the Basque coun- emerged, the Basques were suc- try consisted of the area presently cessful in retaining a degree of constituting four provinces in political autonomy which was for- Spain (Guipuzcoa, Vizcaya, Alava, malized in local charters. These and Navarra) and three provinces charters, dating from the Middle in France (Labourd, Basse Navarre, Ages, were the basis for a strongly —

tradition of seamanship. They were the earliest whalers in Eu- rope. Long before Columbus, Basque fishermen were traveling to the coast of Greenland. Juan de Elcano, a Basque, was the first to circumnavigate the globe. Many of the corsairs who terrorized shipping in both European and Caribbean waters were Basques. This seafaring tradition continues. There are many important fishing villages and major port facilities along the Basque coast, and their seamen serve in merchant fleets 27 around the world. The interior of the Basque

country is dotted with small farming villages where, for centuries, peasant families have practiced agriculture on small, single-family iandholdings. The mountainous terrain and cool, humid climate make farming difficult, limit the availability of suitable land, and rule out mechanizaton of agriculture. These difficulties, combined with the custom in Basque society of naming a single heir to the farm in each generation, have produced a long-standing tradition of ARKO DANTZA Hoop Dance, performed by the Oinkari Basque Dancers. emigration out of the peasant vil- Photo: Ralph Rinzler. lages. Many of the dislocated Basques played important roles in democratic form of local govern- outside influence lives on in the the establishment and administra- ment through popular assembly. active Basque nationalist and sep- tion of the Spanish Empire. Begin- The most famous of the assem- aratist political movements that ning in the nineteenth century blies was that of Guernica (prov- provide opposition to the French many Basque emigrants came to ince of Vizcaya) where legisla- and Spanish governments. the American West where they tive sessions were held beneath The Spanish Basque provinces rapidly established themselves in an oak tree. Periodically, the king of Guipuzcoa and Vizcaya consti- sheep-ranching. Today, the sheep of Castile (or his representative) tute one of the major industrial industry in the western United was required to travel to Guernica regions of Spain, and tourism is States is largely controlled by to pledge beneath the sacred oak an increasingly important factor in these interests and the majority of to respect the charters of Vizcaya. the economy of the entire Basque sheepherders are imported under To this day, the Oak of Guernica country. The two ways of life most contract from the Basque country. is of importance to Basques as characteristic of the Basques, how- The members of the Oinkariak the symbol of their political au- ever, are seafaring and agriculture. dance company are descendants tonomy. This tradition of resisting The Basques have a longstanding of early Basque settlers in Idaho. —

GENRES IN NEGRO ORAL POETRY AND SONG

by Bruce Jackson Professor of English State University of New York at Buffalo

Muddy Waters. Photo: Richard Waterman.

It is perhaps ironic that the mantic fallacy. The electrified, gospel singing; the focus on spiri- immigrant group least well served stylized blues heard on so many tuals as a participant activity has by the American educational sys- soul stations are in fact a linear been partially replaced by gospel tem should be the only such descendant of the traditions de- as an audience-performer situa- group to maintain viable tradi- veloped in the deep South. Those tion. In those areas where modern tions of both oral poetry and im- traditions have simply been influ- conditions have not intruded provisational song. Although the enced by changing social needs enough to restructure the life purists may bemoan the fate of (which altered the texts) and styles (such as the southern pris- the country blues—which have changing technologies (which al- on farms, which in some cases almost succumbed to the exigen- tered the styles of presentation). mirror the old plantations), genres cies of the recording industry Some of the older forms exist sim- such as the worksong—elsewhere

one should realize that the com- ultaneously, and it is not uncom- archaic— still survive. Finally, new plex of musical streams that falls mon to find other performers who needs create new demands. The under that generic title has been will switch styles to suit diflerent urban streetcorner world has led influenced by commercial outlets audiences (Muddy Waters and to an adaption of the hobo recita- for at least forty years, and that Lightnin' Hopkins are examples). tion called the Toast, long narra- condemning the sort of blues Something of the same has tive poems that serve a variety of Muddy Waters plays today in fa- happened with religious music: functions ranging from expressing vor of the "purer" blues he the rather free-form of spiritual simple homilies to partially re-

played several decades ago is singing has been partially taken leasing bitterness and frustration really indulging oneself in a ro- over by the stylized concepts of lacking other outlets. jazz renditions. With rare ex- NEW ORLEANS LIFE AND ticularly if the leading character to was a sport. New Orleans was the ceptions the instruments played NEW ORLEANS JAZZ ante-bellum center of opera in were of European ancestry. The by the United States. Pit musicians banjo and other informal instru- trained jazz men, and the ments with African antecedents, Richard B. Allen some operas themselves gave melodic however, are found in some jazz Curator, Archive of material for variations. Louis Arm- band rhythm sections. New Orleans jazz strong inserts a bit of Rigoletto Tulane University Library American contributions in- into his recording of "New Or- New Orleans, Louisiana clude mountain and cowboy leans Stomp" with johnny Dodd's songs. "Careless Love" came down Black Bottom Stompers. George from the Great Smokies, and the Lewis employs "The Sextet" from tune of "The Red River Valley" Lucia di in the Lammermoor floated down the river. New lyrics midst of "Nobody Knows the Way were added to the latter, and it

I Feel This Morning." is now a locally popular hymn, 29 African heritage The West "We Shall Walk Through the ex- was primarily rhythmic and Streets of the City." New Orleans jazz is a musical pressive. West African syncopa- The New Orleans story could style that has a special meaning tions are felt when a musician go on endlessly, but the most in- in its native setting. A current say- accents weak beats, plays another fluential thing was the Gallic dis- ing here is, "What did you bring rhythm over the steady beat which position. A Louisianan of French it for if you're not gonna shake the dancers require, or strikes a descent once said, "The Pope, he it." This best sums up the function tone just before or after it would ain't no Baptist." Such an attitude of jazz in this peculiar variant of ordinarily be sounded in strictly meant casual fun in the dance United States folklife. It was im- Western music. The emotional honky tonks, and cabarets. provised music for dancing and content of jazz comes largely halls, Pleasure clubs and fraternal or- there never was another city for from the adaptation of West ganizations sprung up like mush- dancing like New Orleans. Where African vocal nuances to instru- and else can you find so many pre- ments. Wide vibrato, harsh tim- rooms and hired the hot brass Lenten balls? Where else does bres and strange intonations dance bands. And the mood of one "stomp it on down" at a Sun- abound. Surprising variations on the music suited this carefree day school parade or a funeral? the melody add more emotion spirit. Being a seaport, and a good- time seaport in the South, this De De Pierce of the Preservation Hall Band city drew people from all parts of the world, and they heard music from all nations coming off the ships when they walked along the poor man's promenade, as the docks were called. Today New Orleans brass bands play "Maryland, My Mary-

land" which is based on a Ger- man Christmas carol. An old An- glo-Saxon ballad, "The Ram of Derbyshire," became a minstrel song about a man instead of an animal —as "Oh, Didn't He Ram-

ble," it is heard at funerals, par- !,>A THE APPALACHIAN DULCIMER

by Scott Odell Division of Musical Instruments Smithsonian Institution

Two entirely different instru- plucked, the other 30 ments, one struck with small hammers, bear the name "dulcimer," and the re- sulting confusion often makes it difficult or impossible to determine to which instrument one is being referred. Here, we are concerned with the plucked variety, although hammered dulcimers have a history as old or older and were quite common in this country during the nineteenth century. Hammered dulcimers are still en- countered today among both urban and country musicians, and represent varied traditions of great interest. The plucked "mountain" or "Appalachian" dulcimer is rather variable as to size, shape, and

stringing, but all those which I have seen share common features, two of which are most important. First, they have a series of frets which are spaced to give a diatonic scale. A string pressed against frets arranged in this manner can sound notes equivalent to those playable using only the white keys of a piano. The other essential dulcimer characteristic

is the use of one or more strings which are played simultaneously strings, are Four-stringpd dulcimer trnm Surry County with the melody but North Carolina. Photo: Scott Odell. not fretted. These strings are tuned to provide a drone accom- paniment to the melody. This can be compared with the use of been able to date with any degree drone notes in bagpipe and five- of certainty are no earlier than string banjo playing. about 1875.

Although there is much varia- Two dulcimers in the Smith- tion in playing techniques, the sonian's collection, one a nine- typical player holds the instru- teenth-century instrument from ment on his lap, frets the melody Kentucky and the other from string(s) with a short stick or North Carolina, dated 1934, are "noter" held in the left hand, and quite similar to both modern strikes across the strings near the German "sheitholts" and an early bridge with a flexible plectrum one pictured in Michael Prae- made of a goose or turkey quill, torius's Syntagma Musicum, or even a piece of watch spring. printed at WolfenbiJttel in 1620. Dulcimers are sometimes bowed, These instruments are in the form but this is very uncommon. of an elongated, straight-sided, A good dulcimer player can tapering box, with the frets ap- make the drones sound continu- plied directly to the right side of ously so that the listener is aware the soundboard. The presence of of a constant drone harmony such instruments is hardly sur- against which the melody is al- prising in view of the large num- ways changing, and individual bers of Germans who settled in strokes of the plectrum against Pennsylvania and, later, through- the drone strings do not stand out out the southern mountains. prominently. One Carroll County The "sheitholt" type of dul- lacob Melton of Carroll County, Virginia family of dulcimer play- cimer is fairly easily distinguished Virginia, in front of his workshop with ers aptly calls this technique "fid- from the other popular dulcimer some newly made instruments. dling," as the drone sounds like type, which has a raised fretboard Photo: Scott Odell. a long drawn out note on a fiddle. running down the center of the The more proficient dulcimer soundboard and does not have articles. Even so, traditional dulci- players do not content themselves straight sides. Such dulcimers are mer making and playing is far with merely playing the melody, very similar to Scandinavian in- from dead, as I have been able but, like a fiddler, will add many struments, of which the Swedish to visit eight dulcimer makers and ornaments. "hummel" is typical. ten traditional players in just five There is great variation from Although the earliest history counties of North Carolina and of the dulcimer in this dulcimer to dulcimer and no country Virginia. One of the most produc- remains unclear, there are several shape or string arrangement can tive makers, Jacob Melton, died closely allied instruments tradi- safely be called typical. Four- just last year, but his brother, tional to northern stringed teardrop-shaped instru- Europe which Raymond, an outstanding player, are very similar to the Appala- ments seem to be as traditional and other relatives, are still up- chian dulcimer. These include the and as the three-stringed common holding the family's musical tra- Swedish "hummel," the German instrument with a body shaped dition. It is also interesting to "sheitholt," the French "epinette somewhat like a slender elon- point out that despite folk-revival des Vosges," and others. Inter- gated guitar, which has become interest in the dulcimer dating estingly, there is no similar instru- popular among urban performers back at least to the 1930s, most ment traditional to the British in recent years. of these makers and players were Isles, and thus it seems clear that ludging from conversations largely unaware of urban interest the dulcimer was introduced by traditional musicians, the with in the dulcimer and had only a settlers from northern Europe. The instrument has declined greatly very local reputation, often lim- its in its natural exact date of introduction can- in popularity habitat ited almost entirely to family and not be determined today, but it during the last thirty or forty friends. is probable that it was not com- years, perhaps because of the in- mon until the nineteenth cen- troduction of the guitar and a "Sheitholt" from Michael Praetorius's tury. The oldest which I have decreased reliance on homemade Syntagma Musicum. FIDDLE CONTESTS Little has been written about AND CONVENTIONS the fiddle contest or convention, one of America's oldest folk in- 32 by stitutions. Such events, varying in Guthrie T. Meade magnitude, have been held National Archives throughout the United States and Canada — in small hamlet and large city alike—for at least the greater part of a century. Usually, but not always, the fiddlers convention features a tournament, or tournaments, in which prizes and awards for various events are awarded to those judged to be the best of their type. Many of these assemblies have enjoyed a long history, providing for the annual selection of a local, state, or regional champion. Contests have also been staged for bene-

fits, fund raisings, and simply for purposes of advertising. They have been held in schools, barns, street corners, assembly halls, at fairs, picnics, reunions, and even over radio stations. Some of these affairs are very short, lasting for the space of an hour or less; others may continue for a week or more. The rules of entry for each contest vary extensively. Some tournaments impose mini- mum age requirements on the entrants, while others allow only Dewey Shepherd plays a homemade tunes of great anticjuity to be gourd fiddle while son, O. C, taps rhythm with hickory fiddlesticks- played. Still others will not permit Photo: Robert Yvllin the playing of novelty or 'show- off' pieces by the contestants, or ern Indiana. The winners of each allow additional quips or antics respective state then competed in by the contestants which might the finals at Louisville. It is esti- influence the audience. There are mated that a total of over 1,800 instances of contests that have fiddlers participated in this con- identified the fiddlers only by a test. In April, 1926, a World-wide number in order to eliminate rec- Fiddlers Contest was held at ognition of local favorites. Lewiston, Maine, featuring 68 fid- The origin of the fiddle con- dlers from eight states and three

test is shrouded in obscurity, as Canadian provinces plus two early scholars and journalists did guest fiddlers from Bantry, Cork, not document this American phe- Ireland, and Aberdeen, Scotland. nomenon. The annual Atlanta, Another fiddling phenomena Georgia, Old Fiddlers Convention worthy of mention occurred on presumably began in the 1880s. New Year's Eve, 1925, over radio In 1909, Louise Rand Bascom station WOS in lefferson City, noted the existence of fiddler con- Missouri. On this evening 81 ventions in. North Carolina, and fiddlers were scheduled to com- police captain Francis O'Neill, in pete in the radio contest, although

his noted work, /r/'.s/i Music & only 53 actually appeared at the Musicians published in 1913, men- station. The contest began at 8 tions the annual Old Fiddlers con- o'clock and lasted until the early test in Indiana. From these wide- hours of the morning. Each fiddler

spread references, it can be predi- was introduced by number, and cated that the tradition of fiddling the radio audience selected the tournaments was of some an- best fiddler by voting for the tiquity at the turn of the century. number of their choice. The year 1926 marked two of Today fiddle conventions still the largest and most memorable abound, although usually in a format than those #v- f fiddling contests which had ever more expanded taken place. In mid-January of of earlier years. In addition to the that year, the Ford Motor Com- fiddling tournaments, similar con- pany's regional office in Louis- tests are held for banjo, guitar,

ville, Kentucky, staged a regional folk singing, and string bands of fiddlers contest where playoffs various types. The oldest conven- were held within 111 counties in tion is at Union Grove, North Car- Kentucky, Tennessee, and south- olina, which began in 1924.

FIDDLE CONTESTS Little has been written about off' pieces by the contestants, or ern Indiana. The winners of each AND CONVENTIONS tlie fiddle contest or convention, allow additional quips or antics respective state then competed in one of America's oldest folk in- by the contestants which might the finals at Louisville. It is esti- by stitutions. Such events, varying in influence the audience. There are mated that a total of over 1,800 Guthrie T. Meade magnitude, have been held instances of contests that have fiddlers participated in this con- National Archives throughout the United States and identified the fiddlers only by a test. In April, 1926, a World-wide Canada — in small hamlet and number in order to eliminate rec- Fiddlers Contest was held at large city alike— for at least the ognition of local favorites. Lewiston, Maine, featuring 68 fid- greater part of a century. Usually, The origin of the fiddle con- dlers from eight states and three

but not always, the fiddlers contest is shrouded in obscurity, as Canadian provinces plus two vention features a tournament, or early scholars and journalists did guest fiddlers from Bantry, Cork, tournaments, in which prizes and not document this American phe- Ireland, and Aberdeen, Scotland. awards for various events are nomenon. The annual Atlanta, Another fiddling phenomena awarded to those judged to be Georgia, Old Fiddlers Convention worthy of mention occurred on the best of their type. Many of presumably began in the 1880s. New Year's Eve, 1925, over radio City, these assemblies have enjoyed a In 1909, Louise Rand Bascom station WOS in Jefferson long history, providing for the noted the existence of fiddler con- Missouri. On this evening 81 annual selection of a local, state, ventions in North Carolina, and fiddlers were scheduled to com- or regional champion. Contests police captain Francis O'Neill, in pete in the radio contest, although have also been staged for bene- his noted work, Irish Music & only 53 actually appeared at the fits, at 8 fund raisings, and simply for Musicians published in 1913, men- station. The contest began purposes of advertising. They have tions the annual Old Fiddlers con- o'clock and lasted until the early morning. Each fiddler been held in schools, barns, street test in Indiana. From these wide- hours of the corners, was introduced by number, and assembly halls, at fairs, spread references, it can be predi- picnics, reunions, and even over cated that the tradition of fiddling the radio audience selected the radio voting for the stations. Some of these tournaments was of some an- best fiddler by affairs are number of their choice. very short, lasting for tiquity at the turn of the century. the Today fiddle conventions still space of an hour or less; The year 1926 marked two of others abound, although usually in a may continue for a week the largest and most memorable or more. more expanded format than those The rules of entry for fiddling contests which had ever each earlier years. In addition to the contest vary extensively. taken place. In mid-January of of Some tournaments, similar con- tournaments impose mini- that year, the Ford Motor Com- fiddling mum tests are held for banjo, guitar, age requirements on the pany's regional office in Louis- entrants, while folk singing, and string bands of Dewey Shepherd plays a homemade others allow only ville, Kentucky, staged a regional gourd fiddle tunes various types. The oldest conven- while son, O. C. laps of great antiquity to be fiddlers contest where playoffs rhythm with hickory fiddlesticks. played. North Car- Still others will not permit were held within 111 counties in tion is at Union Grove, Photo: Robert Yellin. the in 1924. playing of novelty or 'show- Kentucky, Tennessee, and south- olina, which began Fiddlers Conventions being held in 1968 are

National Old Time Fiddlers Contest

Mid-Way U.S.A. Fiddlers, Pickers and Singers Convention

Old-fashioned Fiddling Contest

Old Time Fiddlers Contest

International American Old Time Fiddlers Contest

Old Time Fiddlers Convention

North Carolina State Fiddlers Championship

Old Time Fiddlers Convention

Fiddlers Convention

Fiddle Contest

Sunset Park Fiddlers Picnic

34 Fiddlers Picnic

Old Fiddlers Reunion

Old Fiddlers Contest

Fiddlers Festival

All-American Country Fiddlers Contest

Northeast Fiddlers Convention

Galax Old Fiddlers Convention

Old Time Fiddlers Convention

Old Time Fiddlers Association Picnic

International Old Time Fiddlers Contest

Canadian National Fiddling Contest As an example of the rich diversity of folk culture which can be found within a given region of the United States, the 7968 Festival of American Folklife

is focusing on the state of Texas.

It is hoped that a presentation of the lore and crafts of one area may illustrate the vitality of cultural survivals, and also stimulate interest in further study and public recognition of this culture.

This presentation of folklife is produced by the newly formed 35 Institute of Texan Cultures. Tra- ditional food of the Southwest will be prepared and served by the San Antonio Conservation Societv.

Covered Wagon. Synifao/ic of Texas culture. One of the focal points

of ttie Institute of Texan Cultures. Pfioto: Kilpalrick's

INSTITUTE OF suit the long-range purposes of provide the Institute with operat- TEXAN CULTURES the project. ing expenses for two years. The definitive aim of the In- Tracing the flow of immigra-

The Institute of Texan Cul- stitute is to provide a statewide tion by each group, the exhibits tures was established for the im- educational communication center show the evidences still clear on mediate purpose of preparing a concerned with subjects relating the Texas scene today of their creditable exhibit for Hemisfair to the history and culture of the origins and impact. The story is and for the long-range program people of Texas. Collecting, or- told as much as possible in terms of presenting the people of Texas ganizing and interpreting infor- of individuals, and even Texans with the real drama of their own mation on Texas subjects will will be due some surprises when history and tradition. The 59th continue in order to produce they look at the plain historic Legislature of the State appro- audio-visual programs for the record of who they are and from priated $4.5 million for an appro- classrooms, museums, libraries whence they came. priate Texas State Exhibit for and television programs of the Contrary to popular legend Hemisfair and directed that due State. In May 1967, $5.5 million the Negro, Irishman, Italian and consideration be given to the con- was appropriated to create ex- Englishman were playing their struction of a facility that would hibits, expand the building, and roles in Texas long before the first Anglo-American crossed the 1968, the enrichment in depth of Sabine. The oldest continuous each of the sectors of the exhibit settlement in Texas is that of the will begin in earnest. The empha- Tigua Indians who emigrated sis will be shifted from time to from New Mexico in 1680 and time to individual areas of the are still at Ysleta in the El Paso exhibit so that attention can be area. They built the first European focused on a single group. Por- edifice in the State, the Mission at tions of the exhibit will be cir- Ysleta. An examination of any culated to the Texas museums and single phase of Texas' develop- libraries. ment shows the melding of forces Since the (primary function of from many heritages, in the oil the Institute will be to bridge the industry, it was a Virginian who gap between the academic his- drilled the first producing well; torian and the people of Texas, a Czech who brought in the the first stefD of the Institute will spindletop gusher; and the grand- be the development of a central son of a Pole who controlled collection of historic pictures. much of the inckistry in tills This is essential to the production century. of films, exhibits, and publica-

Each exhibit area is designed tions. This vast reservoir of pic- to give some feeling of the type torial material will be available to of people it represents. In struc- the museums, schools and tele- ture, design, and music it will vision stations of the State. The create an atmosphere em|;)hasi<^- Institute will also serve as a cen-

ing the factual story told by its tral index tor research material pictures and relics. A central to the State of Texas. dome contains the dramatic high- Certainly the examination of

light of the show which is a 36- any single phase of Texas history screen ultramodern film and slide shows the melding ol forces from presentation. On the large screen many heritages. Twenty-five major the colorful events of Texas life cultural groups came together to such as the blessing of the shrimp lay the foundation of the Texas

boats at Galveston and "A Night of Today. We hope that all visi- in Old Fredericksburg" are shown tors to the central exhibit will see with details from these events at least a part of their own heri- appearing simultaneously on the tage and will recognize that they, smaller screens. along with many others, will After Hemisfair, in October determine the future of the State. THE SAN ANTONIO CONSERVATION SOCIETY

It has been said that "He who knows the history of San Antonio, knows the history of Texas." With this in mind, the San Antonio Conservation Society was founded on July 8, 1925. "The purpose for which it was formed

is to preserve and encourage the preservation of historic buildings, objects, and places relating to the

history of Texas and its natural

beauty and all that is admirably distinctive of our State and by such physical preservation to keep the history of Texas legible and intact to educate the public, and especially the youth of today and tomorrow, for knowledge of our Pthatai are an important part ot Fiesta celebration lor children The brightly inherited regional values." colored paper replicas are filled cor- During its years as a with goodies and broken open with a porate body, the Society has broom stick. The goodies scatter and the accomplished the preservation of children scramble. the San Antonio River from its intended fate as a concrete covered ditch; the restoration and preservation of the old Granary at the San Jose Mission, now des- ignated a National Historic Site; the protection of the Espada Spanish Mission aqueduct; and the yearly presentation of the Colonial Spanish Christmas play "Los Pastores." One of the guiding ideas be- hind the Society has been the Center: Some 90,000 people are attracted intention to preserve examples of to the annual four-night event where architecture of all the peoples the varieties of food, drink, and who made up the population of entertainment are presented by San Antonio. Therefore, the Span- The San Antonio Conservation Society.

THE SAN ANTONIO CONSERVATION SOCIETY

It has been said that "He

first Anglo-American crossed the 1968, the enrichment in depth o who knows the history of San Sabine. The oldest continuous each of the sectors of the exhibit Antonio, knows the history of

settlement in Texas is that of the will begin in earnest. The empha- Texas." With this in mind, the 35 Tigua Indians who emigrated sis will be shifted from time to San Antonio Conservation Society from New Mexico in 1680 and time to individual areas of the was founded on July 8, 1925. "The

are still at Ysleta in the El Paso exhibit so that attention can be purpose for which it was formed

area. They built the first European focused on a single group. Por- is to preserve and encourage the edifice in the State, the Mission at tions of the exhibit will be cir- preservation of historic buildings, Ysleta. An examination of any culated to the Texas museums and objects, and places relating to the

single phase of Texas' develop- libraries. history of Texas and its natural

ment shows the melding of forces Since the primary function of beauty and all that is admirably from many heritages. In the oil the Institute will be to bridge the distinctive of our State and by

industry, it was a Virginian who gap between the academic his- such physical preservation to keep drilled the first producing well; torian and the people of Texas, the history of Texas legible and

a Czech who brought in the the first step of the Institute wi intact to educate the public, and spindletop gusher; and the grand- be the development of a centra especially the youth of today and son of a Pole who controlled collection of historic pictures. tomorrow, for knowledge of our Pihatai are an important part ol Fiesta celebration lor children. The brightly much of the industry in this This is essential to the production inherited regional values." colored paper replicas are filled century. of films, exhibits, and publica- its years as a cor- During with goodies and broken open with a Each exhibit area is designed tions. This vast reservoir of pic- porate body, the Society has broom stick. The goodies scatter and the to give some feeling of the type torial material will be available to accomplished the preservation of children scramble.

of people it represents. In struc- the museums, schools and tele- the San Antonio River from its ture, design, and music it will vision stations of the State. The intended fate as a concrete cov- create an atmosphere emphasiz- Institute will also serve as a cen- ered ditch; the restoration and ing the factual story told by its tral index for research material preservation of the old Granary pictures and relics. A central to the State of Texas. at the San lose Mission, now des- contains dome the dramatic high- Certainly the examination of ignated a National Historic Site; light of the 36- show which is a any single phase of Texas history the protection of the Espada screen ultramodern film and slide shows the melding of forces from Spanish Mission aqueduct; and presentation. On the large screen many heritages. Twenty-five major the yearly presentation of the the colorful events of Texas life cultural groups came together to Colonial Spanish Christmas play such as the blessing of the shrimp lay the foundation of the Texas "Los Pastores." boats at Galveston and "A Night of Today. We hope that all visi- One of the guiding ideas be- in Old Fredericksburg" are shown tors to the central exhibit will see hind the Society has been the with details from these events Center: Some 90,000 people are attracted at least a part of their own heri- intention to preserve examples of four-night event where appearing simultaneously on the tage and to the annual will recognize that they, the architecture of all the peoples smaller varieties ol food, drink, and screens. along with many others, wi who made up the population of entertainment are presented by After Hemisfair, in October determine the future of the State San Antonio. Therefore, the Span- The San Antonio Conservation Society. Left: Hand made tortillai are a delicacy to some and a staple to others. The art of patting the tortilla into lis pancake- like shape is a skill which has been transmitted Irom generation to generation.

Right: Tortillas and beans are combined to make a bean taco. A popular item of "A Night In Old San Antonio."

ish period is represented by the tion to commemorate the Battle during the remainder of the year. Governor's Palace, the Mexican of San Jacinto in the Texas-Mexi- Over 90,000 people visit the cele- influence by the Market place, the can War. In 1895 the women of bration and enjoy a unique op- republican period by the Alamo San Antonio decided to make an portunity to sample the food, and the French era by the re- annual event of the day and call music and craftsmanship of the mains of the Guilbeau house. The it the Battle of the Flowers. They ethnic groups of San Antonio.

Society's most recent project is brought flowers on that day to Pinatas and cascarones share the nineteenth century Ursuline the Alamo to commemorate the the spotlight with german beer

Convent with its unique gothic heroes of the battle. Their cere- and Czech pastries. Can-can girls chapel. The Society bought part mony has mushroomed into a and New Orleans jazz give way of the chapel for $250,000 and week-long celebration which in- to Mariachi bands and Chili they are now selling it at $1.00 cludes "A Night in Old San An- Queens. Sailing up the beautiful, per inch to interested citizens. tonio" sponsored by the San landscaped San Antonio River, The motto of the Conservation Antonio Conservation Society in saved from anonymity under a

ladies has become, "Shall I say La Villita, incorporates the help of concrete cover by the Ladies of

is 'Yes, 1 remember it,' or 'Here it 2,000 local volunteers, and earns the Conservation Society, one " is, I helped to save it.' enough over the four day festival grateful for their determination to

Fiesta Week is the celebra- to continue its restoration work preserve the past for the future. To serve the varied interests of museum visitors, and to stimulate collectors young and old, the Smithsonian has developed unique shops and bookshops to

its museums. SMITHSONIAN MUSEUM SHOPS complement each of Whether they be authentic crafts, CRAFTS —SHOWCASE FOR original art and prints, Eskimo carvings, or cornhusk dolls from Appalachia, Smithsonian Shops have enriched homes and schools throughout the nation and around the world with objects of cultural, educational, and decorative 39 interest. The Secretary of the Smith- sonian Institution, S. Dillon Rip-

ley, sees objects as catalysts: "Ob- jects are documents to be read as much as the printed page," he has written. "Many people and all children need to touch objects, assess their texture, not simply read about them, in order to learn. "A dinosaur bone, a live cow, a piece of sculpture, a stone ax: we have need for objects. Through them the truth is seek- ing us out." Through displays of imaginative handcrafts from all parts of the world, and special exhibitions staged frequently throughout the year, the Smithsonian Shops re- flect a growing interest in traditional and contemporary crafts. During this festival month,

the feature is an unusual collection of rubbings taken from stone- slab grave markers of Puritan and Colonial America. Their sacred and secular symbols attracted the attention of a dedicated writer- photographer team, Avon Neal and Ann Parker, who have adapted the age-old technique of stone rubbing to preserve this almost

vanished art which is discussed in

Cornhusk doll irom Appalachu. the following article. 40

...il ;,;;. i .iti. !:t-i.J^-^~ , .:,i,e^ , Ci,,;a) hhniAhiiii' / 'Xutrw. /iJM»i<.

GRAVESTONE CARVINGS Just as the North Coast In- nial cratts, the first consideration IN EARLY NEW ENGLAND dians carved totem poles, the was utilitarian; houses, tools, uten- Vikings cut runic inscriptions on sils, and furniture were quite An introduction to the massive monoliths, and the Ro- often beautiful, but it was in exhibition of rubbings mans, Egyptians, Chinese and gravestone carving that the artist Mayas decorated their tombs, so in that rigid society achieved truly by the American colonists followed dramatic force. Avon Meal and Ann Parker a traditional pattern of commem- Relatively unknown to the orating their dead with stone- public, these carvings by anony- "Sarah Allen, Bristol. Rhode hUind, graven images. mous stonecutters convey an as-

1785." There are 5 suns on I small stone. Here, perhaps for the only tonishing variety of pictorial The central figure is trumpeting a song time in the annals of early Ameri- images, not only reflecting atti- of resurrection as 2 tiny accompanists point Heavenwards and the legend can design, the artist was free to tudes of their time, but reaching reads, "Saints Arising." Gravestone create an object representing his beyond them in vision and origi- rubbing by: Ann Parker and Avon Neal. feelings, beliefs and philosophy. nality.

In almost ail other areas of Colo- The rubbings provide graphic 41

renderings, faithful in size and As artists, we first became tional heritage, documenting and texture, of the original stones. We interested in New England bury- footnoting history, but as an in- work with a modified Oriental ing grounds simply because the valuable record of symbolism and method, using heavy-bodied inks carved headstones were so excit- design created by craftsmen in applied with silk pads which vary ing. We found ourselves repeat- early America. in shape and size to conform to edly delighted by new discoveries a stone's peculiarities of texture and distressed by the number of and carving. fine stones defaced or destroyed We work slowly, blending by vandalism, neglect, and the This exhibition, in the Ro- colors to get earth tones, going ravages of the elements. With the tunda Shop of the Museum over every surface repeatedly as knowledge that every severe win- of History and Technology, we build color and work the ink ter adds to their deterioration continues through July 28th. There is also a into our paper. Our aim is a gra- came the realization that these sales-exhibit phically exciting reading, achiev- carvings must be recorded. We of American crafts on the Mall during Festival. ing a dimension beyond what is are convinced of their importance, the usually expected in this medium. not only as reminders of our na- FESTIVAL STAFF Director, Division of Performing Arts James R. Morris

Festival Director Ralph C. Rinzler

Festival Coordinator Marian A. Hope

Designers Deborah Bretzfelder and Richard Lusher

In Charge of Production I Timothy Jecko

Production Staff Lenore Beth Fein Betsy Michaels Margaret Pentland Leslie Schaberg

Food Coordinator Ruri Sakai

Sound Edgewood Recording Studio

Lighting Design Richard Lusher

PROGRAM STAFF Art Director and Designer Janet Stratton

Copy and Photo Editor Ruri Sakai

Staff Writer I Leslie Schaberg

Printer George W. King

Cover: Croihcled Doll (Drummer), Knitted Girl Doll wth American Flag.

Made in San Francisco, California, 1982.

Index of American Design, National Gallery of Art.

SMITHSONIAN INSTITUTION LIBRARIES

3 9088 01476 4542