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1999 Smitfasonian Fojklik Festival 1 999 Smitfasonian FoJkliK Festival A young woman from the Fagara^ region of Romania embroiders a traditional pattern. Photo courtesy Village Museum. Bucharest 4 An example of H traditional ' architecture by 1 the Basotho ^ people, Clarens, Free State, ' South Africa. Photo courtesy SATOUR Smithsonian Folklife Festival On the National Mall Washington, D.C. June 23-27 & June 30-July 4 Co -sponsored by the National Park Service ^ ^ Smithsonian Institution Contents Celebratjng New I Michael Heyman Hampshire's Storles Culture In and Out of the Museum.... 2 Betty Belanus and Lynn Martin Bruce Babbitt Celebrating Safeguarding Cultural Resources 3 ^^w Hampshire's Stories 13 ' James L.Garvin ; Richard Kunn Hampshire's / Cultural Heritage Development 4 ^^w L^:. Cultural Landscape j , , r M\ !, James Early Values Bring to BurtFeintuch ,( We Our Work 4 il . ^1 Fiddle Music, Dance, and Anthony Seeger Community in New Hampshire .... 20 >^ Creatmg Cultural Heritage # through Recordings 6 Rebecca L. Lawrence Making Do: i n D I Uiana barker \' The Aesthetics of Frugality 23 \ .^ Conserving and Creatmg ' Cultural Heritage: Gary Samson The Smithsonian Folklife Festival .... 8 Le Patrimoine franco-americain/ Franco-American Heritage in I New Hampshire: A Photo Essay 26 Donald Hall Granite and Grass 30 David H.Watters Politics and Community Values 31 Richard Ober Use and Reservation: On the Cover Land Stewardship in New Hampshire New Hampshire is nicknamed the Granite State 34 because of the region's abundance of the stone and its many uses. Top: The quarry at Swenson Granite Works in Concord, New Hampshire, has been in the Swenson family for four generations. Above: Stone wall building workshop at Canter- bury Shaker Village, Canterbury, New Hampshire, led by master wall builder Kevin Fife. Photos by Lynn Martin Background: Though today cranes usually assist in the raising of a post and beam building, members of The Timber Framers Guild of North America sponsor community-based hand-raising projects to keep the old skills alive. Photo by Tedd Benson Smithsonian Folklife Festival 1999 1 Gateways to Romania South Africa: General Festival Charles King Crafting the Economic Information Gateways to Romanian Renaissance of the Festival Participants 82 Culture and History 38 Rainbow Nation Festival Partners, Sponsors, Colin Quigley,ZamfirDejeu, Contributors, and Donors 86 and Constantin Costea Jannes Early Staff Traditional Music and Dance South Africa at the Festival: Festival 90 The Historical Context in Romania Today 42 58 Associated Conferences MihaiPop RuphusMatibe and Seminars 92 Folklore Today South Africa: 43 Educational Offerings 93 Crafting the Fconomic Renaissance lulianaCiotoiuandMihaiDancu^ Calendar of the Rainbow Nation 61 Evening Programs 94 Traditional Architecture 47 Concerts and Events Andrew Tracey Special 95 Nicolae Constantinsecu Musical Instruments Romanian Foodways: Recent Books about the Festival of South Africa 63 and Smithsonian Folkways 96 A Crossroads of Tastes 49 Evelyn Senna Lily Spandorf Festival Collection Georgeta Ro^u 97 TheRoleoftheCrafter Romanian Pottery and Ceramics ... 5 Smithsonian Folkways Recordings ... 98 in Development 65 Irina Nicolau Vusi Mona City Life 53 Shebeens 67 Radu Florescu Eddie Koch Dracula: Hero or Villain? 54 Crafts and the © 1999 SMITHSONIAN INSTITUTION Spatial Development Initiatives — 69 ISSN 1056-6805 Silverman Melinda editor: Caria M.Borden Architecture Rural 71 ASSOCIATE editor: Peter Seitel ART director: KennShrader production manager: Kristen Fernekes Rinzler The Fifth Annual Ralph design assistant: Caroline Brownell Memorial Concert A Guiding Spirit: A n Interview with Ethel Raim and Martin Koenig 75 Carol Silverman Yuri Yunakov Ensemble 78 Michael Alpert Ensemble Tereza 79 Smithsonian Folklife Festival 1999 Smithsonian Folklife Festival Basket weaver, Eastern Cape Province, South Africa. Photo courtesy SATOUR Culture In and Out of the Museum I. Michael Heyman, Secretary Smithsonian Institution Welcome to the 1999 Smith- dramatically shaped by the most con- drawing upon the generations-old tradi- sonian Folklife Festival. On temporary of conversations that tradi- tions of indigenous people and those of the National Mall of the United tionally occur in New Hampshire cafes Asian and European immigrant commu- States for two weeks culminating with our and living rooms during presidential nities, from functional crafts of everyday Independence Day, the Festival enables primary campaigns. use to the arts of survival that developed people to represent their own cultural tra- Gateways to Romania is an apt title for in townships. For many, crafts have a ditions and creativity, and celebrate these what is, in effect, an opening at the civic as well as an economic role, expres- with fellow citizens of the nation and visi- Festival of relationships between the sing the identity of a community while tors from around the world. American and Romanian people. The at the same time earning income for a This year, we host programs on New Festival program, and the process of family's livelihood. The Festival is part of Hampshire, Romania, and South Africa. achieving it, represent an important an ongoing attempt to build upon the A central theme is the ability of diverse collaboration between Romania and the knowledge and skills of local-level people from three continents, living with United States. Following decades of polit- artists in order to help build a new incredible societal changes, to use their ical repression, Romanians now seek the nation based upon human and cultural own deeply held cultural traditions as a means of realizing a democratic and rights and economic opportunity means of crafting their own identities, humane society. The cultural correlates Though cultural displays may try to their own stories, their and our very of such a society are freedom of cultural crystallize and signal what lies beyond future. expression, and the ability to practice them, culture is never bounded by the Celebrating New Hampshire's Stories and preserve one's traditions as well as exhibits in our museums or the perfor- points to the many ways people from create new cultural syntheses. Romania mance stages at the Festival. The that fiercely democratic state define has long been a cultural crossroads with Festival, as a museum-like event, tries to their lives. The state's natural bounty is Latinate, Orthodox, Balkan, Germanic, show this. For museums and their pro- continually expressed in the arts and Hungarian, Roma, Turkish, and Jewish grams to be vital, they must tap into the enjoyed with the help of varied crafts influences in music, song, dance, crafts- vitality that is around them. Doing this and skills that serve a vibrant recre- manship, sacred and culinary arts. The will always necessitate research and col- ational and tourism industry. Economic Festival provides both a showcase and a lecting, not only on historical traditions life illustrates ingenuity and a historic means for culture-rich Romania to use but on emerging forms of expression — continuity with traditional manufacture, its treasures, for the benefit of its own for history does not stop. Most of all, as both in large corporate workplaces and citizens and to inform Americans about institutions of public life, museums smaller, high-tech, precision manufac- its people and heritage. must help nurture and distribute knowl- turing shops. Community life reflects a South Africa: Crafting the Economic edge — a fundamental prerequisite of a strong investment in the historic preser- Renaissance of the Rainbow Nation truly democratic, free society Museums vation of the built environment and par- reveals the attempts of thousands of can provide the space — real, symbolic, ticipation in institutions such as town community-based craftspeople to and virtual — wherein people can make meetings, contra dances, and soirees that enhance their economic development their own culture, and make culture bring people together just when other and civic participation through their their own. The Festival, and the folks forces in society tend to keep them artistry. Crafts in South Africa are as from New Hampshire, Romania, and apart. And the life of our nation itself is diverse as the Rainbow Nation itself. South Africa, do this very well. Smithsonian Folklife Festival 1999 Safeguarding Cultural Resources Bruce Babbitt, Secretary Department of the Interior Conservation of natural and cul- groups. Indeed, the incremental move- limited by a repressive regime. With tural resources is an important ment toward democracy and citizens' democratic and economic reforms aspect of the Department of participation observable over the past comes a desire by many Romanians to Interiors mission, one shared with the decade and century informs our work in look at their rich cultural traditions — Smithsonian Institution. This, and our cultural conservation. Decisions are not such as those displayed on the National custodial responsibility for the National made and promulgated from the top Mall — and devise means for encourag- Mall through the National Park Service, down or from centers of power to the ing increased cultural production, cre- have formed the basis of our co-spon- peripheries. Instead, we have come to ativity, and engagement that contribute sorship of the Folklife Festival for three expect local groups to participate more to civic life and a prosperous economy. decades. in dialogues about, and take greater For South Africa, culture is the Conservation does not mean freezing
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