1999 Smitfasonian Fojklik Festival

Home , An Unforgettable Summer, Archaism, Garmon, Hugh Gregg, Ivan Milev, Lesiba

1 999 Smitfasonian FoJkliK Festival A young woman from

the Fagara^ region of

Romania embroiders a

traditional pattern.

Photo courtesy Village

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 traditions 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 responsibility for, the conservation, use, lifeblood of the nation. People's culture

something in amber or in a museum and development of their cultural — expressed in song, dance, plays,

case, setting aside land or a historically resources. murals, posters, arts of adornment, and

important site to remain untouched and We see this movement represented at crafts — provided a vehicle for the anti-

unseen. It means custodial care or stew- this year's Festival with programs on apartheid freedom movement that creat- ardship, the prudent use of resources in New Hampshire, Romania, and South ed the new South Africa, and captured a sustainable way, so that the bounty we Africa. As illustrated at the Festival, peo- the world's imagination. Now, as demon- have received can be bequeathed to the ple in New Hampshire have used their strated at the Festival, South Africans next generation, hopefully with value we ample natural resources for building cul- seek to use a diversity of aesthetic tradi- have added to it. Conservation, in this tural tourism and recreation industries. tions and local, community-based cul- sense, is serious societal business. They have invested in arts of historic tural productions for the purposes of

In the last decade we have seen an renovation to give character and mean- economic development and attendant increasing awareness of the importance ing to villages, towns, and homes. They civic participation. of cultural resources in urban renewal, have inherited attitudes of ingenuity and The Festival has long helped people regional tourism, and economic devel- applied them to contemporary technical from all regions of the United States and opment efforts, and as the basis of con- manufacturing purposes. And they have places around the world to define, veying the lessons of history to our chil- taken a tradition of grassroots democra- express, and present their cultural aspi- dren and fellow citizens. The Depart- cy and turned it into a civics lesson for rations to a broad public. We have come ment of Interior and the National Park the modern world. to see those people as cultural resources Service have supported several pro- Romania's participation in the Festival in their own right, as repositories of grams such as the Heritage Corridors provides a gateway for cultural dialogue, knowledge, skill, artistry, and even wis- and American Heritage Rivers to enable both within that nation and with a dom who have the ability to add to and concerned communities to develop cul- broader world. For cultural resources to carry their cultural traditions forward to tural resources in a meaningful, sustain- have value they must be shared or the next generation. And at the Festival able way. These efforts involve partner- exchanged. Though several Romanian they show us how. The Festival is an ships between local, state, and national writers and artists achieved internation- exercise of cultural democracy in the agencies; the public and private sector; al repute over the past decades, cultural heart of the free world; we are proud to and business, academic, and voluntary creativity and interaction were generally help in its annual production.

Smithsonian Folklife Festival 1999 Cultural Heritage Development

Richard Kurin

The Smithsonian Folklife Festival, Cultural Heritage of in terms of tangible items — monu- from its inception, has been con- AND Development ments, historic sites, artwork, books, for

ceived as a way of helping people Cultural heritage is a community's self- example — and intangible forms — keep their culture alive and well. Seen in recognition of its current and historical songs, stories, public celebrations. relation to the Smithsonian's museums, accomplishments, products, activities, Cultural heritage might be further dif- the Festival has stressed living cultural and forms of expression. Cultural her- ferentiated by the sociology of its cre- traditions rather than artifacts. While itage is construed and articulated by ation, use, and control. Charles Seeger, a curated and researched, the Festival has people as a symbol of their identity, a noted ethnomusicologist, proposed the relied upon substantive partnerships selection from history and social action division of cultural traditions into elite, with the people, communities, and insti- of particular — usually valued — popular, and folk. "Elite" consists of tutions being represented. It has depend- accomplishments, traditions, and those traditions often thought of as ed more upon people to sing, perform, events. Cultural heritage is often spoken classical, requiring a great deal of for- craft, demonstrate, discuss, and reflect on their own culture than on more mediated forms of communication. The Values We Bring to Our Work Festival has always been concerned with James Early the consequences and impacts of cultural representation for democratic process- We bring a range of values to our sonian — formal and lay scholars, pro- es and economic vitality Other projects work, guided by a variety of acad- fessional and community artists, and connected with the Festival produced by emic and technical disciplines. Each dis- cultural activists — who shaped the the Smithsonian Center for Folklife and cipline, each set of values, contributes to vision and philosophy of the Festival.

Cultural Heritage, such as Smithsonian our study and understanding of contem- Ralph combined a keen aesthetic sensi-

Folkways Recordings, cultural education porary grassroots cultures. bility with a deep commitment to social programs, traveling exhibitions, films, We also hold some values in common. justice. He saw and helped others see education kits, and training programs, We share a commitment to the Smith- the need for the recognition, respect, are generally conceived of in the same sonian's mandate to increase and diffuse and participation of tradition bearers way. The concern about keeping people's knowledge. We seek to produce sound in the validating institutions of public culture alive and well is nowadays scholarship and impart useful educa- life. He expressed his knowledge and referred to as cultural heritage tional information and materials. We belief in writing. Festival production, development. also share the inheritance of our and most clearly in fighting for access

predecessors at the Center, who founded, for diverse cultural communities, schol-

nurtured, revised, and expanded the ars, and cultural activists to speak,

Folklife Festival into the web of write, sing, and perform on their own

research, education, recordings, exhibi- cultural terms, thus contributing to the

tions, cultural activism, and applied pol- development of our national and global

icy programs it has become. cultural life. Each succeeding genera-

Ralph Rinzler stands out among the tion of staff has brought new sensibili-

people inside and outside of the Smith- ties, projects, and programs to the fur-

Smithsonian Folklife Festival 1999 mal training and highly organized tion, or by other means, hs forms are, social institutions for their practice and among others, language, literature, Pursuit of continuity. Popular cuUure is more the music, dance, games, mythology, rituals, domain of the mass market: cuUure cre- customs, handicrafts, architecture, and professional ated and distributed by companies for other arts." That definition was mir- widespread consumption. Folk culture rored by UNESCO member states in a standards^ or folklife is oriented toward more orally 1989 Recommendation on the Safe- transmitted, intangible living traditions guarding of Traditional Culture and people- produced and reproduced at a grass- Folklore. roots community level. As a termJo/A- The Smithsonian Folklife Festival centerednesSy life is variously known in the United took the term folklife in 1967 from Don

States and other nations as grassroots Voder's use of it for the Pennsylvania and community culture, popular culture, traditional cul- Folklife Festival. Following Scandina- ture, folklore, or ethnographic culture. vian usage, it signified a broader frame agency comprise In the 1976 Folklife Preservation Act, of reference than folklore or oral narra- the U.S. Congress defined folklife as "the tive, to include crafts, food, and other the value matrix totality of tradition-based creations of a forms of expressive culture. Folklife also cultural community, expressed by a contrasted with folk as an increasingly we bring to group or individuals and recognized as commercialized genre of the urban reflecting the expectations of a commu- revival of rural folk music familiar to our work. nity in so far as they reflect its cuhural Festival founder James Morris, who had and social identity; its standards and organized the American Folk Festival in values are transmitted orally, by imita- Asheville, North Carolina, and to the

therance of these goals. demands of bureaucracies (ours includes, and expanding their access and

As cultural workers, we are people- ed). Pursuit of professional standards, resources. We recognize our privileged centered. The values that measure the people-centeredness, and community status in the relationship; yet we do not worth of our achievements and distin- agency comprise the value matrix we (cannot) empower or authorize commu- guish them from those of other scholars bring to our work. Grassroots communi- nity agency. are located in the agency of the grass- ty is our active colleague, not our passive We are mindful that ideal goals and roots communities with whom we work. subject of inquiry and complex intellec- working relationships described in our We value collaboration with the vibrant, tual description. Therefore, we value pro- statement of values are general and elu- lived experiences of cultural communi- fessional colleagues and cultural com- sive guidelines. They are impeded, redi- ties. We recognize their ability to draw munity collaborators as peers. rected, and recast by the very agency of on their historically formed and prac- Reciprocity is another key value. We the partners with whom we work. We are ticed antecedents to negotiate forbidding seek projects built upon the exchange also aware that without those guidelines challenges. We acknowledge their need of information and experiences with and respect for community agency, we to take advantage of all-too-infrequent colleagues and communities. We value run the risk of resorting to what inter- opportunities for improvement in their the critical skills and reformative attrib- ests us rather than the institutional material lives, to gain access to fuller utes of grassroots communities that value of full community access to and recognition, to demand wholesome rep- enable internal evaluation of continuity participation in democratic institutions, resentation, and to participate actively in and change in cultural practices. We are capital-economic resources, and cultural the broader society. Like professional conscious of the use-value of our educa- respect by fellow citizens in national and colleagues in related fields of cultural tion and skills, our institutional linkages global communities. work, we are keenly interested in cultural and resources, our global networks and processes and products. However, we try access to governments. We employ our James Early is director of cultural heritage to avoid blind allegiance to ideal profes- positions to assist communities in rais- policy at the Center for Folklife and sional standards or the mechanical ing their visibility, amplifying their voic- Cultural Heritage.

Smithsonian Folklife Festival 1999 Festival's first director, Ralph Rinzler, ing public programs on a wide variety nic groups, American Indian communi- who served as head of research and of communities whose traditions are ties, and national and regional cultures, programming at the Newport Folk defined in ethnic, racial, occupational, it has also examined the culture of

Festival. The Smithsonian Folklife religious, familial, regional, national, occupations ranging from cowboys to

Festival has generally viewed the idea associational, and topical terms. While trial lawyers, farmers to scientists; com- of cultural community as exceedingly the Folklife Festival has featured the munities defined by institutions, like broad, conducting research and produc- traditions of numerous American eth- the White House and numerous unions

Creating Cultural Heritage through Recordings spread them to countries all over the Anthony Seeger world, where some may survive, even if the master tapes are destroyed by natur-

al disaster or war. Even in the United

States — which has suffered fewer wars

than other countries, has a temperate climate, and has audio archives — mas-

ter discs and tapes of recordings done in

the 1920s often no longer exist, but good copies can be made of the 78 rpm discs that were produced from them. Many of our recordings are produced

through collaboration with specific com-

munities that seek us out and want us to

Research documentation is housed in the Ralph Rinzler Folklife Archives and Collections at the publish their music. They see a recording

Smithsonian. Here, head archivist Jeff Place looks for a recording. Plwto by Keiiii Shrader as conferring prestige on their traditions.

Taking the recording back to their com- Some people think recordings are just another. Today most people in the world munities, they can both demonstrate its entertainment. Other people consider listen to more recorded performances significance to others and preserve the

them a kind of scholarly publication. Yet than live ones, and recordings have sounds of some of their best practition-

others imagine them to be the source of become one of the means through which ers. Some communities, like the Old

vast income. At Smithsonian Folkways cultural heritage is demonstrated, cele- Regular Baptists of the Indian Bottom Recordings we have our own ideas about brated, and passed on. Association, approve of our publishing the significance of the recordings we put Communities everywhere are docu- their beautiful singing because the Smith-

out — entertaining though they may be, menting their traditions on audio and sonian is a non-profit institution; for them

scholarly though they may seem, and video recordings. Most media, however, music is not something performed for

unprofitable as they are. have a shorter life span than a person: a money, but for faith. They also wrote

Until little more than a hundred years person may live 80 or more years; a digi- many of the notes accompanying the

ago, no one could hear exactly the same tal audio tape (DAT) may last fewer than recording and determined its cover art.

sound twice. People tried to write down ten, and in humid, tropical climates, They felt very much that the recording sounds but could only do so approxi- videotape may become unplayable after represented their intentions, and their

mately. A vast part of human cultural only a year or two. Only if they are depos- experience has been shared by many

heritage was transmitted personally — ited in archives and the sound transferred other individuals and communities. visually and aurally — through demon- from medium to medium will the docu- In some cases. Folkways keeps in print

stration and instruction. With the inven- ments of human cultural heritage survive recordings of the last known performers

tion of audio recording technology, and far into the next century. of a genre — like the sacred chants of the

later film and other media, more re- Publishing recordings is another way Selk'nam in Tierra del Fuego, who no

sources have become available for pass- to increase the chance of their survival. longer perform them. The survival of the

ing on traditions from one generation to When we sell 2,000 copies of the sounds genre is now entirely through media, at

another as well as from one place to of performers in western Sumatra, we least for now. In other cases, recordings

Smithsonian Folklife Festival 1999 Cultural Heritage Development

and guilds; cultural communities, like Due to its very nature, the Festival rec- far beyond the bounds of traditional those of the deaf, who have built intri- ognizes the real people who practice practice. It is impossible to find in the cate systems of communication and their culture, not just the abstract forms world the operation of singular cultural expression; and communities of inter- of traditions. The Festival develops an systems, untouched by others. Indeed, est, like those of the Civil Rights move- ethical relationship with those people; to the social world is now characterized by ment, the Farm Workers movement, invest in them is to invest in what they the intersection and interpenetration of ham radio operators, and the like. do, even when what they do may extend various cultural systems. Local musical

traditions developed in a South African township may reach around the world we make revive interest in musical forms. through the electronic media. A local In Nias, an island off Sumatra, a record- Today most tale based on the historical Dracula may ing in the Music of Indonesia series (vol- be radically transformed as it meets the ume 4) stimulated an enthusiastic people in the imaginations of others. Conversely, pop- revival. In Wisconsin, our recording of ular traditions with broad geographic polka music as part of the 1998 world listen to and cultural spread may take on partic- Smithsonian Folklife Festival received ular form and meaning in a localized somewhat embarrassed local newspaper more recorded context. Yankee and French fiddling, reviews acknowledging that polka is part meeting in New Hampshire, have devel- of the heritage of the state — albeit a performances oped their own distinctive characteris- part of the heritage that some people try tics and community practices, as have hard to forget. What our recording also than live ones, traditions of popular democracy in the did, however, was bring polka into the state's distinctive American primary hands of a much larger public. and recordings electioneering. We make recordings to increase and Scholars writing about cultural her- diffuse knowledge about and through have become itage tend to approach the topic as music and the spoken word. In so doing objectivists or processualists. For the we also contribute to the preservation of one of the means former, cultural heritage is an objective part of the cuhural heritage of commu- set of cultural items and practices, a cat- nities around the world. Moses Asch, the through which alog or inventory of cultural features founder of Folkways, once said that he associated with a particular people or was the pen with which his artists creat- cultural heritage community. This inventory is handed ed their art. To a certain extent Smith- down from one generation to the next, sonian Folkways Recordings is the vehi- is demonstratedy with some items dropping out from dis- cle through which individual artists and use and others being added. For the communities contribute to the celebra- celebratedy and processualists, cultural heritage is some- tion and preservation of their cultural thing invented and continually reinvent- heritage. passed on. ed, a way of defining the cultural prac-

You all can participate in this celebra- tices and preferences of a group in the tion and preservation by buying present by referencing the past. Smithsonian Folkways recordings, ask- Objectivists tend to stress tradition, ing your libraries to buy them, enjoying researching the origins of a particular them, and keeping them safely. Or you custom or cultural creation, its history, can go out and learn a tradition that you social and geographical dispersion, and can pass on yourself. variations in form. Processualists, on the other hand, tend to be more concerned

Anthony Seeger is curator and director of with traditionalization — how various

Smithsonian Foll

cally manipulated in a community and

larger social contexts.

Smithsonian Folklife Festival 1999 7 The Festival is not about theatricalized sion of those cultural traditions in a meant moral and material progress, folklore or idiosyncratic representations dynamic sense by the people who make, measured along a single, unilineal, of cultural heritage. In privileging the hold, and nourish that culture. That is, racialistic scale of cultural evolution. cultural community, it seeks connec- one of the aims of the Festival is to en- The accomplishments of Victorian tions between artistic and cultural able people to develop and continue to Englishmen were at the top of the scale, expressions and the economic and civic develop their own cultural heritage. with various peoples and races accorded life of its members. Less an exercise in lesser positions in descending order academic definition, the task is to But What Is Development? from civilization to barbarism to sav- understand, present, and encourage Development also has a history of defin- agery The cultural heritage of most peo- ongoing cultural creativity — the exten- ition. In the 19th century, development ple was generally thought to be inimical

Leona Watson engages

Miss Etta in an

impromptu interview

at the 1991 Virgin

Islands Folklife

Festival restaging on

St. Croix.

Photo by loan Wolhier

Conserving and Creating Cultural Heritage: of pure creativity always revivifying our The Smithsonian Folklife Festival culture, but life would be a very sorry Diana Parker thing if it dried up." The Festival also encourages grass- The Festival has been called many knowledge are to a broad public, and how roots cultural heritage by the method of things — an exercise in cultural much loved. At a time when "cultural its production. Each year we work closely

democracy, a living exhibition, a radio grey-out" is a worldwide phenomenon, it with our counterparts in the communi-

that tunes in the whole wide world. It is, is critical to remind our cultural ex- ties represented on the Mall. Unlike other

at different times, all of these things. But emplars and their children how impor- exhibitions in which a curator may select

first and foremost, it is a calculated tant they are to us all. In the words of cul- the objects to be presented, a Festival

strategy to preserve cultural heritage. tural activist and folklorist Alan Lomax, program is a joint negotiation between

The Festival encourages cultural "The aim of this Festival is not to make senior Festival staff and cultural special-

conservation directly. By bringing America proud of its folklore or to put on ists from featured communities. That is,

stellar artists to the National Mall and an affair that will please Washington and people involved in the Festival have to

presenting them to appreciative audi- the Smithsonian, but to provide support figure out how to represent their culture,

ences of over a million people, the for the big river of oral tradition which is to imagine and present their culture as

Festival hopes to convey to the tradition now being dissipated and corrupted all heritage. While this is not the easiest way

bearers, and those who follow in their over the planet. We cannot foresee what to produce an event for either group, it is

footsteps, how important their skills and we would do if we did not have this river certainly the most educational. Many

8 Smithsonian Folklife Festival 1999 Cultural Heritage Development

to development. Development or cultural to explain irrationalities in society — tion, health, and other quality-of-life

evolution occurred over time, through values and practices that hampered pop- measures, including political, civil, and

the survival of better social and eco- ulations from embracing the work ethic, cultural rights — the rights to speak

nomic need-meeting practices, through consumerism, and efficient, utilitarian one's own language, believe in and prac-

borrowing of inventions and innovations institutions. World War II demonstrated tice one's own religion, and so on. At this from more evolved societies, and forced quite clearly that economic development point, the end of the 20th century, we imitation through colonialism. This idea did not necessarily mean moral superi- have witnessed enough alternative of development continued with 20th- ority. And in the post-war world, various modes of being developed. Capitalism

century modernization theory, with cul- global accords have established stan- has prospered in the cultural context of

tural heritage used as a residual category dards of development comprising nutri- Japanese values and the social system of Hong Kong and southern China. Modern

art, science, and computer work nowa- groups, having put together the neces- The Festival days come from India. Musical culture sary infrastructure to help us produce the world over has grown from the infu-

the Festival, have kept the team together is not about sion of African and Latin styles. There is

to reproduce the event "back home." no cultural monopoly on development. Often, the team then lives beyond the theatricalized "restaging" to continue to work on Why Now? research and presentation. Both Iowa folklore or Cultural heritage has assumed major from '96 and Wisconsin from '98 have importance in the world today for staff originally hired for the Festival still idiosyncratic several reasons. employed and actively doing critical cul- Politically, issues of cultural identity tural conservation work. representations and the cuUural affiliations of transna-

Finally, the Festival also attempts to tional, national, and subnational popula- aid in cultural conservation by support- of cultural her- tions are crucial in the definition and ing our participants' attempts at eco- continuity of national and regional iden- nomic viability. At this year's Festival, itage. In privileg- tity. The United States experienced the through Smithsonian Folkways record- so-called cuhure wars in the early 1990s ings, sales of artists' creations at the ing the cultural and faces future challenges with regard Festival Marketplace, and attempts to to an increasingly diverse population, connect traditional craftspeople with communityy it the growth of Latino populations, multi- larger markets, we work to provide tra- lingual school-age populations, and the dition bearers with the livelihood neces- seeks connections need to accommodate the differences in sary to allow them to continue their art. lifestyles and values among a wide vari-

This is new territory for us, and we are between artistic ety of groups within a common civic learning how complex and challenging framework. The Soviet Union, a former it is, but unless people can retain aes- and cultural superpower, was undermined in part thetic, economic, and legal control over because of its failure to deal adequately their artistic forms and receive some expressions and with its diversity of peoples, its varied reward for it, these forms will surely die linguistic and ethno-national groups. out as people face the necessity of sup- the economic and Similar concerns about the relationships porting their families. Indeed, such a between mainstream culture and that marginalized communities strategy, like the Festival itself, confirms civic life of its of various that cultural traditions are vital and constituted on the basis of regionality, adaptable, and develop as real, living members. religion, race, language, origin, have people connect their artistry with life. become political issues in Canada, China, Nigeria, Germany, Brazil, Turkey,

Israel, Mexico, Australia, California, Diana Parker is director of the Smithsonian and

Folkhfe Festival. New York City. Policies have varied from integrationist to segregationist, from en-

Smithsonian Folklife Festival 1999 couraging complementarity to autono- mation-age service economy The chal- sites, for example — have long been my, from broadening to restricting civil lenge: how to be true to one's culture subject to commercial activity, tradition- rights. How to hold civil society together while at the same time making money in ally and within the community Think, and successfully negotiate varied types order to sustain it. for example, of pilgrimage sites that, of cultural difference and similarity are while encapsulating deep spirituality the key political questions of the new Contemporary Strategies and religious practice, are, in many millennium. FOR Cultural Heritage cases, centers of commerce in sacred

On the economic front, culture has Development arts, food, performance, and festivity. become big business. Tourism is the Nation-states may undertake activities The list of commercially exploitable cul- world's largest industry, according to the that do encourage cultural heritage tural products is expanding in the infor-

World Bank, now surpassing oil. Couple development at a local, regional, or mation age. Stories can be turned into the cultural component of tourism with national level. They may also discourage novels, poetry, cartoons, and feature the entertainment industry, parts of the such development, regarding the cultur- films. Indigenous knowledge can fuel communications, handicrafts, and other al heritage of certain of their citizens as research in the development of nature- industries, and the economic value of problematic or against the interests of based pharmaceuticals. Musical perfor- cultural consumption becomes obvious. the state. Nation-states including the mances can become hit recordings in

The cultural economy exists on both a United States use a variety of methods the entertainment industry Historic local and global scale. The global mass- to affect cultural heritage development, sites can become destinations for mil- culture industry produces products and from direct subsidies and support to lions of tourists from around the globe. services for worldwide distribution, artists, scholars, and institutions such as Local communities and culture produc- often competing with and, as Alan university departments, archives, and ers need to obtain the means of cultural Lomax long ago warned about, squeez- museums, to tax credits for donors for production and distribute, market, and ing out local forms of culture. Inspiring preserving historical property and other benefit from their own production. both economic envy and intellectual cultural resources; copyright protection; Makers of crafts, who typically earn ten approbation, companies like Disney, the development of cultural tourism; cents on the consumer dollar, need to be

Time Warner, and Discover create and and other programs. While state policy closer to those consumers in order to distribute cultural products, many of and programs may help or hinder devel- realize more profit. Musicians need to which purport to be authentic, educa- opment, they are becoming less influen- establish their copyrights and receive tional, and socially useful while making tial. Decreasing public expenditures for royalties. Local people have to control billions of dollars in profit. On the other culture worldwide, the expansion of the their own cultural tourism industries. hand, local cuUural products, at least not multinational corporate culture indus- Cultural projects will require capitaliza- at first controlled by the mass-culture try, privatization initiatives, and new tion, loans, and income-generating rev- industry, have not only succeeded within global technologies indicate that, if peo- enue streams to support activities. their communities of origins but have ple are to have some control over the Self-Study and Representation. gone far beyond them toward worldwide fate of their own culture, they are going Good research is indispensable for cul- distribution. Witness South African to have to take responsibility for their tural heritage development projects. choral music. Thai food, Dominican own cultural development. The follow- Assessments of needs, resources, previ- merengue, Bombay films. With this new ing are integral elements of a communi- ous and comparative work, feasibility hyper-global/local economy, issues of ty-based cultural heritage development studies, and evaluations can help assure economic benefits, rights, and opportu- strategy. successful work. Stakeholders are likely nities are becoming increasingly impor- Cultural Enterprise. Not all aspects of to be more involved, committed, and tant. The World Bank has initiated a a community's culture are commercially interested in undertaking purposeful, cultural heritage and development exploitable, nor should they be. Many community-oriented research projects program, giving loans and grants to religious and sacred expressions, inti- than those more removed. The partici- governments to utilize cultural resources mate familial practices, and aspects of patory research of those involved, and in ways that will generate income and interpersonal cuhural conduct and com- the research of lay and academic com- alleviate poverty. Others can be expected munication are not likely to have market munity scholars, is an important re- to follow suit, challenging industry value. But many other forms of culture source that increasingly can be relied giants or finding niche markets as cul- — handicrafts, decorative arts, musical upon to gather, analyze, and evaluate tural products assume value in an infor- performances, buildings and cultural information. Such research can form the

10 Smithsonian Folklife Festival 1999 Cultural Heritage Development basis for local researchers and others in a network. cal action, economic activity, impacts the community to develop high-quality Upgrading of Techniques and upon the environment, and so on. cultural heritage productions — educa- Technology. New, innovative techniques Strategic planning with institutions of tional materials for schools, radio pro- may be used to help keep a culture alive. these other sectors is necessary for sys- grams, books, exhibits, cultural tourism Computerized databases help preserve temic, sustainable, and significant cul- sites, performance programs, World and teach ancient, endangered lan- tural heritage development.

Wide Web pages — that will represent guages. Inexpensive tape recorders and My sense is that various types of them both within the community and video cameras can help document cul- communities will increase their well beyond. tural traditions. Electronic bulletin attempts to articulate, buttress, and

expand their cultural heritage as a vehi-

cle for making their way in the world — How to hold civil society together at the national level but also at the subnational and transnational levels, and and successfully negotiate varied among the widest variety of cultural communities. As this occurs, human types of cultural difference and cultural products — like artistry, knowledge, symbolic elaboration, and similarity are the key political meaning — will be ever more crucial in defining value. Recognizing these intan- questions of the new millennium. gibles as resources of and for the community and its broader reaches will in

Community Institution-Building. boards can help geographically dis- itself be an interesting task and a wor- Community organizing and institutional- persed community members keep in thy objective of cultural workers and ization above and beyond formal govern- touch. Web pages allowing for encrypted institutions. It is sometimes hard to rec- ment agencies are critical in sustaining fiscal transactions can allow craftspeo- ognize what is so near as so valuable, cultural heritage efforts. Citizens commit- ple and musicians to bring their prod- but it is an important tlrst step in keep- tees, non-governmental organizations, ucts to very broad markets. Cultural ing a variety of cultures a vital force in cooperatives, and other forms are entirely organizations may adapt techniques of human affairs. appropriate. Indeed, increased access to business management and marketing, technology and information allows all not so much to increase profits but to Richard Kurin is director of the Smithsonian sorts of communities to establish cultural rationalize operations to achieve sus- Centerfor Folklife and Cultural Heritage. A centers — virtual and real — to publish tainability The adaptation of such tech- Fulbright scholar and cultural anthropologist and disseminate information, and engage niques and technologies does not neces- with a Ph.D. from the University of Chicago, in all sorts of activities. Community insti- sarily change the culture for the worse he has taught Social Change and Develop- tution-building provides continuity and — and may enhance the dissemination ment at the Johns Hopkins University Nitze mechanisms of local control over cultural of traditions, as was the case with radio School ofAdvanced International Studies heritage development. and recordings for much traditional and Public Cultural Work at the George

Networking. Community efforts need music in various nations. Washington University. He is the author of not and should not stop at the bound- Articulation across Sectors. Reflections of a Culture Broker: A View aries of that community or reside solely Cultural heritage does not exist in isola- from the Smithsonian and Smithsonian in its own organizations. Connections to tion from other aspects of life. Indeed, it Folklife Festival: Culture Of, By, and For the transnational, national, and regional develops in concert with, in juxtaposi- People. He first worked on the Festival in organizations can be a conduit to mone- tion to, in opposition against, as the 1976, and was awarded the Smithsonian tary, advisory, technical, and in-kind expressive forerunner of civic life, politi- Secretary's Gold Medalfor Exceptional resources. Common cause may be made cal events, economic systems, ecological Service in 1996. with other similarly situated or interest- relationships, psychological patterning, ed communities. Funding, political sup- and socialization. Cuhural heritage plans port, and audiences may be mobilized need to be articulated with the non-cul- through the use of interpersonal and tural sectors of society in order to be electronic communications along such effective. Cultural work implicates politi-

Smithsonian Folklife Festival 1999 11 Celebrating New Hampshire's Stories

This program is produced

with the New Hampshire Commission on

the Smithsonian Folklife Festival and its

non-profit affiliate Celebrate New

Hampshire Culture in partnership with

the New Hampshire State Council on the Arts, Department of Cultural Resources.

The presenting sponsor is Bell Atlantic.

Other major sponsors include Fleet Bank NH; Healthsource New Hampshire, A CIGNA Healthcare Company; Public Service ofNew Hampshire; Sanders, A Lockheed Martin Company; Tyco International Ltd.; the State ofNew Hampshire; Fidelity Investments;

Fisher Scientific International Inc.; and The Recording Industries Music Performance Trust Funds.

12 Smithsonian Folklife Festival 1999 Celebrating New Hampshire's Stories

Lynn Martin and Betty Belanus

Everyone in New Hampshire has a story to tell. When people think of

a "storyteller," they often think of a polished performer with a repertoire of time-honored recitations, legends of the past, or tales of great imagination. In

New Hampshire, storytellers are often everyday people with a gift for language and a wealth of human experiences.

They come from every walk of life — the logger down the road, the fellow you go snowmobiling with on the weekends, your co-worker at the woolen mill, or someone whose music you dance to at the town hall.

During the research for New Hamp- shire's presentation at the Smithsonian

Folklife Festival, fieldworkers interviewed over 450 individuals practicing a variety of traditional musical forms, crafts, and cooking and occupational skills. All of them shared stories that warmed the heart — stories with lessons about the environment, the way the past teaches us about the future, and the importance of community values.

The stories reflect the strong sense of individualism in New Hampshire as well as people's desire to work together toward a common goal.

These stories are often full of colorful characters and people who helped shape the personality of a town or region. They paint pictures of daily life at home and at work — memorable moments with family and friends, dangerous encounters, or funny episodes. These stories are part of a larger heritage of language, poetry, and publishing much cherished in New

Hampshire. The love of English is echoed

Smithsonian Folklife Festival 1999 in the writings of New England-born occupations that have emerged from the township of Canterbury to his inde- writers such as Daniel Webster, who the state's diverse natural resources. pendent logging operation run with crafted Webster's Dictionary, Sarah These stories of some of the partici- draft horses. Today, Hugh keeps busy

Josepha Hale, who wrote Mary Had a pants in each of these areas will tell you logging in the woods, collecting maple

Little Lamb and was the editor for the something about New Hampshire, its sap, giving hay rides for local communi- first woman's magazine from 1828 to spirit, and its people. ty groups, caring for his animals, and 1836; New Hampshire's contemporary visiting with his large family poet laureate Donald Hall and past laure- Hugh Fifield Hugh's stories often feature his dry ate Jane Kenyon. Visiting writers have Hugh Fifield of Canterbury was inter- sense of humor and teasing nature. One found inspiration in the abundance of natural resources in New Hampshire. Robert Frost wrote a wealth of poems celebrating the state. Thornton Wilder wrote the play Our Town based on the picturesque town of Peterborough, which is the home of the MacDowell Colony, a retreat for writers and artists.

The heritage of the spoken word is celebrated in New Hampshire's Festival program. Celebrating New Hampshire's

Stories, but stories are also told through crafts, recipes, music and dance, and occupational skills. The "Music of New Hampshire" component of the program honors the musical heritage of Yankee,

Franco-American, Polish, Scottish, Irish,

Jewish, African-American, and Hispanic communities. The "Home, Town, and Community" area focuses on the cultural traditions that define New Hamp- shire's sense of place. Domestic and religious crafts and the important political heritage of New Hampshire — the community voice of town meeting and the national precedence of the first-in-the- country presidential primary — are explored in this area. "Ingenuity and Enterprise" examines the inventive nature of industry and viewed by folklorist Jill Linzee for a pro- of his favorite jokes pokes gentle fun at small businesses in New Hampshire. ject initiated by the Vermont Folklife his wife Dolores, who was a "city girl"

The heritage of family-owned and Center on New England storytelling, when they married and didn't even community-based businesses and the which paralleled our fieldwork efforts in know how to light a wood fire for heat way in which fine craftsmen network New Hampshire. She was taken by his and cooking. He related the following through guilds are presented. "Seasonal "quintessential Yankee" nature as he incident from Canterbury Town Meeting Work and Recreation" explores the regaled her with tales of interesting during his days as town road agent: cycle of the seasons and the love of the characters he had met and things he had outdoors in New Hampshire, giving done in his life. You got axes to grind, that's the place rise to the work culture and traditional Hugh's rugged hands tell the story of a to do it. And, usually, we got to argu- crafts of recreation. "Farm, Forest, man who has worked outdoors his entire ing over something. The budget ran

Mountain, and Sea" takes a look at the life — from years on the road crew for from January first to January first, a

14 Smithsonian Folklife Festival 1999 Celebrating New Hampshire's Stories

year, so in the fall, like November and Paul Doherty Community Projects: December, you didn't know whether Paul Doherty grew up in southwestern Newport and Portsmouth

it was going to snow three feet or not New Hampshire, but his heart always During the research phase for the Festi-

get any snow, so you had to kind of belonged to the northern woods. As a val, the curators became aware of com-

watch, save money in your budget. If lad, he learned to hunt and fish from munity projects that involved the creative

it worked out, I might have three or several local outdoorsmen, who were and artistic interpretation of oral histo-

four thousand dollars left in my bud- also notorious characters. For many ries and folklore. A multifaceted project

get. I had this guy get up, and he years, he served as a state conservation in Newport, a former textile mill town

couldn't figure out why I had money officer in the northern district of the and a center for the precision machine

state, and settled in Gorham. His fasci- tool industry, turned oral history into nation with the newfangled "snow poetry with the help of poet Verandah

machine" — later known as the snow- Porche. During the Portsmouth Shipyard

mobile — led him to head the Bureau of Project, initiated by the Portsmouth

Off-Highway Vehicles. Music Hall, workers at the shipyard,

Throughout his career, he sought out where submarines are repaired and

old-timers and colorful individuals, lis- overhauled, joined the Washington, D.C.-

tening to their stories and absorbing based Liz Lerman Dance Exchange in an

their wisdom. Today, at 80, he still enjoys interpretation of their occupational folk-

the North Woods in all seasons and still lore and history. Both projects involved

has an ear for a good story. Paul was schoolchildren, reinforcing the impor-

interviewed twice during our documen- tance of a connection between the gener-

tation process, once by folklorist Kate ations. These projects will be part of the Dodge, who researched snowmobiling "Ingenuity and Enterprise" portion of the

traditions, and once by folklorist Jessica Festival program.

Payne for the storytelling project. But it The stories collected in Newport, in

is his self-published book. Smoke from a Porche's words, "make the ancient con-

r Galina Tregubov from Claremont, Thousand Campfires, that yielded the fol- nection between a text woven of voices

seen here with her son, embroiders lowing humorous tale: and textiles in a town where thousands

elaborate Russian Orthodox icons. of hands drove the looms." The commu-

To the delight of the Russian I have always liked the story about the nity spirit and strong work ethic of

community in the state, she has man who hunted long and hard but Newport were also addressed in an exhi-

updated this art which dates back never saw a deer. He came home one bition on the machine tool industry

to the 1 0th century with a sort of Yankee afternoon and saw a freshly dressed organized by Patryc Wiggins. The fol-

ingenuity: instead of the traditional fragile out doe hanging in the garage. lowing story, collected from Clarice

silk thread, she uses practical and durable Rushing in the house, he demanded "Babe" Frye for the book Self-Portraits in

pearl cotton embroidery floss. an explanation from his wife. "Where Newport, tells of an earlier time on

did that deer from?" he sput- Sunapee Street, one of the main streets Photo by Jill Linzee ^ come

tered. "Well, I'll tell you," she said, through town:

left in the budget, and he figured I "every year you go hunting, you spend

didn't do my job — his road could've lots of money on red outfits, ammuni- I was three years old when we moved

used that three thousand dollars. So, I tion, guns and a license. Today I went to Sunapee Street. 0, 1 tell you, that

had to get up and tell him, "We've got to town shopping and that deer ran was something else again. When my

to spend what we got, we can't spend out in the road and I hit it. I didn't do father and mother had to go out and

what we ain't got." (Pause) But, that any damage to the car, but I killed the leave us kids, all the neighbors took

was usually a lawyer, that got up and deer. The nice Game Warden came care of us and made sure we behaved

did that. along, dressed it out, hauled it home, ourselves. We had all ethnic groups,

and hung it for me. I didn't even need Greeks, Finnish, Polish, and there were

a gun or license to serve you liver and two families who didn't know who

onions for supper." they were, Americans, I guess. Most of

the kids at dusk would come outside

Smithsonian Folklife Festival 1999 15

Celebrating New Hampshire's Stories

in the writings of New England-born occupations that have emerged from the township of Canterbury to his inde- year, so in the fall, like November and Paul Doherty Community Proiects: Daniel Webster, who the state's diverse natural resources. pendent logging operation run with writers such as December, you didn't know whether Paul Doherty grew up in southwestern Newport and Portsmouth crafted Webster's Dictionary; Sarah These stories of some of the partici- draft horses. Today, Hugh keeps busy snow three feet or not New Hampshire, his it was going to but heart always During the research phase for the Festi- Hale, who wrote Mary Had a pants in each of these areas will tell you logging in the woods, collecting maple Josepha get any snow, so you had to kind of belonged to the northern woods. As a val, the curators became aware of com- and was the editor for the something about New Hampshire, its sap, giving hay rides for local communi- Little Lamb watch, save money in your budget. If lad, he learned to hunt and fish from munity projects that involved the creative from 1828 to spirit, and its people. ty groups, caring for his animals, and first woman's magazine I have three or several local outdoorsmen, artistic it worked out, might who were and interpretation of oral histo- Hampshire's contemporary visiting with his large family 1836; New four thousand dollars left in my bud- also notorious characters. For many ries and folklore. A multifaceted project poet laureate Donald Hall and past laure- Hugh Fifield Hugh's stories often feature his dry up, he years, served state in get. I had this guy get and he as a conservation Newport, a former textile mill town Kenyon. Visiting writers have Hugh Fifield of Canterbury was inter- sense of humor and teasing nature. One ate Jane couldn't figure out why I had money officer in the northern district of the and a center for the precision machine found inspiration in the abundance of state, and settled in Gorham. His fasci- tool industry, turned oral history into natural resources in New Hampshire. nation with the newfangled "snow poetry with the help of poet Verandah

Robert Frost wrote a wealth of poems machine" — later known as the snow- Porche. During the Portsmouth Shipyard celebrating the state. Thornton Wilder mobile — led him to head the Bureau of Project, initiated by the Portsmouth

wrote the play Our Town based on the Off-Highway Vehicles. Music Hall, workers at the shipyard,

picturesque town of Peterborough, which Throughout his career, he sought out where submarines are repaired and

is the home of the MacDowell Colony, a old-timers and colorful individuals, lis- overhauled, joined the Washington, D.C.-

retreat for writers and artists. tening to their stories and absorbing based Liz Lerman Dance Exchange in an

The heritage of the spoken word is their wisdom. Today, at 80, he still enjoys interpretation of their occupational folk-

celebrated in New Hampshire's Festival the North Woods in all seasons and still lore and history. Both projects involved

program, Celebrating New Hampshire's has an ear for a good story. Paul was schoolchildren, reinforcing the impor- Stories, but stories are also told through interviewed twice during our documen- tance of a connection between the gener-

crafts, recipes, music and dance, and tation process, once by folklorist Kate ations. These projects will be part of the occupational skills. The "Music of New Dodge, who researched snowmobiling "Ingenuity and Enterprise" portion of the

Hampshire" component of the program traditions, and once by folklorist Jessica Festival program.

honors the musical heritage of Yankee, Payne for the storytelling project. But it The stories collected in Newport, in

Franco-American, Polish, Scottish, Irish, is his self-published book, Smol(.efrom a Porche's words, "make the ancient con-

Jewish, African-American, and Hispanic Thousand Campftres, that yielded the fol- nection between a text woven of voices

communities. The "Home, Town, and lowing humorous tale: and textiles in a town where thousands Community" area focuses on the cultur- of hands drove the looms." The commu- strong work ethic of al traditions that define New Hamp- I have always liked the story about the nity spirit and shire's sense of place. Domestic and reli- man who hunted long and hard but Newport were also addressed in an exhi-

gious crafts and the important political never saw a deer He came home one bition on the machine tool industry

heritage of New Hampshire — the com- afternoon and saw a freshly dressed organized by Patryc Wiggins. The fol- Clarice munity voice of town meeting and the out doe hanging in the garage. lowing story, collected from Self-Portraits in national precedence of the first-in-the- Rushing in the house, he demanded "Babe" Frye for the book time on country presidential primary — are an explanation from his wife. "Where Newport, tells of an earlier of the main streets explored in this area. did that deer come from?" he sput- Sunapee Street, one town: "Ingenuity and Enterprise" examines tered. "Well, I'll tell you," she said, through the inventive nature go hunting, you spend of industry and viewed by folklorist Jill Linzee for a pro- of his favorite jokes pokes gentle fun at left in the budget, and he figured I "every year you we moved ammuni- I was three years old when small businesses in New Hampshire. ject initiated by the Vermont Folklife his wife Dolores, who was a "city girl" didn't do my job — his road could've lots of money on red outfits,

Street. 0, 1 tell you, that license. Today I went to Sunapee The heritage of family-owned and Center on New England storytelling, when they married and didn't even used that three thousand dollars. So, I tion, guns and a again. my that deer ran was something else When community-based businesses and the which paralleled our fieldwork efforts in know how to light a wood fire for heat had to get up and tell him, "We've got to town shopping and mother had to go out and it. I didn't do father and way in which fine craftsmen network New Hampshire. She was taken by his and cooking. He related the following to spend what we got, we can't spend out in the road and I hit kids, all the neighbors took but I killed the leave us through guilds are presented. "Seasonal "quintessential Yankee" nature as he incident from Canterbury Town Meeting what we ain't got." (Pause) But, that any damage to the car, care of us and made sure we behaved Work and Recreation" explores the regaled her with tales of interesting during his days as town road agent: was usually a lawyer, that got up and deer. The nice Game Warden came had all ethnic groups, hauled it home, ourselves. We cycle of the seasons and the love of the characters he had met and things he had did that. along, dressed it out, and there were didn't even need Greeks, Finnish, Polish, outdoors in New Hampshire, giving done in his life. You got axes to grind, that's the place and hung it for me. I families who didn't know who rise to or license to serve you liver and two the work culture and traditional Hugh's rugged hands tell the story of a to do it. And, usually, we got to argu- a gun they were, Americans, I guess. Most of crafts of recreation. "Farm, Forest, man who has worked outdoors his entire ing over something. The budget ran onions for supper." the kids at dusk would come outside Mountain, and Sea" takes a look at the life — from years on the road crew for from January first to January first, a 15 14 Smithsonian Folklife Festival 1999 Smithsonian Folklife Festival 1999 our house and play games, Hide and shared this one about the first time he Dudley Laufman, the stories that the

Seek, and stuff like that, Giant Steps. met Bob McQuillen: New Hampshire participants have to

Most everybody spoke English. If they share at the Festival will captivate visi-

got mad at us, they could swear at us 1 went to Norfolk County Agricultural tors with their honesty, wit, and wisdom.

in their language, and it wouldn't School and went to the New England

make a difference. Folk Festival back in the days when it Suggested Reading

was held on the fifth floor of the Doherty, Paul T. 1992. Smokefrom a

Dudley Laufman YWCA on Clarendon Street in Thousand Campftres. Berlin, N.H.: AND Bob McQuillen Boston. Bob McQuillen had come Smith & Town Printers.

Two of the most active individuals in down from Dublin; in fact, in those "The Music Hall's Shipyard Project."

traditional social dancing in New days he was living in New Boston. He 1996. Portsmouth, N.H. Program

Hampshire are Dudley Laufman and was all dressed in white and he had a book with historic photos, stories, Bob McQuillen. Both have been playing great big old Wurlitzer accordion. and interviews.

music in the state for over 50 years. Back in those days Bob's hair was Porche, Veranda. 1998. SPIN (Self-

Dudley was born in Newton, Massachu- blacker than it is now, but it was still Portraits in Newport). Published as setts, in 1931 and came to New streaked with gray, and he was only part of the New England Arts Trust

Hampshire in 1947 to work at Mistwold in his 20s. He was an ex-Marine, he Congress IV, Newport, N.H.

Dairy Farm, Fremont, where he was had tattoos on his biceps, and he was Information about the Vermont Folklife Center's New England Storytelling Project can be obtained by calling

[These] stories reflect the strong sense the Center at (802) 338-2694.

Betty Belanus is an education specialist at of individualism in New Hampshire as J. the Centerfor Folklife and Cultural Heritage well as people's desire to work and has been working on the Festival since

1986. The New Hampshire program is the together toward a common goal. third program she has co-curated; she went

solo on two others. j exposed to New Hampshire traditional a big fellar, and he made a lot of

is dances. Many musicians got their start noise. Not only with his accordion, Lynn Martin traditional arts coordinator j

in Dudley's first group, called The Can- but he whooped and he hollered, and for the New Hampshire State Council on the i

terbury Country Dance Orchestra. Along everybody loved him. Arts in Concord. She formerly held a similar i

with his partner Jacqueline, Dudley When the festival was over, we all position in Hawai'ifor 15 years and has pub- i

focuses on bringing back many of what trooped down the stairs, and Bob lished numerous articles, exhibition catalogs, t he refers to as New England barn dances. was leading, and he had his accor- and audio recordings on traditional cuhure. i

Bob McQuillen was born in Peter- dion, and he was sort of playing and Despite the drastic change in weather, she has j

borough, New Hampshire. Known for his whistling, and we went right out onto enjoyed learning about the traditions of her t steady, rhythmic piano playing, he is the street. Our car was parked up on adopted state during this project. also a prolific composer of tunes, 1,003 the right, and evidently Bob's truck of which appear in a series of self-pub- was out on the left. And we went out lished tune books called Bob's Notebooks. the door, and my mother, my father,

His first New Hampshire-based group my sister, and myself — we all auto- was called New England Tradition. matically just followed Bob right on

Today he plays with Deanna Stiles and down the street — forgetting that

Jane Orzechowski in a group called Old our car was up the other side. That

New England. was the effect that he had on me as a

In such a small state, it is inevitable little kid. that two such musical giants would have great stories about their times together. We hope that, like the mesmerizing

At a recent recording session Dudley effect Bob McQuillen's music had on

16 Smithsonian Folklife Festival 1999 New Hampshire's Cultural Landscape James L Garvin

New Hampshire is a museum of its own history. About 10,000

people hved here in 1730, after a century of European settlement. The states population has grown to over a ^ million, yet things that were familiar to the people of 1730 can still be seen today, along with everything that has accumulated since.

The history of New Hampshire, like that of much of the United States, is a story of initial settlement, the clearing and cultivation of the land, the rise of industry, the arrival of new immigrants from many parts of the world, the decline of small- scale farming, the growth of tourism, and the advent of a service economy.

The landscape here is a gift of nature, great in beauty but meager in fruitful- ness. The states lofty mountains have slopes too steep and soil too thin to yield any crop but timber Its innumerable streams flow too rapidly to form flood plains with rich, level land. The soil is fertile but so filled with glacial debris that the most permanent record of three centuries of farming is written in thousands of miles of stone walls. New Hampshire's cool, salubrious summers are counterbal- anced by long, cold winters that drive frost three feet into the ground.

Over nearly 400 years, with immense human labor and ingenuity, New Hamp- shire people have transformed their natural environment. Setders in the 1 7th century began the generations-long task of subduing the forest, making wood products our first great export. New

Hampshire pine supplied masts for the

Smithsonian Folklife Festival 1999 tury, the ice of New Hampshire's pure balanced by the decline of farming. Tired ment. The tourist boom that was launched lakes was cut into thick cakes and sent by of fighting stony soil and short growing in the 1890s has grown to represent New rail or ship to cool the food and drink of seasons, the children of New Hampshire's Hampshire's second-largest industry

Boston, New York, Savannah, and even farms moved west by the thousands after New Hampshire townships, the basic

India and South Africa. the Civil War, or turned to nearby cities units of government in New Hampshire,

Scandinavian immigrants of the late and mills. By the late 1800s, New Hamp- are filled with dispersed farmsteads and 19th century discovered the greatest shire witnessed the abandonment of homes. Nearly every township has economic value of New Hampshire's farms on a frightening scale. somewhere within it a town hall, a place winters. Norwegians, Swedes, and Finns Turning a crisis into an opportunity where the inhabitants gather one or more introduced skiing into a land that had known only Indian snowshoes, trans- forming New Hampshire's snow-covered mountain slopes into one of the first winter resort areas of the United States.

But more than any of nature's other gifts, New Hampshire came to value its water. Beginning in the 1630s with the construction of some of the first water- powered sawmills in North America, New

Hampshire people learned how to har- ness the power of lakes and streams. By the 1820s, New Hampshire millwrights and engineers had begun to dam and control even the largest rivers. Immense water wheels and systems of pulleys and Above: The double-arched Carr Bridge in Hillsborough, New Hampshire, is a belts were constructed to power spindles remarkable example of dry masonry stone work. A double-arched bridge and looms. Brick mills were built that allows for the necessary volume of water to flow through and still keeps the surpassed any structures ever seen in height of the bridge consistent with the roadbed. The granite was probably

North America. cut from deposits right by the river. Plwlo by Lynn Martin New Hampshire's industrial development made the state an internationally Right: Floating in a pond, logs dusted with a November snow wait to be recognized center of textile production. pulled into Garland Mills, one of the few water-powered sawmills remaining

The Amoskeag mills of Manchester grew in New Hampshire. Built in 1856, it is located north of the White Mountains to become the world's largest single tex- in Lancaster. Photo by Lynn Martin tile manufacturing complex. By 1870,

New Hampshire had become one of the State government allied itself with hun- times each year to express "the will of the i nation's industrialized dreds of farmers, boarding house propri- town" in the purest form of democracy most heavily | states in to its It etors, hotel operators to New known in North America. But the village proportion population. and make 5

remains so. Industry's ever-increasing Hampshire a tourist destination. Capital- is the characteristic element in any town- ; demand for labor brought wave after izing on the state's beautiful scenery and ship. The village may reflect 18th-century j wave of immigrants in the 19th and early healthful climate, promoters conveyed an origins, perhaps with a common, a '

20th centuries, enriching and diversify- image of New Hampshire as a place of church, and a cluster of private dwellings ing New Hampshire's population. Mas- wholesome rest and recreation. "Old and former stores or taverns. It may be tery of the many skills needed to manu- Home Week," introduced in 1899, enticed the creation of the railroad, perhaps with facture cloth earned New Hampshire a those who had moved elsewhere to return brick business blocks, a depot, and a high reputation in engineering, in the to New Hampshire, perhaps for just one freight house. It may be a place of manu- production of foundry products, in the week. Yet the memory of that single week facture, with a great brick mill set next to machine tool industry, and in power moved many a visitor to buy an aban- a stream and a cluster of boarding houses generation and transmission. doned farm or build a lakeside "camp" as and private homes tor mill workers.

But the rise of industry was counter- a place of yearly summertime refresh- New Hampshire was a place of reli-

18 Smithsonian Folklife Festival 1999 New Hampshire's Cultural Landscape

gious foment in the early 1800s, with state to authorize its towns to raise money the first European ships land on the New

several sects being founded here, includ- by taxation to support such libraries. In Hampshire coast in the 1620s.

ing the Free-Will Baptists and the 1891, it became the first state to provide Constant change is written in New Seventh-Day Adventists. But since colo- state assistance to any town choosing to Hampshire's cultural landscape. But one

nial days, each New Hampshire town had create a public library In 1895, it required image has persisted for many genera-

also had an established church, support- every town to establish a library unless tions. Outsiders and inhabitants alike

ed by taxation. This practice ended with the electorate voted each year not to do so. often regard New Hampshire as an passage of the "Toleration Act" in 1819. Away from the city and the village, the almost mythical place of natural beauty

Shortly thereafter, church buildings of land in New Hampshire, like the soil of and rectitude, a place where hard work,

intelligence, and character will be

rewarded with happiness. It is no accident that Thoreau, imagining one place

in New England that was still filled with

possibility, pointed to "a New Hamp-

shire, everlasting and unfallen."

Suggested Reading

Gilmore, Robert C. 1981. New Hampshire Literature: A Sampler of Writings. Hanover, N.H.: University Press of New England.

Hall, Donald. 1987. Seasons at Eagle

Pond. New York: Ticknor and Fields.

Heffernan, Nancy C, and Ann Page Stecker.

1986. New Hampshire: Crosscurrents in

Its Development. Grantham, N.H.:

Tompson & Rutter, Inc.

Jager, Ronald, and Grace Jager. 1983. New Hampshire: An Illustrated History of

the Granite 5fafe. Woodland Hills,

California: Windsor Publications.

James L. Garvin has been state architectural

historian at the New Hampshire Division of

Historical Resources since 1987. He worked as many sects, built by congregations that an ancient civilization, holds evidence of a curator at the New Hampshire Historical had been freed from support of the old more than one stratum of human occu- Society in Concord, and was one of the first established church, began to replace pancy. The forest floor is pockmarked employees when the Strawbery Banke colonial meeting houses. It is thus no with half-filled cellar holes from the age Museum in Portsmouth opened in the early accident that New Hampshire villages are of settlement. Roadways are flanked by 1960s. He has authored several exhibition cat- filled with church buildings that date stone walls that restrained long-departed alogs ami a )mmber of articles on architecture from the 1820s, the 1830s, and later. herds, stone-lined wells, the foundations and the decorative arts. He holds a degree in

The most impressive building in many of barns, and broken milldams whose architectural engineeringfrom the Wentworth

New Hampshire villages is the free public streams have reverted to a wild state. Institute of Technology in Boston. library New Hampshire claimed the first This, too, is part of the cultural land- public libraries in the United States with scape of New Hampshire, revealing itself the establishment of a free public library only to the sensitive and experienced eye. in Dublin in 1822 and a fully tax-support- In certain locations, that eye may also ed public library in Peterborough in 1833. discern traces of the villages and fishing

In 1849, New Hampshire became the first sites of a still earlier people who watched

Smithsonian Folklife Festival 1999 19

Mew Hampshire's Cultural Landscape

Hampshire's pure balanced by the decline of farming. Tired ment. The tourist boom that was launched early 1800s, with state to authorize its towns to raise tury, the ice of New gious foment in the money thick cakes and sent by of fighting stony soil and short growing in the 1890s has grown to represent New here, includ- by taxation to support such libraries. In lakes was cut into several sects being founded

to cool the food and drink of seasons, the children of New Hampshire's Hampshire's second-largest industry Baptists and the 1891, it became the first state to provide rail or ship ing the Free-Will Boston, New York, Savannah, and even farms moved west by the thousands after New Hampshire townships, the basic Seventh-Day Adventists. But since colo- state assistance to any town choosing to

Africa. the Civil War, or turned to nearby cities units of government in New Hampshire, Hampshire town had create a public library In 1895, it required India and South nial days, each New immigrants of the late and mills. By the late 1800s, New Hamp- are filled with dispersed farmsteads and church, support- every town to establish a library unless Scandinavian also had an established greatest shire witnessed the abandonment of homes. Nearly every township has ended with the electorate voted each year not to do so. 19th century discovered the ed by taxation. This practice economic value of New Hampshire's farms on a frightening scale. somewhere within it a town hall, a place passage of the "Toleration Act" in 1819. Away from the city and the village, the inhabitants gather or like the soil of winters. Norwegians, Swedes, and Finns Turning a crisis into an opportunity, where the one more Shortly thereafter, church buildings of land in New Hampshire, introduced skiing into a land that had known only Indian snowshoes, trans- forming New Hampshire's snow-covered

mountain slopes into one of the first

winter resort areas of the United States. But more than any of nature's other

gifts, New Hampshire came to value its

water Beginning in the 1630s with the

construction of some of the first water-

powered sawmills in North America, New

Hampshire people learned how to har-

ness the power of lakes and streams. By

the 1820s, New Hampshire millwrights

and engineers had begun to dam and

control even the largest rivers. Immense water wheels and systems of pulleys and

belts were constructed to power spindles

and looms. Brick mills were built that

surpassed any structures ever seen in North America. New Hampshire's industrial develop-

ment made the state an internationally

recognized center of textile production.

The Amoskeag mills of IVlanchester grew

to become the world's largest single tex-

tile manufacturing complex. By 1870, New Hampshire had become one of the

nation's most heavily industrialized

states in proportion to its population. It

remains so. Industry's ever-increasing

demand for labor brought wave after

wave of immigrants in the 19th and early

20th centuries, enriching and diversify- ing New Hampshire's population. Mas- tery of the many skills needed to manufacture cloth earned New Hampshire a high reputation in engineering, in the production of foundry products, in the machine tool industry, and in power generation and transmission.

But the rise of industry was counter-

18 Fiddle Music, Dance, and Community in New Hampsiiire

New Hampshire, the music of the Infiddle often brings people together, creating moments of deep pleasure and exuberant movement, lifting the ordinary into the realm of art, encouraging notions of community. Of course, music can do this anywhere. But New

Hampshire's fiddle music tells us something about how at least some citizens experience that sense of community

This, in turn, tells us something about the state of community in the state of New Hampshire.

Last summer, I was a judge at a fiddlers' competition in the capital. Concord. We heard Franco- American music and the straightforward North- eastern style some people describe as

Yankee. Irish and Scottish tunes and styles, and music associated with the flourishing contra dance scene found their way into the mix. There were examples of a generalized Northern contest style, highly technical and pre- cise. Someone from Massachusetts played a high-tech style that transcend- ed New England playing. In short, no one way of playing stood out as emblematic of a distinctive New

Hampshire tradition. The fiddling in

New Hampshire — and there's lots of it

— is not one music.

We need to turn to local settings to learn more about the state's various musical traditions. On Wednesday nights, musicians gather at a small building behind Marcel Robidas's house in Dover that was built for music-making. A dozen or more men and women

20 Smithsonian Folklife Festival 1999 with fiddles, guitars, and other instru- On any given Saturday night; you ments are there. Someone pounds out the rhythm on the piano, and the music can find a New Hampshire town cascades from a number of streams of tradition: French-Canadian joining a hall or grange building hosting a general Northeast and Maritime reper-

toire. Marcel was born in Orange, contra dance. Vermont, to a family of Franco- American heritage, but his music has no

single source, no single label. Marcel

once mentioned to me that he never thought of himself as a French fiddler

until people started "coming around" to

interview him about his music. So,

although a night playing music at

Marcel's might have a French accent, it is actually a merging of many musics. The

people who come feel bound by the

music. Then they go home to different towns. For musicians in New Hamp-

shire, community and place of residence are not necessarily the same thing. In the North Country of New Hamp-

shire is Berlin, an old industrial town

and home to Larry and Henry Riendeau. The majority of New Hampshire's Franco-American population comes from Quebec, but the

Riendeaus are Acadian in ancestry, from the Canadian Maritimes. The Riendeau music is deeply anchored in family—tradition. At the same time, it helped

thanks to a late- 1960s LP that featured

Larry and Henry with their father, Louis

— to establish a canon of Franco- American tlddle music. Like many cre-

ative musicians, they have learned from whoever interested them. Their current repertoire includes tunes from Gerry Robichaud, the excellent New Brunswick

fiddler who lives in Massachusetts; Canadian Ivan Hicks, a leading "Down

East" fiddler; and Winston Fitzgerald,

who was an influential Cape Breton

Scottish tiddler. The Riendeaus have

long played their music in social clubs, kitchen breakdowns, hunting camps,

and other local settings. Their music is

based in the community of Berlin, but it

connects them to other musicians and

Smithsonian Folklife Festival 1999 21

with fiddles, guitars, and other instru- any given Saturday night, you ments are there. Someone Fiddle Music, Dance, and On pounds out the rhythm on the piano, and the music can find a New Hampstiire town cascades from a number of streams of Community in New Hampshire tradition: French-Canadian joining a hall or grange building hosting a general Northeast and Maritime reper- Burt Feintuch toire. Marcel was born in Orange, contra dance. Vermont, to a family of Franco- American heritage, but his music has no

single source, no single label. Marcel

once mentioned to me that he never

New Hampshire, the music of the thought of himself as a French fiddler

Infiddle often brings people together, until people started "coming around" to creating moments of deep pleasure interview him about his music. So,

and exuberant movement, lifting the although a night playing music at

ordinary into the realm of art, encourag- Marcel's might have a French accent, it is ing notions of community. Of course, actually a merging of many musics. The

music can do this anywhere. But New people who come feel bound by the

Hampshire's fiddle music tells us some- music. Then they go home to different

thing about how at least some citizens towns. For musicians in New Hamp-

experience that sense of community. shire, community and place of residence

This, in turn, tells us something about are not necessarily the same thing.

the state of community in the state of In the North Country of New Hamp-

New Hampshire. shire is Berlin, an old industrial town

Last summer, I was a judge at a and home to Larry and Henry

fiddlers' competition in the capital, Riendeau. The majority of New Concord. We heard Franco-American Hampshire's Franco-American popula- music and the straightforward North- tion comes from Quebec, but the

eastern style some people describe as Riendeaus are Acadian in ancestry, from

Yankee. Irish and Scottish tunes and the Canadian Maritimes. The Riendeau styles, and music associated with the music is deeply anchored in family—tra- flourishing contra dance scene found dition. At the same time, it helped featured their way into the mix. There were thanks to a late- 1960s LP that their father, Louis examples of a generalized Northern Larry and Henry with canon of Franco- contest style, highly technical and pre- — to establish a music. Like many cre- cise. Someone from Massachusetts American fiddle musicians, they have learned from played a high-tech style that transcend- ative whoever interested them. Their current ed New England playing. In short, no repertoire includes tunes from Gerry one way of playing stood out as Robichaud, the excellent New Brunswick emblematic of a distinctive New fiddler who lives in Massachusetts; Hampshire tradition. The fiddling in Canadian Ivan Hicks, a leading "Down New Hampshire — and there's lots of it East" fiddler; and Winston Fitzgerald, — is not one music. who was an influential Cape Breton We need to turn to local settings to Scottish fiddler. The Riendeaus have learn more about the state's various long played their music in social clubs, musical traditions. On Wednesday kitchen breakdowns, hunting camps, nights, musicians gather at a small and other local settings. Their music is building behind Marcel Robidas's house based in the community of Berlin, but it in Dover that was built for music-mak- connects them to other musicians and ing. A dozen or more men and women 21 20 Festival 1999 Smithsonian Folklife Festival 199' Smithsonian Folklifb other places, reaching well beyond shires best-known contra dance fiddlers fiddle music as old. But today's fiddle

New Hampshire. and a symbol of New Hampshire for music in New Hampshire is as much a

On any given Saturday night, you can dance enthusiasts around the country, is product of various sorts of mobility as it find a New Hampshire town hall or originally from upstate New York, and is about continuity, reflecting an era in grange building hosting a contra dance. became inspired to play for dances while which ways of thinking about locality,

Callers chant instructions to lines of attending a dance and music camp in identities, and culture are challenged by couples who progress up and down, Massachusetts. new ways that people, information, and swinging, balancing, promenading, their Other fiddle music of many styles can capital move. Some of the music's char- bodies propelled by the music. A fiddle be heard all over New Hampshire. acter has to do with regional history, especially population movement from

Canada to northern New England. Much

of it is what folklorists and ethnomusi- <

cologists describe as revival music,

music played outside its original cultural community. At a time when New Hamp-

shire has seen a considerable influx of

people from elsewhere, and when statis-

Members of the Maple tics tell of the state's comparative afflu- ^

Sugar Band rehearse in ence, fiddle music's popularity reflects a

Marcel Robidas's barn desire to create the kinds of communi-

in Dover, New ties we imagine were once here. Indeed,

Hampshire. it would be very hard to say that New

Photo by ]ill Lmzee Hampshire fiddle music is significantly

different from Vermont's, or Maine's. It's and a piano are nearly always at the Contests at Weare and Stark, like the here, though, in its varied forms and set-

tings, it people together. That center of the music, joined perhaps by Concord contest, attract fiddlers from and brings ( flute, accordion, guitar, bass, or other the region. The New Hampshire Strath- makes us much better off than we would instruments. The full story of contra spey and Reel Society meets monthly, be without it. dance remains to be written, but it is playing a Scottish repertoire, under the clearly a transatlantic story, a transfor- direction of a Massachusetts musician. Suggested Listening mation of older dance forms, with Irish sessions abound in bars, and mas- Choose Your Partners, Contra Dance & diverse local inspirations. Two charis- ter fiddler Roger Burridge, born in Square Dance Music of New matic New Hampshire figures, first England but apprenticed in Ireland, has Hampshire. 1999. Smithsonian Ralph Page and later Dudley Laufman, a growing presence. Bluegrass groups Folkways Recordings SFW 40126. figure prominently in 20th-century featuring accomplished fiddlers are scat- Mademoiselle, voulez-vous danser?

revivals of the music. tered across the landscape. Nashua's Franco-American Musicfrom the

Contra dance has become a national Wilson Langlois plays old Quebecois New England Borderland. 1999. form, but New Hampshire receives much tunes as well as swing-influenced music Smithsonian Folkways Recordings credit as the center. Peterborough, from his days with a dance combo. SFW 401 16. Nelson, and Dover are popular contra Harvey Tolman, from Marlborough, a

dance venues. The dancers, though, come descendant of a musical dynasty in the Burt Feintuch is a professor offolklore and from different geographical and social southwestern part of New Hampshire, English at the University of New Hampshire, spaces. Some would have once happily plays mostly Cape Breton music, having where he directs the Centerfor the Human-

described themselves as members of the been inspired by a festival in Massachu- ities. A former editor of the lournal of

counterculture. Many are professionals, setts years ago. Contra dance fiddlers American Folklore, he is developing, with and many are not originally from New often break into Scottish or Irish tunes, David Walters, the Encyclopedia of New

Hampshire. It is the gathering, the music, thanks to the international growth of England Culture. He plays the fiddle for

and the dancing, that create a spirit of interest in musics from those places. dancing with the Lamprey River Band, most-

community. Even Rodney Miller, a virtu- It's tempting, in a state where histori- ly in New Hampshire's Seacoast region. oso who has become one of New Hamp- cal consciousness runs high, to think of

22 Smithsonian Folklife Festival 1999 Making Do: The Aesthetics of Frugality

Rebecca L. Lawrence

Use it up ^-^V ^-^"^^ ^-^"•' ^-"»' -»-•> Wear it out iUVA i\\V^ i\W Malce it do K^r/' •^w* •^'.*V' <'( >^ <'( >^ Or do wittiout

Every girl who grows up in north- balls) or shaping scraps of pie dough Pineapple stencil by Helen Learned of Rumney, ern New England hears "make it into little jam turnovers and cinnamon- New Hampshire.

do, or do without" so often that it sugar spirals, she mingled her "receipts," creates a permanent wrinkle in her which were never written down, with was Great Depression times, and every- brain. This phrase, expressing the family history and recipes to live by My one was looking for different ways of essence of Yankee frugality, also captures favorite homily of hers is: earning a few extra dollars. Practicing the aesthetic of the region's domestic Be kind to all dumb animals crafts at home was one of those ways. crafts: braided rugs, quilts, stenciling, and give small birds a crumb. My mother and a few of her friends dried flowers and herbs for winter deco- Be kind to human beings, too, asked the woman to teach them stencil- rations or sachets, and preserves made they're sometimes pretty dumb. ing and decorative painting, which the from summer harvests. Today, we buy pie crusts in ready-made woman did informally No money

"Yankees" of my generation (born in circles. There are no scraps to roll into changed hands; "It was about friendship, the 1940s) who were fortunate enough tiny treats, wrapped in words of wisdom. and she was a nice lady." to grow up in households that allowed I thought about these things when I Stenciling techniques, which became frequent contact with their grandmoth- looked into the craft of stenciling, which less important for wall and floor decora- ers had direct experience with the prac- my mother practiced as I was growing tions when the Industrial Revolution tice of these household traditions. I up. Because this craft, along with other brought down the cost of wallpaper and clearly recall my grandmother ripping New England domestic crafts, has been patterned rugs, were kept alive, on a old flannel or wool shirts into strips that so commercialized and oversold for much less grand scale, in other trades she twisted into flat braids, then sewed "country" decorating schemes, it's easy such as carriage, furniture, and utensil

into ovals or circles to cover the cold, to forget its roots and authenticity as it decoration in the period between 1840 winter floors. Many of my great-aunts was practiced in rural homes, particu- and 1930. My mother told me that the knitted, crocheted, embroidered, or larly in the "backwoods" areas of Maine woman she learned from taught "old that her sten- quihed. Each one became known in the (where 1 grew up) and New Hampshire. techniques" and some of the shellacked family for the skill in which she excelled. I asked my mother how she learned the cils were made from My grandmother was the best cook technique and her thoughts on whether brown paper used by Moses Eaton and

among her sisters, and that was the tra- it was a true tradition or a revival. In her other itinerant stencil painters from the

dition she shared with me: breads, bis- case, she learned how to stencil in the 1780s to the 1840s. My mother cut her

cuits, shortcakes, pies, puddings, chow- 1930s from someone who was recog- own stencils from architect's linen used ders, and stews. As we worked together nized in the community as knowing a for blueprints of the day During this

scooping out butter (in walnut-sized lot about it. Why in the 1930s? Because it time an acquaintance of hers found a

Smithsonian Folklife Festival 1999 23 box of original Eaton stencils in her with more vitality, particularly those that Concord, who keeps up his family busi- attic. Her friend shared Eaton's designs have been passed down as family tradi- ness, weave the seat again and again. with the group. tions. The idea of turning food scraps The concept all these crafts have in com-

Moses Eaton moved to Hancock, New into a savory stew or red flannel hash mon is the transformation of trash into

Hampshire, from Needham, Massachu- parallels the aesthetic of turning scraps treasure. setts, in the 1780s. His son, Moses Jr., of cloth into a colorful quilt, or braiding In New Hampshire, self-sufficient cot- apprenticed with him, and they both worn-out family clothing into a rug. It tage industries like these were the impe- practiced their craft in northern New extends to the notion of finding uses for tus for the League of New Hampshire

England. The Eaton descendants, who things that others would discard. Fading Craftsmen to form during the Great still live in New Hampshire, do not carry flowers, properly dried, turn into wreaths Depression. As early as the mid- 1920s, a on the family stenciling tradition. These of summer sun to warm homes through few enlightened folks (the Coolidges in days, stenciling-made-easy kits are a the winter's dark days. Brown ash wood Center Sandwich and A. Cooper hobby-shop staple: the craft as occupa- to a carpenter has little use, but to a bas- Ballantine in Wolfeboro) saw the earning tion has outlived its purpose and place ket maker like Newt Washburn of potential of isolated farming people with in the community. Even so, there are Bethlehem, New Hampshire, working in traditional craft skills banding together many examples of the Batons' original his Sweetser family tradition, split brown to expand the market for what they work in New Hampshire, and stenciled ash wood turns into baskets for eggs, made. They also saw the importance of walls have become a universally recog- laundry, berry-picking, and a host of the master-apprentice system as a way of nized symbol of a "New England" other uses. An old chair with a sagging, passing these skills on. They convinced aesthetic. ripped bottom doesn't get thrown away. Governor John Winant to provide seed

Other New England crafts continue Chair reseaters like Peter Blanchard of money from the state to create a Making Do: The Aesthetics of Frugality

Commission on Arts and Crafts in 1931. vegetable-dyeing, basket-making, wood- "next generation" booth, where the chil-

The commission's report to the governor carving, and ironworking. Also featured dren of league members sell their own advocated supporting the highest aes- were the singing of old tunes and coun- crafts, often made from the scraps left thetic standard for New Hampshire try dancing. over from their parents' work. "Making crafts; providing gainful work through The league fair, now held each August do" is one aesthetic that remains a thor- home industries, native crafts, and arts; at Mount Sunapee State Park, has grown oughly New Hampshire tradition. and offering instruction in arts and to hundreds of booths. Nearly 50,000 crafts. people come to see exhibits, demonstra- Suggested Reading

In 1932, the commission became the tions, and performances as well as to Steele, Betty. 1982. The League of New

League of New Hampshire Craftsmen, shop. The inventory has expanded to Hampshire Craftsmen's First Fifty in the early days, the league was a total- include less functional, more contempo- Years. Concord, N.H. ly grassroots organization, encouraging rary crafts; but there is still a core selec- the use of local materials like river clay, tion of traditional New England crafts Rebecca Lawrence is the director of the New forming local craft guilds such as the — mustards, jellies, ironwork, braided Hampshire State Council on the Arts in

Saffron and Indigo Society, and seeking and hooked rugs, clay bowls, quilts, Concord. She has lived in New Hampshire out old-timers to instruct others in their dried flower wreaths, woodcarvings, and since 1987, but lier Yankee roots date back to craft traditions. In 1934 the league orga- more. These crafts tell the story of the the mid- 1600s, when her ancestors were pio- nized the first craft fair in the nation at league's origins and help carry on family neers on Sabattus Mountain, Maine.

Crawford Notch in the White Moun- traditions in New Hampshire's craft tains. Along with a sales area, the fair occupations. had demonstrations of pottery, weaving. A feature of recent league fairs is a

Above: League of New Hampshire Craftsmen display at the 1939 Durham Fair.

Photo courtesy League ofNew Hantpslure Craftunen

Left: Gardeners Sandi and Wayne Yacek of Milan have created a home business out of the traditional skills of making ornamental wreaths, swags, and other arrangements from dried materials. Combined in a variety of shades and textures, they bring color and fragrance to the house during the long winter months in New Hampshire. Photo by Lynn Martin

Smithsonian Folklife Festival 1999 25 f • Le Patrimoine franco-amencain Franco-American Heritage

in New Hampshire

A Photo Essay by Gary Samson

Right: When social documentary photographer Lewis W. Hine made this photograph of Amoskeag employees exiting the mill yard in 1909,

40 percent of the company's work force of approximately 1 5,000 was Franco-

American. Hine had come to Manchester to record child labor practices as

part of his work for the National Child Labor Committee.

nTHWF^TTJ^'^

Besides textile and shoe manufacturing, Franco-Americans found work in other industries or established their own small businesses. Employees j

of the Manchester Coal and Ice Company, which harvested ice from Massebesic Lake, pose for a photograph by Boulanger et Freres, about 1900. i Between 1830 and 1900, Left: Manchester photographer Ulric Bourgeois as 340,000 French Canadians he ventured forth with camera and tripod for a day abandoned the poor eco- of fieldwork, about 1913; photographer unknown. Bourgeois nomic and political condi- and his wife arrived in the city at the

tions that existed in their turn of the century after an apprenticeship at native province of Quebec for the Ethier Studios, Waterloo, Quebec. His bilinguahsm coupled with his creative imagination and knowl- promise of a better way of life and a edge of the technical aspects of the medium chance to more fully realize their ambi- enabled him to become one of the state's leading tions in the industrial centers of New England. As the new century began, photographers. He retired in 1950 after 50 years of photographing Manchester's history and culture. Quebecois continued to relocate across the southern border, drawn away from

Below: The first credit union in the United States, small Canadian towns such as Waterloo, was established Magog, and Fulford by the attractions of La Caisse Populaire Sainte-Marie, in Manchester on November 24, 1908, to serve the prosperous American cities such as Manchester, New Hampshire, home of rapidly growing Franco- American population. The organization, initially operated from a private the Amoskeag Manufacturing Company, home, was moved to new headquarters in 1913. then the world's largest producer of tex- Photo by Launer Durt'ttc, circa I9i0 tile products.

The French Canadians came to be known as Franco-Americans. In mill towns, the Franco-American community was often called Le Petit Canada, or

Little Canada, and at times entire populations of rural Quebec villages were transferred almost completely intact to a particular mill-town neighborhood.

Gary Samson is manager of Photographic

Services at the University of New Hampshire.

He has produced ten films reflecting the diverse history and cidture of the state of New Hampshire and has organized many exhibits on historic aspects of New Hampshire. Gary is one of the state's most respected photographers and teaches photography at the New

Hampsliire Institute ofArt in Manchester.

Below: In Manchester, New Hampshire, the Merrimack River Hows ihriiuj;li the once great Amoskeag Manufacturing complex, reflecting a part of history, industrial progress, and social change. This 1903 panoramic view of the company captures the dramatic expanse of the largest textile mill yard in the world and the city it built, a unique example of 19th-century community planning. Photo © Alphomon H. Sanborn

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etween 1850 and 1900, Left: Manchester photographer Ulric Bourgeois as 340,000 French Canadians he ventured forth with camera and tripod for a day Patrimoine of fieldwork, Le about photographer franco-americain 1913; unknown. abandoned the poor economic and pohtical condi- Bourgeois and his wife arrived in the city at the Franco-American Heritage turn of the century after an apprenticeship at _ tions that existed in their Ethier Studios, Waterloo, Quebec. His bilingualism for the native province of Quebec in coupled with his creative imagination and knowl- New Hampshire promise of a better way of life and a edge of the technical aspects of the medium chance to more fully realize their ambi- enabled him to become one of the state's leading A Photo Essay by Gary Samson industrial centers of New tions in the photographers. He retired in 1950 after 50 years of England. As the new century began, Right: When social documentary photographer Lewis W. Hine photographing Manchester's history and culture. Quebecois continued to relocate across made this photograph of Amoskeag employees exiting the mill yard in 1909, the southern border, drawn away from 40 percent of the company's work force of approximately 15,000 was Franco- Below. The first credit union in the United States, small Canadian towns such as Waterloo, Sainte-Marie, established American. Hine had come to Manchester to record child labor practices as La Caisse Populaire was Magog, and Fulford by the attractions of 24, 1908, to serve the part of his work for the National Child Labor Committee. in Manchester on November prosperous American cities such as rapidly growing Franco- American population. Manchester, New Hampshire, home of The organization, initially operated from a private the Amoskeag Manufacturing Company, home, was moved to new headquarters in 1913. then the world's largest producer of tex- Photo by Laurier Durette, circa 1930 tile products. The French Canadians came to be known as Franco-Americans. In mill towns, the Franco-American communi-

ty was often called Le Petit Canada, or

Little Canada, and at times entire popu-

lations of rural Quebec villages were transferred almost completely intact to

a particular mill-town neighborhood.

Gary Samson is manager of Photographic

Services at the University ofNew Hampshire. He has produced ten films reflecting the

diverse history and culture of the state oj New Hampshire and has organized many exhibits

on historic aspects of New Hampshire. Gary

is one of the state's most respected photographers and teaches photography at the New

Hampshire Institute ofArt in Manchester.

complex, reflecting a par. of history the once great Amoskeag Manufacturing Below: In Manchester, New Hampshire, the Merrimack River flows through textile mdl yard tn the world company captures the dramatic expanse of the largest Besides textile and shoe manufacturing, Franco-Americans found work in other industries or established their own small businesses. Employees industrial progress, and social change. This 1903 panoramic view of the Sanborn of the Manchester community planning. Pholo © Alphomon H. Coal and Ice Company, which harvested ice from Massebesic Lake, pose for a photograph by Boulanger et Freres, about 1900. and the city it buUt, a unique example of 19th-century [/ffcL_K^^ =J*"' Right: Inspired by the earlier

documentary work of Lewis W. Hine .^^ and Ulric Bourgeois, I began U photographing the diverse Franco-

American population of Manchester

in 1980. Doris Houle Burke, expect-

ing her first child, was photographed

in her kitchen in 1982 as part of this

extended portrait of the community.

Photo by Gary Samson

Above far right: For three-quarters of a century,

the Durette family has been recording the people,

customs, and events of Manchester's Franco-

American community. Gerald Durette, son of

Laurier Durette, is a third-generation photogra-

pher carrying on the family tradition established

by his grandfather, Francois Xavier Durette.

Photo by Gary Samson, 1999

Above: Parade float, Sauit-Jeaii Baplisic Day, Manchester, 1950. John the

Baptist is the patron saint of French-speaking people in North America.

Photo by Laurier Durette

28 Smithsonian Folklife Festival 1999 Le Patrimoine franco-americain I Vranco-American Heritage in New Hampshire

Samson, Gary. 1989. The Merrimack Valley: A Visual Suggested Reading History. Norfolk, Virginia: The Donning

Brault, Gerard J. 1986. The French-Canadiati Company Publishers.

Heritage in New England. Hanover, N.H.: . 1991."Ulric Bourgeois (1874-1963): Franco- University Press of New England. American Photographer," Historical New

Hareven, Tamara K., and Randolph Langenbach. Hampshire, volume 46, no. 3 (Fall).

1978. Amoskeag: Life and Work in an American . 1996. A World Within a World: Manchester,

Factory City. New York: Pantheon Books. the Mills and the Immigrant Experience. Dover,

N.H.: Arcadia Press.

Quebecois artist

Ozias Leduc was

commissioned in

1906 to decorate the

interior of the recent-

ly completed Sainte-

Marie Church, located

in the heart of Little

Canada, Manchester's

French-Canadian

neighborhood.

The parish was estab-

lished in 1880 to ease

the overcrowding of

the city's first French-

language Catholic

church, Saint

Augustine's,

founded in 1871.

Photo by Laiiner

Diirette, circa 1930

Smithsonian Fm ki h h Festival 1999 29

ie Patrimoine franco-americain I ¥vanco-American Heritage in New Hampshire

Right: Inspired by the earlier Samson, Gary. 1989. The Merrimack Valley: A Visual documentary work of Lewis W. Hine Suggested Reading History. Norfolk, Virginia: The Donning

I The French-Canadian and Ulric Bourgeois, began Brault, Gerard J. 1986. Company Publishers. 1991. photographing the diverse Franco- Heritage in New England. Hanover, N.H.: . "Ulric Bourgeois (1874-1963): Franco- American population of Manchester University Press of New England. American Photographer," Historical New

in 1980. Doris Houle Burke, expect- Hareven, Tamara K., and Randolph Langenbach. Hampshire, volume 46, no. 3 (Fall).

ing her first child, was photographed 1978. Amoskeag: Life and Work in an American . 1996. A World Within a World: Manchester,

in her kitchen in 1982 as part of this Factory City. New York: Pantheon Books. the Mills and the Immigrant Experience. Dover,

extended portrait of the community. N.H.: Arcadia Press.

Pholo by Gary Saimon

Qu^becois artist

Ozias Leduc was

Above far right: For three-quarters of a century, commissioned in

the Durette family has been recording the people, 1906 to decorate the

customs, and events of Manchester's Franco- interior of the recent-

American community. Gerald Durette, son of ly completed Sainte- Marie Church, located Laurier Durette, is a third-generation photogra-

in the heart of Little pher carrying on the family tradition established Canada, Manchester's by his grandfather, Francois Xavier Durette. French-Canadian Pholo by Gary Samson, 1999 neighborhood.

The parish was estab-

lished in 1880 to ease

the overcrowding of

the city's first French-

language Catholic

church. Saint

Augustine's,

founded in 1871.

Photo by Laurier

Durette, circa 1930

Above: Parade float, Saint-Jean Baptiste Day, Manchester, 1950. John the

Baptist is the patron saint of French-speaking people in North America.

Photo by Laurier Durette

29 Smithsonian Folklife Festival 1999 28 Smithsonian Folklife Festival 19 '9 Granite and Grass^

Donald Hall

Ragged Mountain Spirits,

by Christopher Hill Morse, 1999.

On Ragged Mountain birches twist from rifts in granite. Quail scream in the fisher's jaw; then the fisher dotes. Great ledges show gray through sugarbush. Brown bears The coy-dog howls, raising puppies that breed more puppies doze all winter under granite outcroppings or in cellarholes to rip the throats of rickety deer in March. the first settlers walled with fieldstone. The moose's antlers extend, defending his wife for a season.

Granite markers recline in high abandoned graveyards. Mother-and- father grass lifts in the forsaken meadow,

Although split by frost or dynamite, granite is unaltered; grows tall under sun and rain, uncut, turns yellow, earthquakes tumble boulders across meadows; glaciers sheds seeds, and under assault of snow relents; in May carry pebbles with them as they grind south green generates again. When the bear dies, bees construct and melt north, scooping lakes for the Penacook's trout. honey from nectar of cinquefoil growing through rib bones.

Stone bulks, reflects sunlight, bears snow, and persists.

When highway-markers cut through a granite hill, scoring Ragged Mountain was granite before Adam divided. deep trench-sides with vertical drillings, they leave behind Grass lives because it dies. If weary of discord glittering sculptures, monuments to the granite state we gaze heavenward through the same eye that looks at us, of nature, emblems of permanence vision makes light of contradiction: that we worship in daily disease, and discover in stone. Granite is grass in the holy meadow of the soul's repose.

But when we climb Ragged Mountain past cordwood stumpage, Donald Hall is the poet laureate of New Hampshire. His work reflects over rocks of a dry creekbed, in company of young hemlock, the natural and cultural landscape of the state. only granite remains unkind. Uprising in summer, in woods and high pastures, our sister the fern breathes, trembles, From The Happy Man by Donald Hall Copyright © 1981, 1982, and alters, delicate fronds outspread and separate. 1983, 1984, 1985, 1986 by Donald Hall. Reprinted by permission of

The fox pausing for scent cuts holes in hoarfrost. Random House, Inc.

30 Smithsonian Folkufe Festival 1999 Politics and Community Values

David H. Walters

Hampshire fourth graders a general, a silver-tongued politician, and Town meeting in Chicester, presided over by

New moderator E. Sargent (leaning on ballot box). read Nathaniel Hawthorne's a poet, townspeople recognize that John

short story, "The Great Stone Ernest himself resembles the Great Stone Photo hy Geojf Forrester, courtesy Concord Monitor

Face" (1850), in which a young boy, Face. He humbly stays home and serves

Ernest, grows up in a town in the shadow his neighbors, confirming the fefferson- chusetts." Politics and community values of the Old Man of the Mountain. There is ian ideal that leadership arises from blend in town meeting, protest move- a prophecy that a child born nearby is common folk. Today, local control and a ments, family service, and the presiden-

"destined to become the greatest and suspicion of distant authority are the tial primary. noblest personage of his time, and [his] granite of New Hampshire political tradi- In New Hampshire, town meeting countenance, in manhood, should bear tions, which have persisted even as the annually renews democracy Towns tra- an exact resemblance to the Great Stone population has absorbed waves of for- ditionally meet on or about the second

Face." After visits by a wealthy merchant, eigners from other nations and "Taxa- Tuesday of March. Roads are still pass-

Smithsonian Folklife Festival 1999 31 able before mud season, and maple sug- Some issues become symbolic of a during grassroots protest movements. aring is just underway. Ranging in size towns struggle to define its rural charac- Durham resisted Aristode Onassis's plan from 25 to 3,300, meetings begin with ter. Towns around Mt. Kearsarge passed to build a massive oil refinery on Dur- the Pledge of Allegiance, and, perhaps, resolutions against the construction of a ham Point. It became a battle over the

"America, The Beautiful." There are communications tower on the peak. In balance of power between town and state many elected and appointed officials, Plainfield, people debated for an hour when Governor Meldrim Thompson pro- such as moderator, selectman, road over whether to turn off the five street- posed legislation to overrule town meet- agent, and, in Durham, keeper of the lights in the tiny hamlet of Cornish Flat. ings, and he asked all moderators in swans. The moderator oversees debate (They were left on when one resident March 1974 to present a warrant in favor on warrant articles listing each town budget item. In meeting, some women Barbara Anderson of knit, some sit with kids in laps, some Epsom poses in front \ chat around the tables selling refresh- of a wooden "Trojan ments to support the volunteer tire Horse" and "Captive department. Some men stand in the Nations Graveyard"

back or duck outside for a smoke. All built by George Ober of 1 watch each dollar like a hawk. The local Ashland and in erected I property tax supports the town and the 1960s near an inn schools, so citizens can calculate to the owned by the penny what their votes will cost. Many Andersons to protest towns have a community that meal U.S. involvement in the i

"helps ease tensions," according to United Nations.

Hilary Cleveland, New London's modera- Photo by Ken Williams, tor. A good moderator provides the glue courtesy Concord i which holds a community together, with Monitor ^ simple rules and competent, fair conduct. Anyone who wants to speak may speak, and everyone speaks once before anyone speaks twice. These are the ethical values which nourish democracy.

Legendary repositories of traditional skill and wisdom, town moderators often have an extensive kinship network which blends family and community values. Steve Taylor, Plainfield moderator since

1981, recalls visiting his first town meeting at age nine, when Palmer C. Reed presided: "He stood like a granite pillar on the stage, commanding the attention of all those before him." Everett Begore, who has served Hebron for 31 years, tries lamented that, without the lights, people of an oil refinery Towns across the state to "keep a tight ship, keep attention on might drive through at night and never voted this down, and on March 6, 1974, the article, and hash it out." Many Hebron know they'd been in Cornish Flat.) Town Durham defeated the proposed rezoning residents are retired on fixed incomes, so meeting oratory has its roots in daily for the refinery 1,254 to 144. Calling they know an increase in taxes might recitations in primary schools, 4-H Clubs home rule "the very bedrock of democ-

mean a neighbor has to sell or subdivide and Granges, and family and neighborly racy in New Hampshire. . . from Coos to a farm. Funding for a new ambulance discussion. Newcomers learn quickly that the Sea," Dudley Dudley, a descendant of lost when one man noted he had just persuasion outworks passion. Daniel Webster, led the successful fight been transported in the old one, and it Town meeting emerged in the 1960s against Thompson's legislation. still looked all right to him. and 1970s as a bulwark of home rule New Hampshire's conservative politi-

32 Smithsonian Folklife Festival 1999 Politics and Community Values

cal culture often stands in protest ( 1993-). Judd Gregg was inspired by the ization of marijuana. Traveling every- against liberal ideas. William Loeb is examples of his grandfather, who found- where by bicycle, her 1992 slogan was legendary as the conservative editor of ed social service agencies, including the "America needs trees, not Bushes." the Manchester Union Leader. Despite Crotched Mountain Rehabilitation On primary day, conversation at the

Loeb's national reputation as political Center, and his father. "When I was polls turns to the weather and local king-maker and fierce anti-communist, growing up it was understood that if you taxes. Voters mark paper ballots in he always identified with patriotic work- expected to take advantage of the won- booths with red, white, and blue cur- ing people. His front-page editorials derful and unique lifestyle that New tains. The first results come in right after forged the state's tough and colorful lan- Hampshire offers, you had an obligation midnight, from Dixville Notch, where guage of conservatism with a strong lib- to give back through participation and voters gather at the Balsams Hotel to ertarian accent. In Robert Frost's words, community service." For the Greggs, as cast a dozen or so votes. Neil Tillotson,

"Good fences make good neighbors." for many families, public service is an the 100-year-old moderator, has been

New Hampshire politics also is shaped "honorable and important undertaking." the first person in America to vote in by family culture. The Gregg, Bass, The Dondero/Foley family led Ports- presidential elections since 1964. Sununu, and Dondero/Foley families mouth for decades. Mary Carey Dondero Twenty-four hours later, the candidates have provided generations of leadership, was the first woman to serve as a mayor and the press have gone, and the next and many politicians seem like family in the state (1945-47), and her daughter snowstorm covers up the campaign because the pohtical structure militates Eileen Foley served many terms signs of winners and losers. against the establishment of a profes- (1968-72, 1984-98). Mary Dondero Jeremy Belknap concluded his History sional political class. There are 400 state earned the nickname "Sweetheart of the of New Hampshire (1792) with a "vision representatives paid but $100 per annum, House" for her 1 1 terms as a state repre- of a happy society." A good society needs or one for each 2,500 residents, or four sentative in Concord. She lost a race for schools, farms, merchants, a clergyman, cents each per voter per year, which State Senate by one vote, but Eileen and a library, but there should be "no seems a fair bargain. Friends and family Foley made up for that by winning the intriguing politician, horse jockey, gam- members, once elected, are "sent over to seat for seven terms. Eileen Foley bler or sot; but all such characters treated

Concord" (a phrase which also can refer describes herself as an "ordinary per- with contempt." With such a warning, to sending someone to the state mental son" who every day wants to be "some- New Hampshire people for two centuries hospital there). The flip side of suspicion where where I can feel I can do some- have judged politics and politicians by of distant authority is the placing of thing good." Her three children continue the values of their communities. trust in generations of a family which the family tradition of public service; in embodies community values. the words of her daughter Mary, "The Suggested Reading

The Gregg family arrived with the apple doesn't fall far from the tree." Duncan, Dayton. 1991. Grass Roots: One wave of Scotch-Irish settlers in 1719. The first-in-the-nation presidential Year in the Life of the New Hampshire

Scotch-Irish independence, versatility, primary shows the world the community Presidential Primary. New York: and entrepreneurial skills find political values of New Hampshire politics. Can- Viking. expression in the public service ot didates must visit kitchens, truck stops, a Gregg, Hugh. 1990. The Candidates — See Governor Hugh Gregg and his son "Politics & Eggs" breakfast, and Robie's How They Run. Portsmouth, N.H.: Senator Judd Gregg. Hugh Gregg has Country Store. People ask hard questions P.E. Randall. been mayor of Nashua, served in Korea, and expect honest answers as they look The Library & Archives of New was elected in 1952 the youngest gover- for moments which define presidential Hampshire's Political Tradition. Political nor in state history at age 34, and character. Ronald Reagan paid for a 1999. New Hampshire of chaired presidential campaigns. The microphone, George Bush climbed into Troubadour. Nashua: Resources chronicler of the Republican Party and an 18- wheeler, and Bill Clinton promised New Hampshire, Inc. the presidential primary, he embodies a to remember New Hampshire people New Hampshire tradition whereby a "until the last dog dies," to pass the New David H. Walters holds the James H. Hayes community elder becomes a historian, a Hampshire test. Such luminaries are and Claire Short Hayes Chair in the living archive of lore and wisdom, ludd joined by dozens of unknowns, such as Humanities at the University of New Gregg has served as governor's councilor Caroline Killeen,"The Hemp Lady," who Hampshire. (1979-81), congressman (1981-89), pay $1,000 to place their names on the governor (1989-93), and U.S. senator ballot. Killeen, age 72, advocates the legal-

Smithsonian Folklife Festival 1999 33 Use and Reservation: Land Stewardship in New Hampshire Richard Ober

October my father and I cut fire- Inwood from our ancestral woodlot in southern New Hampshire. We load

up chain saws and sandwiches in the

morning and return in the evening speckled with sawdust and thinking

about our roots. Although our place is

mostly forested now, we still call it

Jenkins Pasture. It's our half-joking nod

to great-great-grandfather Charles

Jenkins. Like Charles himself, the 100 acres

he bought in the 1860s was cheap and

not terribly productive. This was near the end of New Hampshire's agricultural heyday, and marginal pasture land was plentiful. For most of the previous century, farmers had been cutting and burning the primeval forest to make

room for crops. They felled huge pine

and oak and chestnut trees with axes, pulled stumps with their oxen, wrestled

stones from the ground, furrowed their fields. It was grueling work considering the thin topsoil and short growing

season. Mark Twain likely had a 19th-

century New Hampshire hill farm in mind when he quipped, "In the south

the people shape the land, but in the north the land shapes the people." Parsimony, independence, determina- tion. Most of the famous Yankee traits derive from our relationship with the land.

When the railroad arrived in the

Forest land in Wilmot, New Hampshire.

Photo courtesy Society for the Protection

ofNew Hampshire Forests

34 Smuhsonian Folklife Festival 1999 didn't mean a damn sight more to me

In the south the people shape the going under the saw than it did standing on a mountain." land, but in the north the land shapes These conflicting attitudes were rec-

onciled through the Weeks Act of 191 1, the people." which led to the creation of the White Mountain National Forest and, ultimate- —Mark Twain ly, 50 other eastern national forests. In addition to conserving 12 percent of New Hampshire's land base, the Weeks

1 830s, some subsistence farmers made a Act codified the doctrine of multiple use

few dollars shipping produce to market. conservation, which seeks to balance

But commercial agriculture was not to resource use and protection.

remain a dominant economic force. Throughout this century. New Hamp-

Victims of rich soil out west and better shire has continued to struggle with this

wages in the textile mills, farms failed by balance. We view real estate as wealth

the thousands in the late 19th century. and tax it heavily, which discourages

When the plowing stopped, trees sprout- long-term stewardship. Yet we so value ed. Wood industries followed. Subsis- rural character that nearly half the land

tence was replaced by commerce as in the state is enrolled in a tax-abate-

industrious entrepreneurs used the ment program that keeps it undevel-

regenerating forests to manufacture a oped. Weak regulations have encouraged bewildering array of products, including haphazard and inappropriate develop-

crates, clapboards, pulp, buttons, musical ment in many places. Yet 22 percent of

instruments, dowels, boats, furniture, the state is permanently protected by

wood tlour, tanning solution, and, of land trusts and public agencies, by far course, lumber. Some woods were com- the highest proportion of conservation

pletely cut over, and others were careful- land in the Northeast. We are one of the

ly managed. Acre by acre the forest most fiscally conservative states in the

reclaimed its place as the states most nation. Yet conservation groups are high-

important raw commercial resource. ly respected, and the legislature has Granite Staters adjusted accordingly. invested $50 million in new parks and

Then, at the turn of the 19th century, forests in the past decade.

a very different land ethic appeared: Enigmatic? Certainly But that's New

preservation for leisures sake. Vacationers England, and in many ways the Granite

from New York and Boston found in New State is the region's archetype. We have a Hampshire's White Mountains a wilder- rocky seacoast, dramatic mountains, ness getaway where they could shake off quaint villages, covered bridges, maple urban woes and commune with nature. sugar shacks, stone walls everywhere. Problem was, the mountains also held We are also the fastest-growing state in

New England's last virgin forests, and the region. Embracing this prosperity out-of-state timber companies were cut- while retaining our distinctive land-

ting them hard. The inevitable clash scapes and culture is not easy Indeed, it

between use and preservation is neatly constandy tests our traditionally close

foreshadowed in two quotes about the relationship with the land and demands White Mountains: "The good of going a steady dose of Yankee ingenuity. One

into the mountains," wrote Ralph Waldo illuminating fact: forest cover increased

Emerson, "is that life is reconsidered." steadily from the 1860s through the

Timber baron John E. Henry had a dif- 1980s, but now it's declining again due

ferent view: "I never see the tree yit that to development. How will that affect our

Smithsonian Folklife Festival 1999 35

didn't mean a damn sight more to me the south the people shape the going under Use and Reservation: Land '1n the saw than it did standing on a mountain."

land; but in the north the land shapes These conflicting attitudes were rec- onciled through the Weeks Act Stewardship in New Hampsiiire of 191 1, the people." which led to the creation of the White Richard Ober Mountain National Forest and, ultimate- —Mark Twain ly, 50 other eastern national forests. In addition to conserving 12 percent of New Hampshire's land base, the Weeks 1830s, some subsistence farmers made a Act codified the doctrine of multiple use

October my father and I cut fire- few dollars shipping produce to market. conservation, which seeks to balance Inwood from our ancestral woodlot in But commercial agriculture was not to resource use and protection. southern New Hampshire. We load remain a dominant economic force. Throughout this century. New Hamp- up chain saws and sandwiches in the Victims of rich soil out west and better shire has continued to struggle with this morning and return in the evening wages in the textile mills, farms failed by balance. We view real estate as wealth

speckled with sawdust and thinking the thousands in the late 19th century and tax it heavily, which discourages

about our roots. Although our place is When the plowing stopped, trees sprout- long-term stewardship. Yet we so value that mostly forested now, we still call it ed. Wood industries followed. Subsis- rural character nearly half the land

in state is enrolled in a tax-abate- Jenkins Pasture. It's our half-joking nod tence was replaced by commerce as the

to great-great-grandfather Charles industrious entrepreneurs used the ment program that keeps it undevel-

Jenkins. regenerating forests to manufacture a oped. Weak regulations have encouraged

Like Charles himself, the 100 acres bewildering array of products, including haphazard and inappropriate develop- places. Yet 22 percent of he bought in the 1860s was cheap and crates, clapboards, pulp, buttons, musical ment in many is permanently protected by not terribly productive. This was near instruments, dowels, boats, furniture, the state trusts and public agencies, by far the end of New Hampshire's agricultural wood flour, tanning solution, and, of land proportion of conservation heyday, and marginal pasture land was course, lumber. Some woods were com- the highest land in the Northeast. We are one of the plentiful. For most of the previous pletely cut over, and others were careful- fiscally conservative states in the century, farmers had been cutting and ly managed. Acre by acre the forest most

its place as the state's most nation. Yet conservation groups are high- burning the primeval forest to make reclaimed commercial resource. ly respected, and the legislature has room for crops. They felled huge pine important raw accordingly invested $50 million in new parks and and oak and chestnut trees with axes, Granite Staters adjusted 19th century, forests in the past decade. pulled stumps with their oxen, wrestled Then, at the turn of the ethic appeared: Enigmatic? Certainly But that's New stones from the ground, furrowed their a very different land the Granite preservation for leisure's sake. Vacationers England, and in many ways fields. It was grueling work considering have a Boston found in New State is the region's archetype. We the thin topsoil and short growing from New York and mountains, Hampshire's White Mountains a wilder- rocky seacoast, dramatic season. Mark Twain likely had a 19th- covered bridges, maple ness getaway where they could shake off quaint villages, century New Hampshire hill farm in and commune with nature. sugar shacks, stone walls everywhere. mind when he quipped, "In the south urban woes fastest-growing state in Problem was, the mountains also held We are also the the people shape the land, but in the Embracing this prosperity England's last virgin forests, and the region. north the land shapes the people." New land- timber companies were cut- while retaining our distinctive Parsimony, independence, determina- out-of-state culture is not easy. Indeed, it ting them hard. The inevitable clash scapes and tion. Most of the famous Yankee traits tests our traditionally close between use and preservation is neatly constantly derive from our relationship with the with the land and demands in two quotes about the relationship land. foreshadowed dose of Yankee ingenuity. One White Mountains: "The good of going a steady When the railroad arrived in the illuminating fact: forest cover increased into the mountains," wrote Ralph Waldo steadily from the 1860s through the Emerson, "is that life is reconsidered." Forest land in Wilmot, New Hampshire. 1980s, but now it's declining again due Timber baron John E. Henry had a dif- Photo courtesy Society for the Protection to development. How will that affect our ferent view: "I never see the tree yit that ofNew Hampshire Forests 35 Smithsonian Folklife Festival 1999 34 Smithsonian Folklife Festival 19' ) The Andorra Forest,

showing the combina-

tion of open land and

forests typical to New

Hampshire.

Pholo courtesy Society

for the Protection of

New Hampshire Forests

changing relationship with the land? Suggested Reading Richard Ober has written and lectured widely

Jenkins Pasture is a good place to pon- Cronon, William. 1983. Changes in the oil land use and forest conservation. He is co- der these things. The stone walls espe- Land. New York: Hill and Wang. author, with David Dobbs, of the award-win- cially get me thinking. Built to enclose Dobbs, David, and Richard Ober. 1995. ning book The Northern Forest (Chelsea fields but now a seamless part of the for- The Northern Forest. White River Green, 1995). He has edited several books and est, the stone wall is an icon of both con- Junction, Vermont: Chelsea Green. has been published in Outside, Dartmouth tinuity and change. And isn't that the Irland, Lloyd. 1982. Wildlands and Alumni Magazine, Northern Woodlands, essence of land stewardship? To accom- Woodlots: The Story of New England's Habitat, and other journals. Ober is senior modate growth in such a way that our Forest. Hanover, N.H.: University director for outreach programs for the Society human artifacts fit the landscape as Press of New England. for the Protection of New Hampshire Forests, smoothly as a stone wall, a steeple rising Nash, Roderick. 1982. Wilderness and the the state's oldest and largest conservation over a green hillside, a covered bridge American Mind. 3rd ed. New Haven: organization. spanning a swift and ever-changing Yale University Press. river. Ober, Richard, ed. 1992. At What Cost? Shaping the Land We Call New Hampshire: A Land Use History. Concord, N.H.: New Hampshire

Historical Society.

36 Smithsonian Folklife Festival 1999 Gateways to Romania

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Smithsonian Folklife Festival 1999 37 Gateways to Romanian Culture and History Charles King

"We Romanians are the heirs of the eastern reaches of the Ro?nan Empire, whose memory we have preserved in our knguage and our name." — Nicolae lorga Romanian historian (1871-1 940)

ajestic mountains, rolling plains, the Danube, and the

Black Sea — all contribute to the geographical diversity of Romania, the gateway between the Balkans and

Central Europe. The country is bordered by Hungary, Ukraine, the Republic of Moldova, Bulgaria, Yugoslavia, and the

Black Sea. The central part of the country is dominated by the great arc of the

Carpathian Mountains, with their alpine peaks and thick beech, fir, and spruce forests. The Danube forms Romania's southwestern and southern border for much of its course, giving the country pies. To the west lie the hills and flat- name Wallachia, with their vast agricul- the longest Danube frontage in Europe. lands of Cri§ana and Banat, regions that tural zones washed by the Danube. And

This great waterway ends its journey open onto the immense Hungarian plain situated between the Danube and the across Europe in Romania, emptying even farther west. To the north are the Black Sea is Dobrogea, where ancient into the Black Sea and forming the hills and mountains of Maramure? and fishing villages have given way to bust-

Danube delta, one of the world's richest Bucovina, regions that have long been ling tourist resorts. treasures of unique fauna and flora. Vast, considered the cradle of Romanian folk- Romanians are often perceived as a fertile plains stretch from the Carpa- lore and traditional art. In the center is small nation inhabiting a small and thians east toward the Black Sea coast. Transylvania, with its distinctive multi- unknown land. But the image could not

Fishermen and farmers, highlanders and cultural heritage influenced by Roma- be farther from the reality. The Roma- lowlanders, forest dwellers and settlers nians, Hungarians, and Germans. Across nians are the largest cultural group in of the plains have all contributed to the the Carpathians to the east lies Moldova, Southeast Europe and one of the largest making of modern Romania. where Orthodox monks have long guard- in Europe as a whole. There are some Romania consists of several distinct ed their unique painted monasteries 25 million Romanian speakers living geographical regions, all of which have nestled amid lush foothills. To the south mainly in Romania but also in several historically been more gateways than of the Carpathians are Oltenia and Mun- neighboring countries. There are thus barriers to different cultures and peo- tenia, often grouped together under the more Romanians in Europe than Nor-

38 Smithsonian Folklife Festival 1999 Right: Icon represent- I paid to the sultan in Constantinople. ing Adam and Eve, The foundations of modern Romania

from Gheria, Banat. were laid in 1859. In that year, noble

Photo courtesy Village assemblies in Wallachia and Moldova Museum, Bucharest elected the same man as leader of the principalities, effectively uniting them under a single head. Within two decades,

in 1878, the full independence of the

new state — now called Romania — was recognized by the great powers. At

Left: the of I, I end World War the country dou-

Sleeping Muse I, bled its size and population, especially 1909-1911, by through the addition of Transylvania,

Constantin Brancusi. Bessarabia, and Bucovina, areas that had Hirshhom Museum ami previously been part of Russia and Sculpture Garden. Smith- Austria-Hungary The turmoil of World

sonian Institution, Gift of War II reduced Romania's size, with

Joseph H. Hirshhom, much of the eastern part of the country

1966. Photography by incorporated into the Soviet Union. The

Ricardo Blanc march of the Soviet army to Bucharest in

the closing days of the war ushered in wegians, Swedes, Finns, and Danes com- on the famous Trajan's Column in Rome, the period of communism. Under the

bined. The territory of Romania itself is the most complete ancient depiction of tyrannical leadership of Nicolae

only a little smaller than Italy. the clothing, appearance, and weaponry Ceau§escu, the communist experiment

Today, Romania's population is just of the inhabitants of the region before led to the environmental, economic, and under 23 million. Major ethnic minori- the Roman conquest. The Roman legions cultural degradation of the Romanian

ties include Hungarians (7 percent) and transformed the region into a distinct land and people. However, an anti-com-

Roma or Gypsies (2 percent), as well as province, Dacia, and managed to hold on munist revolution in 1989 swept away

Germans, Ukrainians, Jews, Turks, Serbs, to the frontier province until the coming the Ceau^escu dictatorship and paved

and other peoples. While Romanians of the barbarians in the third century a.d. the way for the growth of democracy

form the majority populations in both In the following centuries, the local Since then, Romanians have worked to

Romania and the Republic of Moldova, Latinized culture was influenced by retake their place in Europe and to intro-

there are also significant Romanian Slavs, Hungarians, Turks, and other peo- duce their newly free land to investors

minorities in Ukraine, Bulgaria, Hun- ples, with each leaving a mark on the and visitors from the West.

gary, and Yugoslavia. Diaspora commu- language, art, and history of modern Although the spiritual homeland of

nities are scattered throughout the Romanians. ethnic Romanians, Romania is also a

world, especially in the United States, This ancient culture, however, did not land of great religious, linguistic, and Canada, and Western Europe. find expression in a modern state until cultural diversity. Orthodox monks.

In their name and their language, relatively late. Two large principalities — Catholic priests, Jewish rabbis, Protes- Romanians preserve the legacy of the Moldova and Wallachia — emerged out tant ministers, and Muslim imams may

Roman Empire. Their language is of of a congeries of local domains in the all be found there. Romania is the only

Latin origin, and speakers of Spanish or 14th century, but these eventually fell country with a Latin cultural heritage

Italian will find something familiar in its under the control of the Ottoman Turks without a dominant Roman Catholic tra- sonorous rhythms. Indigenous peoples by the early years of the 16th century dition. Most Romanians, about 87 per- in the region of modern Romania were However, the Romanian lands were cent, adhere to the Romanian Orthodox strongly influenced by Latin cuhure never fully incorporated into the empire, faith. The peoples of the region accepted after the arrival of the Romans. Indeed, unlike areas south of the Danube, and Christianity gradually in the third and

it is the conquest of the lands north of for much of the Ottoman period the fourth centuries a.d. After the split be-

the Danube by the Emperor Trajan in Romanians were ruled by their own tween the Western and Eastern churches

the second century a.d. that is portrayed princes in exchange for annual tribute in the 1 1 th century, the territory of

Smithsonian Folklife Festival 1999 39 modern Romania remained a part of the days and other religious feasts after the ditions, the Romanians inhabit a land of

Byzantine tradition. The Romanian coming of Christianity. Many of these diverse landscapes, where local customs, church received autonomous status in traditions are preserved among the rituals, and ways of life have adapted to the mid- 19th century, and a Romanian country's large rural population. distinct physical environments: the

Orthodox patriarchate was established Persons linked to Romania have made woodlands of Transylvania and Mara- in Bucharest. Like his counterparts in a major impact in many cultural spheres. mure§, the plains of the west, the low- the Russian, Greek, and other Orthodox Artists such as sculptor Constantin lands along the Danube river, and the churches, the Romanian patriarch today Brancu^i reinterpreted traditional urban cityscapes of Bucharest, Ia§i, and serves as the spiritual leader of Ortho- Romanian folk themes through the lens Cluj, ancient settlements that are today dox Romanians. A small minority of Romanians, mainly in Transylvania, are members of the

Eastern Rite Catholic church. Also known as Greek Catholics, they recognize the authority of the pope but follow the liturgy of the Orthodox church. In 1948, the communists forced the Greek

Catholics to unite with the Orthodox, but after 1989 they were restored to their former independent status. Many of Romania's Hungarians and Germans are either Roman Catholics or members of Lutheran and Calvinist (Reformed) churches. Adventists, Bap- tists, and other Protestant traditions are also represented. Romania was historically an important center of Jewish culture, but the tragedy of the Holocaust and decades of emigration have reduced the Jewish population to a tiny minority.

Other small religious groups, including

Russian Orthodox sects and Muslim communities, practice their faith in the cultural patchwork of the Dobrogea region along the Black Sea. of modernism. Composers and writers becoming nodal points in Romania's

Modern Romanian cuhure is the such as George Enescu and Eugene expanding array of private businesses, product of centuries of interaction lonesco likewise explored the bound- tourist outlets, and expatriate communi- between local populations and succes- aries between custom and innovation. ties. The folk culture of the peasant has sive waves of immigration to the region. The philosopher of religions Mircea long been seen as the embodiment of

Until the mid- 19th century, Romanian Eliade, the poet Paul Celan, the novelist Romanian identity, but at the close of was written in versions of the Cyrillic Panait Istrati — as well as sports leg- the millennium, Romanian culture is alphabet also used by Serbs, Bulgarians, ends such as Johnny Weismuller and more than ever a dynamic combination and Russians. The vocabulary contains Nadia Comaneci — have also hailed of both tradition and modernity. words of Turkic and Slavic origin. Music, from Romania. Just as the country has dance, folk art, and religious traditions been a gateway between East and West, also share many commonalities with so it has been a portal through which those of Hungarians, Slavs, Turks, and unique contributions to culture have other Balkan peoples. Pre-Christian fes- reached the world. tivals associated with the changing of A people with a rich Latin heritage the seasons were combined with saints' influenced by myriad other cultural tra-

40 Smithsonian Folklife Festival 1999 Gateways to Romanian Culture and History

Suggested Readings and 1994. Rumania, 1866-1947. Films

Films on Romanian and Oxford: Clarendon Press. Fortunes of War (BBC, 1992), starring Moidovan Themes Kligman,Gail. 1988. The Wedding of the Kenneth Branagh and Emma Dead. Berkeley: University of Cali- Thompson. An English professor and Academic Works fornia Press. A fascinating excursion his wife travel through Romania and

Deletant, Dennis. 1995. Ceau^escu and the into the folk rituals of northern the Balkans in the 1930s, with the

Seciiritate: Coercion and Dissent in Transylvania. Nazis hot on their heels. The

Romania, 1965- 1989. Armonk,N.Y.: Livezeanu, Irina. 1996. Cultural Politics in Bucharest Athenee Palace Hotel, M.E. Sharpe. Britain's foremost Greater Romania. Ithaca: Cornell where much of the action takes

University Press. A brilliant and place, is now restored to its former readable analysis of the problems of grandeur.

state- and nation-building in An Unforgettable Summer (Lucian Pin-

Romania in the 1920s and 1930s. tilie, 1991), starring Kristin Scott- Thomas. A film by one of Romania's

Memoirs, Journalism, and Literature most important contemporary direc-

Anton, Ted. 1996. Eros, Magic and the tors, which chronicles the fate of an

Death of Professor Culiami. Evanston: army family sent to the Romanian- Northwestern University Press. A fas- Bulgarian frontier in the 1920s. A

cinating investigation into the 1991 searching portrayal of life on the

murder of a Romanian professor at turbulent border, as well as the

the University of Chicago and possi- moral and political complexity of

ble links with the Romanian far Romania's interwar years.

right. The Oak (Lucian Pintilie, 1992), starring

Funderburk, David B. 1997. Pinstripes Maia Morgenstern. A darkly funny

and Reds. Washington, D.C.: Selous story set in the waning years of the

Foundation. A former U.S. ambas- Ceau^escu regime, with gritty scenes

sador's account of his battles with shot in the environmental wasteland Ceau^escu, and with Washington. of Cop^a Mica. Malaparte, Kurzio. 1995. Kaputt. Evanston: Northwestern University Web Resources

Press. First-hand views of Romania The key source for Romanian and

during World War II, by the war cor- Moidovan links is the Web page of the

respondent for Corriere della Sera. Society for Romanian Studies, located at Manea, Norman. 1993. Compulsory . The

authority on Romania offers an Happiness. Evanston: Northwestern page has excellent links to pages on his- examination of the communist-era University Press. Four short stories tory, art, culture, politics, economics, and

secret police based on his research in on the terrors of totalitarianism. many other fields.

the still-classified archives. Anything by Mihai Eminescu (the Federal Research Division. 1995. Be/flrws Romanian national poet). Ion Luca Charles King holds the Ion Rafiu Chair of

atid Moldova: Country Studies. Wash- Caragiale (Romania's finest satirist), Romanian Studies at Georgetown University,

ington, D.C.: Library of Congress. Paul Celan (Jewish-German poet where he teaches courses on contemporary

The second half of this volume, by born in Bucovina), Mircea Eliade Southeast Europe, nationalism, and compara- William Crowther of UNC-Greens- (noted essayist, short-story writer, tive politics. His books include Nations boro, presents a very good overview and professor of religion), or Emil Abroad: Diaspora Politics and International

of Moidovan history and politics. Cioran (the dark and brooding voice Relations in the Former Soviet Union (1998)

Hitchins, Keith. 1996. The Romanians, of the "lost generation" of the 1920s). and The Moldovans: Negotiable Nationalism

1774-1866. Oxford: Clarendon Press. All have major works now available on a European Frontier (in press). He is a fre- A masterful synthesis by the dean of in English. quent traveler to Romania and Moldova and Romanian historians in the United speaks fluent Ronmnian.

States.

Smithsonian Folklife Festival 1999 41

Gateways to Romanian Culture and History

modern Romania remained a part of th days other and religious , feasts after the ditions, the Romanians inhabit a Suggested Readings and 1994. Rumania, 1866-1947. Films land of Byzantine tradition. The Romanian coming of Christianity Many of these and Oxford: Clarendon Press. diverse landscapes, where local customs Films on Romanian Fortunes of War (BBC, 1992), starring church received autonomous status in traditions are preserved among the rituals, and ways of life have Themes Kligman, GaiL 1988. The Wedding of the Kenneth Branagh and adapted to Moldovan Emma the mid-19th century, and a Romanian country's large rural population. distinct physical environments: the Dead. Berkeley: University of Cali- Thompson. An English professor and Orthodox patriarchate was established Persons linked to Romania have made woodlands of Transylvania and Mara- Academic Works fornia Press. A fascinating excursion his wife travel through Romania and in Bucharest. Like his counterparts in a major impact in many cultural 1995. Ceauêscu and the into the folk rituals spheres. mure?, the plains of the west, the low- Deletant, Dennis. of northern the Balkans in the 1930s, with the the Russian, Greek, and other Orthodox Artists such as sculptor Constantin Coercion and Dissent in Transylvania. lands along the Danube river, and the Securitate: Nazis hot on their heels. The churches, the Romanian patriarch today Brancu§i reinterpreted traditional i 965- i 989. ArmonJc.N.Y.: Livezeanu, Irina. 1996. Cultural Politics in Bucharest urban cityscapes of Bucharest, laî, and Romania, Athenee Palace Hotel, serves as the spiritual leader of Ortho- Romanian folk themes through Britain's foremost Greater the lens Cluj, ancient settlements that are today M.E. Sharpe. Romania. Ithaca: Cornell where much of the action takes dox Romanians. University Press. A brilliant and place, is now restored to its former A small minority of Romanians, main- readable analysis of the problems of grandeur. ly in Transylvania, are members of the state- and nation-building in An Unforgettable Summer (Lucian Pin- Eastern Rite Catholic church. Also Romania in the 1920s and 1930s. tilie, 1991), starring Kristin Scott- known as Greek Catholics, they recog- Thomas. A film by one of Romania's nize the authority of the pope but follow Memoirs, Journalism, and Literature most important contemporary direc- the liturgy of the Orthodox church. In Anton, Ted. 1996. Eros, Magic and the tors, which chronicles the fate of an 1948, the communists forced the Greek Death of Professor Culianu. Evanston: army family sent to the Romanian- Catholics to unite with the Orthodox, but Northwestern University Press. A fas- Bulgarian frontier in the 1920s. A after 1989 they were restored to their cinating investigation into the 1991 searching portrayal of life on the former independent status. murder of a Romanian professor at turbulent border, as well as the Many of Romania's Hungarians and the University of Chicago and possi- moral and political complexity of Germans are either Roman Catholics or ble links with the Romanian far Romania's interwar years. members of Lutheran and Calvinist right. The Oak (Lucian Pintilie, 1992), starring (Reformed) churches. Adventists, Bap- Funderburk, David B. 1997. Pinstripes Maia Morgenstern. A darkly funny tists, and other Protestant traditions are and Reds. Washington, D.C.: Selous story set in the waning years of the also represented. Romania was histori- Foundation. A former U.S. ambas- Ceauêscu regime, with gritty scenes cally an important center of Jewish cul- sador's account of his battles with shot in the environmental wasteland ture, but the tragedy of the Holocaust Ceauêscu, and with Washington. of Cop§a Mica. and decades of emigration have reduced Malaparte, Kurzio. 1995. Kaputt. the Jewish population to a tiny minority Evanston: Northwestern University Web Resources Other small religious groups, including Press. First-hand views of Romania The key source for Romanian and Russian Orthodox sects and Muslim during World War II, by the war cor- Moldovan links is the Web page of the communities, practice their faith in the respondent for Corriere della Sera. Society for Romanian Studies, located at cultural patchwork of the Dobrogea Manea, Norman. 1993. Compulsory . The region along the Black Sea. of modernism. Composers has excellent links to pages on his- and writers becoming nodal points in Romania's authority on Romania offers an Happiness. Evanston: Northwestern page Modern Romanian culture is the such as George Enescu and culture, politics, economics, and Eugene expanding array of private businesses, examination of the communist-era University Press. Four short stories tory, art, product of centuries of interaction lonesco likewise explored the other fields. bound- tourist outlets, and expatriate communi- secret police based on his research in on the terrors of totalitarianism. many between local populations and succes- aries between custom and innovation. ties. The folk culture of the the still-classified archives. Anything by Mihai Eminescu (the sive peasant has waves of immigration to the region. The philosopher of religions Mircea Federal Ion Luca Charles King holds the Ion Rafiu Chair long been seen as the embodiment of Research Division. 1995.Be/flrMS Romanian national poet). of Until the mid- 19th century, Romanian Eliade, the poet Paul Celan, the novelist and (Romania's finest satirist), Romanian Studies at Georgetown University, Romanian identity, but at the close Moldova: Country Studies. Wash- Caragiale was written of in versions of the Cyrillic Panait Istrati — as well as sports leg- ington, D.C.: Library of Congress. Paul Celan (Jewish-German poet where he teaches courses on contemporary the millennium, Romanian culture is alphabet also used by Serbs, Bulgarians, ends such as Johnny Weismuller and more than The second half of this volume, by born in Bucovina), Mircea Eliade Southeast Europe, nationalism, and compara- and ever a dynamic combination Russians. The vocabulary contains Nadia Comaneci — have also hailed of both William Crowther of UNC-Greens- (noted essayist, short-story writer, tive politics. His books include Nations words tradition and modernity. of Turkic and Slavic origin. Music, from Romania. Just as the country has boro, presents a very good overview and professor of religion), or Emil Abroad: Diaspora Politics and International dance, folk art, and religious traditions been a gateway between East and West, of Moldovan history and politics. Cioran (the dark and brooding voice Relations in the Former Soviet Union (1998) also share many commonalities with so it has been a portal through which Hitchins, Keith. 1996. The Romanians, of the "lost generation" of the 1920s). andlhe Moldovans: Negotiable Nationalism those of Hungarians, Slavs, Turks, and unique contributions to culture have 1774-1866. Oxford: Clarendon Press. All have major works now available on a European Frontier (in press). He is a fre- other Balkan peoples. Pre-Christian fes- reached the world. A masterful synthesis by the dean of in English. quent traveler to Romania and Moldova and tivals associated with the changing of A people with a rich Latin heritage Romanian historians in the United speaks fluent Romanian. the seasons were combined with saints' influenced by myriad other cultural tra- States. 40 Smithsonian 41 Smithsonian Folklife Festival 19 '9 Folklife Festival 1999 Traditional Music and Dance in Romania Today Colin Quigley, Zamfir Dejeu, and Constantin Costea

any musical traditions are prac- //, // 'Atief ce treciprin Tutda ticed with great vitality in A lyric doina sung by Vasile Soporan I Romania today, ranging from song and dance types that are rooted in a Arie^ ce treciprin Turda Arie^ [a river] that runs through Turda, conservative peasant world of experience Sd-mi aduci in vale mdndra Bring my love to me in the valley. and that may carry ritual meanings, to Arie§ sd-mi aduci mdndra Arie§, bring my love manifestations of the most contemporary Sdmbdtd la Tdrg la Tiirda Saturday to the market fair in Turda. trends in commercialized "world music."

Traditional music continues to be an im- D'Arie^ de n-o aduci-mdi Arie^, if you don't bring her, portant part of the musical soundscape, Prin Turda sd nu mai ur'i, mdi No longer flow through Turda. from remote rural villages to sophisticat- Sd te scurgi tat prin pamdnt Trickle deep into the earth, ed urban centers. Traditions may be Sd te usci cdnd bate vdnt ma Dry up when the wind blows localized within a particular region, or they may be of wide circulation found in Hai, sd-fi rdmdie matca goald So your bed remains empty similar form throughout the country Hai, sd sdfacd drum de fard And makes a path through the country.

When traveling through Romania today, a Ldstartd sd-mi find umbra Woods, cast your shade upon me visitor is most likely to encounter tradi- Cdnd vine mdndra la Turda. When my love comes to Turda. tional music and dance at organized cul- [Repeat last two lines] [Repeat last two lines] tural events celebrating the Romanian folk heritage. Between 1975 and the revo- ued without much overt institutional positions in the style of Indian film music lution of 1989, folk festivals were often interference and that is not hard to find if to their repertoire. part of a nationwide, organized program, one knows whom to ask. While quite the Song of Romania, used to select the resilient, these traditions have not been Traditional Music and best representatives of this heritage for a insulated from larger processes of social Its Customary Occasions massive final performance every two change aft'ecting the lives of tradition Traditional artistic creation takes place as years before the dictator Ceau§escu. This bearers. Many communities today have a a part of everyday life, reflecting its cir- form of organization produced a stylized disco in which young people gather to cumstances and conditions. Alongside the presentational manner of folklore perfor- socialize and dance to the latest recorded forms of oral literature (prose and verse, mance as "spectacle" that was far hits, usually from the United States and either sung or recited) stand musical, removed from vernacular aesthetics in Western Europe. The increased mobility choreographic, and dramatic works. Some music and dance. Many of those who par- of people within Romania and between are performed only by women, others by ticipated within this framework strove Romania and the rest of Europe, the men, children, or the elderly The mode of nevertheless to valorize authentic tradi- Balkans, and Asia Minor is having a pro- performance might be vocal, instrumen- tions, and they continue their efforts to found effect on musical tastes. 1 have seen tal, or a combination. Some traditions are promote these traditions today, some- young people in Maramure^, for example, integrated with calendar customs mark- times experimenting with new models choose to dance to music from Banat at ing cycles of rural life in which the basic for staging traditional performance. At their engagement party, and lautari (pro- preoccupations are agriculture and ani- the same time there has always been a fessional musicians) such as the ensem- mal husbandry There are also rituals for layer of traditional practice that contin- ble Taraf de Haidouks add musical com- fertility and the reinvigoration of nature.

42 Smithsonian Folklife Festival 1999 The customs of mid-winter, from his sheep"; the epic oral poem Miorifa, observed and associated with a musical

December 24 to January 7 — including recognized as a high point of Romanian repertoire as well as orated texts and the birth of the "invincible sun" at the oral literature; and finally dances. specific dances. winter solstice followed by the birth of Weddings and funerals play a central Other musical traditions are not linked lesus — are major occasions for celebra- role in Romanian folklore tied to family to particular occasions. These genres tion. Colinde, traditional Christmas songs, life. Weddings include a series of include the dohia (lyric love song or so- are sung all over Romania by groups of moments with special significance called table song, for listening to while sit- carolers visiting homes throughout their intended to assure the passage of the ting around a table), cdntec hdtrdnesc communities. These songs are striking for young couple from one social state to (ballad or old song), and epic song. The their archaism and the richness of another. These moments are strictly doina is a melody of open form with lyric rhythms found in the simple melodies — all the more impressive when performed Folklore Today Consumer-goods folklore follows fash- by groups without any special training, Mihai Pop ion, as other consumer goods do. Today, such as the cdlii,^cri from Ora^tioara de we regard folklore as a phenomenon the songs with rhythmical melodies, Jos If in the Hunedoara region. Various tradi- both of ongoing human communica- extracted from the repertory of dance tions are intended to bring plenty and tion and of developing social exchange, music, are preferred to traditional lyric happiness during the coming year. The we can comprehend its current twofold song, with its slow, sluggish melodies. For oldest form of good-luck visit, going from existence. On one side is the traditional the same reason, very few epic songs are house to house wearing animal masks folklore of an independent rural society. offered on the song market.

(goat, deer, and bear), is practiced at New On the other is the folklore that has be- Consumer goods also become stan-

Year's, especially in Moldova. The vdlaretid come a consumer good in contemporary dardized. The freedom to make the indi- group from the village of Voinesti in industrial society. vidual variations characteristic of tradi-

Moldova, who are at this year's Festival, What is the latter "consumer-goods tional songs is being lost. Uniformity provide a good example. Its members folklore"? What is its relation with the also results because those whose songs include afaiifard, or band using modern traditional folklore? Who produces it? are for consumption at concerts and brass and woodwind instruments; they And in what shape is it consumed? shows, on radio and TV, prefer the play specific traditional melodies for each The process by which traditional folk- accompaniment of a folk music band or of the masked characters they accompany, lore has been created, preserved, and orchestra that has established stereo- as well as a repertoire of regional dance transmitted follows strictly established types for accompaniment, unlike tradi- tunes and even modern music such as the patterns and has been doing so for ages. tional singers, who sing unaccompanied. theme from Dallas, the American televi- Traditional folklore has particular lan- The performers who make folklore sion series that once enjoyed great popu- guages* and codes for their use, reproductions are mostly outsiders. larity in Romania. through which sacred, ceremonial, and Good reproduction requires scientific

Music was always indispensable to artistic messages can be conveyed. knowledge of the reproduced songs, that shepherds, and this ancient pastoral These messages have meaning within a is, of the language in which they were occupation generated a musical reper- complex semiotic system. Such elabo- created and transmitted, of the signifi- toire with particular characteristics. The rate ancient codes cannot be taught, but cance of the signs, and of the way they power of sound served to control the ani- are handed down from generation to are articulated in creation and perfor- mals or to placate maleficent powers that generation like mother tongues. mance. This knowledge is insufficient in might threaten the animals' health. The The consumer-goods folklore is above the case of the outsiders, whose perfor- largest part of this pastoral repertoire is all a reproduction of the traditional one. mance has become mostly mimicry. extremely instrumental: played on buciiwi (a long It is a reproduction that is more or less There are exceptions among wooden trumpet), corn (horn), tilinca (a faithful, depending on how it is actually gifted interpreters as, for instance, the flute without finger holes), flider (fipple consumed: the kinds of occasions, the famous singer Maria Tanase, the musi- flute), and cimpoi (bagpipe). Among the audiences, and the producers themselves. Continued on page 45 folkloric genres tied to this pastoral life

* itself but are signals; lyrical instrumental Editor's note: Professor Pop uses the word language generically to refer not only to speech melodies; magical melodies; sound to the systematically structured, meaningful, and self-reflexive dimensions of traditional perfor-

"poems" with a moral sense such as the mance — such as music, graphic art, dance, and various forms of narrative. widely known "When the shepherd lost

Smithsonian Folklife Festival 1999 43 "Florisdalbiledi Traditional Music and Dance in Romania Today

dance. Dance music takes hold to provoke dances of archaic style and simple struc- Folklore Today continuedfrom page 43

a veritable euphoria; in fact, dance ture (some of them maintaining a ritual

melodies are constructed to incite joy, to function), alongside men's dances with a cian Gheorghe Zamfir (panpipe), the rouse the elemental energy of the body, complex harmonic structure and acro- taragot interpreter Dumitru Farcas, the

focused in rhythmic movement, with a batic elements — cdhi^er* (men's ritual young singer Tijiana Mihali,and oth-

powerful role in physiological and implic- team dance) and feciore^ti (men's display ers. Creative usage and knowledge of

itly psychic release. dance) — sometimes performed along traditional language can sometimes be

with the more numerous Transylvanian observed at the level of consumer-

Traditional Dance couple dances. goods folklore, too.

If song and story are, in general, the spe- There are four main choreographic When traditional folklore meets con-

cialty of gifted and talented individuals, structures found in Romanian traditional sumer-goods folklore that uses gen-

popular dance is essentially a collective dance. uine expression, they can influence art — one that has great vitality in • Group dances, in which dancers are each other on the cultural stage. Local

Romania and an important social role, joined by holding hands, shoulders, folkloric events can contribute to the even if sometimes it has been attenuated or belts. The dance develops in a cir- preservation of tradition or create new by modern developments and urbaniz- cle, semi-circle, or a line. forms of it. ing tendencies. In traditional village • Couple dances, in which the couples Folklore nowadays is definitely social life, dance was long the primary may be arranged in columns, a circle, bifurcated, and its two components are entertainment of Romanian peasants. line, or freely in the dance space. bound to live together, at least for a

In time it established particular rules for Partners are positioned either side by while. The difference between them the observance of different festive occa- side or face to face, holding hands, remains their function. Traditional sions in which the community came shoulders, or in a ballroom social folklore acts are messages of creative together to celebrate important events dance position. performers presented for their own in the life of individuals or of the village, • Team dances, which in the majority sake or purposely addressed to equals such as baptisms, weddings, Sunday cel- of cases are men's dances of great vir- in the community, serving a range of ebrations (village dances), patron saints' tuosity, and may be grouped as the particular purposes within their tradi- days, or fairs in mountainous regions on dances of cdbi^eri, feciore^ti, or shep- tional context. The consumer goods holidays connected with pastoral life. herds. In these dances the partici- have, for the time being, the status of

Romanian folk dance is a singular phe- pants are not holding one another, mere replicas, like reproductions in the nomenon with an undeniable continuity, and in some cases they carry a stick. fine arts. They address the national while at the same time revealing a great • Solo dances, which often have a ritu- community as a whole, effacing region- diversity in structure and style. The al character, being dance expressions al differences. The complex structure explanation of this remarkable diversity of masked characters among pro- of industrial society creates different of choreographic forms must be sought cessing celebrants at winter holidays, levels of acceptance and functional first of all in the historical circumstances such as capra (goat), deer, bear, bear diversity in folklore consumption. For of the Romanian people, whose origins keeper, etc. their part, the professionals do not account for the presence of ancient Med- Three principal styles, and two sub- intend to communicate traditional iterranean influences in dance, and sec- styles, may be indentified with various folkloric messages but rather artistic ond in the central position of Romania folkloric regions. messages that can be perceived as vis-a-vis the cultural currents of West • The Dunarean dance style, which pleasant entertainment or a great, and Southeast Europe, where both group extends throughout the Romanian essentialized artistic experience.... dances and couple dances are character- plain, comprising Oltenia and Mun- istic. The Romanian repertoire includes tenia up to approximately the sub- Adapted from an article in Mihai Pop,

Folclor romanesc 1: 237-47.

'The cdhiferiil of Transylvania and cdlu^ul of the Danube plain share similar names and were once closely relat-

is emeritus ed healing and fertility rituals performed by men. However, in Transylvania the dance is performed as part of Mihai Pop professor andformer

to at the University winter customs, and its most widespread form stems from a cultivated revival as a national dance that dates head offolklore of Bucha-

Lnlii}iil is per- rest, director the Institute the mid- 19th century. Widespread throughout Romania in the 1 8th century as a healing ritual, andformer of of

Ethnography Folklore "C. Brdiloiii." formed today as a summer custom and only in the south of Romania, where it can be found as a village ritual, and town entertainment, in organized competitions, and in theatrical performance.

Smithsonian Folklife Festival 1999 45 ;

Carpatic hills, as well as Dobrogea. The tenia, and Moldova, as well as the sented on stage over the last 50 years.

principal characteristic of this style is south and a strip of eastern Tran- Young Romanians watch Western music the preponderance of group circle and sylvania. In this stylistic zone group videos and learn hip-hop moves along

line dances. Towards the Carpathian dances are found in an equal balance with youths around the world. Yet strong

foothiOs, one may also find the men's with numerous couple dances, and local traditions persist that are resistant

ritual cdlu:^ dances of summer the two are often seamlessly integrat- to these influences. Cdlu^ari like those

• The Transilvanian dance style found ed in performance. In a distinct sub- from Opta§i in Oltenia dance on the rit- in an area comprising the upper style, the folk dances of Podi§ul and ual occasion of Rusalii, visiting homes

basin and middle of the Mure§ River, Campia Moldovei feature couple throughout their village to bring the

the Transylvanian plateau, and the dances (polcufe, invartite simple) community health and fertility On

Some§ basin. In this stylistic region specific to this area. Christmas Day in 1998, 15 young cdlu^eri couple dances predominate along Of course the delimitation of style areas sang colinde and danced throughout

with men's dances. Integrated here can only be approximate, and there are Ora^tioara de los, in Hunedoara. After

are also the cdlu^er dances of winter. many zones of interpenetration. But it is services on Sundays throughout the year

The folkloric regions Oa^, Cri^urilor, possible to assert that the Carpatic the young men of Oa§ organize village

Campia Mure^ului, and a large part dance style region, because of its geo- dances with traditional fiddlers playing

of the Apuseni mountain region rep- graphic position as a gateway that facili- their reconstructed violins called cetere,

resent a distinct "western" substyle tated an intense cultural and economic while dancers wearing a mixture of tra-

characterized by a preponderance of exchange among the historic provinces ditional and modern dress fill the ciu- couple dances in lines, as well as par- of Romania, constitutes the principal perca (mushroom), as the community

ticular men's dances. link in the unity of Romanian folk dance dance pavilion is called. In these com-

' The Carpatic dance style, which — a unity evident in the particular pat- munities and others throughout

extends over both slopes of the Car- terns of syncopated rhythm found in Romania, traditional music and dance

pathian Mountains (southern and almost all dance types and styles. retain their power to enact participants' eastern), southern Banat, the sub- Traditional dance in Romania has social relations and express their energy

Carpatic regions of Oltenia, Mun- been subject to stylization when repre- for life.

Suggested Reading Romanian Music. of Taraf: Gypsy Music Colin Quigley is associate professor in the I Listening the and World CDT- 137. Department of World Arts and Cuhures, i Alexandru, Tiberiu. 1980. Romanian Folk Taraf de Haidouks. Nonesuch CD 79554-2. University of California, Los Angeles. Curator I Music. Bucharest: Musical Publishing Traditional Music of Romania. Musique of the Gateways to Romania program, he was I

House. du Monde/Music from the World a Fidhright senior research fellow at the

Brailoiu, Constantin. 1984. Problems of CD 92517-2. Institute for Cuhural Anthropology, Faculty '

Ethnomusicology. Edited and trans- Village Musicfrom Romania: Constantin of European Studies, Babe^-Bolyai University,

lated by A.L. Lloyd. Cambridge: Brailoiu Collection. Archives in Cluj-Napoca, 1997-99. Cambridge University Press. Internationales de Musique

Giurchescu, Anca,with Sunni Bloland. Populaire AIMP 9, 1 0, and 1 1 Zamfir Dejeu is senior researcher at the

1995. Romanian Traditional Dance. CD-537,538,539. Arhiva de Folclor, Academia Romaniei, in \

Mill Valley, California: Wild Flower Cluj-Napoca. He is the author ofseveral col- Press. lections of music and dancefrom The Edge of the Forest: Romanian Music Transylvania. He has also directed the widely

from Transylvania. Music of the traveled ensemble Somesul Napocafor the

World GDI- 144. last 25 years. Les Faubourgs d'Antan — The Districts

of Yesteryear. Musique du Monde/ Constantin Costea is a senior researcher in

Music from the World CD 92661-2. dance at the Institute of Ethnography and

Romania: String Quartet of Transylvania. Folklore "C. Brailoiu" in Bucharest. He is the

Musique du Monde/Music from the author of numerous articles and several

World CD 92560-2. books on Romanian traditional dance, in

particular the men's dances of Transylvania. 46 Smithsonian Folklife Festival 1999 , Traditional Arciiitecture luiiana Ciotoiu and Mihai Dancu^

Romanian Village Architecture

"What makes a Romanian village

special? It reveals an eternal

youth. . . and a perpetual rejuvena-

tion. . . . Its deep poetry comes from

its spiritual treasures. Tradition

here is a continuous renewal and

victory. . .just like nature."

^George Matei Cantacuzino, architect

omanian village architecture is

characterized tlrst and foremost A wooden house from

RI by its rich understanding of Gorj (18th century). nature. Houses are generally located Photo iourtesy Village

away from the main street and are subtly Museum, Bucharest

inserted in the landscape. When built

along the valleys, the angle of the roof beams give the traditional house a warm mate, geography, and social environ- follows the slope of the mountains; when and intimate ambience. ment. His sensibility inspired the built on the plains, the roof line is hori- Rooms communicate directly with the forms. Traditional peasant architec-

zontal. The stone, wood, thatch, and clay porch. Lower or higher, situated on one ture is a great lesson: [it] created the used as construction materials come or more sides, the porch dominates the background for Romanian decorative

from the land nearby Orientation is fa(^ade of traditional houses and assures art and was a unifying characteristic determined by the sun, with windows a fluid connection between the interior for this people very much like [their]

mostly facing east, south, or southeast. and exterior space. The handrail of the language.

The plan of the traditional house runs porch is the equilibrium line or horizon, longitudinally from front to back, with balancing the fields of shadow and light Indeed, the basic elements in traditional the heating system as the focal point. falling on the fa(^ade. The porch also Romanian architecture — its function-

Heat is essential U all major household helps give the traditional house a hori- ality, adaptation of purpose and means, activities: cooking, baking bread, sleep- zontal rather than vertical aspect. balance in proportions and decoration, ing, smoking food in the attic, and G.M. Cantacuzino, professor at the artistic value, and tit with the landscape warming the adjacent rooms. To maxi- Institute of Architecture in Bucharest — confer on it a sense of unity and a mize the distribution of heat throughout and a great scholar of traditional unique personality. — the house, the stove is placed in the cen- Romanian architecture, remarked: Miana Ciotoiu

tral space. Then furniture such as a bed or table is arranged in the corners of the I said once that the Romanian peas- luliana Ciotoiu is senior architect at the room. Tapestries, pottery, stained glass, ant is our best architect. He thor- Village Museum, Bucharest, specializing in painted wood, costumes, kitchenware, as oughly described how to harmonize a traditional Romanian architecture. well as the low ceiling and the use of manmade construction with the cli-

Smithsonian Folklife Festival 1999 47 Architecture in Maramure^ naramure? is distinguished by its wooden buildings: houses, mills, churches, and gates. Churches have played an important role in Romanian history They are the places where ancient documents were preserved; where decisions were taken by the wise men of the village in difficult times; where the national consciousness was kept alive in periods of upheaval; where people were christened, married, and buried. The steeple allowed people to survey the entire area of their village, and it was a special tolling of the bells that announced not only invasions but also devastating fires or raging floods. In short, the church provided warning and protection for the village. Obviously, therefore, the villagers would be concerned with the appearance and location A Maramure^ gate and church. Photo courtesy Village Museum, Bucharest of the structure.

Almost all the churches which date from the 18th century were built in the Suggested Reading Mihai Dancu^ has been director of the place of older ones which had been Bratulescu, Victor. 1941. "Churches from Ethnographic Museum ofMaramure^ since burnt by the Tartars during their last Maramure§," The Bulletin of the 1976 and is president of the Open-Air European invasion (1717) and were Commission for Historical Museums of Romania. He holds a doctorate identical to the originals. The plan gen- Monwmenfs, XXXIV, fasc. 107-110. in ethnology and is the author of a number erally consisted of three rooms — the Cristea, G. 1989. In the Land of Wooden of important studies on Romanian popular altar, the nave, and the narthex on an Churches. Sibiu. culture and traditions. east-west axis — and sometimes had an Dancu§, Mihai, 1986. The Maramure^ open, west-oriented porch. The main Ethnographic Region. Bucharest. features are the very high, sloping, two- Godea, I., Cristache Godea, I. Panait. 1978. level roof and the arrow-shaped steeple. Wooden Churches. Oradea. Because of their general architectural Porumb, Marius. 1982. Monuments of profile, many researchers consider them History and Religious Art from Vad, to be in the Gothic style: "Maramure§ Feleac and Cluj Archepiscopate. Gothic." Such important architectural Cluj-Napoca. examples exist in all the villages of Maramure§; religious ceremonies are still held in some of them, while others are protected by national heritage preservation laws. The famous "Maramure? gates" can be found in every village. They continue to be built and are the pride of Maramure§ villagers. —Mihai Ddncu^

48 Smithsonian Folklife Festival 1999 Romanian Foodways: A Crossroads of Tastes Nicolae Constantinescu

— 44 ^^B oftd buna!" and "Nowcr Sweet Cheese-filled Placinta 'Bo/; rtppewr and "Cheers!" (pronounced pla-CHEEN-ta) — first p are often the words that many visitors to Romania learn. And THE DOUGH: 500 grams/17 'A ounces flour (about 2 'A cups) with good reason, for the rich and diverse 3 tablespoons oil cuisine of Romania is one of the coun- 1 teaspoon salt try's treasures. In Romanian cooking the 1 cup warm water hearty meats and vegetables of Central

Europe meet the aromatic herbs and Place the flour in the middle of a very large sheet of waxed paper or spices of the Mediterranean and lands other preparation board (72" x 96"). In the middle of it add the oil, the farther east. The sharp smells of cheese salt, and the cup of warm water. Mix the ingredients with a tablespoon with onion or of garlic sauce mingle with and then use two hands. The dough should be soft. If necessary add more the delicate scents of vanilla and cinna- water. Leave the dough in a warm, dry place, covered with a warm cloth, mon. The plainest meals of grilled meats for 10 minutes. Make a one-inch-thick layer of dough and leave it covered or" Romanian eggs" (poached eggs) can with a cloth for an additional 15 minutes. Sprinkle more flour on the be accompanied by more elaborate dishes preparation board and then make a very thin layer of dough (like a sheet such as stufted grape leaves served with of paper) the size of the whole preparation board. Trim the edges to fit yogurt or sour cream. At Easter and other the preparation board, and leave the dough to dry for a few minutes holidays, tables groan beneath the weight before use. of cold cuts and sausages, white cheeses made from the milk of sheep and cows, THE FILLING: 300 grams/ 10 Vi ounces ricotta cheese fresh and pickled vegetables, tomato and 30 grams/ 10 ounces fresh butter vegetable stews, and sugary cakes and V: tablespoon flour sweet breads. 2 eggs

But above all these smells and tastes '/: cup milk one food reigns supreme: bread (pdine, sah from the Latin panem). At private homes 2 tablespoons melted butter and in restaurants, meals are always served with a full basket of freshly cut The very thin layer of dough needs to be cut in pieces that match a bread. Made of wheat tlour, water, and 9" X 12" rectangular baking pan. Mix the cheese, butter, milk, flour, eggs, yeast, the bread in older times was baked and salt together. Coat the baking pan with melted butter, add one layer under a simple clay dome. Besides daily of the thin dough; coat with melted butter; repeat this action layering bread, there is ritual bread, compulsory dough and coating with butter four more times. Add the cheese mixture at holidays, celebrations, and feasts. and level it. Then add three more dough layers as explained previously.

Ritual bread may take the shape of a Sprinkle butter on the placinta and put it in the oven at 350 F for 30-45 knot or braid (colac), a pretzel (covrig), a minutes or until the top layer is golden brown. When done, cut the flat cake (turtd), or a sweet-cream cheese placinta into squares and serve warm with powdered sugar on top or cake (pascd):, the shape and decorations with sweet or sour cream. vary according to the ritual function. The

Smithsonian Folklife Festival 1999 49 most common symbols pressed into the {Imrdufor ca^), rolled into balls, and tomatoes, cucumbers, peppers, radishes dough just before baking are the cross, broiled on coals until the cheese melts. with cheese, garlic with bacon, lettuce the circle (representing the sun), the Mdmdliga also may be combined with with oil and vinegar), cooked (green bird, and human figures. Another, newer any vegetable or meat dish, especially peppers roasted on the kitchen range, kind of ritual sweet bread is the cozoiiac, stuffed cabbage. eggplant salad, or salatd de vinete), or made from wheat flour, yeast, milk, eggs, Although the name for these stuffed pickled (sauerkraut from white or red and butter. Crushed nuts, raisins, poppy cabbage rolls {sarma) comes from the cabbage, cucumbers, autumn tomatoes, seeds, and sometimes cocoa and Turkish Turkish (also sarma), and the dish is peppers, cauliflower, celery). Romanian delight are also added. Colivd, boiled similar to that found throughout housewives are famous for the various

and ingenious ways in which they pre- pare pickles each autumn. Fish from the Danube and the Black In Romanian cooking the hearty Sea, combined with a garlic sauce, are also an important part of seasonal and meats and vegetables of Central regional cuisines. While Americans have general labels Europe meet the aromatic herbs for foods such as "cheese" and "soup," Romanians make distinctions between and spices of the Mediterranean different types of these foods. Brdnzd is a pungent white cheese made from and lands farther east. sheep or cow's milk, while ca§caval is a yellow cheese similar to Swiss. Likewise,

supd is a thin meat or vegetable broth, wheat grains sweetened with sugar and southeastern Europe, in Romania they while ciorbd is a thick, slightly sour stew honey and mbced with nuts, is served at are called endearingly "little sarmale" best eaten with both a spoon and a fork. funerals. [sdrmdlufe) and are thought of as being With respect to drinks, the pride of

As befits a population known for the part of the national cuisine. A mixture of place is accorded to wine, each region of cultivation of grains, another grain dish ground pork and/or beef, onions, rice, Romania having its famous vineyards. is the most beloved of Romanian tradi- and spices is wrapped in pickled cab- Varieties from Murfatlar and Tarnave, tional foods. Mdmdliga, a kind of por- bage leaves; these are slowly boiled in for example, have found their way to ridge or polenta, is prepared by boiling special pans (earthenware in some Western markets. But a Romanian meal corn meal (formerly millet flour) with regions), then baked in the oven until always starts with a little glass of fidea, a salt in a special cast iron pot. When the they are golden brown, and finally natural alcohol made from fruit (gener- water is reduced and the porridge has served with "little mdimUigd" ally plums but also pears, apples, apri- become thick, the mdmdliga is turned (mdmdligufd) and a rich paprika sauce. cots, sweet cherries), distilled once in out of the pot onto a wooden board, In summer the cabbage leaves are re- Muntenia and Moldova and twice in allowed to cool slightly, then cut into placed with grape, garden sorrel, or Transylvania. It has miraculous thera- slices and served. Eating mdmdliga by even linden tree leaves. peutic value when drunk moderately, in itself is a sign of poverty Traditionally, it Another mincemeat dish, also of addition to whetting the appetite and is eaten with milk, sour cream, and Oriental origin but fully assimilated starting the conversation flowing. cheese [mdmdligd cu brdtizd ^i into Romanian cuisine, is mititei. It is smdntdnd) — products of the oldest made of beef and lamb minced twice, Nicolae Constantinescu was educated at the activities of Romanian peasants, breed- mixed with spices, formed by hand into University ofBucharest (Ph.D., 1971) and is ing cattle and raising sheep. The milk, finger-shaped pieces, then grilled over professor offolklore and head of ethnology boiled in the pot the porridge has been charcoal. and folklore at the university. He is the author cooked in, has an excellent and unique Romania's rich agricultural land and of several books on folklore and ethnology. taste. Shepherds at the sheepfold boil the long growing season provide a wealth of porridge for an hour or more, then cut fruits and vegetables, which are central it, using a string, into large pieces. These to traditional Romanian cooking. Vege- are mixed with special sheep cheeses tables can be eaten fresh (i.e., onions.

50 Smithsonian Folklife Festival 1999 Romanian Pottery and Ceramics Georgeta Ro^u

creation of objects in clay The Wedding ulcior, Oltenia. is one of the oldest traditional Photo courtesy Ronnuiiaii Peasant Museum crafts in Romania, developed

among people who held in high esteem

those who worked with fire. Along with metalworkers, potters were considered sacred keepers of the forces of nature,

since earth and fire were believed to have magical properties. To make the pottery, clay was taken from the hills around villages. The manner of preparing the clay was

similar from one region to another, and became one of the unifying elements in Romanian culture. In addition to many objects made of wood, textiles, metal, and other materi-

als, traditional Romanian households

have a great variety of ceramic objects.

These include the ulcior, a slender- necked vessel for liquids; the strachiua, a shallow serving dish; and mugs {cdni). Such objects are normally decorated with a variety of suggestive motifs: snakes and birds, horses, and anthropomorphic representations that evoke fertility and divine protection for the household. Clay miniatures are also used as children's toys and are decorated with birds, dogs, bells, women in dresses, horses, and other motifs. In the daily activities of the household, pottery serves both practical and decorative functions. Today in Romania there are three general types of ceramics:

• Black ceramics: The distinctive

dark color is produced by firing the ceramics with a reduced amount of

Smithsonian Folklife Festival 1999 51 way of increasing the strength of the Along with metalworkers, potters vessel and of creating a decorative effect. The bands may be decorated were considered sacred keepers with finger impressions or small inci- sions as well. Ornamental decorations of the forces of nature, since made by hand may be attached to the vessel, including stylized representa- earth and fire were believed to tions of birds and animals, flowers, or bunches of grapes. Painting with

have magical properties. brushes or other instruments is also practiced, with the potter forming lines

and spirals in the finish as well as designs in the form of teardrops. The

"teardrop" pattern is achieved by paint-

ing several concentric lines in different

colors and allowing the painted lines to

run into each other. The most widely

used colors are white, yellow, red, green, and black. A remarkable synthesis between art and technology, pottery has occupied many generations of craftsmen. Important masters include Victor and

Eufrosina Vic^oreanu, Marin C. Tru§ca, Grigore Ciungulescu, Ion Raducanu, Dumitru §chiopu, Marin Murga^anu, Constantin Colibaba, lonica Stepan, Marin Nicolae, Gheorghe and Maria lorga, Dumitru Mischiu, and Dumitru Pa«;caniuc.

cially in Although changes have occurred in

households for the function of pottery, it remains a

Plate from Horezu, Oltenia. storing and preserv- central element of interior decor.

Horezu is an important ceramics ing meats, vegetables, Plates, bowls, vases, toys, and other

center. Photo courtesy Romanian Peasant Museum and cereals. objects — harmoniously integrating

• Glazed ceramics: This type is pro- form, color, and proportion — contin-

oxygen. The decoration is simple duced throughout Romania and ue to be displayed in modern Roman-

and geometric (straight lines, zig- uses a glaze prepared from metallic ian homes, as well as traditional ones.

zags, or spirals). Black ceramics are oxides, which gives the pottery a

produced in several centers in green, brown, or yellow color. Georgeta Ro^u is an ethnologist and depart-

Moldova and Transylvania. A variety of techniques are used to ment director at the Romanian Peasant

• Red ceramics: These unglazed decorate the pottery Incision (with fin- Museum. To date she has published Clay

ceramics are covered with a white gernails, combs, or other objects) is Toys and Wedding Ewers.

or brown slip (engobe) with wavy one of the oldest methods. The designs or spiral Hnes. They also may be are simple, usually linear or more

covered with another layer of clay, rarely spiral or meandering lines.

on which impressions are produced Excision involves creating relief work

with the fingers. Widely found in on the surface of the object. Bands or

Muntenia, Oltenia, and Transyl- braids of clay may also be applied to vania, red ceramics are used espe- the surface of the pottery, both as a

52 Smithsonian Folklife Festival 1999 City Life Irina Nicolau

Large or small, old or new, Roman- ian cities have one thing in common: unlike Western European cities, which have evolved for several centuries entirely separate from the village, they preserve strong connections with the rural world. This is evident especially in the way city people form relationships within families, among neighbors, friends, and even in the workplace.

Traditions and customs that revolved around the court, the churches, and the various guilds once thrived in Romanian cities. The calendar was filled with holidays and festivities. People were religious but also eager to celebrate. In the

17th century, for example, Bucharest had

100 churches and over 3,000 pubs and Guests dance a hora at a recent wedding reception at the Moldova Restaurant in Bucharest. liquor stores. It was as if Bucharest Photo coiirtesv Ai}dreea Dersidaii dwellers divided their lives between wine and God. on residential streets with private hous- observed less frequently since 1989. Most of the older urban traditions es are known to involve the entire Economic and political realities demand faded in the 19th century with modern- neighborhood. Things follow the same more of people's time and dampen their ization and later with the mass culture pattern in apartment buildings, which sense of humor. that was imposed by 45 years of com- function as "vertical" streets: people munism, rejected after 1989. Traditional lend each other money, a cup of oil, or Ir'ma Nicolau holds a Ph.D. in ethnology and folklife in Romanian cities persists, extra chairs for a party Such gestures is a department director at the Romanian though, in family ceremonies (baptisms, are reminiscent of the solidarity we find Peasant Museum. Her specializations are oral engagements, weddings, funerals, start- in the smaller villages. history, urban ethnology, and the cultural his- ing a new home) and holiday celebra- As for recent changes in city folklife, tory of Balkan Ronumiaus, and she is the tions (Christmas, Easter). Happy or sad young people show a keen interest in author of three books. occasions become opportunities for new and foreign influences. As an exam- people to get together, eat, drink, bring ple, Halloween began to be celebrated by each other presents, dance, and sing. some in Bucharest in 1998. On the other

Romanian city people don't like the hand, a very popular form of city folk- anonymity and loneliness that are com- lore, bancitl — anecdotes or jokes told at mon in Western urban life, and so such work, while standing in line, on the bus, gatherings are taken seriously Parties or during any get-together — has been

Smithsonian Folklife Festival 1999 53 Dracula: Hero or Villain? Radu R. Florescu

Iracula is the real name of a Left: Portrait of Dracula Wallachian ruler, also known to at Castle Ambras, near D Romanian chroniclers as Vlad Innsbruck, Austria. The the Impaler. Dracula is a derivative of artist is unknown, but

his father's name, Dracul, which in this appears to be a

Romanian means the devil. According to copy painted during the

those more charitably inclined, the second half of the 16th

father was so known because he had century from an earlier

been invested by the Holy Roman original that was proba-

Emperor with the Order of the Dragon, bly painted during

dedicated to fighting "the Infidel." Dracula's imprison-

Dracula was, therefore, either the son of ment at Buda or

evil or the son of good, villain or hero. Visegrad after 1462.

Dracula ruled the Romanian princi-

pality of Wallachia on three separate

occasions: in 1448, from 1456 to 1462, Right: The Chindia

and, briefly, shortly before his assassina- watchtower at Tirgo-

tion in 1476. These dates correspond to vi^te; a 19th-century

one of the most crucial periods in the reconstruction. Apart

country's history Constantinople had from its role as an

fallen in 1453, most of the lands south of observation post, it

Wallachia had been converted into enabled Dracula to

Turkish pashaliks, and the last hero of watch impalements in

the Balkan crusades, John Hunyadi, had the courtyard below.

died in the plague of Belgrade in 1456. Images courtesy

The Danube was thus the frontier of Radu R. Florescu

Christendom at a time when Moham-

med the Conqueror was planning fur- chronicle which mentions Dracula, dat- Genoese, English, and French chroniclers

ther Turkish inroads. ing from almost a century after his of the l5th century It is also in this guise

Little is really known about Dracula in death, labels him Vlad the Impaler and that he is known in what might be

the West beyond the best-selling Gothic confines his notoriety to the building of described as the first Russian novel,

novel written by Bram Stoker in 1897, the famous castle and the monastery of entitled Story about Prince Dracula,

which inspired innumerable Hollywood Snagov where presumably he lies buried, appearing in over 1 1 versions from the

productions. The novel, partially set in though his body has never been found. 15th to the 18th centuries. German 15th-

Transylvania, contains three brief refer- Romanian historians have shied away century stories also refer to the original ences to actual historical events and from using the name Dracula, unlike name: Voievod Dracula. With the inven-

mentions the towns of Cluj, Bistri^a, and most contemporary sources both in tion of printing, these narratives became

the Borgo Pass — but the bloodsucking Eastern and Western Europe. It was as best sellers by the standards of the peri-

vampire is a clear distortion of the his- Dracula that he was known to the od, four centuries before Stoker wrote

torical personage. The first Romanian Byzantine, Turkish, Venetian, Hungarian, his famous book. To these we may add a

54 Smithsonian Folklife Festival 1999 the fact that Dracula and the Impaler aspects as a positive role model for were one and the same personage. rulers), the Germans because he massa- Hero or villain? The balance in 20th- cred them, the Turks because he fought century "vampire" parlance, with Bela them — each group had an obvious

Lugosi in mind (Lugosi, incidentally, reason for defaming him.

was born in Lugoj, in Banat), accents the When historians quarrel, it is some-

villainous aspects. Even the l5th- and times healthy to invoke the rough and

16th-century Russian and German sto- ready sense of justice of the people, par-

ries about the man make a point of ticularly when, in the absence of docu- emphasizing Dracula's horrors, and the ments, we have no other recourse. More Romanian chroniclers have not labeled impartial than the chroniclers, the peas-

him the Impaler in vain. We are indeed ants had a definite feeling for this

far removed from the hero. Yet the inter- prince, and in their oral tradition they

pretation of history is often a matter of rationalized Dracula's crimes, aware of

the times, and moral standards are rela- the great dangers their country was fac-

tive. Mass killings and torture of oppo- ing both from the West and more partic- nents were not Dracula's exclusive pre- ularly from the East.

rogatives. Impalement was an Asiatic All contemporary sources looked upon method of torture widely practiced by Dracula as the only Christian crusader

the Turks. Moreover, before we study a to answer the call of Pope Pius II, who

historical character, we must take into dared single-handedly to challenge the

account the historian's parti pris. power of the Turkish sultan Mohammed

Let us recall that the more intimate the Conqueror, he being intent upon

details of Dracula's life were recorded by weakening the remaining free Balkan

adversaries. The German pamphlets states. Facing overwhelming forces were written by emigre Catholic monks (40,000 against an army of 100,000), and Saxon merchants from Transyl- Dracula had to stage a strategic retreat,

vanian townships that aroused Dracula's relying on a scorched-earth policy and

anger because they refused to pay tolls. harrying tactics under cover of the vast Dracula attacked them, and a few forest of the Wallachian plain. Although

escaped to the West. To dramatize their the capital city of Tirgovi^te had to be

plight, they often exaggerated their mis- abandoned, Dracula left thousands of fortunes and besmirched Dracula's rep- impaled cadavers, picket-fence fashion,

utation. The author of the Russian nar- north of the city This terror had its

ratives, a representative of the Grand impact on the sultan, who cried out:

Duke of Moscow at Buda, had a different "What can we do against a man who

reason for vilifying Dracula's character: commits such deeds!" rich compendium of Romanian folkloric terror was a useful tool in establishing Much ink has been spent on the idle material collected in the region of future despots of Russia. Ivan the controversy centering on the problem of

Dracula's castle. Terrible modeled some of his tortures who won the war. By November 1462,

Why should these tales have historical on Dracula's (for instance, nailing the Dracula was compelled to abandon his validity? The answer lies in a very simple hats on the heads of impolite ambas- throne in favor of his brother Radu the fact: although they vary in some details sadors). In the eyes of Orthodoxy, Handsome, a Turkish protege. The Turks and ethical interpretation, there is a Dracula was anti-Christ, because, fol- were war-weary, short of food, plague- remarkable coincidence between the lowing his remarriage to a relative of ridden, threatened with Hungarian German, Russian, and Romanian King Mathias Corvinus of Hungary, he intervention from Transylvania (which

Dracula stories. While Germans and repudiated his traditional faith and con- Dracula had solicited), and, persuaded Russians use the name Dracula, the verted to Catholicism. Thus the by the scale of Dracula's impalements, Romanian oral tradition labels the Russians hated Dracula on religious withdrew the bulk of their forces during prince Vlad the Impaler, substantiating grounds (or stressed his villainous the month of Ramadan in 1462. On the

Smithsonian Folklife Festival 1999 55 Suggested Reading

Florescu, Radu, and Raymond T. McNally. 1989. Dracula, Prince ofMany Faces:

His and His Times. Boston: Little Life | Brown.

. 1973. Dracula: A Biography of Vlad the Impaler. New York: Hawthorn Books.

Giurescu, Constantin C. 1969. The Life and Deeds of Vlad the Impaler: Draculea. New York: Romanian

Library.

McNally, Raymond T., and Radu Florescu. 1994. In Search of Dracula. Boston: Houghton Mifflin Co.

"Impale Forest," Roth, Phyllis A. 1982. Bram Stoker.

engraving from a Boston: Twayne.

German pamphlet Stoicescu, Nicolae. 1978. Vlad the

published in Impaler. Translated by Cristina

Strassburgin 1500. Kriorian. Bucharest: Romanian Academy.

Other hand, with most boyars rallying to in favor of Dracula "the hero."

Radu and his own army melting away, It was upon reading the book of an Radu R. Florescu is professor emeritus ofhis- Dracula was forced to retreat to his cas- obscure 19th-century English consul- tory and director of the East European tle in the Carpathians and thence threw historian which he found in the Whitby Research Center at Boston College and hon- himself on the tender mercies of King Library in England that Bram Stoker orary consul of Romania. He holds degrees

Mathias. The latter, instead of sending decided to change the title of his Gothic from 0.xford and Indiana Universities and help, imprisoned Dracula in a tower of novel from The Vampire Count to has published widely on Romanian history his Visegrad palace on the Danube, Dracula. Then the name of an obscure and Dracula. where Dracula was technically under Romanian prince gained world recogni-

"house arrest" for some 12 years. He tion by way of the silver screen. It is now died in December 1476, killed by a boyar up to the Romanians to use this unique opponent or a Turk who decapitated and extraordinary accident of history to him and sent his head to Constantinople their advantage in an intelligent fashion. for all to see that the dreaded impaler was no more. His tragic end should not obscure the fact that his determined resistance helped preserve the integrity of the Wallachian state. This single service to the nation helps tilt the balance

56 Smithsonian Folklife Festival 1999 South Africa: CraMng Hk EcMMric RcnissaMt ofthc RaiilNW MaliM

This program is produced with the collaboration and support of the South African Department ofArts, Culture, Science and Technology and the National Arts Council Other contributors include the Department of Trade and Industry, Department of Foreign Affairs, Department of Sport and Recreation, Buy- Afrika, African Art Centre, and Skukuza Alliance. Special appre-

ciation to Metro Travel and corporate sponsors, KWV and the Royal Hotel, Durban.

Smithsonian Folklife Festival 1999 57 South Africa al the Festival: The Historicai Context I

Janes Early

most of this century, the mere Formention of South Africa has evoked

images of immeasurable racist in- humanity in the minds of people across the globe. Yet the country has also represented a gloriously just struggle fueled by democratic aspirations for high human achievement. It was to this struggle that curators Bernice Johnson Reagon, Rosie

Hooks, and I dedicated the three-month

African Diaspora program at the Bicen- tennial Smithsonian Folklife Festival.

Every morning at eleven o'clock, from June through August 1976, elders from

African diaspora communities in the Americas and Africa paraded on the

National Mall just below the monument to the nation's first president, George

Washington, to pour a libation, invoking the spirits of the ancestors and acknowledging the aspirations of millions of

South Africans to freely express their humanity and cuhural ways of knowing and doing. A few weeks into the Festival, on June 16, the Soweto Uprising occurred against the forced use of Afrikaans as the language of educational instruction.

Twenty-five children were killed by police.

In the 1980s, while the administration Smithsonian staff and Festival programs. from all racial backgrounds were invited of the Smithsonian debated the Institu- In 1988 the Smithsonian Office of Folk- to the Smithsonian to discuss how the tion's corporate investment policy in life Programs — now the Center for rigid system of racial separation impact- apartheid South Africa, concern with the Folklife and Cultural Heritage — and ed the lives of the majority populations. nexus of culture, democracy, and eco- the Department of Anthropology of the And in 1994, when the South African nomic sustainability — today common National Museum of Natural History liberation movement emerged victori- in government bodies, U.S. foundations, organized a symposium with The Smith- ous, the South African Ministry of the World Bank, and the United Nations sonian Associates, "South Africa Today: Culture's Department of Arts, Culture,

Educational and Scientific Organization Life in a Divided Society." South African Science and Technology and the Smith-

— was evolving in the work of many historians, biographers, and writers sonian initiated discussions and plan-

58 Smithsonian Folklife Festival 1999 South Africa's monumental achievement came through vants who are coming together to present, discuss, and debate concepts of

cultural identity, cultural enterprise, and oRen bloody battles and life-defining sacrifices, especially cultural democracy are indeed con- among rural and urban grassroots communities, who sciously engaged in fashioning a collective national story The apartheid regime emphasized used their cultural traditions to resist oppression and to individual identity to divide, demean,

and exploit country along lines of affirm their identities. the race, color, culture, and economic class.

This racialized history makes it difficult

educational and capacity-building activ- to employ cultural distinctions in the

ities designed to enhance professional formation of a new national identity that

development through collegial exchange. equitably reflects the diversity of values

South Africa: Crafting the Economic and economic capacities of all citizens. Renaissance of the Rainbow Nation fea- Nevertheless, South Africans are forging

tures nearly 100 South African grass- ahead on all fronts to draw upon their

roots community artisans and cultural rich diversity in the transformation from

officials. Of course, their presence on the the old to the emerging national identity

National Mall of the U.S. capital is linked No tried-and-true formulas for suc-

in direct ways to the country's recent cess exist. Criteria that define a success-

past. South Africa's monumental achieve- ful marriage of cultural enterprise and

ment came through often bloody battles cultural tourism are not altogether clear.

and life-defining sacrifices, especially Many ethical issues arise as living cul- among rural and urban grassroots com- tural communities enter the marketplace munities, who used their cultural tradi- seeking remuneration for the sale of

tions to resist oppression and to affirm their cultural products and display of

their identities. This fact was not lost on their cultural life. the country's future leaders, many of Individual artisans and cultural com- whom participated themselves in cultur- munities are using their traditions to

al acts of resistance and affirmation. start cuhural businesses, cultural cen-

However, the significance of their pres- ters, and museums. Private and govern-

ence is also bound up with the newly ment-sponsored cultural tourism is also

democratized nations use of its cultural being developed. As the philosophy and

heritage to craft its immediate future. practice of cultural industries and The South Africa Festival program tourism evolves in developing countries

addresses the role of handicraft and — and in developing communities in

statecraft in the formulation of a new developed countries — new, sometimes

South African national identity, econo- thorny questions arise about authentici-

my, and political democracy ty, integrity, and exploitation. Such is the

Ndebele bead work. Photo by Paola Gianturco As South African communities discov- case in South Africa. er and rediscover the value of their her- Should, or how should, communities ning for a long-term collaboration on a itage, they proclaim their numerous, var- benefit from marketing their cultural broad range of cultural heritage pro- ied, and distinctive cultural traditions: traditions? Should one community con- jects, including a Festival program. Since languages, religions, healing practices, trol the finances and administration of

1996, in the framework of the South modes of democratic representation and cultural enterprises and reap the bulk of Africa-Smithsonian Culture and Com- participation, musical styles, recreation- the profits from the sale of another community-Building Reciprocal Learning al games, regional cuisines, and uses of munity's living cultural representations? Program, Smithsonian and South available natural resources. The artisans, Should not the independent decisions of African colleagues have participated in cultural communities, and public ser- cultural communities and individual

Smithsonian Folklife Festival 1999 59

vants who are coming together to pre- monumental achievement came throueh $outh Africa's sent, discuss, and debate concepts of cultural identity, cultural enterprise, and Africa atthe Festival: battles andlift-definingsacriiices, especially South oRen bloody cultural democracy are indeed con- sciously engaged in fashioning a collec- rural and urban grassroots communities, who Tlie Historical Context among tive national story. The apartheid regime emphasized resist oppression and to their cultural traditions to identity to divide, demean, James Early ysed individual and exploit the country along lines of alTirm their identities. race, color, culture, and economic class. This racialized history makes it difficult employ cultural distinctions in the educational and capacity-building activ- to that professional formation of a new national identity most of this century, the mere ities designed to enhance exchange. equitably reflects the diversity of values Formention of South Africa has evoked development through coUegial Economic and economic capacities of all citizens. images of immeasurable racist in- South Africa: Crafting the are forging Nation fea- Nevertheless, South Africans humanity in the minds of people across Renaissance of the Rainbow upon their African grass- ahead on all fronts to draw the globe. Yet the country has also repre- tures nearly 100 South transformation from and cultural rich diversity in the sented a gloriously just struggle fueled roots community artisans presence on the the old to the emerging national identity. by democratic aspirations for high human officials. Of course, their formulas for suc- U.S. capital is linked No tried-and-true achievement. It was to this struggle that National Mall of the success- recent cess exist. Criteria that define a curators Bernice Johnson Reagon, Rosie in direct ways to the country's enterprise and monumental achieve- ful marriage of cultural Hooks, and I dedicated the three-month past. South Africa's altogether clear. battles cultural tourism are not African Diaspora program at the Bicen- ment came through often bloody as living cul- especially Many ethical issues arise tennial Smithsonian Folklife Festival. and life-defining sacrifices, marketplace com- tural communities enter the Every morning at eleven o'clock, from among rural and urban grassroots the sale of tradi- seeking remuneration for June through August 1976, elders from munities, who used their cultural their cultural products and display of African diaspora communities in the tions to resist oppression and to affirm their cuhural life. Americas and Africa paraded on the their identities. This fact was not lost on Individual artisans and cultural com- National Mall just below the monument the country's future leaders, many of their traditions to in cultur- munities are using to the nation's first president, George whom participated themselves cen- start cultural businesses, cuhural Washington, to pour a libation, invoking al acts of resistance and affirmation. and govern- pres- ters, and museums. Private the spirits of the ancestors and acknow- However, the significance of their tourism is also newly ment-sponsored cultural ledging the aspirations of millions of ence is also bound up with the and being developed. As the philosophy South Africans to freely express their democratized nation's use of its cultural practice of cultural industries and humanity and cultural ways of knowing heritage to craft its immediate future. tourism evolves in developing countries and doing. A few weeks into the Festival, The South Africa Festival program — and in developing communities in on June 16, the Soweto Uprising occurred addresses the role of handicraft and developed countries — new, sometimes against the forced use of Afrikaans as statecraft in the formulation of a new thorny questions arise about authentici- the language of educational instruction. South African national identity, econo- exploitation. Such is the ty, integrity, and Twenty-five children were killed by my, and political democracy. case in South Africa. police. African communities discov- Gianturco As South were invited Ndebele bead work. Photo by Paola should, communities Smithsonian staff and Festival programs. from all racial backgrounds of their her- Should, or how In the 1980s, while the administration er and rediscover the value cultural the Smithsonian to discuss how the benefit from marketing their of the Smithsonian debated the Institu- In 1988 the Smithsonian Office of Folk- to proclaim their numerous, var- collaboration on a itage, they impact- ning for a long-term community con- Center for rigid system of racial separation traditions? Should one tion's corporate investment policy in life Programs — now the and distinctive cultural traditions: broad of cultural heritage pro- ied, majority populations. range finances and administration of concern with the Folklife and Cultural Heritage — and ed the lives of the healing practices, trol the apartheid South Africa, Since languages, religions, jects, including a Festival program. reap the bulk of Anthropology of the And in 1994, when the South African and cultural enterprises and nexus of culture, democracy, and eco- the Department of modes of democratic representation 1996, of the South victoi i- in the framework the sale of another com- of Natural History liberation movement emerged recreation- the profits from nomic sustainability — today common National Museum participation, musical styles, Africa-Smithsonian Culture and Com- representations? Smith- ous, the South African Ministry of munity's living cultural in government bodies, U.S. foundations, organized a symposium with The games, regional cuisines, and uses of munity-Building Reciprocal Learning al decisions of Culture's Department of Arts,Cultui , Should not the independent the World Bank, and the United Nations sonian Associates, "South Africa Today: natural resources. The artisans, Program, and South available the Sm ^h- Smithsonian communities and individual Life in a Divided Society." South African Science and Technology and public ser- cultural Educational and Scientific Organization cultural communities, and African colleagues have participated in discussions and pla — was evolving in the work of many historians, biographers, and writers sonian initiated 59 ^99 Smithsonian Folklife Festival 1999 58 Smithsonian Folklife Festival culture bearers be respected as to how jects. Integration of traditional knowl- Suggested Reading they use their agency in the marketplace edge and technology into national devel- Constitutional Assembly, Republic of

— with whom and under what arrange- opment is underway Extensive research, South Africa. 1996. Constitution of ments — to display or represent their public forums, cultural policy papers, the Republic of South Africa. culture? What role, if any, should the and constitutional laws have been devel- The Cuhural Strategy Group. 1998.

South African government play in foster- oped to guide and assess the South "Creative South Africa: A Strategy ing cultural enterprises and tourism that African national cultural project. for Realising the Potential of the achieve acceptable balances between Through its struggle with tensions Cultural Industries." A Report to the national craft export policies, mainte- between principles of individual and Department of Arts, Culture, Science nance of community cultural integrity, group rights, monolingualism and mul- and Technology. Pretoria: The and sustainable community economic tihngualism, rural-urban inequities, and Cultural Strategy Group. development? the intrinsic local value of cuUure and Department of Arts, Culture, Science and

No doubt some people argue that its use to pursue wider goals, South Technology. 1997. "Cultural Tourism commoditlcation of community heritage Africa may once again capture the in South Africa: Papers Presented at is disrespectful of tradition and world's imagination and advance the a Conference of Arts, Culture, Science demeaning of the individuals who might understanding and practice of cultural and Technology." Pretoria: Depart- choose, because of economic necessity democracy as a key to national econom- ment of Arts, Culture, Science and or other personal reasons, to perform or ic development. Technology. package tradition for monetary gain. The cultural work going on in all sec- ."Culture in Community: Arts & < Some of the cultural tourism villages tors of South Africa indicates rather con- Culture RDP Projects." Pretoria:

and craft cooperatives in South Africa, vincingly that crafting the economic Department of Arts, Culture, Science i capitalized and administered by people renaissance of the Rainbow Nation will and Technology.

historically privileged with access to not be forestalled by challenging ques- . 1996."Draft White Paper on education, funds, and administrative tions or abstract moral concerns. As in Arts, Culture, and Heritage: All Our skills, are artificial and disturbing ven- the freedom struggle against apartheid, Legacies, All Our Futures." Pretoria:

tures in which whole families live on site answers are to be found in the process of Department of Arts, Culture, Science i and open their homes to droves of conscious national transformation. and Technology. tourists bused in to see "authentic" eth- Mbeki, Govan. 1992. The Struggle for nic community or township life. A con- The Center for Folklife and Cultural Liberation in South Africa: A Short I

trasting model of control of cultural pro- Heritage dedicates this program to the History. Cape Town: David Philip »

duction, marketing, sales, and conse- memory of two South African cultural Publishers. i quent creation of jobs, however, can be workers who lived exemplary lives of com- Ramogale, Marcus, ed. 1996. To Kill A

found among some traditional cultural mitment to grassroots community culture Man's Pride and Other Short Stories i communities in which women are the and democracy. Lazarus Mphahlele, an from South Africa. Johannesburg: sole craft producers and entrepreneurs. accomplished singer and performer, and Ravan Press.

The implications of crafting the eco- Paulos Msimanga, noted for nurturing Serote, Mongane ( Wally). 1997. To Every < nomic renaissance of the Rainbow young musicians in community tradi- Birth Its Blood. Athens: Ohio

Nation are clear to South African cultur- tions, participated in the 1997 Festival University Press. al communities and their representa- program Sacred Sounds: Belief and Southern African Development Com- tives. They involve nothing less than Society. Both died shortly afterwards. munity. 1994. "Southern African issues of cultural education and respect, Lazarus was deputy director of Culture Development Community: A political participation, and economic in Pietersburg, Northern Province, and Handbook." Gaborone: SADC advancement for the whole country former leader of the African National Secretariat. Craftspeople, as citizens and knowledge Congress cultural ensemble Amandla. keepers, have become central to the Paulos was the public relations officer of James Early is director of cultural heritage work of provincial and national govern- the South African Traditional Music policy at the Centerfor Folklife and Cultural ments, educators, trade and tourism Association. Heritage, and co-curator of this year's South industries, museums, art galleries, cor- Africa program. porate supporters of the arts, and, of course, their own entrepreneurial pro-

60 Smithsonian Folklife Festival 1999 South Africa: Crafting tlie Economic Renaissance oftlie Rainbow Nation

RupliusMatibe

has happened since the first Iuch democratic elections in 1994

brought freedom to millions of South Africans. Celebrated across the land, the elections changed the lives of

South Africans in political, social, and economic spheres. Focus and energy previously directed into the struggle for liberation are now channeled into social and economic action. The elections have brought a particular kind of freedom to artists and craftspeople. No longer engaged in the fight for freedom, artists and crafters now have the time and resources to concentrate on creativity.

At the close of the 20th century. South

i I OUR Africa is witnessing a renaissance ot An Ndebele woman passing on a traditional art form to the luxt generation. Plioto some of the world's oldest living art and craft traditions. Indigenous artists and Talk about democracy, talk about the traditional and decorative murals of crafters from all nine provinces are struggle for liberation and the unshack- rural Venda to contemporary murals drawing from their heritage to express ling of the mind, talk about creativity — influenced by the struggle for liberation contemporary realities. They are bring- and you are talking about the people and found on walls and bridges in ing their culture onto the international who "crafted" South Africa, the mothers Soweto; from grass woven baskets of stage. Crafters' innovative use of found and fathers who kept creative fires burn- KwaZulu-Natal to wares made in telephone wire; from tra- objects and recycled material is a testi- ing during the fierce days of apartheid. Gauteng from cloth to hand- mony to this change of focus, the most South African crafters, especially ditional beaded Xhosa T-shirts visible recent development in South women, have been and still are the back- printed banners and bearing the logos of political parties. We hope African craft. There is a strong nucleus bone of families whose young men were widens your appreciation of this kind of work in the program we recruited to work in diamond and gold this exhibition quality variety of South bring to the Festival. mines or in other industries tar from of the and A wide range of genres, from painting home. Through their hard work and cre- African art and craft, while it accurately reflects the diversity of experience of the and murals to ephemeral art, is covered ativity, through sales of their crafts, country's communities. in this program. We intend to present these artists have lifted rural and, to a have given care to try to create an South Africa as a world in one new coun- certain extent, urban standards ot living. We this atmosphere similar to the one in which try, a new country in the world, vibrant The visitor moving through of the crafters work. The sound of and colorful, with cultural diversity and Festival will be walking along the path most Africans in the chisel chipping through wood or artistic expression from diverse inspira- traveled by millions of South stone, the noise in the she- tions — our history, our geography, our search of social, economic, and political humming from languages, and our ethnic groups. comfort. This road will take you from been or tavern, the shouts of joy

Smithsonian Folklife Festival 1999 61 children playing their favorite games are when we're happy, when we're sad, and houses and other necessities. The tunes a true reflection of these artists' and when we toyi-toyi — a dance we use to have not changed — only the words are

crafters' daily lives. The beat of the express solidarit)', especially during different. It is a quintessentially South drum, too, is a natural sound in our mass demonstrations. Traditionally, African practice. communities. fighters in Venda have demonstrated One reason this program is so richly

Music forms an integral part of South their dedication by singing. In the early diverse is that crafters are true to their African life. We sing when celebrating days, they sang praises to the chief; in own and their communities' commen- and when mourning, we sing when the struggle years, they sang freedom taries on reality. No one is demanding a working and when playing. We sing songs; now they sing their demands for single style that craft dealers think will

sell quickly. The imperatives of the marketplace do not often penetrate the rural

areas. There, tradition rules, and the ancestors are honored.

South Africa: Crafting the Economic

Renaissance of the Rainbow Nation is a program intended to serve as a window

into the past and future of South Africa's

traditional crafters and their crafts. We

have attempted to maintain a clear dis-

tinction between a cultural trade fair and

a folklife festival. We have tried to provide a forum for tradition bearers them-

selves to communicate their aesthetic

and humanistic traditions, their religious

perspectives, and their social values with a wider public through song, dance,

cooking, architecture, games, and stories

as well as through their visual art.

The focus here is on the people and

their way of life — communities craft-

ing a new South African identity

through participation in national eco-

nomic life and democratic development.

(Communities are the focal point for

understanding how skills are passed on

from one generation to the next, how

geography and natural resources influence craft development, and how people can work together to achieve a common purpose.

Ruphus Matibe is co-curator of the South

Africa program and a staff member with the South African Department ofArts, Cuhure, Science and Technology. He has curated

abroad. Mr Matibe holds a master of arts

degree in media and cuhural poUcy. He is the

son of one of South Africa's most renowned

The sound of the chisel on wood is the crafter's daily companion. Photo courtesy CCIS potters.

62 S.MITHSONIAN FOLKLIFE FeSTIV.M 1999 Musical Instruments orsouth Africa

Andrew Traccy

The greatest of all musical instru- cal bows came from the Khoi people, the ments on the African continent is original inhabitants of South Africa.

the voice. This is especially true in A musical bow is a string instrument

South Africa, which has strong choral made of a long wooden stick, with one traditions but, compared with most string, usually of metal, stretched from African countries, relatively few indige- end to end. To play some bows, a player nous instruments. We have many kinds strikes the string with a piece of grass or of musical bows, several drums, some a small stick. In other traditions, the reedpipes, and one xylophone. How is player rubs or "bows" it with a straight this selection to be explained? stick or with another small bow made of

The answer can be found in cultural hair from a cow or horse tail. In still history and ecology The majority of other places, one plays with one's fin- South Africans are descendants of cattle- gers, or with a small pick made of a keeping Nguni and Sotho peoples. These thorn or a piece of wood. Sometimes one semi-nomadic pastoralists traditionally makes the instrument sound by scrap- lived on open, grassy plains and orga- ing the notches cut in the bow with a nized themselves in large-scale societies rattle-stick. One bow is even blown with with powerful chiefs. Their principal the mouth — the lesiba, an original forms of public musical performance Khoi instrument that is still played were singing and dancing in large groups. among the Sotho people.

In other parts of Africa also, cattie keep- Although there are differences ers prefer singing to instrument-playing. between the many kinds of bows, all

African farmers, on the other hand, A musician plays the pan flute at a flea market in have a resonator and at least two funda- play more instruments. In South Africa Johannesburg. Photo courtesy SA TOUR mental notes. The resonator is a hollow these farmers are the northern peoples, gourd or tin that amplifies the sound of the Venda, the Tsonga, and the Pedi. to produce their sound. All four are rep- the bow's vibrating string. If the player

The kinds of plants that grow in a par- resented in South Africa: chordophones holds the bow against his or her mouth, ticular ecology also determine the (in which strings vibrate), membra- the mouth itself becomes the resonator. instruments that are played, because nophones (in which a skin or other Fundamental notes are the deepest notes people usually make instruments out of membrane vibrates), aerophones (in which the string gives, as against the local materials. People who live in or which a column of air vibrates), and higher notes, the harmonics, which you near forests use large trees to make idiophones (in which the body of the can hear coming from the resonator. drums and xylophones; people who live instrument itself vibrates). There are at least two fundamental in biishveld, the grassy plains in most of Although musical bows (chordophones) notes, although some bows give three or South Africa, make smaller instruments are played by few people these days, they more. The Zulu umakhweyana and the that use sticks, reeds, and gourds. once had a big part in music here; the Tsonga xitcndc give three. The Venda

To grasp the variety of musical instru- scales used in most traditional South tshihwana gives four. ments, scholars classify them into four African songs come from bow- playing. One note comes from the string when families, according to how they vibrate Historians believe that many of our musi- it is open — that is, when the player

Smithsonian Folklife Festival 1999 63 4

does not finger it or shorten it. Xhosa Once boys who herded livestock played Suggested Reading call this note VU, from the word vuliwe reed flutes, but only rarely now. These Blacking, John. 1965. Venda Children's

(open). The other, higher note comes instruments have finger holes like a penny Songs. Johannesburg: Witwatersrand from the string when a player fingers or whistle, but are blown on the side, not at University Press. shortens it in some way. Xhosa call this the end. The Zulu wntshmgo — like the Coplan, David. 1985. /« Township Tonight!

BA, from banjiwe (held). The interval Xhosa ixilongo and the Sotho lekolilo — is South Africa's Black City Music and between VU and BA is often a whole made of reed or pawpaw leaf and is blown Theatre. Johannesburg: Longman. tone, but in Zulu tradition it is a semi- at the end. The bottom end is the only fin- Dargie, David. 1988. Xhosa Music: Its tone and in Tsonga, a minor third. ger hole, and it creates harmonics, like the Techniques and Instruments, with a Drums (membranophones) are musical bows. During dances, northern Collection of Songs. Cape Town: important instruments among the peoples sometimes blow on single kudu David Philip Publishers. northern peoples of South Africa. Venda (sable antelope) horns — called pha- Kirby, P.R. 1968. The Musical Instruments call them murumba and ngoma\ among laphala in Venda, phalafala in Pedi, and of the Native Races ofSouth Africa. Tsonga they are rigoimr, and among Pedi, xipalapala in Tsonga. Johannesburg: Witwatersrand they are nieropa. Drums are royal instru- The northern peoples are traditionally University Press. ments among Venda; they are symbols of the only ones in South Africa who play Malan, J.P., ed. 1982. "Indigenous music." royal authority Traditional drums are the mbira or thumb piano (an idio- In South African Music Encyclopedia. made of wood with a skin on one or phone), a small instrument with a Vol. 2, pp. 265-508. Cape Town: both ends. Each drummer in a group wooden body and 10 to 22 or more Oxford University Press. plays a different but related rhythm to tuned iron keys fixed to it. A player Rycroft, David. 1981. "The Musical Bow in create polyrhythmic music. plucks the keys with the thumbs or fin- Southern Africa." 2nd Symposium on

Zulus and Swazis also play many gers. These mhiras are played unaccom- Ethnomusicology, pp. 70-76. drums these days. They first borrowed panied for the player's enjoyment or to Wells, Robin. 1994. An Introduction to the their design in the late 1800s from the accompany topical and personal songs. Music of the Basotho. Morija, drums of British army bands. These There was only one traditional xylo- Lesotho: Morija Museum and modern instruments, as well as those phone in South Africa, the Venda mbila Archives. used by Zionist Christian churches, are imitoudo, a beautiful, large instrument usually made of metal oil drums with a with carved wooden keys and gourd res- Suggested Listening skin laced on at both ends. Even when onators underneath, played with rubber- African Music Society Awards 2. Music of * there are many, they are all played tipped sticks. Unfortunately, it is no Africa 15. together in the same powerful unison longer played. The modern Afro-marim- African Music Society Awards 3. Music of rhythm. ba from Zimbabwe, made in four differ- Africa 16. Reedpipes (aerophones) are often ent sizes and played in groups, has Dances of the Witwatersrand Gold Mines. played by large groups of people on become very popular in the cities since Music of Africa 12, 13. important social occasions. Each reed- 1980, especially among Xhosa speakers. Songs from the Roadside — South Africa. pipe is a simple instrument made of a Music of Africa 18. single river reed cut to the right length Andrew Tracey is director of the International Songs from the Roadside — Zimbabwe. to sound a particular note on the scale. Library ofAfrican Music at Rhodes Univer- Music of Africa 19.

But reedpipes are played together coop- sity, Grahamstown, the archive and institute The Zulu Songs of Princess Magogo. Music eratively in a very complex way. Each for tlie study of traditional African music of Africa 37. man inserts his one note into the music founded by his father, Hugh Tracey, in 1954. at exactly the right time, while dancing Hugh spent his life documenting African simultaneously to rhythms provided by nnisic; Andrew has spent his studying instru- a women's drum ensemble that performs mental playing in Zimbabwe, Mozambique, at the center of a circle of dancing men. and elsewhere, which now forms part of the

Best known are the reedpipes of the degree course for prospective ethnomusicologi- northern peoples, the Venda tshikona cal researchers offered at Rhodes University.

(which is also the Venda national dance) He has lectured widely, appeared on televi- and the Pedi dinaka, as well as the sion, and has perhaps been even better known

Tswana/Bamalete letlhaka in Botswana. over the last 30 years for his steel band.

64 Smithsonian Folklife Festival 1999 TheRileiftheCrafter inDmlopnenl

Evelyn Senna

Craftspeople, or crafters, play an In recent years entrepreneurship, espe- Small-sized enterprises such as this brass factory important role in all six areas ot cially in small-sized enterprises, has have become a dominant factor in development the South African government's become a dominant theme in develop- economies. Photo coiirlesy SATOUR Reconstruction and Development ment economics. This sector is seen as Program: education and training; arts essential for growth, job creation, and bine simple and advanced technology as and culture; youth development; build- social progress. Those with entrepre- appropriate, and, being generally labor- ing the economy; the environment; and neurial talents should not only survive, intensive, contribute significantly to job industry, trade, and commerce. "Cratt but prosper. creation.

is a major need for craft aware- is important," says Kushu Dlamini ot This emphasis in policy is ideal for a There

KwaZulu-Natal, a potter and bead- craft industry composed of small, flexi- ness programs to show that creating actually a lucrative busi- worker, "because craft is a way ot lite. It ble enterprises that adapt easily to crafts can be ness. In the words of Dave Innes at the is part of the culture of the people, changing market opportunities. Grafts what people rely on to earn a living." require relatively little capital, can com- First National Bank (FNB) Vita Regional

Smithsonian Folklife Festival 1999 65 Craft Now Exhibition in North West galleries to showcase the best of the teaching of others, while opening up '

Province in 1997, "South Africa's unique province," says Steven Modise, a career paths and additional income- and excellent craftsmanship stands out Northern Cape textile designer and generating activities for them; in a world where production-line medi- printer, "and to facilitate craft develop- • enabling partnerships between ocrhy has become acceptable. To avoid ment through teaching." schoolteachers and crafters in order the melting pot syndrome, we must pro- "When we attend workshops," says to enrich the experience and skills of tect and acknowledge every single entity Louis Thabo Muir, a woodcarver and teachers by introducing them to cul- of our country's heritage." potter in the North West Province, "we tural activities;

Tourists are no longer looking for want to be awarded with certificates • stimulating the creative and cuhural development of in-school learners

through crafts; focusing and developing the creative energy and poten-

tial income-generating skills of

youngsters through crafts; and devel-

oping teachers' confidence and

enthusiasm as they develop their

own skills;

• encouraging the use of museums

and galleries as educational resources;

A craftsperson puts • harnessing the capabilities and

the finishing touches resources of professional craftspeo-

on a doll. Job creation ple for the purposes of promoting

is a major component arts and culture education and train-

of the South African ing in all areas of learning.

crafts industry. Through advocacy, education, and train-

Photo courtay GCIS ing, we are investing in the future devel-

opment and support of the arts. ethnic craft per se but are seeking well- that empower us to teach others." made and original crafts; as a resuh, There is also a need for a craft maga- Suggested Reading there is a need for training in product zine or journal that can help the indus- Meyer, L. 1 994. Art and Craft in Africa: j development, in creating objects that can try, giving crafters exposure, putting Everyday Life, Ritual, Court Art. j be marketed all over the world. The craft them in touch with one another, and Paris: Pierre Terrail. ^ industry's major concerns are lacks in creating a network among people in the The journal Craft News, published by the financial assistance, public exposure, craft industry. And there is an ever- National Craft Council of South j export opportunities, and organizational increasing demand for a single, detailed, Africa, Craft Action Body since 1997, , infrastructure. and continuously updated database of contains many articles of interest. , Grafters need to develop the skills to crafters. J coordinate their own exhibitions, to To address these and other needs, Evelyn Carrass Senna is chairperson of the have their works exhibited to the local the Craft Development Project Trust National Crafts Council of South Africa, a i public, and to promote an interest in into with arts lecturer at the University the has entered partnership the fine of , and appreciation for craft on all levels in National Crafts Council of South Africa North West, crafts panelist member of the all regions. Workshops are needed in (the former Craft Action Body) with National Arts Council and managing direc- rural or other underprivileged areas to the following goals in mind: tor ofNgeba Crafts. She is also provincial

• develop skills in basic business manage- increasing opportunities for crafts- chairperson of the Craft Action Body in North , ment, accounting, craft marketing, sus- people to participate equitably in West Province and interim chairperson of the tainabihty, quality control, retail sales, arts- and culture-related industries; province's Arts and Culture Council. and running permanent provincial craft • adding levels of self-investigation, galleries. creative conceptualization, and com-

"We need permanent provincial munication for crafters through their

66 Smithsonian Folklife Festival 1999 Shebeens

VusiMona

Before South Africa's turbulent, political 1980s, shebeens were the main-

stay of Black social life — very

much as pubs are social centers in the

United Kingdom — and legion in almost every African township. i However, due to an exodus of Blacks with disposable income to previously

White suburbs, shebeens in South Africa's townships are presently under financial threat. Shebeen owners in the townships must attract their clientele from among a market that either has no money to spend on liquor or prefers to spend money at upscale venues in town.

The aspiring masses, left behind by the new Black elite, also want to escape the township squalor and tiny, four-room townhouse or mansion behind vast Usually set up in a small township house, a

"matchbox" houses and have a taste of white walls; and trendy White South shebeen was literally a home away from home. the finer things in life. And if those finer Africans who are keen to see the other Plwtocourtciy DACST things are associated with town, that's (Black) side of South African life. where they'll spend their money. What's his secret? "I welcome guests as subjects, from soccer and music to poli-

Yet in spite of the overall decline in friends," he says. "More than that, I think tics and philosophy. Traditionally set up shebeen business, one still finds some it's my personal touch." Ndala's place — in a small township house, a shebeen places in townships throughout the a four-room house extended into a spa- was literally a home away from home: country doing a roaring trade. Take, cious L-shaped hall — is a sophisticated patrons relaxed in the living room or in for example, Wandie's Place in Dube, and friendly little joint indeed. His is a the concrete yard in the back — a space Soweto, South Africa's most populous shebeen where one can discover heavenly shared by several other tiny matchbox Black township. The owner, Wandile entertainment and remedial potions for houses. Drinks — and sometimes food Ndala, says he knows that some of his flagging spirits caused by suburbia's dull — were served from the kitchen. friends in the shebeen business are not existence and lack of proper diversions. Shebeens met the need for social doing well, but he hasn't experienced the Ndala's priorities, he says, are good centers brought about by mushrooming problem of shrinking patronage. In fact, company, good atmosphere, and good urban African settlements. They started his shebeen attracts an assortment of food, every day And this is very much in as places where people could stop for a customers: foreign tourists (representing keeping with the tradition of shebeens. drink, a chat, a date, or beautiful music.

70 percent of his clientele); a number of For shebeens were always an oasis where In the poorer areas, these drinking upwardly mobile Blacks who are tired of laborers and artisans rubbed elbows houses gave birth to marabi, a precursor living "incommunicado" in self-imposed with lawyers and musicians, engaging in of modern South African jazz. In the suburban exile, holed up in a fancy conversations that ranged around all 1930s and 1940s, shebeen proprietors in

Smithsonian Folklife Festival 1999 67 poor areas would sometimes hire musi- sole support of their families, the facilities, parking, and security. Although cians — normally an accordionist and a women (called shebeen queens) who ran the people who patronize it are some- singer — to attract customers. The these informal drinking holes had few what full of themselves, it nevertheless musicians would perform until dawn. other commercial options. They could casts the image of shebeens in a good

In more affluent areas, clubs had access work as domestic servants, for example. light. to electricity, and jazz recordings were They could try peddling pastries, sweets, There has also been a move to open played. By the 1950s, future stars like and other small items — or they could shebeens in the suburbs. Mama's Jazz

Dolly Radebe and Miriam Makeba occa- run illegal drinking houses. Many she- Joint was the best known of these, oper- sionally performed at top-of-the-line been queens showed an astute business ating in Dunkeld West in Johannesburg shebeens. But for the most part, patrons sense, and we can only imagine what and filling the gap for elite Blacks who

had moved to the suburbs. Its owner, In a country that restricted the entry of Black men Charmain Modjadji, has recently suc- cumbed to pressure and closed the tav- and women into most businesses, shebeens ern after complaints by her neighbors,

who were afraid it would drive their became a good way to malte a living.... property values down. People who patronized her abode were socially pol- who wanted to hear live jazz — until the they might have achieved if the world of ished and sophisticated, and drunken mid-1950s, dominated by big bands — legitimate commerce had been open to brawls never occurred at Mama's. went to performances in community them. Modjadji argues that the complaints halls. Never at a loss for repressive laws, the were indicative of how Blacks have to "fit

Ironically, shebeens also owe their National Party government set up its into" White culture in order to be accept- existence to a myriad of liquor laws own sorghum-brewing concerns and ed in the suburbs. Still convinced that enacted by the erstwhile National Party beer halls and made it illegal for Blacks shebeens in town are a good idea, she's government. There was a time in South to brew and sell their own. But a deter- in the process of setting up another one

Africa when the government would not mined people always finds a way of in Midrand, a burgeoning city midway allow Blacks to consume alcohol unless defying an unjust law. The government between Johannesburg and Pretoria. they had a permit and could prove they finally gave up, and in 1984 officially rec- Major food and restaurant franchisers had passed Standard 8 (10th grade). ognized shebeens. Liquor licenses were are taking their cue from shebeens —

Those who were lucky enough were enti- issued; legal shebeens became known as the sports taverns they are opening tled to buy — only from a White man, of taverns. Activist youths — who saw throughout the country are modeled on course — six bottles of beer and one drinking and revelry as an obstacle to these traditional drinking spots. One can bottle of more refined firewater (brandy the discipline required by the liberation even find a venue called the Travellers or whisky) per month. struggle — had meanwhile been trying Shebeen & Bar at the Johannesburg

However, "township mamas," unde- to close shebeens down, and sadly they International Airport. terred by liquor control laws, simply had some successes. But hundreds — For a taste of the glory and magic of brewed and sold their own concoctions, licensed and unlicensed — continued to the original shebeen, however, one must turning their homes into social rendez- operate, and in the 1990s, the institution go back to the township. Here shebeens vous. In a country that restricted the scored a comeback. may no longer be doing the roaring entry of Black men and women into Althouah one can find hard-core she- trade they used to, and they may contin- most businesses, shebeens became a beens in almost every African township, ue to undergo changes in form and style. good way to make a living — as long as the ones with class and sophistication But they will undoubtedly be passed on you didn't mind turning your living — at the risk of sounding condescend- as custom and tradition from one gener- room into a pub and your kitchen into a ing — are found in townships in the ation of the Black community to the home-brew storeroom. environs of big cities like Johannesburg, next.

It was worth the sacrifice. Generations Durban, and Cape Town. Take, for exam- of Black South African professionals, ple, Steers in Section N of Umlazi, near Vusi Moiia is assistant editor o/City Press, a including some current politicians, were Durban. Steers boasts a TV set with M- nuiss-market national Sunday newspaper. educated on the proceeds of their moth- Net (the pay-television channel), a big ers' shebeens. Often unskilled and the screen for sports viewing, excellent toilet

68 Smithsonian Folklife Festival 1999 CraRs and the Spatial Development Initiatives

Eddie Koch

Two years ago, visitors faced a major hazard on their way to the Numbi Gate entrance of Kruger National Park, the country's most famous game

reserve. Young boys who spent their time

carving birds, giraffes, and elephants from local hardwoods were so desperate

to sell their crafts that they would some-

times lie down in the middle of the road,

forcing tourists to stop and inspect their goods. That situation has now changed

to the benefit of all parties, thanks to the work of an enterprising organization

called the Skukuza Alliance, which is headed by craftsman and sculptor Philemon Ngomane.

In 1997, Ngomane and his assistant, The recent grouih in tourism in South Africa provides a ready marlcet for the craft industry and

Harry Johnson — an artist brought in by increased opportunity to create employment, for example for these roadside vendors in Mpumalanga.

the Kruger National Park management to Photo iOiirtfSY SATOUR help stimulate quality craft manufacturing in the surrounding villages — real- out a more rational division of labor. Says often; their passengers expressed a con- ized that the only way to improve the Johnson: "It wasn't easy, because crafters sistent desire to buy local crafts. A study quality of the craftspeople's products, are traditionally very independent. But we conducted by the South African Depart- and hence their lives, was to improve the managed to show that if some people ment of Arts, Culture, Science and Tech- organization of their production systems. went into the bush to collect wood while nology (DACST) found that the Skukuza "In those days our members were not others concentrated on actually making Alliance has achieved the following since cooperating with each other," says the sculptures, and another group ran a it began in 1997. It has:

Ngomane. "You would find one guy cut- shop where the goods are sold, then the • encouraged local craft producers to ting the trees, carving the sculptures, quality of the product — and the sales — cooperate with each other and spe- and [also] trying to stop the cars to buy would go up. People could simply concen- cialize in specific tasks. his artworks. In the end, he did nothing trate on what they do best." • created average monthly earnings of well, and the tourists did not want to After a few difficult months, the coop- some R330 (approximately $54) for buy his goods." erative system began to yield results, and about 400 members. This includes

One of the first things that Ngomane crafters flocked to join the Skukuza sales at two oudets along with infor- and Johnson did was to convince the Alliance. As quality and productivity mal distribution outlets established crafters — more than 400 of them in the increased, tour buses, which usually by members of the association. villages around Kruger's Numbi Gate — shied away from the Numbi entrance to Although the wage is low, it equals that they needed to unite under the um- avoid having their vehicles ambushed by the average for this area of the brella of the Skukuza Alliance and work crafters, began to use the gate more country.

Smithsonian Folklife Festival 1999 69 1

' trained members of the association and for many of them it is the only tbrm of As part of its new macroeconomic

to successfully manage the craft shop employment around here." strategy, the South African government

at Numbi Gate using a simple but Crafts are one of the few ways that has recentiy begun to stimulate new inter-

highly effective monitoring and rural people without formal skills can national tourism destinations in several

bookkeeping system that allows the earn money The average capital cost per parts of the country Most of these high-

association to tell how many artifacts job created in this sector is far lower growth tourism zones are located in areas

have been sold by an artist, measure than in the tourism or manufacturing known as spatial development initiatives,

the traffic flows through the gate, the sector, especially in those enterprises or SDIs. In these corridors or geographical

number of vehicles that stop and designed to be competitive internation- areas, the government is improving trans-

port, security, and environmental protec-

tion, and providing other incentives to

attract investments in hotels, resorts, and

lodges. The Skukuza Alliance is located near the Maputo Development Corridor,

an SDI that is already ferrying increased

numbers of tourists into the Kruger National Park. Other tourism SDIs are

located in KwaZulu-Natal province, along the Wild Coast of the Eastern Cape, and on the Cape West Coast.

Based on its recent successes, the

Skukuza Alliance is currently pressing

for the right to open an outlet at the far

busier main entrance to the park at Paul

Kruger Gate. The alliance's plans include

purchase, the purchasing habits of Above: Through the a small training center and lodging for

the tourists, etc. sale of their handi- low-budget travelers. A trust called the

• encouraged tour buses to use this work, craftspeople Mkhabela Foundation is being estab-

route specifically because of the such as these basket lished to plan expansion of the small

improved quality of the crafts sold sellers in Durban businesses set up by the alliance.

there — without paying a commis- (KwaZulu-Natal) have Says Ngomane: "If the government can

sion to the bus drivers, a practice been able to raise the give the kind of support we received to

in many other craft outlets. standard of living in other crafters around the country, I can

• encouraged the management of the rural areas. promise you it will be one of the best

curio shops inside the game reserve ways to prevent joblessness among our

to purchase crafts from the local Left: An entrepreneur people. And at the same time they will associations. This was a major break- from Postmasburg, make us very proud, because they make

through, as the management of this Northern Cape, fills us artists — not just workers."

lucrative outlet had long relied on bottles with colored

imported crafts and curios, arguing sand to sell to tourists. Eddie Koch is a director ofMafisa, a compa-

that the quality of local crafts was Photos courtesy SATOUR ny that speciaUzes in research and planning

too low to be sold in the shop. for community involvement in tourism. He is

• ensured cooperation between craft ally. The recent growth in tourism in a contributing editor to Out There magazine

associations that have a strong histo- South Africa provides a ready market for and writes regularly for New Scientist maga-

ry of sectarianism and internal the craft industry and an opportunity to zine, primarily on issues relating to travel

fracturing. create employment. Inspired by the and conservation.

"Our membership now exceeds 400 if you example of the Skukuza Alliance, DACST include the part-time crafters," says is looking at ways to improve crafters'

Ngomane."Many of these people earn production and livelihood in many of more than the average wage in the area, the country's main tourism zones.

70 Smithsonian Folklife Festival 1999 Rural Architecture

Melinda Silverman

all the routes leading north out of OfJohannesburg, the Old Pretoria Road used to be one of the most graceful.

The eucalyptus trees along the route were

just dense enough to provide shade with-

out obstructing the views out into the veld

(grassland). Less than 15 years ago, the

prettiest of these views was a cluster of

brightly painted Ndebele homesteads just

a tew minutes' drive from the city

Today the Old Pretoria Road is a busy

commercial strip running through

Midrand, South Africa's fastest-growing

"edge city." The eucalyptus trees have

been cut down, and the Ndebele settlements have disappeared, replaced by

cinemas, shopping centers, and office An example of traditional architecture by the Basotho people in Clarens, Free State.

parks that accommodate an array of Plwla anirtesv SATOUR multinational, high-tech industries.

This is known as progress — just one which tried to confine South Africa's township shebeens. And the ritual of the pressures to which South Africa's Black population in remote rural hinter- slaughter of goats now takes place on the

indigenous architecture is continually lands. Africans who defied this stark rooftops of high-rise apartments.

subject. Yet, miraculously, people contin- scheme were tolerated in cities only on The sharp distinction between European

ue to build in more or less traditional condition of their impermanence, for as architecture and African traditional cul-

ways — they just do it further and fur- long as their labor was necessary for the ture had ceased to exist long before a

ther from urban areas, or they manage to White economy When urban Africans polychromatic Rainbow Nation came to

carve out places in big cities where they ceased to be of use, they had to return to replace the black-and-white of apartheid.

can practice traditional customs and blur areas designated as tribal. Cultural interpenetration proclaims

the divide between urban and rural. The result was a constant shuttle itself even in the "traditional" brightly Viewed through the eyes of White movement of people, commodities, and painted decorations adorning the walls authorities. South Africa's landscape has ideas between urban and rural areas of Ndebele homesteads, which complex- always had a cartoon-like clarity: White, that persists into the present. Buses and ly weave rural with urban and tradition-

urban centers surrounded by Black, taxis ferrying men from the city to the al with new. As Rayda Becker, curator of rural hinterland. Square buildings against countryside are laden with plastic water the Gertrude Posel Gallery in Johannes- round ones; concrete against mud; the containers and corrugated iron. In turn, burg, explains: supposedly civilized against the suppos- rural, mud-based architecture has been edly naive, natural, and native. This transported to the squatter settlements When asked why they paint the walls anthropological antithesis formed a that are springing up in urban areas. of their houses, Ndebele women rationale for apartheid — the system Traditional beer has found a home in often provide a general explanation

Smithsonian Folklife Festival 1999 71 in terms of ethnic identity: to show transported whenever the owner is oblig- But there are regions of South Africa

the outsider that "Ndebele Hve here." ed to move on. These qualities made it where rural life predominates and where i

Then again the designs they paint — particularly useful in the era when traditional forms of architecture show

street lights, double-story houses, Africans were under constant threat of less industrial influence. In the remote

staircases — are often drawn from removal by the White state. Corrugated parts of KwaZulu-Natal, Zulu household-

visits to the city and poignantly iron was a prudent choice — very often ers have been building hemispherical

express personal longings: "I paint the iron roofing was the only part of a grass houses in much the same way for

electric lights on my wall because my home that could be salvaged and reused the last 200 years. These homes are

house does not have lights." (Becker in a new home in a new location. extraordinarily sophisticated examples

1998:83)

One lesson to be learned from the nowr- gone Old Pretoria Road settlement is that there has ceased to be — if there ever was — a "pure" indigenous architecture. Different ethnic groups have copied ideas from one another and have increasingly incorporated available industrial materials. For many years, the roof of each building on the Old Pretoria

Road was made of corrugated iron, held in place by stones and tires. Some of the windows were standard frames with glass. And the paint was commercial PVA (acrylic paint). The only completely traditional room was the detached kitchen, which was carefully thatched in the time-honored way because thatch, unlike iron sheeting, allows smoke to percolate through. Ndebele and Sotho builders, whose ancestral lands are close to the metropol- itan areas of Gauteng, have been strongly influenced by what is available in the cities. Their homes have become increasingly rectangular rather than round. As Franco Frescura, the country's leading scholar on rural architecture, explains:

"In a society where mass produced furniture and [architectural] fittings are based on the straight line and the 90 degree angle, the curved wall creates too many awkward corners and wasted spaces for it to be fully efficient"

(Frescura 1981:75). Corrugated iron, the staple housing material of South Africa's poor, is made only in rectangular sheets, a shape that encourages straight, right- angled walls. The roofing material is easily available, easily dismantled, and easily

72 Smithsonian Folklife Festival 1999 Rural Architecture

of thatching technology, often incorpo- country are the white-fronted houses of And to those who dwell within, "rural rating as many as seven different grass the Xhosa. Each has the same design: homes have always been more than

types in their construction to ensure the door always faces northeast, and its places of shelter," observes Becker.

waterproof interiors even in a region surround is always painted with white "Significance was bulk into their very

notorious for its torrential downpours. lime. The back of the house is always substance. ... Mud and other materials

The late Professor Barry Biermann, head daubed with dark clay The white-paint- were chosen not just because they were

of the School of Architecture at Natal ed front reflects the hot morning sun- available but because they could be inte-

University, remarked in admiration that shine and keeps the building cool inside. grated into ritual and social strategies.

this thatching represented a technologi- The dark back walls slowly absorb the After a man died, for instance, his house,

which was part of his essence, was

destroyed . . . . [ B ) uilding systems and

materials were so flexible that new houses could be erected quickly when people

had to move" (Becker 1998:83). In their

materials, forms, and construction techniques, rural dwellings today embody

centuries of cultural, political, and social

history.

Works Cited and Suggested Reading Becker, Rayda. 1998. "Headrests and Homesteads." In blank

Architecture, Apartheid and After,

edited by H. Judin and I. Vladislavic. Rotterdam: NAi Publications. Frescura, Franco. 1981. Rural Architecture

in Southern Africa. Johannesburg:

Above: Corrugated iron sheets are often used afternoon sun, retaining its warmth for Ravan. for make-do homes in squatter settlements. the night, when the temperature falls. . 1998."Pre-Industrial Archi-

Photocourtesy SATOUR Equally sensitive to their climatic con- tecture: Historical Patterns of text are the Tsonga and Shangaan hous- Distribution." In Architecture of the

Left: Rural, mud-based architecture has been es of Mpumalanga in the subtropical Transvaal, edited by R.C. Fisher, S. le transported to the squatter settlements springing northeastern region. Here each house is Roux, and E. Mare. Pretoria: up in urban areas. Photo courtesy SATOUR surrounded by a wide verandah, whose University of South Africa.

wooden posts support a conical roof Oliver, Paul. 1971. Shelter in Africa. cal achievement comparable "to that of a This support means that the internal London: Barrie & Jenkins.

Boeing 707 jet" (Frescura 1981:12). walls need not go up to roof level, allow- Walton, James. 1956. African Village.

Yet even these structures have been ing the free passage of breezes to cool Pretoria: Van Schaik. threatened by progress. The encroach- the house. ment of cities on rural land has resulted But to a passing visitor, perhaps the Melinda Silverman is an architect and urban in overpopulated rural "slums," which greatest charm of vernacular architec- designer. A lecturer in the history of architec- have stripped their neighborhoods bare ture is the way it blends so naturally into ture at the University of Witwatersrand, she is of most natural resources, including its surroundings. As Frescura points out, torn between a passion for Johannesburg's thatching grass. As a result, many mod- vernacular architecture is by definition architectural past and its future urban form. ern examples of Zulu housing now in- shaped by the materials at hand: grass, corporate mud walls and iron roofs. mud, wood, and stone. As a result, the

Indigenous architecture often reveals a dwellings have a sense of belonging in climatic sensitivity which modern archi- the landscape that those alien modern tecture could study with profit. Dotted materials, concrete and steel, can never along the southeastern coast of the hope to match.

Smithsonian Folklife Festival 1999 73 Fifth Annual Ralph Rinzler Memorial Concert

Ethel Raim and Ralph

Rinzler at the Newport

Folk Festival, 1969.

This concert is supported by the Ruth Mott Foundation and The Recording Industries Music Performance Trust Funds.

74 Smithsonian Folklife Festival 1999 A Guiding Spirit An Interview with Ethel Raim and Martin Koenig

Ralph Rinzler (1934-94), founding director of the Smithsonian FoMife Festival, worked over the years with a host ofgifted musicians andfolk- lorists, doingfieldwork, issuing recordings, and presenting concerts. This concert series honors Ralph by highlighting his work and the work of his colleagues in conserving and extending traditional expressive culture.

This year's concert is curated by Ethel Raim. H^^gSte^'

"T^roiu 1970 to 1974, Ethel Raim and recent years. This concert led Ethel and Festival visitors join pailicipants from Yugoslavia

r~i Martin Koenig conductedfieldwork Martin to reflect on the profound influence in a kolo at the 1973 Festival program Martin

-A- for the Smithsonian Festival as pro- Ralph had on their lives and their work. Koenig and Ethel Raim co-curated. Martin is in gram directors for Balkan and Slavic cul- Ethel Raim: In 1968, Ralph Rinzler the circle at the right. Photo by D. Sutherkmi, tures. Their research brought them to invited me to the evaluation meeting at courtesy Stiiithsoniaii Imtitution

Ohio, Pennsylvania, Maryland, Illinois, the Newport Folk Festival. I was raised and New York, as well as Yugoslavia and in a Yiddish-speaking home in the flop on my face. It was a hands-on expe-

Greece. For Ethel and Martin, Ralph Bronx, and the music and accents that I rience in asking about tradition and

Rinzler's reputation preceded their meet- grew up with weren't represented at the music in people's lives. ing him. Raised on Folkways records and festival. I was given $3,000 to bring We started out in lower Manhattan. We as music editor of Sing Out! Magazine, other types of music to Newport and the went into a Galician Spanish shop on

Ethel had heard about Ralph and his Smithsonian. Back in New York, I hadn't 14th Street and found recordings of work with legendary artists Bill Monroe, the foggiest notion of how 1 would con- Antonio Moscera, a Galician bagpiper. the Balfa Brothers, and Doc Watson. nect with these artists. So Ralph and I Tony was a baker on Long Island, and we

Likewise, over ten years before undertak- did tleld research together. Ralph was went to visit him. I believe we were the ing in-depth field research for the only two years older than I was, but it first non-Galicians who took any interest

Smithsonian, Martin remembers attend- felt like he was much older. 1 was in awe in him, his music, and his community He ing a folk festival at Swarthmore College of his experience. He was my mentor. I performed at the Smithsonian in 1969. in 1958 where he heard Ralph perform. had spent years listening to and tran- We also went to Greek music shops on

This year's Ralph Rinzler Memorial scribing traditional music, but I didn't 8th Avenue and asked about local musi- Concertfeatures New York-based immi- come with academic training in field cians. A man pulled out a newspaper and grant musicians with whom Ethel and research techniques. Neither did Ralph, said, "Let's see what's happening this Martin — and the Centerfor Traditional but he was steeped in traditional music. weekend." A Pontic Greek celebration was

Music and Dance — have worked in Ralph gave me space to learn and even taking place at Crystal Palace, in Astoria,

Smithsonian Folklife Festival 1999 75 Ethel Raim and Martin Koenig (on stage) observe tive to share with someone on the out- Early on, she invited Martin Koenig to activities at the Greek program they co-curated side. join her Having founded the Balkan Arts for the 1974 Festival. As Ralph's responsibilities and com- Center in 1966, Martin had spent much of

Photo lOurtesy Smithsonian Institution mitments at the Smithsonian increased, the followingyears documenting music

his time in the field grew shorter. Ethel and dance hi Bulgaria, Romania, and

Queens. We walked in and almost walked remembers what it was like to dofiield- Yugoslavia, but he had returned to the out. Greek Americans playing guitar and work without Ralph as a collaborator. United States and was living in Phila- amplified music. Ralph hated amplified ER: The questions to ask weren't diffi- delphia, ten minutes away from Ethel. — music — not that I loved it — but I had cult, but it was knowing when to back off ER: In 1970, the order was "Do Ohio an instinct to stick around. Sure enough, and when to move forward. Part of re- all the ethnic traditions of Ohio." It was a little later, a single musician got up search is bolstering people's self-esteem, nuts. I called Martin and said, "We are with a three-stringed lyra and started and Ralph brought out the best in peo- featuring the state of Ohio. We can hardly playing Pontic music. Everybody was ple. He had a way of becoming the people do a fraction of the research that has to dancing. I thought the floor would cave he was with. Ralph inspired people to be done, but why don't you join me?" He in. It was magical. look at the root forms of tradition. He agreed. We took a two-week trip to Ohio,

After that initial trip to Crystal Palace, was genuinely in love with tradition, and and barely slept; those days were long

I learned from Ralph that you need to with people as the carriers and the prac- and intense. In Cleveland, we came into a identify a liaison in the community to let titioners — those lessons are almost Serbian hall, and a guy came over imme- you know about celebrations — some- more important than what questions you diately: "What are you doing here? What one who win introduce you and vouch ask and how you draw out information. do you know about us?" I thought it was for you. These were people inside the From 1969 to 1974, Ethel undertook the end. This guy was tough. We tried to community but with a certain perspec- fieldwork for the Smithsonian Festival. transmute into Ralph. We said, "We are

76 Smithsonian Folklife Festival 1999 A Guiding Spirit

here from the National Museum." This work work. It was not necessarily the matter what the odds were — if he didn't mean a thing. "What National most agile singers, not necessarily the believed in it, he went to great lengths.

Museum? The Smith-what? What do you ones with the fastest fmgers, but those Ethel maintains that her relationship know about our culture?" Martin said, who sang and played from the heart. with Ralph was critical to her work today.

"She sings your songs." The next minute For Ethel and Martin, the context of ER: My direction was so formed by the guy has me on stage with the local Festival programs became increasingly my association with Ralph. Ralph orchestra. I sang"Niska Banja" (a Serbian important. You couldn't have the perfor- was a mover and a shaker, but my Gypsy song), and the man's jaw dropped. mance without the community from relationship with him was personal.

Sometimes you had to prove yourself to which it came, says Martin; without one, Ralph was someone who got excited be allowed to ask your questions. the other didn't work. about traditional music and how it

When field research brought them clos- ER: Ralph was extremely receptive to fit into people's lives — the extra- er to D.C., Ethel and Martin invited Ralph our ideas about contextualizing tradi- ordinary artistry of ordinary people. to come along. tions. We were learning about traditions He had an incredible disposition

ER: In 1974 we worked in the Kar- and documenting repertoire, but also ask- and enormous optimism. He could pathian Greek community in Baltimore. ing: how do we translate this to a context find humor in all situations. If things

When aglendi (community celebration) outside of the community that still pre- didn't work out, you hardly ever was going to happen, we'd call Ralph. He serves the integrity of the tradition and knew it because he managed to turn was always eager to widen his knowl- the people involved? For the Greek pro- adversity into something positive. edge of tradition and communities. Yes, gram, we imported the entire Olympian It's easy to feel isolated doing this

work, and it was wonderful to have a

kindred spirit. This was musicfrom the hearty and Compiled by Emily Botein

Ralph was howled over Founder andformer co-artistit and executive director with Ethel Raim of the Centerfor —Martin Koenig Traditional Music and Dance, Martin Koenig has recorded, filmed, and photographed it was his work. Yes, it was his job, but it community from Baltimore to host the music and dance in Balkan villages and in was his passion, so it came before any- glendi. The Smithsonian didn't know why urban immigrant communities in the United thing. If he had dinner plans and some- they needed to bus people down. "Why States since 1966. He has taught Balkan thing came up, he canceled. In Balti- don't you just bring musicians?" Ralph dance for the past 30 years throughout the more, Ralph saw tradition in a way that supported us and went to bat for us. I am United States, Canada, and Western Europe. he had never seen it — a first-genera- sure he took a lot of flak, but he knew it Kocuig retired from the center in 1994, and tion immigrant community: three musi- would be a coherent program. has directed the King County Performance cians sitting on top of a table in a small After 1974, Ethel ami Martin's focus Network, a touring program of contemporary community hall, playing lyra, tsambouna shifted from the Smithsonian to their own dance in the Seattle, Washington, area, for the

(bagpipe), and laouto. work in New York City. The Balkan Arts past two years. Martin Koenig: This was music from Center was expanding and soon became the heart, and Ralph was bowled over. the Ethnic Folk Arts Center Ralph As artistic and executive director of the Center

Music and dance had a role in the welfare remained a close collaborator, however, for Traditional Music and Dance since 1994, of the Karpathian community, and Ralph but now it was Ralph who traveled to New Ethel Raim is a leading supporter of and was touched by the community and the York as a board member of the center advocatefor community-based traditional people who made the music. He didn't Martin's respect for Ralph only grew. arts and has conducted extensive field have to be familiar with the form to MK: He was a romantic, but had his feet research in urban immigrant communities in understand it; Ralph had a great set ot on the ground. Margarita Mazo once said the United States. Shice the early 1 960s, Raim ears. Ethel and Ralph and I shared an ori- that Ralph could be like a tank when deal- has frequently performed traditional Balkan, entation that put us in good sync togeth- ing with bureaucratic obstacles. He was an Russian, and Yiddish vocal music, and was er The same music resonated for us. We'd excellent strategist. He had romantic prin- founder and musical director of the Penny- hear a particular instrumentalist, and ciples, encased in stately formality He was whistlers, a seven-woman vocal ensemble that we'd all be moved. That trust made our a champion of traditional musics. It didn't recordedfor Nonesuch and Elektra Records.

Smithsonian Folklife Festival 1999 77 The Fifth Annual Ralph Rinzler Memorial Concert Traditional Musicfor the Wedding

Martin Koenigfounded the Balkan Arts Center in 1966;

Ethel Raim joined in 1975. In 1981, Balkan Arts became the Ethnic Folk Arts Center (EFAC). In 1998, EFAC became the Centerfor Traditional Music

and Dance. Although its name has

changed, the center continues to strength- en traditional music and dance indige-

nous to ethnic communities in New York. The 1999 Ralph Rinzler Memorial Concert, featuring the Yuri Yurmkov

Ensemble and Ensemble Tereza, reflects

the history of the center and its range of programs. Yuri Yunakov hails from

Bulgaria — one of the first regions in which the Balkan Arts Center conducted

research. Ensemble Tereza came to the folk music. Yuri Yunakov was one of the Yuri Yunakov Ensemble.

Jewish Cottmwnity Cuhural Initiative, a musical form.

multiyear project begun in 1997 that As professional instrumentalists, by rock stars in the West. Nevertheless,

encourages communities to participate in Roma (Gypsies) have played an impor- Yuri was repeatedly harassed, fined, and

the conservation of their own heritage tant role in wedding music and other twice sent to prison, all for playing Rom and artistic traditions. Balkan folk music. Yuri Yunakov was and Turkish music, which were prohibit-

born of Turkish Rom ancestry in ed as part of the socialist government s Yuri Yunakov Ensemble Haskovo, Bulgaria. He began playing the program to eliminate "foreign" elements

Carol Silverman kaval (end-blown wooden flute) at age in Bulgarian music. Wedding music itself

(CT A Tedding music" has become the eight but switched to the tapan (two- was suppressed by that government but V V most widely Hstened-to form of headed drum) to accompany his father nevertheless thrived in unofficial set-

folk/popular music in Bulgaria, and brother at weddings. After a profes- tings as a countercultural expression. In

Macedonia, and their diaspora commu- sional career in boxing, he took up the post-socialist Eastern Europe, Roma

nities. Most often played for dancing at clarinet and joined his brother's wedding have become the targets of numerous

life-cycle celebrations — as its name band. Yuri is a self-taught musician; he violent mob attacks. suggests — wedding music expands says, "The neighborhood was my Since arriving in the United States in upon traditional melodies while display- school." 1994, Yuri has become one of the most

ing virtuosic technique, improvisation, In the early 1980s, Yuri switched to sought-after musicians in the Macedo-

fast speeds, daring key changes, and saxophone and later joined Ivo Papazov's nian Rom community in New York City,

influences from jazz, rock, Turkish, and acclaimed band, Trakija. In Bulgaria, which is now more than 7,000 strong Indian musics, as well as Balkan village Yuri and Ivo achieved the fame enjoyed and predominately Bronx-based. A

78 Smithsonian Folklife Festival 1999 Bronx resident himself, Yuri is also Suggested Listening Professor of cultural anthropology aud folk- in great demand among New York's Ivo Papazov. Balkanology. Hannibal Records. lore at the University of Oregon in Eugene,

Bulgarian and Turkish communities. Ivo Papazov and His Bulgarian Wedding Carol Silverman has done field research in

The Yuri Yunakov Ensemble includes Band. Orpheus Ascending. Bulgaria ami has worked with Roma in Yuri Yunakov (saxophone), accordionist Hannibal/Ryko. Bulgaria, Macedonia, Hungary, and New

Ivan Milev, Lauren Brody (synthesizer Yuri Yunakov. Balada — Bulgarian York. She is completing a book on Balkan and vocals), Catherine Foster (clarinet Wedding Music. Traditional Cross- Rom culture and identity. She was a member and vocals), Jerry Kisslinger {tapan), roads 4291. of the vocal trio Zenska Pesna for over and Carol Silverman (vocals). Yuri Yunakov. New Colors in Btdgarian 1 5 years and now performs with various Wedding Music. Traditional groups on the West Coast, including Slave]. Crossroads 4283. Ensemble Tereza Michael Alpert Typical of their The recent arrival of over 4,000 multiethnic Mountain Jews from the Eastern Caucasus, in particular Azerbaijan and milieUy Dagestan, marks an exciting develop- Mountain ment in New York's cultural scene. singers like Speaking Djuhuri (from the Hebrew Jewish Y(?/;«f//, "Jewish"), an Iranian language Tereza Elizarova related to Persian, many members of New York's Mountain Jewish community sing in a variety trace their ancestry to Kuba in northern Azerbaijan. Divided by a river and languages.... linked by bridges ("similar to Man- of hattan and Brooklyn," jokes one community member), Kuba's two distinct particular of women performers. halves are home to Muslims and Jews, Elizarova's grandmother was one of the respectively Over the past century, first Mountain Jewish women to play the many Mountain Jews moved to Baku, Ensemble Tereza. Photo by Dan Rest accordion publicly When Elizarova sings capital of Azerbaijan, joining the city's at weddings in New York, frequently the educated class and becoming partici- well as more modern instruments like bridal family knows her family and its pants in commerce and trade. Since the the clarinet, keyboard/synthesizer, and musical reputation from Azerbaijan. Her dissolution of the Soviet Union in 1990, electric bass. Typical of their multiethnic father (accordionist Khanuko Elizarov) many Mountain Jews have emigrated, milieu, Mountain Jewish singers like may well have performed at the wedding some 35,000 to Israel and approximately Tereza Elizarova sing in a variety of lan- of the parents of the bride or groom, and

7,000 to the United States. In New York, guages including Djuhuri, Azeri, Turkish, her grandmother, also an accordionist, at the community maintains an active tra- Persian, Hebrew, and Arabic. the wedding of the grandparents. ditional life, with a synagogue on Ocean Ensemble Tereza consists of five musi-

Parkway in Brooklyn, where most of the cians from Brooklyn: Tereza Elizarova Michael Alpert is a leading expert in Eastern community lives. (vocals and accordion); her nephew, European Jewish music and dance. Adept in

Ensemble Tereza's music features tra- Ruslan Agababayev (keyhoard, garfnon); 20 languages, Alpert has extensive experience ditional south Caucasian instruments her two brothers, Robson Yefraimov programming and presenting Jewish culture, like the tar (a long-necked lute), the daf (guitar) and Mark Elizarov (percussion); and has collaborated with the Centerfor

(a large tambourine), the nakara (a two- Alex Hafizov (clarinet); Rashad Mamedov Traditional Music and Dance for more than headed drum, played with sticks), the (garmon); and dancers Salamon Ryvinov 16 years. Renowned as a Yiddish singer, zarb (an hourglass-shaped metal drum), and Victoria Minayev The Elizarov and Alpert plays violin, accordion, and drum, and and \\\e garnwn (the diatonic accordion Yefraimov families are from Baku and performs interimtionally with the new Jewish popular throughout the Caucasus), as come from a long line of musicians, in music ensemble, Brave Old World.

Smithsonian Folklife Festival 1999 79

General Festival Information

Festival Participants 82

Festival Partners, Sponsors, Contributors, and Donors 86

Festival Staff 90

Associated Conferences and Seminars 92

Educational Offerings 93

Evening Programs Calendar 94

Special Concerts and Events 95

Recent Books about the Festival and Smithsonian Folkways 96

Lily Spandorf Festival Collection 97

Smithsonian Folkways Recordings 98

Smithsonian Folklife Festival 1999 81 Festival Participants

New Hampshire Singing Squares Home, Town & Community Ingenuity & Enterprise David Bradley, bassist; Woodstock Comfort in the Home League of New Hampshire Musical Traditions Lester Bradley, Karen Cook, spinner; Grantham Craftsmen guitarist/caller; Thornton Franco-American Music Vivian Eastman, quilter; Glenn Fred Dolan, decoy carver; Elwin "Shorty" Boulet, bones Barbara Fisher, rug braider; Mt. Center Barnstead Scottish Piping & Dance player; Whitefield Sunapee Anne Winterling, rug hooker; New Hampshire School for Alan Cote, soiree singer; Auburn Dona Larsen, Norwegian knitter; Concord Scottish Arts — Manchester Fabienne Cote, soiree singer/ Berlin Megan Marsh, step dancer accordionist; Londonderry Dorothy Towle, quilter/rug hooker; Craft Guilds Maggie Meffen, step dancer Rick Cote, soiree singer; Intervale Omar Clairmont, furniture maker; Gordon Webster, bagpiper Londonderry Sandra Yacek, wreath maker; Milan Gilmanton Lezlie Patterson Webster, bagpiper Rejeanne Letourneau, soiree singer; Wayne Yacek, gardener/tool- David Lamb, furniture maker; Rochester maker; Milan Canterbury Irish Music & Dance Gary Pomerleau, fiddler; Rochester Russell Pope, blacksmith; Sarah Bauhan, flautist; Dublin Joe Pomerleau, fiddler; Rochester Images of Community Newmarket Regina Delaney, harpist/vocals/step Henry Riendeau, fiddler; Berlin Andre Belanger, sign maker; Berlin Jonathan Siegel, furniture maker; and ceili dancer; Exeter Larry Riendeau, fiddler; Berlin Jairo Gil, Colombian casa wood- Franklin Michael Serpa, hodhran/ Jeanne Trepanier, soiree singer; carver; Manchester whistle player; Ossipee Rochester Sara Glines, doU maker; Randolph Hearts to God, Hands to Work Jake Stewart, fiddler; Bow — Shaker Crafts in New Contra Dance Music Our Shared Border — Hampshire Polish Music & Dance Old New England Franco-American Traditions Steve Allman, oval box maker; Daniel Blajda, fiddler; Manchester Bob McQuillen, pianist; Gerard Brunelle, woodcarver; Canterbury Michael Oliszczak, fiddler; Peterborough Laconia Barbara Heeler, oval box maker; Manchester Jane Orzechowski, fiddler; Albert Hamel, genealogist; Chester Contoocook Gary Sredzienski, accordionist; Newport Norma Badger George, poplarware Greenland Deanna Stiles, flautist; Deerfield Crafts of Worship & maker; Concord Celebration Rob Roy Robb, weaver; Laconia Klezmer Music Mary DesRosiers, contra dance Marjorie "Moocho" Salomon, The Raymond St. Klezmer Band caller; Harrisville lallitot weaver; Bethlehem Business & Community Sandra Dickens, vocals; Nashua Rodney Miller, fiddler; Antrim Galina Tregubov, Russian Arthur Anderson, loom maker - Nelson Frisselle, percussionist; David Millstone, contra dance Orthodox icon embroiderer; Harrisville Designs; Marlow Manchester caller; Lebanon Claremont Terry Lontine, cooper - Alan Green, clarinetist/vocals; Sylvia Miskoe, accordionist; Kung Tai Tsay, Chinese knot tier; Spaulding & Frost; Newton Nashua Concord Nashua PoUy Pinkham, firefighting suit Ruth Weiner Harris, accordionist; Francis Orzechowski, pianist; maker - Globe Firefighting Suits; HoUis Newport Community Voice — Political Northwood Alan Karlsberg, clarinetist/ David Surette, guitarist; Traditions in New Hampshire Rob Roy Robb, weaver; Laconia saxophonist; Nashua Portsmouth Georgi Hippauf; Nashua Frederick Malkin, pianist/vocals; Jordan Tirrell-Wysocki, fiddler; Donna Soucy; Manchester Business & Family Londonderry Canterbury Betty Blanchard, chair reseater; Bruce Smith, bassist; Merrimack Harvey Tolman, fiddler; Nelson Hearth & Home — Concord Timm Triplett, pianist; Nevmiarket Foodways Traditions Peter Blanchard, chair reseater; African-American Steve Zakon-Anderson, contra Chrysanthe Nagios, Greek cook; Concord Gospel Spirituals dance caller; Hancock & Bedford Bob Taylor, welder; Alstead Wilmerlee Findlay, pianist/vocals; William Zecker, Rebecca Parker, Yankee cook; Newt Washburn, ash basket maker; Amherst fiddler/guitarist/pianist; Durham Randolph Bethlehem Minister Lydia Mann, vocals; Helen Pervanas, Greek cook; Manchester New England Barn Dance Bedford Minister Olga Times, Fiddling & Calling Estelle Gamache Ross, Franco- vocals; Nashua Two Fiddles American cook; Allenstown Dudley Lauftnan, fiddler/caller; Canterbury Hispanic Music Jacqueline Lauftnan, Bernardo Guzman, guitarist/vocals;

fiddler; Canterbury Somersworth Maria Guzman, vocals; Somersworth

82 Smithsonian Folklife Festival 1999 Festival Participants

George Lemerise, Innovation & Invention ski search and Forest & Lumber Traditions South Africa Bill Latva, rescuer - Attitash Bear Peak; precision machinist; Tom Chrisenton, tree farm/forestry Sunapee lackson management; Lyndeborough Craft Traditions loel Nordholm, dog-sled maker; Charles Lawrence, Portsmouth Virginia Chrisenton, tree Fai-Qah Abrahams, textiles; Naval Shipyard; Stratham Tilton farm/forestry management; Western Cape E.D. Miller, Portsmouth Naval Matthew Purcell, snow-making Lyndeborough Nofanelekile Batayi, beadworker; technology - Sno.matic Shipyard; Stratham Controls Barry Kelley, sawmill management; Eastern Cape and Engineering, Dave Packard, precision machinist; Inc.; Lebanon Berlin Eunice Cele, beadworker; Henri Hillsboro Vallaincourt, snowshoe Stan Knowles, tree farm inspector; KwaZulu-Natal Adam Taylor, precision machinist; maker; Greenville North Hampton Joao Wenner Dikuanga, ostrich egg Claremont Bruno Vallieres, ski-slope groomer engraver; Northern Cape - Frank E. Wiggins, precision Attitash Bear Peak; North The Arts Historic of Susanna du Preez, copper and wire machinist; Guild Conway Restoration worker; Free State David Adams, historic buildings Nosipho Fengwena, textiles; Seasonal Work & Recreation Farm, Forest, conservationist; Portsmouth Western Cape

Mountain Arnold Graton, Jr., covered bridge Weather & Sea Themba Gule, sculptor; Barry Keim, Climate Change Farming conservationist; Concord Mpumalanga Arnold Graton, Sr., covered bridge Research Center, University of Richard Dionne, bee keeper; Nontsikelelo Caroline Javu, conservationist; Ashland New Hampshire; Durham Hudson textiles; Western Cape Stephen Roy, historic buildings Greg Zielinski, Glacier Research Mary Ellen Hutchinson, maple sug- S. W. Khamokha, tapestry; conservationist; Portsmouth Group, University of New aring/apple orchards; Canterbury Free State Hampshire; Durham Roy Hutchinson, maple Zibuyale Sylvina Langa, Timber Framing sugaring/apple orchards; beadworker; KwaZulu-Natal Tedd Benson, tiinber framer; Spring Canterbury Leepile lames Lekaba, quilter; Alstead Tim Levesque, Appalachian Betty Moulton, maple North West loel McCarty, timber framer; Mountain Club; Jackson sugaring/dairy farmer; New Albertina Thembekile Majola, Alstead Peter Limmer III, hiking-boot Hampton beadworker; KwaZulu-Natal maker; Intervale Robert Moulton, maple Eslina Zodwa Maphumulo, weaver; Granite & Stone Clare Long, Appalachian Mountain sugaring/dairy farmer; New KwaZulu-Natal Doug Faxon, stone wall builder; Club; Glen Hampton Leticia Phumza Maqulo, textiles; Walpole Chris Thayer, Appalachian Peter Wagner, apple grower; Western Cape Kevin Fife, stone wall builder; Mountain Club; lackson Hampton Dumisile Phumulile Mathe, toy Northfield maker; KwaZulu-Natal Hans Kaufhold, monument carver; Summer Camp Skills & Crafts of Work Rebecca Mathibe, ceramics; Peterborough Lynn Garland, children's activities; Animals Northern Province Brentwood Bob Boynton, yoke maker; Zandile Patience Mayekiso, textiles; Maritime Traditions Lisa Kelly, children's activities; Dunbarton Western Cape Jim Antanavich, Sr., gill net maker; Westmoreland Hugh Fifield, draft horse Absalom Mazibuko, sculptor; Seabrook worker/storyteller; Canterbury Mpumalanga Trudy Antanavich, gill net maker; Fall Bob Graves, oxen teamster/dairy Martha Mologadi Metlae, Seabrook Mark Favorite, fly tier; Rochester farmer; Walpole embroiderer; North West Jeffrey Fogman, boat builder; Fred Kretchman, rod maker; David Kennard, sheepdog trainer; Eric Mfeketho, leatherworker; Barrington Nashua Marlborough Eastern Cape Nate Hanscom, lobster David Price, gun builder; Cliff McGinnis, draft horse Andre Stavu Misheshe, tinworker; fisherman; Rye Contoocook worker/veterinary medicine; Northern Cape Mike Kozlowski, lobster lay Trayner, canoe builder; Warner Pembroke Fatty Alfred Mnguni, tapestry; fisherman; Rye Andy Westover, oxen Free State Arthur Splaine, lobster Winter teamster/dairy farmer; Walpole Conie Sydney Mokwena, quilter; fisherman; Rye Scott Barthold, snow-making North West Carl Widen, lobster technology - Sno.matic Controls Raseetsi Alice Molaba, grass fisherman; Rye and Engineering, Inc.; Lebanon weaver; Free State Paul Doherty, snowmobiler; Mpatuoa Violet Moloi, grass

Gorham weaver; Free State

Walter Elander, ski resort design - Henry Gqetha Mshololo, sculptor;

sno. engineering; Littleton KwaZulu-Natal

Ken Hammerle, ski resort design - Dikuwa Erna Mushinga, tinworker;

sno.engineering; Littleton Northern Cape

Smithsonian Folklife Festival 1999 83 Festival Participants

Nobongiie F. Mzaku, beadworker; Solias Mahlawule, dancer/vocals; Elliot Mzimkhulu Xesi, Romania Eastern Cape Northern Province dancer/vocals; Northern Cape Nester Landeleni Nala, ceramics; Hamilton Mayimele, Music and Dance Traditions KwaZulu-Natal drummer/dancer/vocals; Oral/Play Traditions Folk Ensemble from Soporu de Dorcas Kidibone Ngobeni, Northern Province Nomsa Mdlalose, storyteller; CAmpie and Frata, Clui embroiderer; North West Florah Miyambo, Guateng Alexandru $andorica Ciurcui, Emma Nguni, beadworker; drummer/dancer/vocals; SandiJe Mtshiki, traditional games; violinist Mpumalanga Northern Province Gauteng Maria Ciurcui, dancer Celani Hlabisa Nojiyeza, Romulus Ciurcui, beadworker; KwaZulu-Nata] Surialanga Dance Company — violinist Foodways Traditions Alexandru Gheti, Anna Ntuli, beadworker; Zulu-Indian fusion (Grandma's Kitchen) hraci (viola) player Mpumalanga Subbalakshmi Deenadeyalan Anna Catharina Fourie; luliu Gheti, contrabassist Beauty Bothembile Nxgongo, Govender, dancer; Gauteng Masindi Dumitru Moldovan, dancer/vocals weaver; KwaZulu-Natal KwaZulu-Natal Mudau; Northern Province Vasile Soporan, dancer/vocals Enos Phalanndwa, woodcarver; Mthokozisi Stembiso Hlela, Phoqela; Florineta Ilincuja Trif, dancer Northern Province drummer/dancer; Joyce Eastern Cape Moses Seleko, toy maker/wire KwaZulu-Natal Faldela Williams; Western Cape Monica Zwane; CosAnzeana — Folk Ensemble worker; Gauteng Ntando Eugene Mhlongo, Mpumalanga FROM OrA^jtioara de Jos, Thomas Shuma, gold jeweler; drummer/dancer; Architecture/ Hunedoara Gauteng KwaZulu-Natal Painting Traditions Emilia-Cornelia Bolo{, Philemon Songweni, sculptor; Siyabonga Pascal Mkhombe, vocals/dancer KwaZulu-Natal drummer/dancer; Andry Kashivi, muralist; Adrian loan Bruzan, vocals/dancer KwaZulu-Natal Northern Cape Alina-Valeria Bruzan, Music and Dance Traditions Shalini Moodley, dancer; Pule Edward Khunou, mixed vocals/dancer Phambili Marimba — KwaZulu-Natal medium; North West Eugen-Ioan Bruzan, African marimba Adhika Naidoo, dancer; Mavis Makhubu, muralist; leader/dancer/vocals Mandla Brian Huna, tenor KwaZulu-Natal Free State Valeria Bruzan, vocals/dancer Sibusiso Innocent Joseph marimba player; Western Cape Ndebele, drum- Mkhanyiselwa Manana, Camelia-Gabriela Bura, Themba William Huna, African mer/dancer; KwaZulu-Natal muralist; KwaZulu-Natal dancer/vocals drummer; Western Cape Ruendhrie Pather, dancer; Steven Maqashela, muralist; Datln Georgescu, vocals/dancer Jongisizwe Christopher Monatsi, KwaZulu-Natal Guateng Sorin-Ioan Georgescu, bass marimba player; Bernardo Rumao, muralist; vocals/dancer Western Cape Teemayo Traditional Dance Northern Cape Dorel Josin Sibi^an, Luzuko Dennis Nqikashe, Group — Tswana traditions Moseketsi Emily TJhapi, muralist; braci (viola) player percussionist; Western Cape Magaoropelwe Angelina Chweu, Free State Valentin-Florin loan Stancioi, Bongani Sydwell Sotshononda, dancer/vocals; Northern Cape Monica Zwane, traditional contrabassist architecture; soprano marimba player; Alcyma Kgotso Maile, Mpumalanga loan (Nelefu) Urs I, violinist Western Cape dancer/vocals; Northern Cape loan Urs II, violinist Patrick Kgosietsile Mogoiwa,

Shivulani — dancer/vocals; Northern Cape VAlAretul — Folk Ensemble from Tsonga traditional dance Dennis James Mogorosi, Voinejti, Vaslui GROUP dancer/vocals; Northern Cape Sorinel Balan, clarinetist Evans Chauke, drummer/vocals; Dipuo Sylvia Mosimanyana, Benone Gherman, trumpet player Northern Province dancer/vocals; Northern Cape Ion Gherman, trumpet player Shadrack Sikheto Mabasa, Lerato Moira Mothelesi, Costel Miron, dancer (lunap) drummer/vocals; dancer/vocals; Northern Cape Andrei-Stefan Novae, dancer Northern Province Thabiso Eugene Mothelesi, (New Year/pony) Cathrine Mahlawule, dancer/vocals; Northern Cape Valeriu Novae, leader/dancer drummer/dancer/vocals; Horatius Vusumze Phantshwa, (bear tamer) Northern Province drummer/dancer/vocals; lonel-Romeo Obreja, dancer Hlupheka Steven Mahlavmle, Northern Cape (old woman) drummer; Northern Province Mirriam Barbara Pietersen, Maricel Petreanu, drummer Phineas Mahlawule, bass dancer/vocals; Northern Cape Constantin Placinta, dancer (bear) drummer/dancer/vocals; Gilbert Bothata Pisane, Eugen Silav, dancer {old man) Northern Province drummer/dancer/vocals; Danuju Stangaciu, Sayina Mahlawule, Northern Cape baritone horn player drummer/dancer/vocals; Elizabeth Setumisho, Ion Stoican, bassist Northern Province dancer/vocals; Northern Cape Constantin Zota, dancer (goat/pony) 84 Smithsonian Folklife Festival 1999 Festival Participants

CAlujul — Folk Ensemble Nightlosers — Urban Ethno-Pop Icon Painting Rashad Mamedov, FROM Opta^i, Olt Group from Clui-Napoca Marioara Ciupitu; Cartijoara ganiion player; Brooklyn, NY Hie Constantin, fanihal Octavian Andreescu, bass guitarist Abbey, Sibiu Victoria Minayev, dancer; (hammered dulcimer) player Sorin Cimpean, drummer Angela Niculai; Tulcea Brooklyn, NY

Marin Florea, dancer Geza Grunzo, keyboard player Filofteia Papacioc; Car(i^oara Salamon Ryvinov, dancer; George Slavi lonescu, dancer Hanno Hoefer, guitar/harmonica Abbey, Sibiu Brooklyn, NY Vasile Pirciu, dancer player/vocals Mihaela-Lidia Zamtlrescu; Robson Yefraimov, guitarist; Valerica Pircalaboiu, dancer limi Laco, guitar player/violinist Bucharest Brooklyn, NY Marin Scarlat, dancer Eugen Pandrea, /runza (leatl player Florea Turuianu, leader/dancer Aladar Pusztai, Jauihal (hammered Ornament and Mask Maliing Yuri Yunakov Ensemble

Narcis-Daniel Turuianu, dancer dulcimer) player Ion Albu, masks and dolls; Roman Lauren Brody, synthesizer player/

Radu Xifiriga, violinist Mircea Lac, ornaments/woodcuts; vocals; New York, NY Dumitru Farca^, taragot (special Deva Catherine Foster, clarinetist/trum- VoiEvozii — Folk Ensemble from clarinet) player; Cluj Sabina Costinela Medrea, orna- pet player/vocals; New York, NY Bogdan-VodA, Maramure^ Grigore Leje, doinitor (vocals); ments; Deva lerry Kisslinger, tapan (drum) loan Buftea, dancer/flute/ Cluj Lucia Todoran, ornaments/beaded player; New York, NY

whistle player Dorel Rohian, accordionist; Cluj textiles; Bistrija Ivan Milev, accordionist; Maria Buftea, dancer Anufa Tite, doinitoare (vocals); New York, NY Ion Coman, dancer Maramure? Egg Decorating Carol Silverman, vocals; Irina Coman, dancer Nicolae Voiculet, panpipe player; Oltica Carstiuc; Vatra Moldovitei, Eugene, OR loan Deac, dancer Prahova Suceava Yuri Yunakov, band leader/saxo-

Ion Ghereben, drummer/ Filofteia Drajmici; Vatra phonist; New York, NY zongora (guitar) player Craft Traditions Moldovi(ei, Suceava Dance Party loan Mari^, dancer/vocals Ceramics Conjunto Irina Mari?, dancer/vocals Florin Colibaba, potter; Radau(i, Foodways Traditions David Champion, presenter; Petru Orza, violinist Suceava Bercovici; Bucharest Monica Narciso Martinez Cultural Arts Doina Simon, dancer/vocals Neculai Diaconu, clay figurine Rodica Bulboaca, Suceava Center, San Benito, TX Vasile Simon, drummer/dancer maker; Codlea, Braijov lulia Goran, Bucharest Gheorghe lorga, potter; Horezu, Los Hermanos Layton Jara Oajului — Folk Ensemble Valcea Builders Church Gilbert Gonzalez, electric bass from BiXAD, Maramure^ Maria lorga, potter; Horezu, player; Elsa, TX zongora Teodor Barsan; Maramure^ Nicolae Dorlea, Valcea loan Chindri^; Maramure^ Norfilia Layton Gonzalez, vocals; (guitar) player/vocals Augustin Pall, potter; Corund, Ion Chindri;j; Maramure? Elsa, TX Finta, dancer/ Cristina Irina Harghita loan Fodoru(; Maramure? Antonio V. Layton, gmtar/bajo (dpuritoare (vocals) Mihai Tru^ca, potter; Bal?, Olt Dumitru Hotico; Maramure? sexto player/vocals; Edinburg, TX Maria Goje, dancer/ fdpuritoare Gavrila Hotico I; Maramure? Benigno Layton, accordionist; (vocals) Weaving Gavrila Hotico II; Maramure^ Elsa, TX Nicolae Honca, cetera Rodica Maria Ispas, weaver; Buzau Gavrila Hotico III; Maramure? Rene Layton, drummer; (violin) player Margareta Nagy, corn-husk artisan; Petru loan Pop; Maramure? Edinburg, TX fdpuritoare Irina Ore?, dancer/ Chendu Mare, Mure;;

(vocals) Cristina Delciza Nicolau, Ralph Rinzler GiLBERTO Perez y Sus Compadres leader/dancer/vocals lacob Pop, weaver/eggs and beads; Buzau Memorial Concert Cande Aguilar, Sr., electric bass Grigore Tat, cetera (violin) Adela Petre, weaver/spinner; Buzau player/vocals; Brownsville, TX player/vocals Alice Torella Kosza Szegedi, reed Martin Koenig, master of Gilberto Perez, Jr., hajo sexto loan Tatar, dancer/vocals/ dolls and mask artisan; ceremonies/dance instructor; player/vocals; Mercedes, TX ' zongora (guitar) player Campeni(a, Mure^ Vashon Island, WA Gilberto Perez, Sr., Gheorghe Tope, Ethel Raim, master of ceremonies; accordionist/vocals; dancer/vocals/ trd mhifa Woodcarving New York, NY Mercedes, TX (alphorn) player II Pavel Caba; Nereju, Vrancea laview Perez, driunmer; Ion Costache; Meri^ani, Prahova Ensemble Tereza Mercedes, TX

. Trio Pandelescu — Urban Folk Dan Gherasimescu; Valea Dorului, Ruslan Agababayev, keyboard/ Group from Bucharest 11 Arge^ gariiion player; Brooklyn, NY Leonard Botea, double bass player Vi(a Lepadatu; Babeni, Valcea Mark Elizarov, percussionist; Ian Mocanu, accordionist/vocals Brooklyn, NY Dumitru Pandelescu, (ainhal Tereza Elizarova, vocals/ (hammered dulcimer) player accordionist; Brooklyn, NY

Alex Hafizov, clarinetist; Brooklyn, NY

Smithsonian Folklife Festival 1999 85 Festival Partners, Sponsors, Contributors, and Donors

Smithsonian Folklife Festival Maxell Corporation of America, Shoppers Food Warehouse, Fair Lawn, Producer: Smithsonian Institution Center for Folklife NJ Corporate Headquarters, and Cultural Heritage Media Visions Video Duplication, Lanham, MD Co-sponsor: National Park Service Springfield, VA Sony Electronics, Inc., Teaneck, NJ Mediterranean Inc., Major Supporters: Smithsonian Institution; Government Bakery, Target Distributing, Audio/Video Alexandria, VA Division, of the United States Rockville, MD Contributor: The Recording Industries Music Michelle's Family Bakery, TDK Electronics, Performance Trust Funds Bladensburg, MD Port Washington, NY Monadnock Mountain Spring Tiffany's Bakery, Temple Hills, MD In-Kind Contributors: Costco, Manassas, VA Water, Wilton, NH Tourmobile Sightseeing, AUegro Industries, Domino's Pizza, Inc., Office Depot, Delray, FL Washington, DC Garden Grove, CA Ann Arbor, MI Ottenberg's Bakers Incorporated, Tyson's Bagel Market, Ashby & Associates Video Fuji Photo FUm U.S.A., Washington, DC Tyson's Corner, VA

Production Services, Elmsford, NY Peirce-Phelps, Inc. Audio/Video Utz Quality Foods, Hanover, PA Alexandria, VA Giant Food Inc., Washington, DC Products, Beltsville, MD Warfield's Pastry Shop,

Atrista, Indianapolis, IN Global Village Productions, ProCom Associates Video Produc- Alexandria, VA

Ben & Jerry's, Alexandria, VA Alexandria, VA tion Services, Wilmington, DE Warner-Lambert Co., Morris

Bergwall Productions, Inc., Goodmark Foods, Raleigh, NC RAG Solutions, Bethesda, MD Plains, NJ Chadds Ford, PA Heidelberg Pastry Shop, Red Sage Bakery/General Store, William B. Reiley Coffee Co., Brick Oven Bakery, Arlington, VA Washington, DC Baltimore, MD Washington, DC International Food Bakeries, Reeves Restaurant & Bakery, Circuit City Foundation, Manassas, VA Washington, DC Special Thanks: Richmond, VA Java Tree Gourmet Coffees, Inc., Rehabilitation Equipment Folklore Society of Greater

The Clarendon Grill, Manchester, NH Professionals, Inc., Washington Arlington, VA Bessie C. Johnson, Alexandria, VA Coca-Cola Co., Washington, DC Washington, DC Ricola, Inc., Morris Plains, NJ Our gratitude to all of the volun- Coleman Co., Wichita, KS Johnson's Flower & Garden Center, Rockline Industries, Inc., teers who make the Smithsonian G.L. Cornell Company, Washington, DC Sheboygan, WI Folklife Festival possible. Gaithersburg, MD Krispy Kreme Doughnuts, Sherrill Bakery, Washington, DC Winston-Salem, NC

Celebrating New Hampshire's Stories In-Kind Contributors: New England Ski Museum Adams and Roy Inc., New Hampshire Partners: New Hampshire Commission on the Smithsonian Folklife Festival; Portsmouth Beekeeper's Association Celebrate New Hampshire Culture; New Hampshire State Council on Appalachian Mountain Club, New Hampshire the Arts; Department of Cultural Resources; State of New Hampshire Jackson Department of Agriculture Presenting Sponsor: Bell Adantic Arnold M. Graton and New Hampshire Division of Maps Major Contributors: Fleet Bank NH; Healthsource New Hampshire, A CIGNA Associates, Ashland New Hampshire Office of Travel Healthcare Company; Public Service of New Hampshire; Sanders, A Atomic Billards, Washington, DC and Tourism Development Lockheed Martin Company; Tyco International Ltd.; Fidelity Attitash Bear Peak Pleasant View Gardens, Investments; Fisher Scientific International Inc. Benson Woodworking Loudon Major Donors: Citizens Bank; Bank of New Hampshire; Clark Hill Sugary; Company, Inc., Alstead Russell Gardens Wholesale, Wheelabrator Technologies, Inc. Cannon Mountain Donors: MCT Telecom Richborough, PA Canterbury Shaker Village, Inc., Spaulding & Frost, LLC, Fremont AutoFair Group Monadnock Paper Mills, Inc. Canterbury State of New Hampshire, Blue Cross and Blue Shield National Grange Commerical Fishermen's Department of Corrections, of New Hampshire Mutual Insurance Company Association UNH Cooperative Concord Chuck Roast Mountain Wear Olconda Jameson Trust Extension Sweet Memories Farm, Milan Concord Trailways PC Connection, Inc. Dodge Lumber Swenson Granite Company, LLC, Curran-Easy Care, Inc. Peerless Insurance Company Filmscene DC Dartmouth-Hitchcock Putnam Foundation Concord Garaventa CTEC, Inc. Timber Framer's Guild of North Medical Center Sitesurfer Publishing, LCC Granite State Forest Products America, Alstead D.D. Bean and Sons Co. State Street Bank J.C. Earnes Timber Harvesters Timco The French Foundation Super Precision Bearings — Herrick Mill Works, Contoocook Vermont Brick Manufacturing, Grappone AuJo Companies SBB Division New Hampshire Maple Highgate Center, VT Hitchiner Manufacturing Co. Inc. The Telegraph Producers Association Hyperthern, Inc. Timken Aerospace Kingsbury Corporation Millbrook Farm Woodworks, Markem Corporation Westmoreland Continued on next page

86 Smithsonian Folklife Festival 1999 Festival Partners, Sponsors, Contributors, and Donors

special Thanks: New Hampshire Technical Institute Helen Closson, Alan Hardy, Hopkinton State Celebrate New Hampshire Culture Office of State Planning Franco-American Center Fairgrounds

Commission on the Smithsonian Office of Travel and Tourism John Collins, Dartmouth Karen Hefler, Folklife Festival: Office of Volunteerism Hitchcock Medical Center Bell-Atlantic Yellow Pages

Representative David Alukonis Postsecondary Education John and Pat Colony, Herrick Mill Works, Inc. Daniel Callaghan Committee Harrisville Designs lohn Herrick, Herrick Mill Works

Michael Chaney Sweepstakes Commission Matt Cookson, P.C. Connection Scott Herrick, Representative Martha Fuller Clark University of New Hampshire Janice Crawford, Mount Washing- Swenson Granite Company

I.B. Cullen ton Valley Chamber of Commerce Jane Hirschberg

Richard Danais Dave Adams, Adams and Roy Inc. J.B. Cullen, New Hampshire Gary Howard, Fred Dolan Jennifer Annis Division of Forests and Lands N.H. Public Television I Katharine Eneguess Ralph Arnold, Timco Darwin Cusack, Office of International Paper, Representative Natalie Flanagan Maria Baier, Sno. engineering Congressman Charlie Bass Madison Lumber Mill

James Garvin Adele Baker, Paula DeLisi, New Hampshire Susan Jasse

Kathleen Gregg Franco-American Center State Council on the Arts Sandi Jones, Senator Carl Johnson Patricia Baker, Alice DeSouza General Federation of Women's Senator Sylvia Larsen Bell-Atlantic YeUow Pages John Dodge, Dodge Lumber Clubs of New Hampshire Rebecca Lawrence Phil Bartels, Timco Jim Dolph, Portsmouth Naval Brian Johnson, The Common Man Van McLeod Nancy Beach Shipyard Museum Paula Katkin, Lauri Ostrander Richard Bean, Concord Litho Patrick Duffy Bell-Adantic Yellow Pages

Beverly Rodeschin Jane Beck, Vermont Folklife Center Durgin and Crowell Sean Kelly, Vermont Brick

Laura Sinioes Karen Bennet, University of Jeff Eames, Manufacturing

Mervin Stevens New Hampshire Cooperative J.C. Eames Timber Harvesters Peter Kiriakoutsos, Melissa Walker Extension Rachel Eames, Howe, Riley and Howe, Tedd Benson, Benson Eames Insurance Service Professional Corporation

Celebrate New Hampshire Culture Woodworking Company, Inc. Carolyn Falgaras, Milford/Amherst Steve Kohn, Bell Atlantic Board of Directors: Mimi Bergere, New Hampshire Chamber of Commerce Claire Kounelas, Howe, Riley and

Representative David Alukonis Partners in Education Doug Faxon Howe, Professional Corporation Richard Ashooh Steve Bernier, Public Service Co. Ted and April Ferguson, Amy Landers, Daniel Callaghan Fred Bishop, Public Service Co. Millbrook Farm Woodworks Capitol Center for the Arts

Michael Chaney Lynne Blye, Kevin Fife League of New Hampshire

Katherine Eneguess Granite State Dairy Promotion Michelle Fleury, This Old House Craftsmen

Burt Feintuch Mary Jo Boisvert, Eve Fogarty, Bell Atlantic Matt Leahy,

|. Michael Hickey Public Service Co. William T. Frain, Office of Senator Judd Gregg Van McLeod Jackie Bonafide and the Public Service Co. Helen Learned

Gail McWilliam New Hampshire Writer's Project Franco-American Center, Stephanie Lewry,

L. Douglas O'Brien Ben Brungraber, Benson Manchester In-Town Manchester Mervin Stevens Woodworking Company, Inc. Freese Family, Library of Archives of New

Jeffrey Taylor Alyson Bruu Globe Firefighting Suits Hampshire Political Traditions

Melissa Walker Phil Bryce, Division of Forests and Jameson French, Paul Lodi Lands, DRED Northland Forest Products Bill Lord

State of New Hampshire Alan Burgess, Sign Shop Manager, Richard French, Mary Loring, Strawbery Banke

Department of Agriculture, State of New Hampshire Granite State Forest Products Charlton MacVeagh, Jr. Markets & Food Department of Corrections Gerrity Lumber, a subsidiary of Kevin Martin, Best Western

Department of Corrections Bill Cahill, Spaulding & Frost, LLC Wickes Lumber Sunapee Lake Lodge Department of Cultural Resources Canterbury Shaker Village Roland Goodbody, University of Joel McCarty, Timber Framers Department of Education Linda Carter, Bell Atlantic New Hampshire Milne Special Guild of North America Department of Resources & Susan Cerutti, Meredith Area Collection and Archive Mary McGuiness

' Economic Development Chamber of Commerce Andrea Graham, Nancy Marden Department of Safety Liz Chamberlain, Office of Canterbury Shaker Village Patricia Miller, Department of Transportation Congressman John Sununu Arnold M. Graton, Sr. Office of Senator Bob Smith

Executive Councilors Deborah Cheever, Francis J. Haines, Jr., Bruce Montville, Governor's Office Governor's Office Merrimack County Cooperative Janvier Associates, Inc. on Volunteerism Liquor Commission Extension Services Serge Hambourg Mt. Washington Observatory National Guard Janie Chester- Young, Richard Hamilton, White Mountains Bernard Mucci, New Hampshire Community Canterbury Shaker Village Attractions Association Tyco International Ltd. College Technical System Clark Hill Inc. Kenneth Hammerle,

New Hampshire State Library Sno.engineering Continued on next page

' Smithsonian Folklife Festival 1999 87 Festival Partners, Sponsors, Contributors, and Donors

Michael Neil, Brenda Perkins, Tim Sink, Greater Concord Joanne Tait, Northern White Mountains Kathleen Gallagher Family Realty Chamber of Commerce Pleasant View Gardens Chamber of Commerce loan Prue Molly Hodgson Smith Matthew Thomas, Spaulding & Beverly Nemetz Joe Raczka, Sarah Smith, UNH Cooperative Frost, LLC Kate Nerrie, Benson Bell-Adantic Yellow Pages Extension, Forestry This Old House magazine Woodworking Company, Inc. Alex Ray, The Common Man Gail Sniuda, Representative Arthur Tufts New Hampshire Business John Richard, The Common Man Canterbury Shaker Village Mike Valuk, Greater Nashua Committee on the Arts Lois Richard David Snyder, New Hampshire Chamber of Commerce New Hampshire Judy Rigmonet, New Hampshire State Council on the Arts Kathleen Veracco

Humanities Council State Council on the Arts Sno.engineering Don Welch II,

Lona Norton Teresa Rosenberger Sno.matic Controls and Globe Firefighting Suits

Catherine O'Brien, New Hamp- Robert Ross Engineering, Inc. Eileen West, New Hampshire

shire State Council on the Arts Stephen Roy, Adams and Roy Inc. Diane Souther, Apple Hill Orchard State Council on the Arts Bob O'Connell, This Old House Alan Rumrill, Cheshire County Tom Southworth, Timber Framers Cindy Westover, Patrick O'Grady, Eagle Times Historical Society Guild of North America Great Brooks Farm Dick Ober and the Karl Salathe, Concord YMCA Jack Story, Mary Whether, League of Society tor the Protection of Gary Samson, University of New Dover Chamber of Commerce New Hampshire Craftsmen New Hampshire Forests Hampshire Media Services Stein, Volinsky & Callaghan Mike Whitney,

Bruce Olson, Tim Scott Robert C. Stewart Sr., Fleet Bank New Hampshire Transformative Technology |eff Schneider, Office of Physical Hopkinton State Fairgrounds Gerry Williams,

Jerry Olson, Plant, Horticulture David Sutherland, New Hampshire Potter's Guild

University of New Hampshire Tom Schwieger, Keene Chamber of Commerce Judi Window,

Jeffrey Paige Greater Manchester Kevin Swenson, Granite State Ambassadors Theresa Pare Chamber of Commerce Swenson Granite Company, LLC Dawn Wivell, International Trade Hank Peterson David Sellin Audrey Sylvester, New Hampshire Resource Center

Bill Shaw, Sitesurfer Publishing State Council on the Arts

Gateways to Romania Dr. Victor Suciu Maria Angelescu, Totan Grup Public Relations Partner: Romanian Cultural Foundation Office, Romania TransChem USA Senator Corneliu Major Supporter: Government of Romania Bucur, Robert Wald ASTRA Museum, Sibiu Major Collaborating Organizations: Office of the President of Romania; Wynelle W. White Tim and Lucia Correll Ministry of Foreign Affairs; Ministry of Culture; U.S. Embassy in Romania Young & Rubicam Mihai Dancu^, Michael Zyto Ethnographic Collaborating Organizations: Romanian Peasant Museum; ASTRA Museum Sighetu Marmaîei Ethnographic Museum; University of Bucharest; Aid to Artisans In-Kind Donors: Zamfir Dejeu, Romanian Major Contributors: Coca-Cola; CONNEX Academy ABN Bank Folklore Archive, Cluj Contributors: Chase Manhattan Bank; Romanian Development Bank; AMRO Timken Foundation Algoritma George Dobrea ALTROM (Hotel Turist) Rev. Petru Dugulescu, Major Donors: Nestor Nestor & Kingston Petersen; Margelus Burga; Athenee Palace Hilton, Bucharest Deputy, Romanian Parliament Cold Chain Impex S.R.L.; Zero International Inc.; General Electric Bucharest What When Where Ion Florescu, Major In-Kind Contributors: Tarom Airlines; Bates Centrade Saatchi & Crystal Publishing Group Capital Securities, Saatchi Romania; Romtrans Romania Donors: GTE Institute for Computers ITC Radu Florescu and John Florescu, ABC Medical, Dr. Napolean Alan Harper OFC/DMB&B Bates Centrade Saatchi & Saatchi, Savcscu Andrew Harper Romanian Voice TV Romania 2000 Olus Sr., American Chamber of Commerce Ernest Harper Dr. Radu Florescu, Honorary in Romania IBM Romania Consul of Romania, Boston Special Thanks: Mircea Geoana, Banc Post luliu Maniu Foundation Romanian Banca Romaneasca Kate Kerr Romanian Cultural Foundation Ambassador to the U.S. Augustin Buzura, President Anca Giurchescu, International Stephan Benedict Dr. Claude Matasa , Carmen Firan Council for Traditional Music Ion & Stella Cepoi Obie L. Moore Angela Martin Institute of Ethnography and Deloitte & Touche, Romania Dan Neagoe . , Ramona Mitrica Folklore "C. Brailoiu" Exim Bank Ion Patraîcu Angela Liviu and Dorina Georgescu Ra|iu Foundation Oi^teanu Emilia lonescu. loan Opri^ Aid to Artisans, Romania Michael Georgescu Honorary Consul Lia Roberts Steluâ Pahonû Virgil D. Gligor Scala Thompson Drago^ Tudor Louis B. Goldman Tiberiu Salamon

Mircea and Cornelia Gohmbu Dr. Eliot Sorel Continued on next page

88 Smithsonian Folklife Festival 1999 Festival Partners, Sponsors, Contributors, and Donors

Meredyth Jensen, of Tradition and Folklore Washington, D.C. Randy Tift

Aid to Artisans, Washington l^r. loan Ohean, La Premiera lames Rosapepe, Transylvanian Ethnographic

Charles King, Ion Rafiu Chair, Mihai Oroveanu, Artexpo U.S. Ambassador to Romania Museum, Bra«;ov

Georgetown University Kristen Paneraii, Felicia Ro^u Christina Ungureanu, Gail Kligman, UCLA U.S. Embassy, Bucharest Georgeta Ro§u, ASTRA Museum, Sibiu John Klipper and Luminija Petrescu, Romanian Peasant Museum University of Bucharest Viviana Palade, Romanian- President's Office, Romania Dr. Napoleon Savescu Armina Vlaicu, Bates Centrade

American Enterprise Fund ^tefan Pop, IMP, Romania Armand Scala, Congress of Saatchi & Saatchi Martin Koenig Marge Predeteanu Romanian Americans Village Museum, Bucharest

Ernest Latham Speran(a Radulescu Dr. Eliot Sorel U.S. Fulbright-Hays Program Sorin Marpozan Theresa Richard Michelle Sprang, USAID UCLA-World Music and Dance

National Center for Conservation Romanian Embassy, Nancy Sweezy Elias Wexlar

South Africa: Crafting the Economic Fifth Annual Ralph Rinzler Memorial Concert Renaissance of the Rainbow Nation Contributors: The Recording Industries Music Performance Trust Funds; Major Collaborating Organizations: South African Department of Ruth Mott Foundation Arts, Culture, Science and Technology; National Arts Council of Special Thanks: Emily Botein South Africa Collaborating Organizations: Buy-Afrika; African Art Centre; Smithsonian Office and Bureau Support Skukuza Alliance Office of the Secretary Facilities Services Group Corporate Donors: KWV; Royal Hotel, Durban Office ot Inspector General Engineering & Design In-Kind Contributors: Office of Environmental Aqua Coating, Inc., Blakey Komani Membership & Development Management & Safety Manassas Park, VA Megan Lombard Office of Planning, Physical Plant KR Industries, Cicero, IL Metro Travel Management & Budget Horticulture Gordon Metz Office of the Under Secretary Special Thanks: Delores Mortimer Office of Communications Smitlisoiiiau Magazine Embassy of the Mamosebi Mphofe Public Affairs Office of the Provost Republic of South Africa Mwiza Munthali Visitor Information and Accessibility Program Sheila Sisulu, Zenobia Newton Associates' Reception Center to the U.S. Ben Nteso Ambassador Office of the Comptroller National Museum of Franklin Nteso Sonn, Lebohang Office of Contracting American History former to the U.S. Sundru Pillay Ambassador Travel Services Office Director's Office James Joseph, U.S. Ambassador to Pro-File Consultancy Office of Equal Employment & Division of Cultural History Africa Eastern Cape Province South Minority Affairs Office of Public Services Minister of Free State Province Dr. Ben Ngubane, Office of the General Counsel Gauteng Province Culture Office of Government Relations Office of Exhibits Central KwaZulu-Natal Province Pradeep Maharaj Office of Human Resources Office of Fellowships & Grants Province Ezra Mtshontshi Mpumalanga Office of Imaging, Office of International Relations North West Province C. Maxwell Cameron Printing & Photographic Services Office of Sponsored Projects Northern Province Maridel Araneta Office of Information Technology Northern Cape Province Valerie Thomas Office of Risk & Asset Management Western Cape Province Rayda Becker Office of Special Events & African Tourism Board Peggy Bendel South Conference Services Nono Buthelezi Raymond Seefeldt Kabelo Cook Zodwa Sikakane Senate Cook Phyllis Slade-Martin Margret Courtney-Clarke Penny Stein Bongi Dhlomo Carol Steinberg Bob Edgar Andre Udenthal

Marcia Gallo U. S. Embassy, South Africa

Paola Gianturco U. S. Information Service Thomas Hull Mike Van Graan Michael Jackson Bettye Ward Roger Jardine Brian Williams Mary Braxton Joseph Kimberly Worthington

Smithsonian Folklife Festival 1999 89 Festival Staff

Technical Support Documentation Smithsonian Smithsonian Technical Director: Pete Reiniger Documentation Coordinator: Folkways Recordings Folklife Festival Assistant Technical Director: Jeff Place Director and Curator: Director, Center for Folklife and Deborah Sullivan Photo Documentation Coordinator/ Anthony Seeger Cultural Heritage: Richard Kurin Carpenters: Dovid AcUer, Webmaster: Stephanie Smith Assistant Director: D.A. Sonneborn Deputy Director: Richard Kennedy John Doherty, Anthony LaGreca Video Documentation: Production Coordinator/Festival Festival Director: Diana Parker Electrician: U.L. White Charlie Weber Sales Manager: Mary Monseur

Pipefitter: Raymond A. Reed Documentation Interns: Sound Production Supervisor: Administrative Harchandrai, Crew Chiefs: Lee Bryars, Kusum Pete Reiniger and Fiscal Support Partyka, Lynn Joslin, Cheryl Zook Tanya Irvine, Justin Audio Specialist: Ronnie Simpkins Administrative Officer: Administrative Assistant, Technical: Kendra Portier, Mary Rogers, Assistant Audio Specialist: Barbara Strickland Kim Frietze Lauren Weintraub Scott Finholm Administrative Assistants, Folklife: Exhibit Workers: James Barnes, Chief Volunteer, Documentation: Mail Order Accounts Manager: Bill Holmes, Katherine Ferguson, Delonte Clark, Margaretta Marilyn Gaston Sharleen Kavetski Rachelle Hardy Daughtrey, Sam Jones, Susan Mail Order Customer Service Administrative Assistants/ Kelleher, Terry Meniefield, Sean Education and Representatives: Lee Demsey, Receptionists: Bernard Howard, Thomas Program Support Matt Levine, Nakieda Moore Ramona Dowdal O'Toole, Derian Policy: Sound/Stage Staff: Teresa Ballard, Director, Cultural Heritage Financial Officer: Heather Berthold Special Events Coordinator: Saul Brody, Frank Brown, James Early Marketing Director: Brenda Dunlap Linda Benner Jeanette Buck, Paul Cogan, Education Specialists: Marketing Assistants: Participant Coordinator: Henry Cross, Rachel Cross, Betty Belanus, Marjorie Hunt, Jimmy Locklear, John Smith Mara Schlimm Gregory Dishman, Vicki Diana Baird N'Diaye Product Manager: Michael Maloney Assistant Participant Coordinators: Fleming, Gregg Lamping, Intern Coordinator: Licensing, Royalties, and Michelle Kim, Meredith MacKay Sissy Lang, Carrie LQlie, Arlene Reiniger International Sales: Kevin Doran Participant Intern: Meghan Steed Camilla Moreno, Al McKenney, Education Intern: Interns: Scott Bartlett, Laura Housing Coordinator: Paul Douglas McNevich, Charlie Kishana Dore Poteat Bernazzoli, Helen Gillet, Yulette George Pilzer, Claudia Telliho, Evening Programs Coordinators: Kimberly Junod, Jonathan Social Coordinator: )ohari Rashad James Welsh Mary Lee, Kate Rinzler, McCoUum, Kevin Miller, Computer Specialist/Assistants: Supply Coordinators: Cynthia Vidaurri Clara Odell, Amber Papini, R.C. Forney, Pam Rogers, Coordinator: Herb Ruffm II Cross-Cultural Program Viktoria Rill Gorgui N'Diaye, David Mealo, Clinton E. Olive 11 Olivia Cadaval Dale Dowdal Logistics Coordinator: Program Assistant: Trini Gonzales Volunteer Coordinator: Kate Stinson Liam Gray Accessibility Coordinator: Assistant Volunteer Coordinator: John Franklin Meredith Forster Design & Production Public Information: Volunteer Intern: Director: Kenn Shrader Vicki Moeser, Eden Miller, Maria Elena Cepeda Art Production Manager: JoAnn Webb Marketplace Manager: Fernekes PubHc Information Intern: Marlene Graves Kristen Design Assistant: Caroline Brownell Simona Supekar Concessions Cash Manager: Design Interns: Andy Buckman, Assistant to the Festival Director: A.C. Stickel Brenna Dailey Mary Lee Consignment Coordinator: Sign-Lanuage Interpreters: Suporia Harris Editing Candas Barnes, Jean Bergey, Consignment Assistant: Editor: Carla Borden Martin Hiraga, Kimberley Brian Posey Associate Editor: Peter Seitel Underwood, Hank Young Foodways Coordinator: Proofreaders: Kristen Fernekes, Sign Master: Ernest Hairston Philippa Jackson Arlene Reiniger, Tom Vennum Interpreter: Sambia Shivers-Barclay Program Book Sales Coordinator: Cookbook Research Intern: Marc Goldstein Abigail Dreibelbis Special Projects Coordinator: Amy Horowitz

Folklife Festival 1999 90 Smithsonian Festival Staff

New Hampshire Romania South Africa Ralph Rinzler Program Staff Program Staff Program Staff Memorial Concert

Curators: Betty Belanus, Curator: Colin Quigley Curators: Ruphus Matibe, Program Staff Lynn Martin Program Coordinator: James Early Curator: Ethel Raini Program Coordinator: Robert Dunlap Miclean Program Coordinators: Program Coordinator: Kate Rinzler

Arlene Reiniger Program Assistant: Laura Beldinian Corney Wright, Ivy Young Participant Assistant: Michelle Kim

Program Assistant: Rachel Mears Curatorial Committee: Program Assistant: Nomvula Cook Presenters: Martin Koenig, Ethel Raim

Program Research Committee: Corneliu Bucur, Nicolae Curatorial Committee:

Michael Chaney, J.B. Cullen, Constantinescu, Mihai Dancu?, Anthea Martin, African Art UNESCO

Fred Dolan, Jim Garvin, Becky Zamfir Dejeu, Irina Nicolau, loan Center; Philemon Ngomane, Conference Staff

Lawrence, Gail McWilliam, Opri*;, Georgeta Ro^iu Skukuza Alliance; Cloe Rolves, Smithsonian Institution Melissa Walker Curatorial Advisor: Charles King Buy Afrika; Evelyn Senna Center for Folklife

Archivist/Festival Assistant: Development Specialist: Josh Silver Participant Assistant: and Cultural Heritage

lulie Gallagher Participant Assistant: Michelle Kim Mara Schlimni Director: Richard Kurin

Participant Assistant: Chief Volunteer: Andreea Der^idan Editor, South Africa: Co-Coordinators: James Early,

Meredith MacKay Interns: Margaret Duden, Robert Barbara Ludman Anthony Seeger

Interns: Rhona Campbell, Scott Jansen Graphics/Design, South Africa: Program Coordinator:

Sonja Hayden, Darrol Hughes, Presenters: Eva Borbely, Nicolae Ilizabeth Schoeman, Philisiwe Amy Horowitz Mary Lloyd, Sarah Swain, Constantinescu, Mihail Dancu$, Sibaya, Toinette Wesdey Assistant Program Coordinator: Elizabeth Weissenborn Zamfir Dejeu, Carmen Firan, Documentation, South Africa: Anthony McCann

Chief Volunteer: Irina Horea, loana leronim, Jan Kotzee, Martha Kotzee, Logistics Coordinator: John Franklin

Elisa Volkert Cipriana Petre, Luminifa Stephen Shorney, Jefferey Special Events Coordinator:

Foodways Volunteer: Petrescu, Georgeta Ro^u, Michael van Ryneveld Linda Benner Virginia McCauley Nicolae Voicule) Interns: Tania Tam, Sabra Thorner Editor: Peter Seitel

Researchers: Jack Beard, Linda Presenters: Calita Fourie, Victor Participant Coordiriator: Bornstein, Tom Carroll, Deborah Julius, Gladys Vuvelvu Mara Schlimni

Cottrell, Martin Delgadillo, Kate Mahlangu, Tosca Makhambeni, Volunteer Coordinator: Kate Stinson Dodge, Sue Hawkins, Susan Joseph Mathe, Ruphus Matibe, Program Intern: Lisa Maiorino

lasse, Kathy Neustadt, Marjorie Nomsa Mdlalose, Martha Metlae, Legal Analyst: Brad Simon

Goodson, Jill Linzee, Lynn Alicia Monis, Sandile Mtshiki, Legal Consultant: Sherylle Mills Martin, Louis Mazzari, Rachel Zakhe Ngqobe, Doreen Nteta, Program Consultant:

Mears, Linda Merely, Julien Soobramoney Satchidhandan Leslie Prosterman

Olivier, Jessica Payne, Simon Pillay, Emmerentia Potgieter, Administrative Officer:

Phillips, Matt Pouliott, Fran Edwin Rihlamvu, Corney Wright Barbara Strickland Kessler Richardson, Andy Participants in South Africa- Computer Consultant: Pam Rogers Stewart, Audrey Sylvester, Smithsonian Culture and Art Director: Kenn Shrader

Josee Vachon, Eleanor Wachs, Community-Building Reciprocal Production Manager: Quincy Whitney, Patryc Wiggins, Learning Program: Kristen Fernekes Vermont Folklife Center Rayda Becker, Johannesburg; Design Assistant: Caroline Brownell

Presenters: Jack Beard, Lynn Blye, Primrose S. Dlamini, Durban; Design Interns: Andy Buckman,

Deborah Cottrell, J.B. Cullen, Linda Fortune, Cape Town; Brenna Dailey Kate Dodge, Burt Feintuch, Lynn Jeremiah Buti Mahlangu, Translator: Nilda Villalta Garland, Austin Graton, Sue Pretoria; Nisa Malange, Durban; Hawkins, John Hutton, Susan Nalini Moodley, Durban; Shireen Cultural Heritage

Jasse, Louis Mazzari, Kathy Narkedien, Cape Town; Janet Division of UNESCO

Neustadt, Julien Olivier, Dereck Pillai, University of Fort Hare, Director: Mounir Bouchenaki Owen, Diane Souther, Andy Alice; Lucky Ramatseba, Director, Intangible Heritage Stewart, Lucie Therrien, Matthew Johannesburg; Dr. Marcus Unit of UNESCO: Noriko Aikawa Thomas, Eleanor Wachs, Patryc Ramogale, University of the Program Consultants: Wiggins North, Sonenga; Professor G. Lu Hui, Samantha Sherkin

Logistics Coordinator: Alan Hardy Themba Sirayi, University of Fort Program Assistants:

Celebrate New Hampshire Culture Hare, Alice Alexandra Bochi, Michele

Administrative Staff: Camous, Christine Cazenave Heidi Dunn, Melanie Higgins,

Jennifer McLean, Patric McGloin, Catherine A. Wright, Rona ZIokower

Smithsonian Folklife Festival 1999 91 Associated Conferences and Seminars

A Global Assessment of the the UNESCO "Recommendation on the Safeguarding of 1989 UNESCO Recommendation Traditional CuUure and Folklore" issued a decade ago. The ON THE Safeguarding of conference will identify and analyze general trends and chal- Traditional Culture and lenges faced by producers of traditional culture and folklore, Folklore: Local Empowerment and propose some approaches to the general problems that ^^^^^^^^ AND International can be addressed through international cooperation. This conference will provide an opportunity to review the r n n n COOPERATION I June 27-30, 1999 resuhs of eight regional seminars, organized by the Intangible Heritage Division of UNESCO, which have discussed the

implementation of the 1989 resolution in their regions. It will

also present an opportunity to examine the importance of Institution 3 Smithsonian traditional culture in local, regional, and international con- Center for Folklife and Cultural Heritage texts, and the importance of supporting community practi- tioners with local knowledge as a key to cuhural, social, and With supportfrom: economic development. Conference participants will include Cultural Ajfairs Department, Japanese Ministry of the representatives from the eight UNESCO regions as well as Foreign Ajfairs; U.S. Department of State; Rockefeller specialists in cuhural and intellectual property, folklore and Foundation; Smithsonia}i Institution Office of related fields, representatives of NGOs, and community prac- International Relations; National Endowtnent titioners and leaders whose experience can offer direction for the Arts and guidance. Conference proceedings will be available by contacting

The Smithsonian Institution's Center for Folkhfe [email protected]. Please indicate "Conference

and Cultural Heritage hosts a conference to review Proceedings" in the subject line.

Festival Teacher's Seminar

As in previous years, the Center will offer a seminar for teachers during the Festival. "Bringing Folklife into the Classroom" is cosponsored by the Smithsonian Office of Education. This popular seminar, now in its fifth year, attracts Washington-area «^«£l teachers who obtain hands-on experience in the folklorist's methods of learning about culture: observing, documenting, interviewing, and interpreting. Instructors for the course, which meets June 23-27, are Drs. Diana Baird N'Diaye and

Marjorie Hunt of the Center for Folklife and Cultural Heritage.

Celebrate New Hampshire Participants at the 1997 Festival Teacher's Seminar meet and talk.

Visiting Teacher Fellows Photo by Kent! Shrmier Teachers from throughout New Hampshire will also be attending the Festival to conduct "living research" with participants research with other teachers back in New Hampshire through from their home state. In preparation for developing education- in-service workshops and a Web site. (This is a Celebrate New al materials for their students, the 30 Celebrate New Hampshire Hampshire project in partnership with the University of New

Fellows will attend three days of in-service training on the Hampshire's New England Folklife Institute, New Hampshire process of researching living traditions. They will be provided Public Television, and the New Hampshire State Council on the with materials and tools to observe, interact with, and docu- Arts. The project is funded by the School to Work Program of ment Festival participants and will share their training and the New Hampshire Department of Education).

92 Smithsonian Folklife Festival 1999 1

1999 Educational Offerings j '<„

Current Educational Offerings FROM THE Center for Folklife and Cultural Heritage

Workers at the White House Wisconsin Powwow / Naamikaaged: This half-hour video docu- Dancer for the People

mentary features the occupa- This two-video set shows how powwows tional folklife and oral histo- incorporate historical traditions and modern

ries of a broad range of White innovations. The first video is a general treat- p House workers — butlers, ment of the powTvow as it is held by Ojibwe maids, doormen, chefs, plumbers, and others. Through their people in northern Wisconsin. The second fol- memories, skills, and values, these workers help us to under- lows a young Ojibwe, Richard LaFernier, as he stand the White House in human terms — as a home and a dresses and paints himself for a powwow, workplace, a public building and a national symbol. A 24-page honors his ancestors, and sings at powwows in northern educational booklet accompanies the video. Produced in coop- Wisconsin. A 40-page accompanying booklet includes histori- eration with the White House Historical Association and the cal background, a transcription of the soundtrack, classroom

Borders and Identity Learning About Folklife: The U.S. This bilingual kit explores the complex Virgin Islands & Senegal 'Identidad: notion of identity along the United This kit concentrates on the rich folk-

, romteras> States/Mexico border. In four seg- life of the U.S. Virgin Islands and

'tBOROERSi' ments — on history, belief, expressive Senegal through a focus on foodways, felDENTIT\J, arts, and occupational traditions — music and storytelling, and celebra- c-^^. students learn from the stories of bor- tions. The kit contains a four-part der residents. This kit includes a four- video cassette, two audio cassettes, part video, a poster-size cultural map, and a teacher/student and a teachers guide with maps, photographs, and line illus- guide with exercises for classroom use. Published 1996. Grades trations. Published 1992. Grades 6-12. $45.00. Catalog

6-12. $55.00 kit; $10 cultural map separately. Catalog #SFW90012 #SFW90010

Land and Native American Cuhures To ORDER, V^^RITE, FAX, OR CALL:

W'j LAND AND This kit introduces studeuts to the use Smithsonian Folkways Mail Order

^ AMHUCAN of land in Native American communi- 955 L'Entant Plaza, SW, Suite 7300, Washington, DC 20560-0953 £d I

W^, CUWUBBI . , , , , J- ties through three case studies: the Phone: (202) 287-7298 FAX: (202) 287-7299

Hopi of Arizona; the Tlingit, Haida, Orders only: (800) 410-9815 and Tsimshian of Alaska; and the All prices include shipping and handling. Aymara and Quechua of Bolivia and

Peru. Units address subsistence, crafts, Visit the Smithsonian Center for Folklife and Cultural

mythology, and ritual. The kit includes Heritage on the Web at . an extensive teacher/student guide with narrative, photographs, resource listing, and activity questions. A slide set accompanies the guide. Published 1997. Grades 9-12. $21.00. Catalog #SFW9001

Smithsonian Folklife Festival 1999 93 Evening Programs Calendar

Wednesday, June 23 Marching Band, a fireman's muster, old-fashioned children's games,

South African Dance Party at the Romanian Music & Dance Hall, and cooking demonstrations. Following these events will be an

5:30-7:00 p.m. Dance to the rhythm of bongo drums, marimba, evening contra and square dance party.

and ttibiras, as the Phambili Marimba Band from Cape Town per-

forms traditional music and dance. Wednesday, June 30

New Hampshire Dance Party at the South African Luvhandeni

Romanian Concert at the Romanian Music & Dance Hall, ("Virtuoso") Stage, 5:30-7:00 p.m. Contra, square, and Irish ceiU

7:00-9:00 p.m. Featuring urban, folk, and Gypsy music, this concert dancing. presents a variety of Romanian musical genres.

Stellenbosch Libertas Choir at the South African Luvhandeni

Thursday, June 24 ("Virtuoso") Stage, 7:00-9:00 p.m. In the spirit of the Rainbow

Ralph Rinzler Memorial Concert: "Traditional Music for the Nation, South Africa's mukiracial Libertas Choir makes a special

Wedding" at the New Hampshire Town Hall Music & Dance Stage appearance at the Folklife Festival.

(in case of rain, Baird Auditorium, National Museum of Natural

History), 5:30- 9:00 p.m. This year's fifth annual Ralph Rinzler Thursday, July 1

Memorial Concert, honoring the achievements of the long-time South African Dance Party at the Romanian Music & Dance Hall,

Festival director, will feature traditional wedding music from the 5:30-7:00 p.m. Marimba and mbim music by the Phambili

Balkan countries of Bulgaria and the Republic of Macedonia and the Marimba Band.

Eastern Caucasus of the former Soviet Union. The Yuri Yunakov

Ensemble expands upon traditional Balkan village melodies to bring Fiddle Combination with Fiddlers from New Hampshire and an eclectic mix of jazz, rock, Turkish, and Indian music to listeners. Romania at the Romanian Music & Dance Hall, 7:00-9:00 p.m.

They are joined by the New York-based Ensemble Tereza, who skill- Fiddlers from New Hampshire and Romania come together to fully fuse their traditional south Caucasian instruments with modern demonstrate the shared customs that exist amid the diversity of this ones. Both groups illustrate the popular appeal that "wedding music" year's Festival. has in diaspora communities. This concert is supported by The

Recording Industries Music Performance Trust Funds and the Ruth Friday, July 2

Mott Foundation. CoNjuNTO Dance Party at the South African Luvhandeni

("Virtuoso") Stage (in case of rain, Baird Auditorium, National

Friday, June 25 Museum of Natural History), 5:30-9:00 p.m. In collaboration with

New Hampshire Dance Party at the South African Luvhandeni the National Museum of American History's ENCUENTROS pro-

("Virtuoso") Stage, 5:30-7:00 p.m., with klezmer music. gram, this dance party brings Mexican-American dance music to a

wider audience from its South Texas home, where it is played at

South African Concert at the South African Luvhandeni weddings, female coming-of-age ceremonies, graduation dances,

("Virtuoso") Stage, 7:00-9:00 p.m. Presented in Tswana, Zulu, and funerals. The dance party features Los Hermanos Layton and

Xhosa, and Sotho languages, the Teemayo Traditional Dance Group Gilberto Perez y Sus Compadres. It also marks the release of the new addresses traditional and contemporary issues in theatrical form. Smithsonian Folkways recording, Taquachito Nights: Conjunto Music

from South Texas, a CD formed out of a partnership between the

Saturday, June 26 Smithsonian and the Narciso Martinez Cultural Arts Center.

Romanian-American Night at the Romanian Music & Dance Hall,

5:00-9:00 p.m. Join in as Romanian Americans gather on the National Saturday, July 3

Mall to celebrate their heritage and traditions. Romanian Americans Franco-American Day in the New Hampshire Program Area, and the general pubhc are invited to participate in this festive evening, 5:30-9:00 p.m. To feature this community's cuhural presence in which features performances by Romanian musicians and dancers. New Hampshire, we are hosting a "Franco-American Day" to recog-

Orient Express, an urban ethno-pop jazz fusion band, also performs. nize the heritage and traditions of New Hampshire's residents who,

beginning in the 1800s, immigrated from Quebec. A Franco soiree

Sunday, June 27 and dance party are planned. Old Home Day in the New Hampshire Program Area; Dance Party begins at 5:30 p.m. Celebrate that "down-home feeling," as we pro- Sunday, July 4 vide an all-day event filled with traditional community activities New Hampshire Dance Party at the New Hampshire Town Hall from New Hampshire. Included will be the Temple Community Music & Dance Stage, 5:30-7 p.m. Contra and square dancing.

94 Smithsonian Folklife Festival 1999 Special Concerts and Events

Fifth Annual Ralph Rinzler Memorial Concert Traditional Music FOR THE Wedding Thursday, June 24, 5:30 - 9:00 p.m. New Hampshire Town Hall Music 8c Dance Stage'*^

Masters ofCcrcwoiiies — Martin Koenig and Ethel Raini Ensemble Tereza

Featuring Ruslan Agababayev, Mark Elizarov, Tereza Elizarova, Alex Hafizov, Rashad Mamedov, Victoria Minayev, Salamon Ryvinov, Robson Yefraimov Yuri Yunakov Ensemble

Featuring Lauren Brody, Catherine Foster, Jerry Kisslinger, Ivan Milev, Carol Silverman, Yuri Yunakov CoNjuNTO Dance Party This concert is made possible with support from The Recording Friday, July 2, 5:30-9:00 rm. Industries Music Performance Trust Funds and the Ruth Mott South African Luvhandeni Stage'^ Foundation. Los Hermanos Layton

Featuring Gilbert Gonzalez, Norfilia Layton Gonzalez,

Antonio V. Layton, Benigno Layton, Rene Layton Orient Express Gilberto Perez y Sus Compadres

Romanian Jazz Fusion Featuring Cande Aguilar, Sr., Gilberto Perez, Jr., Gilberto

Friday, June 25, Noon Perez, Sr., Jaview Perez Carmichael Auditorium, National Museum of American History In collaboration with the National Museum of American

Featuring Octavian Andreescu, Mario Florescu, Hanno History's ENCUENTROS program, this dance party marks the

Hoefer, Zoltan Hollandus, Mihai lordache, Jiini Laco, Edi release of the new Smithsonian Folkways recording,

Neumann, Hari Tavitian Taquachito Nights: Conjunto Music from South Texas, a CD produced in partnership with the Smithsonian and the Narciso Martinez Cultural Arts Center of San Benito, Texas. Old New England Thursday, July 1, 6:00-7:00 rm. Millennium Stage Kennedy Center FOR THE Performing Arts

Featuring Bob McQuillen, Jane Orzechowski, Deanna Stiles

* In case of rain, Baird Auditorium, National Museum of Natural History.

Smithsonian Folklife Festival 1999 95 Recent Books about the Festival and Smithsonian Folkways Available at the Festival Marketplace

Smithsonian Folklife Festival: Smithsonian Culture Of, By, and For the People Folklife Festival by Richard Kurin

Culture Of, By, and For the People 1 84 pages, over 200 photos Full color ISBN 0-9665520-0-8 Price: $10.00

Available through mail order: (202) 287-7297"or (800) 410-9815

Add $ 1 for shipping and handling for mail order.

This book provides a Festival history, an explanation ot how

the Festival is produced, analysis of various programs, and some of the best images and quotes about the Festival over

the past 32 years. Excellent for reference, and an attractive gift. RlCHABD KltRIN

Making People's Music: Moe Asch and Folkways Records

by Peter D. Goldsmith 468 pages, illustrations Hardbound $34.95

ISBN 1-56098-812-6

A history of Folkways and a window into folk music and the cultural

history ot twentieth-century America.

Available through mail order: (202) 287-7297 or (800) 410-9815.

Add $5.50 tor shipping and handling for mail order.

Reflections of a Culture Broker:

OF A CULTURE BROKER A View from the Smithsonian A VIEW FROM THE SMITHSONIAN by Richard Kurin 315 pages, illustrations '(%^^ Hardbound $34.95; Soft cover $17.95

ISBN l-5ti098-789-8 ISBN 1-56098-757-x

An account of the practice of cultural representation in various

Smithsonian museums, festivals, and special events.

Available through Smithsonian Institution Press.

RICHARD KURIN Call (800) 785-4612 or (703) 661-1599 to order.

96 Smithsonian Folklife Festival 1999 _

Lily Spandorf Festival Collection At the Centerfor Folklife and Cultural Heritage

Spandorf is an artist who has aspects of Rinzler Folklife Lily documented Archives and Collections, where they will join Washington life through her sketches, watercolors, and Ben Shahn's record covers and Woody Guthrie's notebooks and

drawings over the past four decades. For many years her artwork. The acquisition will result in the preservation of the illustrations illuminated the Washington Star newspaper. original drawings, the making of digital copies, and the publi-

National Geographic featured her cityscape of capital life. cation of a catalog of images. The drawings will be used for Paintings of local architecture were turned into a book, the purposes of research, education, and promotion. A com-

Washington Never More, the subject of a Barr Weissman fihn. The mittee has been formed to help solicit contributions to enable

White House Historical Association acquired a collection of her the acquisition and preservation of the collection.

"Christmas at the White House" paintings and drawings. The If you can help support this effort, please fill out theform

Senate acquired her work documenting the timing of Advise below. All donors will be acknowledged in a published catalog of and Consent. In 1988 she was the first local solo artist to be ex- the collection at the level of their donation, and donors of $25 and hibited at the National Museum of Women in the Arts. Since above wOl receive one free copy of the catalog.

1967 Lily has come to the National Mall every summer to draw scenes from the Folklife Festival. These drawings — watercolors Acquisition Support Committee and line drawings — document Festival artists, musicians, per- Jeannine Smith Clark Smithsonian Regent Emerita, former Chair, sonalities, performances, audiences, and major events. Historical Society of Washington, D.C.

The Smithsonian wishes to acquire Lily's 575-plus drawings Neil Horstman Executive Director, White House Historical Association of the Festival. They will be housed in the Center's Ralph Richard Kurin Director, Smithsonian Center for Folklife

and Cultural Heritage FRIENDS OF THE FESTIVAL LILY SPANDORF Mary McGrory Columnist, Waihiugtou Post FESTIVAL COLLECTION ACQUISITION CAMPAIGN Diana Parker Director, Smithsonian Folklife Festival Cut out card and mail to

Smithsonian Center for Folklife and Cultural Heritage, 955 L'Enfant Plaza SW. Suite 2600. Washington, DC 20560-0914 Diane Skvarla Curator, U.S. Senate

Name:

Address:

City/State/ZIP:

Telephone: (

I would like to support the acquisition of the Lily Spandorf

Festival Collection. I would like to donate:

U$25 uSSO LI $75 U$100 U $500 J Other $

I would like my donation properly acknowledged in a list of supporters in

the Lily Spandorf Collection catalog when published. Yes u No

I would like to receive a copy of the catalog when published. J Yes No

Mail this card with your check to the above address. Please make checks payable to

the Smithsonian Institution. The Smithsonian is a 501(c)(3) organization, so your

contribution is tax deductible in the United States. You must subtract the value of

any goods you receive from your deduction, which, if you decide to receive the cata-

log, is $5. The minimum donation to receive a catalog is $25.

^5^.a.^<,^/—

Smithsonian Folklife Festival 1999 97 CONTRADANCE&SQUAREDANCEMUSICOFNEWHAMPSHIRE

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Smithsonian Folkways Recordings Historic and contemporary recordings

Big sale witii special prices at tiie Festival Marketplace Tent. Browse through hundreds of CDs and cassettes. I I 800.410.9815 or [email protected] to order CDs or a catalogue

^*^'~ www.si.edu/folkwa^^

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WOODV GUTHRIE Voidez-vous River Dfliiser? 1. OF^ONG

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Folkways Promotion Manager: National Park Service Romania Brenda Dunlap The Romania program is produced Secretary of the Interior: Folkways Mamifacturing with the Romanian Cultural & Bruce Babbitt Distribution Coordinator: Foundation and organized with the Director, National Park Service: Mike Maloney cooperation of the Office of the Robert Stanton Folkways Production Coordinator: President of Romania, the Ministry Director National Capital Region: Mary Monseur of Foreign Affairs, the Ministry of Terry R. Carlstrom Smithsonian Institution Culture, and the U.S. Embassy in Audio Recording Specialist: Chief, United States Park Police: Romania, and with Secretary: I. Michael Heyman Ronnie Simpkins support from Robert E. Langston Under the Government ofRomania. Major Secretary: Assistant Audio Recording Commander Special Forces, sponsors are Coca-Cola and Constance Berry Newman SpeciaUst: United States Park Police: CONNEX. Contributors include the Provost: Dennis O'Connor Scott Finholm Maj. Marvin Ellison Romanian Development Bank, Folkways Merchandise Specialist: Chase Center for Folklife and Special Events, United States Manhattan Bank and tfie Sharleen Kavetski Cultural Heritage Park Police: Diana Smith Timken Foundation. Donors Folkways Fulfillment Staff: include Nestor Nestor & Kingston Director: Richard Kurin Superintendent, National Capital Lee Michael Demsey, Matt Petersen, Cold Chain Impex S.R.L., Deputy Director: Region-Central: Levine, Nakeida Moore Zero International Inc., and Richard Kennedy Arnold M. Goldstein Administrative Assistant to the General Electric. Major in-kind sup- Festival Director: Diana Parker Chief, Division of Visitor Services, Director & Administrative Officer: port is provided by Tarom Airlines, National Capital Parks-Central: Director. Switlisoiiiaii Folkways Linda Benner Bates Centrade Saatclii & Saatclii Donna Donaldson Recordings: Anthony Seeger Administrative Romania, and Romtrans. Associate Superintendent of Director, Cultural Heritage Policy: Assistant/Receptionist: Maintenance, Natiotml Capital South Africa James Early Bernard Howard Parks-Central William Newman, Jr. This program is produced with the Administrative Officer: Volunteers: Site Manager, National Malt, collaboration and support of the Barbara Strickland Dale Dowdal, Ramona Dowdal National Capital Parks-Central South African Department of Arts, Senior Ethnoniusicologist: Fellows Research & Associates: Erin Broadbent Culture, Science and Technology Thomas Vennum, Jr. Stanford Carpenter, Roland and the National Arts Council. Special Assistant for Partnerships, Chair Research & Education: Freeman, Dan Goodwin, Nancy Other National Capital Parks-Central contributors include the Olivia Cadaval Groce, Yanique Hume, Ivan Karp, Lisa Mendelson Department of Trade and Industry, Alan Lomax, Worth Long, Rene Assistant Director, Sniithsoiuati Department of Foreign Affairs, Concessions Specialist, National Lopez, Anthony McCann, Brett Folkways Recordings: Department of Sport and Capital Parks-Central Pyper, Kate Rinzler, Lynnell D.A. Sonneborn Recreation, Buy-Afrika, African Art Nelson Hoffman Thomas, Nilda Villalta Curators, Folklorists, Education & Centre, and Skukuza Alliance. Employees of the National Capital Advisors: Michael Asch, Phyllis Special appreciation to Metro Travel Cultural Specialists: Betty J. Area and the United States Park Belanus, Marjorie Hunt, Diana Barney, Jane Beck, Don DeVito, and corporate sponsors. KWV and Pohce Pat Baird N'Diaye, Peter Seitel Jasper, Ella Jenkins, Jon the Royal Hotel, Durban. Kertzer, Barbara Kirshenblatt- Program/Publications Manager: Major Sponsors Gimblett, John Nixdorf, Bernice Ralph Rinzler Carla M. Borden Memorial Johnson Reagon, Gilbert Sprauve, Ne\v Hampshire Concert Program Manager: This program is made possible with Jack Tchen, Ricardo Trimillos This program is produced wilfi the John W. Franklin supportfrom Tlie Recording New Hampshire Commission on the Coordinator Eatino Cultural Industries Music Performance Trust Smithsonian Folkhfe Festival and Resource Network: Funds and the Ruth Mott its non-profit affiliate Celebrate Cynthia Vidaurri Foundation. New Hampshire Culture in partner- Technical Director: Pete Reiniger ship with the New Hampshire State

Art Director: Kenn Shrader Coutuil on the Arts, Department of Design Project Coordinator: Cultural Resources, and the State of Kristen Fernekes New Hampshire. The presenting

sponsor is Archivist: Jeffrey Place Bell Atlantic. Other major sponsors include Fleet Bank Assistant Archivist: NH: Heahhsource New Hampshire, Stephanie Smith A CIGNA Healthcare Company: Program Specialist: Public Service of New Hampshire; Arlene L. Reiniger Sanders, A Lockheed Martin Media Specialist: Charlie Weber Company; Tyco International Ltd.;

Fiscal Managers: Fidelity Investments; Fisher

Heather Berthold, Scientific International Inc.; and Katherine Ferguson, Bill Holmes The Recording Industries Music Performance Trust Funds. o

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