CENTER NEWS FALL 1992 • VOLUME XIV, NUMBER 4

American Folklife Center • The Library ofCongress voyage to America in 1492 could not be Board ofTrustees a celebration in the sense that the Bicentenary of the Declaration of In­ William L. Kinney,Jr. , Chair, dependence had been a celebration in South Carolina 1976. Native American groups had John Penn Fix Ill, Vice Chair, staged protests of Columbus Day cel­ Washington ebrations long before 1992. A national Nina Archabal, Minnesota discussion of American multi­ Lindy Boggs, Louisiana; culturalism had brought about a new Washington, D.C. understanding that different ethnic Carolyn Hecker, Maine groups are affected by historical events Robert Malir, Jr., Kansas in different ways. For many, the ques­ Judith McCulloh, Illinois tion ofhistorical interpretation had be­ The American Folklife Center was Juris Ubans, Maine come one of point ofview. created in 1976 by the U.S. Congress to Although some plans for official "preserve and present American Ex Officio Members events honoring Columbus faltered folklife" through programs of research, 1 James H. Billington, for lack ofmoney and purpose, many documentation, archival preservation, reference service, live performance, Librarian ofCongress Columbus Quincentenary exhibits, exhibition, publication, and training. Robert McCormick Adams, films, and books appeared. Most of The Center incorporates the Archive of Secretary qfthe Smithsonian Institution these presented balanced, scholarly Folk Culture, which was established in Anne-Imelda Radice, Acting Chairman, accounts that placed Columbus in the Music Division of the Library of Congress in 1928, and is now one of National Endowment for the Al1s the context of his times and exam­ the largest collections of ethnographic Lynne V. Cheney, Chairman, National ined the immense consequences of material from the United States and r:ndowmentfor the Humanities his "discovery." For example, an ex­ around the world. Alan Jabbour, Director, hibit at the Smithsonian Institution, American Folklife Center Seeds of Change, described the ex­ change of foods among North and Administration FOLKLIFE CENTER NEWS South America, Europe, Africa, and Alan Jabbour, Director Asia, as trade developed. A series on Ray Dockstader, Depuzy Director James Hardin, Editor PBS, "Columbus and the Age of Dis­ Timothy Lloyd, Assistant to the Director Timothy Lloyd, Editorial Advisor David A. Taylor, EditorialAdvisor covery," recreated the 1492 voyage Doris Craig, Administrative Assistant John Biggs, Library ofCongress using both historical images a nd Hillary Glatt, Program Assistant Graphics Unit, Designer scenes from the present. The Library Camila Bryce-Laporte, of Congress exhibit and book, 1492: Program Coordinator Folklife Center News publishes ar­ An Ongoing Voyage, looked at the Jennifer A. Cutting, ticles on the programs andactivities of the American Folklife Center, as well period 1450 to 1600 and described Program Coordinator as other articles on traditional expres­ who was living in North and South Acquisitions sive culture. Itis available free ofcharge America, who came, and what hap ­ Joseph C. Hickerson, Head from the Library of Congress, Ameri­ pened as a result. And the Folklife can Folklife Center, Washington, D.C. Center's exhibit and book, Old Ties, Processing 20540-8100. Folklife Center News does Stephanie A. Hall, Archivist not publish announcements from New Attachments: Italian-American Elaine Bradtke, other institutions or reviews ofbooks Folklife in the West, focused on the American Memory Project from publishers other than the Library lives of one immigrant group. Thus, ofCongress. Readers who would like instead ofcalling forth a reiteration of Catherine Hiebert Kerst, to comment on Center activities or American Memory Project newsletter articles may address their schoolroom platitudes, 1992 became Programs remarks to the editor. the occasion for scholarly examina­ tion and public education. Peter T. Barris, Folklife Specialist One word that emerged to de­ Mary Hufford, Folkl!fe Specialist scribe the events offive hundred years David A. Taylor, Folklife Specialist Cover: Grand entry at the 1984 ago was encounter. In this issue of Publications Omaha Tribal Powwow in Macy, Ne­ Folklife Center News, Judith Gray, James Hardin, Editor braska. Whi le traditions differ from tribe e thnomusicologist and reference Public Events to tribe, the male fancy dancer, like specialist forAmerican Indian collec­ Thea Caemmerer, Coordinator those pictured here, has become one of tions at the Folklife Center, offers a Reference the representative images for American number of examples of what hap­ Indians generally. (227546-4-25-26) Gerald E. Parsons, Reference Librarian pens "Whe n Cultures Meet." While Photo by Dorothy Sara Lee Judith A. Gray, Folklife Specialist the consequences of "1492" for na­ Administrative Office tive peoples were overwhelming, Tel: 202 707-6590 Gray notes that those who came to be Reference Service known as American Indians were not Tel: 202 707-5510 EDITOR'S NOTES simply passive victims.The effects of Federal Cylinder Project Encounters with "the Other" encounterare more complicatedthan Tel: 202 707-1740 the conquest and domination of one group by the other. The Columbus As 1992 approached, it became clear that the commemoration ofColumbus's continued on page 15 2 Folklife Center News When Cultures Meet

La Terra de Hochelaga nella Nova Francia. Impression of the fortified Indian town Hochelaga, published in Gian Battista Ramusio's Terzo volume de/le navigationi etviaggi ... [Venetia] 1556. The engraver attempts to render a 1535 description by Jacques Cartier: a populous village, "circular and . .. completely enclosed by a wooden palisade in three tiers like a pyramid." Within the wooden palisade, Cartier found "some fifty houses ... each of fifty or more paces in length, and twelve or fifteen in width, built completely of wood and covered in or bordered up with large pieces of the bark and rind of trees ... which are well and cunningly lashed after their manner." Within each of these large houses, many Indian families lived in common. The hill to the left, Monte Real, is now covered by the modern Canadian city of Montreal. Rare Book and Special Collections Division, Library of Congress

By Judith Gray cultural expression we commonly use cal and cultural conquest. Those who to mark significant occasions. negotiate the gap between such di­ October 12, 1492, was not the date of But apart from an understanding vergent positions often use the term first contact between peoples of the that 1492 was significant, evaluations encounteras a means of characteriz­ earth's two hemispheres; that much is of-and reactions to--the events of ing 1492 without immediately as­ clear. But it has become the emblem that year and of their consequences sessing its aftermath. for all that happens when societies have not been unanimous: at one end As symbols, the two years, 1492 first experience one another. Conse­ of the spectrum, there are celebra­ and 1992, are complicated. Neither quently, the Columbian Quincen­ tions ofthe spirit ofdiscovery and the can be explained entirely as a series of tenary has been marked by symposia, subsequent development of ideas events; both represent processes that religious observances, concerts, pa­ and ideals in the "New World"; on the can evoke the best or the worst, the rades, publications, exhibits, food other, there is anger and mourning most dogmatic or the most flexible, samplings, and many other forms of over the devastating realities ofpoliti­ the most straightforward or the most Fall 1992 3 convoluted responses from individu­ hunt small fur-bearing animals rather To be sure, trade created needs and als who come face to face with "the than larger animals that were more desires that were not present earlier. Other." When societies meet, mem­ practical sources offood), traders had Guns were clearly desirable for hunt­ bers of each group evaluate what the to determine what Indian people ing but made the new owners depen­ other has to offer. The items subject to wanted in exchange. They offered dent on traders for an ongoing supply such comparisons include material various European goods; tribal people of powder and bullets. The most per­ goods, but also ways of acting and evaluated and chose those that made nicious "need" was created by the speaking, techniques for doing things, sense to them. Initially the items cho­ traders' introduction of whiskey, with ideas and ideals-the whole gamut of sen were, by and large, practical sub­ disastrous consequences for the na­ human cultural expression. Both par­ stitutes for objects already available. tive people. ties have opportunities to affirm, For example, an iron cooking pot was change, or put aside items in their more efficient in most circumstances­ oth the French traders and own cultural repertory; and, con­ and clearly more durable-than a bark Jesuit missionaries chose to versely, to reject, adapt, or adopt items vessel in which food was cooked by B live among or in proximity to from the other. While the political means of heated rocks. Likewise, a their Indian clients. They realities of the encounter may deter­ metal knife held its edge, and trading learned Indian languages, and many mine-and enforce-certain changes, for one was certainly easier than la­ of the traders took Indian wives and the manner in which ideas, materials, boring to produce a stone implement. stayedon. Individua!Jesuits also stayed or techniques are transferred across Guns were superior to bows and ar­ at their posts for years. The latter real­ cultural boundaries is almost always rows in range and deadly effect. ized that Christianity could best be selective. Smaller societies are neither On the "artistic" side, glass beads introduced to Indian communities by passive nor entirely swallowed up by quickly became a supplement and example and by building on concepts others, and even the dominant and sometimes a replacement for quill work already found in Indian cultures. So domineering are affected by contact. ornamentation. Quilling is a very time­ they studied their new neighbors Eastern Europe and the former Soviet consuming process, and the natural closely, sending back reports of ob­ Union bear testimony to the ways in dyes available to people in the Great servations and activities toJesuit su pe­ which ethnic identities can overwhelm Lakes-St. Lawrence region formed a riors in France. national boundaries. limited palette. European glass beads But the opportunities for misinter­ Cultural preferences and adapta­ came in many colors-although cer­ pretation across cultural boundaries tions are found everywhere in history tain colors were preferred (and those were many, then as now. Consider the and contemporary experience. The preferences varied from area to area). presumptions and the patterns of items or practices that embody a But the use ofbeads in place ofporcu­ thought underlying linguistic differ­ society's sense of itself are apt to be pine quills was more than a time­ ences, for example. Many of the tribal cherished and preserved intact pre­ saving adaptation. In certain contexts, people in the St. Lawrence-Great Lakes cisely because they differentiate one glass beads may have been associated region spoke Algonquian languages. society from another. Other catego­ with power believed to lie in naturally Algonquian verb forms differ, de­ ries of expression will be more open occurring crystals. Beads also offered pending on whether the speaker is to outside influences. People may new possibilities: porcupine quills reporting an event that he or she per­ choose one set of behaviors for time are not easily worked into curvilin­ sonally witnessed or one that was re­ spent among themselves, while ear designs, while beads on a string lated by another person. Latin-trained choosing another for relations with can readily be shaped. Not all the grammarians labeled the latter feature members ofanother society. And, over groups who opted to use beads the "dubitative case," the doubtful case, time, the balance ofthese choices may modified their distinctive straight­ suggesting thereby that a speakerwho change. edged geometric patterns, but the cur­ used such verb forms was expressing Look, for example, at some facets vilinear floral designs, perhaps par­ some hesitancy about the truth of his of the early cultural contacts between tially modeled on the French embroi­ or her report. How then would a mis­ European and Indian people in the St. dery taught in mission schools, became sionary tell the narratives of the life of Lawrence River-Great Lakes region. distinctive Great Lakes-St. Lawrence Christ? What verb forms would be The Europeans who arrived on these motifs. Thus the presence of these appropriate? What selections needed shores in the 1500s and 1600s were new items-glass beads-accommo­ to be made to accommodate theo­ not a homogeneous lot. They came dated both the retention oftraditional logical realities of one party and lin­ with different backgrounds and pur­ patterns and the expansion of the guistic practices of those he was at­ poses, and interacted in different ways design repertory. tempting to reach? with the indigenous people they en­ Indian people were not passive In intercultural encounters, some­ countered. The French were among partners in the trading process; they thing as fundamental as kinship termi­ the first to follow the St. Lawrence made changes in their lives because nology could also present a problem. In River into the interior ofthe continent; they saw advantages to doing so. Later some Indian cultures, I would identify their first representatives were prima­ on, when there were competing trad­ my biological mother and her sisters by rily traders and Jesuit missionaries. ing companies, Indian trappers the same term, which is different from Both groups sought out the Indians, shopped around, looking for the best what I would call my father's sisters. but to different ends. deals and the best quality items-and Correspondingly, I would address all The traders primarily wanted one they frequently traveled long distances the children of my mother and her sis­ item from their new trade partners­ to do so. Economic self-interest oper­ ters as my siblings, while the children of furs. To persuade Indian hunters to ated on both sides of the trade part­ my father's sisters would be identified change their traditional patterns (to nership. by a word comparable to cousin.

4 Folklife Center News Imagine all the possible reactions ofa mantic movement that swept both imagery to serve nationalistic ex­ European missionary on hearing a Europe and its colonies in the late­ pression was the school of single person identify two separate eighteenth and early-nineteenth "Indianist" composers of the late­ women as "my mother" and of an centuries. nineteenth and early-twentieth Indian person hearing that a Euro­ centuries, men such as Edward pean trader had married one of his n the decades following MacDowell, Charles Wakefield mother's sisters' children. Such basic American independence, Cadman, Thurlow Lieurance, and differences in the patterns oforganiz­ I many of the former colonists Carlos Troyer. inghuman experience mayhave con­ and their descendants felt that The timing of this movement is tributed to the misunderstandings that separate identity had not been ironic. By the late-nineteenth century, led some colonists, for example, to achieved by virtue of a separate the Indian wars were over. Indian self-righteous reaffirmation of their political structure. They struggled people had been confined on reser­ own ways of perceiving the world to differentiate American culture vations, and the official government and to total rejection of the world from European, to isolate that policy was designed to squelch In­ views of others. which was uniquely "New World," dian culture and to turn the people What about the impact of just as various nations and ethnic into upstanding citizen-farmers di­ intercultural contact on the societies groups in Europe were trying to iden­ vorced from their heritage. But artists back in Europe for whom traders and tify what was unique to them. For and composers reflected the domi­ missionaries served as middlemen? example, features of the Iroquoian nant society's fascination with the Beyond the proliferation of beaver­ confederacy ultimately influenced the people they had "subdued." So while pelt hats, the effect of Indian contact design of the Constitution of the some genuine Indian song genres on the European societies was prob­ United States. were disappearing (since the occa­ ably quite limited initially. But over The push on both sides of the sions for their use had been sup­ time, the accumulated reports con­ Atlantic for national identities was pressed), composers were choosing cerning such contacts contributed to reflected in the arts. But the image and adapting elements of Indian the formation of ideas that shaped (rather than the reality) of "the In­ song for their own work, precisely subsequent European experiences of dian" was seized upon as the very in o rder to establish a uniquely America: Rousseau's notion of "the epitome of the New World and used American content, if not style. noble savage," for example, or the by artists, dramatists, poets, novelists, The operative words here are concept of the frontier. These ideas and composers. One manifesta­ choosing and adapting. Certain ele­ became part and parcel of the Ro­ tion of this use ofAmerican Indian ments of Indian song styles could

Carte geographique de la Nouvelle Franse ... tacit en 1612. From Samuel de Champlain, Les Voyages du sieur Samuel de Champlain Xaintongeois, Paris, 1613. Engraving .made from a drawing by Samuel de Champlain as a result of his voyages to New France. The figures depicted are Montagnais and Almouchiquas peoples; also shown are native plants and animals. Rare Book and Special Collections Division, Library of Congress

Fall 1992 5 Other composers were also in­ spired by Fletcher's work and bor­ rowed material from her collections. The opening motif and the basic me­ lodic outline for what is perhaps the NAVA.JO \VAH DANOJ<.: most famous Indianist composition, Charles Wakefield Cadman's "From the Land of the Sky Blue Waters" (published in 1901) are fairly literal reproductions of an Omaha flute call and love song in Fletcher's collection. But, unlike Farwell, Cadman did not try to replicate Indian sounds. It is unlikely that a listener could guess that the melody had been borrowed from an Indian source, since Cadman embedded the tune in pure Euro­ American harmonic structures and rhythms and all the conventions of accompanied solo song. What stands out more as "Indian" is the song's narrative, describing a fearless cap­ tive maid courted by a flute-player. It is the text that marks many an Indianist composition, but the words are not usually those of direct tribal experience. While there is ample documentation of Indian oratorical eloquence, Indianist compositions seldom reflect it. For example, an­ other of Cadman's songs, "The Moon (~ ~ . ,, .. Drops Low," includes the verse: .. .".. . (., Our glory sets like the sinking moon; The Red Man's race shall be per­ ished soon; Ourfeet shall trip where the web is spun, For no dawn shall be ours, and no rising sun. Farwell composed several settings of "Navajo War Dance." This piano version (1905) shows the steady drum-like beat in the left hand and the right-hand melody built on The texts that many of the Indianists skips rather than on adjacent tones. Note his instructions on how the piece is to be chose to set to music are filled with played: "with severe precision of rhythm throughout, and savagely accented." Music Division, Library of Congress similar elegaic evocations of past glory, supposedly the words of an heroic race at the brink of extinction. easily be used by American-born but vocables nonetheless), the pulsing There is a passivity here that does not typically European-trained compos­ beat. Farwell wrote: do justice to the struggles of Indian ers; other elements were not assimi­ people over that which was happen­ lated so easily into musical structures This chorus is so notated as to ing to and around them. The images built on harmony and into a musical bring out the inner pulsations of selected for Indianist compositions aesthetic that preferred an open­ the Indian voice, as observed in (and, indeed, even in some more re­ throated singing style. When we lis­ the Indians' singing ofsongs ofthis cent songs about Indians by non-In­ ten, for example, to a choral setting of type in the Southwest. I dian composers) are just that: selec­ the "Navajo War Dance," composed tions from a much broader array of by ArthurFarwell (1872-1952), we do Farwell got his ideas about Indian Indian experiences, past and present. not have the illusion that we are hear­ music from visits to some southwest­ Would anyone know from such im­ ing an Indian song. But the elements ern reservations, from transcribing ages that Native people had traditions of Navajo style that caught his atten­ cylinder recordings of Indian songs of straightforwardly reciting achieve­ tion are clear: the sparse sound (few collected in California by Charles ments and victories, let alone an ev­ harmonies), the typical Navajo me­ Lummis, and from the study of tran­ eryday world of work, education, lodic skips, the vocables (non-lexical scriptions of melodies collected by childrearing, food preparation, and syllables like "way ya ha hi"- not Alice Fletcher, a noted scholar of negotiating with government agen­ characteristic Navajo vocables, but Omaha ceremonial traditions. cies?

6 Folklife Center News The Indianists were Romantics turesque aspects, as well as to its out as well in the iconography on the who seizedupon universal themes of mythological conceptions. Being sheet music for these compositions love, war, and death cloaked in criticized because of these mat­ or the posters of the lecture-concert American Indian dress. Products of ters, as being untrue to this "sav­ tours such composers and affiliated their times, the Indianists responded age" Indian nature, I wrote the singers were apt to make: vignettes to and in turn reinforced prevailing "Navajo War Dance" in the hope of tepees, borders made of arrows, stereotypes. Arthur Farwell also had of gratifying my critics. photos of Anglo singers in buckskin the following to say about the piano with feathers in their hair. version of his "Navajo War Dance": Thus he protested the stereotyped image-but proceeded to contribute enerally, the aural and vi­ Too many people think of the to it. sual images invoked in American Indian only as a "sav­ Even when composers such as G Indianist compositions are age." I had in my Indian music Farwell and Cadman had actual field­ undifferentiated-they depicted many phases of Indian work experience, their music was concern "the Red Man," "the Indian," life that were far from savage, but most often a superficial evocation of and thus reflect the European and true to its quaint, poetic and pie­ Indian sounds and ideas. This is borne Euro-American tendency to see In­ dian culture as monolithic. Tribal dis­ A flyer used to advertise concerts by lndianist composer Thurlow Lieurance. Note that tinctions did not seem to registerwith Lieurance wears a tuxedo, while the singer, his wife, is in "Indian" dress, with furry those who were not directly involved headband and dress ornamentation. The border of the flyer also mixes generic flowers with Indian individuals. Much ofthat with an approximation of design motifs found in Plains quill- and beadwork. Archive of tendency carries over into the present. Folk Culture India n p eople , however, know themselves as members of specific groups; tribal affiliation is a primary source of identification. But identity labels are often con­ text-dependent, sometimes chosen, The sometimes assigned . For example, depending on the circumstances, I could say that I am German-Ameri­ Lieurance can, white, a Protestant, a Wiscon­ sinite, a Midwesterner, an American. Concerts One of those identities-Midwest­ erner- became mine only after I moved to the East Coast. I w as not aware of myself as Midwestern until I encountered a lot of people who weren't. On a larger scale, but in Muu cal Artists similarways, ethnic groups and whole societies literally are defined or define themselves in cultural encounters. It might reasonably be claimed EDNA WOOLLEY..LIEURANCE that the concept of "the American SOPRAl'wA::J Indian" is a product of contact; though THURLOW LIEURANCE there were precontact tribal confed­ COMPO!il!:J<..PIAN'IST eracies, "the American Indian ," the pantribal identity, probably did not exist before. Prior to contact with Europeans, there was no inside need for a level of identity that included tribal neighbors as well as rivals or enemies, that spanned a continent or an entire hemisphere- and no out­ Indian and Nature Music side view to lump together people as diverse as the Kwakiutl, the Hopi, the Cuna, the Pawnee, the Cree, the Natchez, the Tarahumara. Regardless of how the terms came into being, however, "American Indian" and "Native American" are now recog­ nized concepts both inside and out­ side the societies so identified . And frequently the category "American Indian" takes precedence over spe­ cific tribal affiliation.

Fall 1992 7 One important way in which 111t;11 'n1c1 pantribal identity is expressed is through song. Featured, for example, at one Library of Congress event was INDIAN a local drum group that included SONGS FROM WIGWAM singers identified as Arizona Pima BY AND TEPEE and Kansas Potawatomi. The style of THURLOW LIEURANCE FOUR AME.RICAN INDIAN SONGS FOUNDED UPON A&'W+-t.­ ~ &....IW ...... P..w. l) TRIBAL MELODIES songs the group performed, however, L.OVt.SCK. r­ .... IW ...... p..w.. 2S •£.R Bt.ANXEr-F-•No-. H LYA.ICS was representative of Northern Plains nt£ V.'£.AVER-n...... _ H.R..y n PA.ftJP..6afT-O-n-. ZS NELLE. RlCHM~ND EBERHART" rather than of the Eastern Woodlands PAAOl!ll-1\,.R.­ • lS HAR.MONiz.ED amJ ELA.BORATED ~OATEOFAW'l'!wi..L-~ 2S or the Southwest or central Plains. WUJJIY • ~ CHARLES ~AKE.FIELD Over time, a few particular images of CADMAN American Indian people have been selected as the images of "the In­ dian." Visually, that image is often the male fancy dancer in feather re­ galia; aurally, it is the wide-range Northern Plains-style song, having characteristic forms and being sung with tense throat and pulsating voice. Of all Indian song styles, the Northern Plains sound is probably the most different from Euro-Ameri­ can singing, and the most difficult aural pattern for a non-Indian to as­ Sheet music covers for lndianist compositions by Thurlow Lieurance and Charles Wakefield similate, let alone to replicate . Older Cadman. Note the design motifs: lone Indian males next to trees, tepees, the moon, and the Indian people often lament that setting sun. The illustrations convey a sense of closeness to nature as well as an impression, young men are neglecting their spe­ perhaps, that songs are individualistic expressions removed from the hustle and bustle of daily cific tribal heritage fQr the sake of life. Music Division, Library of Congress singing these pantribal songs, heard at powwows across the country. But this aural image of "Indian-ness" musical genres and made them their sicians overlaid the rock-song foun­ functions as a significant boundary own. Quite a few Canadian and Alas­ dation with the sound of a traditional for Indian and non-Indian societies. kan indigenous people, for example, drum group singing a 49'er. But on By differentiating as much as possible have adopted the fiddle as a means of the same album, there is also a song from the dominant culture, by stak­ cultural self-expression; in fact, there called "Christopher Columbus," in­ ing out that which is most markedly is now a yearly music festival and cluding these lyrics: unique and displaying it to the out­ competition for Athabascan fiddlers. side world, the selection of Northern Such activities may reflect Euro­ Christopher Columbus, whathave Plains song-style helps to confirm American influence, but native ex­ you done to us? cultural identities and borders. The pressive traditions are also repre­ They give you the credit, and the music and the etiquette of its perfor­ sented, for example, in the way songs whole world's read it, mance embrace all Native Americans are introduced, typically identifying But we discovered you- I said, as insiders, set apart from the domi­ the source and the occasion for the we discovered you! nant Euro-American culture. song's composition, and in accom­ panying activities, such as the com­ This song, though addressed to the ut even as the Indianist munity feasts. archetypal non-Indian and his kind, composers selected sounds Similar examples of cultural ex­ is on an album distributed primarily B or notions about Indian pression tiedto syncretism are found to Indian audiences and thus only music for their purposes, in Indian rock music. One ofthe best­ incidentally tweaks the nose (or contemporary Indian groups choose known groups from the Southwest, pricks the conscience) of the estab­ and adapt certain items from Euro­ XIT, released an album called "Relo­ lishment. Though the song has all the American musical practice. In making cation" in 1977 (Canyon Records aural patterns of mainstream rock such choices, they are not passive re­ 7121-C). Here, Indian youth, im­ that originated in non-Indian culture, cipients ofEuro-American musical im­ mersed in teen popular culture, en­ the real audience here is the group perialism butparticipants in a dynamic countered songs using standard rock identified in the lyrics as "we" rather interchange of cultural items. For ex­ instrumentation and style that ad­ than "you" or "they." As stated in a ample, w hile many drum groups use dressed non-mainstream topics. For recent discussion about musical a wooden drum covered with rawhide, example, the song "Nothing Could multiculturalism, "[even when) a cul­ others choose a Western-style bass Be Finer Than a 49'er" refers to a ture ... no longer control[s) the pro­ drum turned on its side; in its decora­ widespread Indian social dance duction of all of its music ... it still tion and use, it becomes literally an genre; its text even incorporates an listens with its own ears." 2 instrument of Indian identity. allusion to one of the most well­ A last example comes from Mor­ Some tribes have adopted Euro­ known 49 songs ("One-eyed Ford"), mon-inspired music recorded about pean instrumental traditions and and at the end of the piece, the mu- twenty years ago and directed to an

8 Folklife Center News Indian audience. Songs such as borrowing are everywhere, not just some possibilities. Contact with "the "Proud Earth," composed by Arliene in music. We could just as easily look, other" is not a one-time-only event Nofchissey Williams, a Navajo stu­ for example, at the tendency in the but a complicated, ongoing process dent at Brigham Young University, environmental movement to hold up of dynamic interchange in which se­ express Mormon respect for tribal a generalized "American Indian" as lectivity is a key word for all partici­ ways and the hope for broader unity. the ideal model of human interrelat­ pants. In the course of such contacts, In the recording, the nationally known edness with nature. Or we could look we have opportunities to examine that performer Chief Dan George recites at advertising, or at the New Age which unites and that which divides the text while Nofchissey sings it: fascination with shamanism, sweat us, all that we hold in common and all baths, and the sound oflndian flutes. that makes us unique. In this way, The beat of my heart is kept alive What is important, in the context of what began five hundred years ago is in my drum ... this article, is not an assessment of the far from over. I am one-with nature, Mother social effects ofsuch borrowing (or, in Earth is at my feet, some cases, possible misusing or at Notes And my God is up above me, and least misunderstanding) but rather an 1. This and the following quotation I'll sing the song of my People. 3 awareness that, in each of these in­ by Farwell are taken from the liner stances, two societies have come into notes for New World Records .NW Particularly fascinating in such songs contact. In the process, each has rec­ 213, a collection oflndianist composi­ is the use of some of the same aural ognized some aspects in its own and in tions by Farwell, Charles Wakefield images of Native American music that the other culture that touch a nerve­ Cadman, and Preston Ware Orem. the Indianist composers had chosen: some aspects to be rejected outright, 2. Marc Perlman, in his opening re­ the drum beat, the vocables, the flute, others to be affirmed, some to be de­ marks for an electronic-mail confer­ the shaken bells or rattles, all in con­ liberately appropriated for use in ways ence on multiculturalism and junction with string orchestra and that speak to members of the same ethnomusicology, April 16, 1992. mixed chorus. This time around, such group or to the other. 3. Salt City Records SC-60, no date; elements seem to be chosen in order Cultural encounter is performance, reissued by Proud Earth Productions to single out the Indian audience, to the expression or enactment of that in 1990. say, "This is for you." which is significant to a society in all The sights and sounds of other domains-artistic, economic, linguis­ forms ofcontemporary cross-cultural tic, political, and religious, to name

Lff?S1 RB AN ilft--:z I' ... • . * Daily News - Miner I ,.* ** ... ,...... It\ fool-stompin ' time at the festival

BJ Jf ~ffl R ff.RIO ridenlbund;iy lhomlllk1anl swtllrlrer pt.yt'd IS and IO mJaute Hta M-.11 1tnp1trad<-bcodll lromtam toSpm forlheo pubhc ~':;~~Jue~:.~~ Ptop}e Wtrll' out OD tfw. dm.cr blue pluti< fiddle An Alhabu floorurl71has ...... , eu woman in moo.sdlktit dttsa J a t1ua1an Carlo (A, A 1 andbrod

•~w tlw pd. four Novembers, HrllSte flddlt- from. orderedtbe Sean '"' """'afttt tho mcb and bdott 1rapptac season br aw Yuba R.i•Ht mu.lid.ans fllll'ot=='it~~= lrUrutlllnll.lbrv.uin b.I fknffd P"Ut.ar. with Ilia their fiddles ullan. lriemb up :iiltt".~-:.·.:: ::::::-~~.:l:.: awlmjoyllkandllftjoylbP tu&e of Aiul1 NaUft Artl lft. flddlo . y l1t on Thia yrar a feath·al attract.ed Tl mus WI! from 11 ,r::~ •bO.=md.::= fOWM ID the J.oter~ and four in plan tbe lint flddluc tNtwa1 Can>da fGur yewa agc> A llucknl of bil. The 500 tick '°" toail#:ll • U.Yt.ar-eld DtalUI PICer ol hrt flnal baDqud •nd da.Dce ....,... YU.on. practKed tYiu Hun a IOldout loni in MYU'I('(' ICl'Ol'd d1y lor monthJ to petform .....~.... 1"1adlck ....., Tbunday lboor mun Alhaba.xan fidd)e w Tb run Mpn " ed da)' born ,.n the> mkl 1 wbt-n Uud Tt.; ED l .-- BillSlevensot Fort Yukonplay•hiscl 4 l"tddllng Fr.stlval Tbuntt.y afternoon at Uwt t::a&In wbttl flrlt time and vderuper IOft b.ay traded tun lric blue plutic fiddle at thei fourth annual Old Time Hall ~,_.,.,...w,..,,.. tr:w violms alone lbr J>artupinc !:==p~~=J~ FIDDl.Ell. 8"" Pq<

Newspaper articles such as this one from the Fairbanks Daily News-Miner convey the popularity of Athabascan fiddling, while identifying both the historical-traditional aspects and striking new elements of these performances.

Fall 1992 9 The Folklorist Becotnes the Folk

Winery proprietors Ed and Phyllis Pedrizzetti being interviewed in their office at Pedrizzetti Winery, Morgan Hill, California, by American Folklife Center fieldworkers Russell Frank and Paola Tavarelli. (IAW-KL-8132-35) Photo by Ken Light

By Francesca McLean hibit was about to open and staffwere grocery store in El Cerrito, a small working hard on it-even though I town on the north borderofBerkeley. In 1989, when I heard about the am both a folklorist and an Italian­ There Concetta and my great-grand­ American Folklife Center's Italian­ American from the West. father Anthony raised Joseph, my Americans in the West (IAW) project, The historyofthe Italian side ofmy nonno, Mary, James, Frances, and it occurred to me to apply for a field­ family is very typical of Italian immi­ Lillian. Little did she know the move work position. But I was a graduate grants to the West. Both sets of my put them almost directly on top ofthe student studying for comprehensive maternal great-grandparents migrated Hayward fault. exams at the time, so I put the thought from Italy to the San Francisco Bay Meanwhile, the Maggiora's, my of fieldwork out of my mind. I had all Area in the late 1800s. The Marsalas, nonna's (grandmother's) family made but forgotten the project by Septem­ my nonno's (grandfather's) parents, their home in Wine Haven, a wine­ ber of 1992 when I took a part-time survived the San Francisco earthquake making community at the foot of the job in collections processing for the and fire of 1906. My biznonna (great­ Richmond side of the Richmond-San Center's Archive of Folk Culture. I grandmother) then insisted that the Rafael bridge. My great-grandfather didn't pay much attention to the IAW family move to the East Bay. They Marcellino worked for a winery until project other than to note that an ex­ opened first a livery stable and then a Prohibition, when everyone was left

10 Folklife Center News without work and the town effectively mother speaks to me in Italian under As I heard their voices, I could see ceased to exist. He and his first wife, the same conditions). Pasta is the them in my mind's eye. I began to Francesca (my namesake), had four family staple dish, and as I grew up I recall family memories, but my nos­ daughters, Laura (my nonna), Livia, learned how to make various sauces. talgic mental journey was inter­ Eda, and Lena. My great-grandfather rupted by two unfamiliar voices moved the family a few miles south to ne day at the Folklife Cen­ asking questions. The answers re­ the small town of Albany, where the ter, as I stood looking vealed parts ofmy family history that girls grew up. Eventually, Laura 0 over the shoulder of one I'd never heard. I wanted to ask more Maggiora met and married Joseph of my colleagues at questions, fill in more parts of the Marsala and they had children oftheir proof sheets from the IAW project, I picture. But, I also felt a strange sense own, Charmaine and Anthony. My made an amazing discovery. There ofviolation, as ifthe presence oftwo mother and uncle grew up speaking on the sheet was the image of a fieldworkers with a microphone in­ Italian at home and English at school. gravestone with the Pedrizzetti name vaded my privacy and trespassed on For my sister and me, Italian­ inscribed. The project fieldworkers my ownership of this family history. American cultural influences were had been working with myvery fam­ On the one hand, I was excited to one generation removed from our ily and a section of narrative from have part of my life experience rec­ nfother's experience and, thus, di­ Phyllis Pedrizzetti about my family ognized as important; on the other luted. Yet there were plentyofcultural was to be included in the exhibit. hand, I was ambivalent about my ties that were part and parcel of our Suddenly, I realized that my own family being the topic of research. If family circumstances. We were a family had been identified as the folk, my family's history was shared with close-knit extended family, and I saw "the other," part ofthat body ofpeople the general public through inclusion my grandparents every weekend. As I studied and sought to understand, in an exhibit, would it any longer the family grew and spread, we often but always stood apart from. All at have special meaning for me? traveled to Morgan Hill, an hour and once and with a jolt, I found myself My feelings of excitement were a half south ofour home in Oakland, symbolically on "the other" side of understandable to me both person­ on the southern edge ofwhat became the microphone, transformed from ally and professionally; my feelings Silicon Valley. Both my Aunt Eda folklorist to folk. My colleagues wryly of invasion were not. In order to sort (Pedrizzetti) and Aunt Lena (Borgnino) congratulated me on my newfound them out, I had to examine the differ­ married farmers . Uncle John status and joked about my increased ences between my public, folklorist Pedrizzetti eventually bought vine­ value to the professional community; self, and my private self. As an eth­ yards and a winery, and Uncle Louis I could now program myself into nographer I know that as soon as Borgnino, a prune ranch. My grand­ public presentations as both a field research begins, my informants parents spoke English as well as folklorist and an informant on Ital­ become subject to my professional Italian, so my sister and I didn't need ian-American culture in the West. Or standards and values. I had to exam­ to learn Italian to communicate with could I? ine the values I applied to my work them (they still speak Italian in public I read the fieldnotes and listened and then determine whether they when the matter at hand is not for to the taped interviews the Center's remained constant when my own "public consumption," and my researchers made with my cousins. family was the subject ofresearch; or

Frames from a contact sheet of photos taken in an Italian cemetery, showing the Pedrizzetti family headstone. Francesca Mclean experienced a shock of recognition when she noticed these pictures on the desk of a colleague at the Folklife Center. (IAW-DT­ 8012-1 OA-11 & 11 A-12) Photos by David A.Taylor

Fall 1992 11 if the IAW Project held itself to a motives and points of view of the Italian and Italian-American working­ similar set of values I could ap­ researchers and with the exhibit as a class culture. It also remains the seat prove. form of public presentation. My per­ of the maternal side of my family. sonal reaction mirrored a professional The Pedrizzetti Winery is a good n exploring tra.ditional culture concern every fieldworker and pre­ example ofthe kind ofItalian-Ameri­ in people's daily lives, folklor­ senter has felt at one time or another can family-owned and -operated I ists often are entrusted with very throughout his or her career: in what business the project chose to study. personal and intimate details. "frame" do we present the personal My Aunt Eda and Uncle John Consequently, folklorists who wish details of a person's cultural life? Pedrizzetti of Morgan Hill, California, to present the results oftheir research Folklorists' relationships with the bought the winery in the 1940s, oper­ in a book, a film, or a public program people they study are complicated. ated it for years and eventually turned are often faced with a dilemma: which We seek to maintain objectivity and it over to their son Ed and his wife, of these details, if any, should be intellectual and personal distance and Phyllis, when they retired. The wine­ made public? The folklife festival is do so, in part, by labeling them "in­ making community in the valley is the form of public presentation with formant" or "participant." But we are old and established, and many mem­ which I have had the most experi­ often deeply touched by the lives and bers belong to Italian-American ence, and it was on the basis of this traditions ofthe peoplewe workwith, families who have been in the state festival experience that I reacted with and friendships can blossom. In for over a century. The wine makers ambivalence to my family's inclusion staging a folklife festival, the rela­ know each other through ethnic as in the Center's exhibit. tionship between folklorist and folk well as occupational ties, and as When I am producing a festival I becomes one of collaboration. Cir­ Folklife Center fieldworkers discov­ must balance a number of consider­ cumstances and the exhibit format ered to meet and talk with one family ations. Curatorial matters, suchas who did not allow that kind of collabora­ is equivalent to gaining access to the to include and how to present the tion between myself and the Center whole community. largercontext that envelopes their tra­ during the research and design phase Different frames are appropriate dition, vie for equal attention with of the IAW exhibit. Would I be com­ and necessary for the effective pre­ production details such as the design fortable, I wanted to know, with the sentation ofdifferent aspects oftradi­ and fabrication of demonstration and "frame" of the IAW exhibit? tional culture. Traditional music may performance space. Underlying these lend itself easily to presentation on a decisions are ethical considerations, Id Ties, New Attachments, festival stage when its usual perfor­ for example, the fairness of featuring the folklife exhibit based mance context is a public one. Al­ one group to represent a community 0 on the Center's Italian­ though there are many people for tradition shared by many, and the Americans in the West whom narrating becomes a perfor­ effects on the future practice of tradi­ Project, focused on the maintenance mance, personal details of cultural tion by that selected group. The festi­ of traditional culture through ethnic life are not so easily presented in the val is a "frame" in which very specific group and family ties and on the dy­ festival frame. Once I got over the purposes are served. As an event pro­ namics of change within these com­ discomfort of sharing my family his­ ducer I control and shape information munities as time passed (see Folklife tory with the "public at large," I saw that informants and participants share Center News, summer 1992). One of that the framework of the IAW ex­ with me (as much as anyone produc­ the places the project carried out field hibit, with its specific foci and its ing programs in the public sector can research is California's Santa Clara venues in the communities who be in control ofany event). I hadnever Valley. Historically significant as an contributed to it, was an appropriate before thought that my personal and agricultural region (once known as frame for the presentation of my family history would be presented at a the "garden spot of the world"), the family's experience within the larger festival, or in any other public format. valley soil is rich and still supports cultural contexts that encompass it. I often share the details ofmy own life family farms and wineries. In the past For any folklorist, there is a dy­ with those I know, trust, and like, but twenty years, however, as the urban namic tension between the desire to I have never considered creating a development of San Jose sprawled present folk culture in public con­ display that featured them. southward, considerably less acreage texts and the ethical need to be Why had this possibility never oc­ has been devoted to agriculture. The mindful ofthe life details people share curred to me? Like many members of Centerchosethe valley because ofthe in trust and friendship. That tension, I a cultural community, I did not think large number of Italian-American, realize now, is one I want to work with myfamily and experience were inany family-owned and -operated small rather than seek to resolve, for it waydistinctive. WhenI found that the businesses, some of which have been requires me to periodically question attention of the American Folklife in the same families for generations. my motives and goals as a profes­ Center had been focused on it, I be­ The cultural base upon which the sional folklorist. gan to realize that my "normal" expe­ businesses began is still intact and rience was a very particular one, and flourishing, as younger generations Francesca McLean is a Ph.D. candi­ that my family was part ofexactly the continue family and community tradi­ date at the University ofPennsylva­ kind of ethnic community any folk­ tions and add their own. In contrast to nia, writing a dissertation on the lorist might study. the Napa and Sonoma Valleys to the repertoire of mandolin player Red But when the Center staff decided north, where wine-making attracts Rector, ofKnoxville, Tennessee. what part of my family narrative to wine makers andtourists from around feature in the exhibit, I had no part in the world, the Santa Clara Valley re­ the decision. I was unfamiliar with the mains strongly rooted in traditional

12 Folklife Center News Significant Acquisitions for the Folk Archive in 1992

ByJoseph C. Hickerson Vancouver, Mr. Martin performs over Mike Seeger ofLexington, Virginia, one hundredsongs, a number ofwhich has supplemented his collections of During the period from October 1991 were acquired from such neighboring field recordings in the Archive with to September 1992, Folk Archive ac­ tribes as the Bella Bella, Bella Coola, the addition ofarchival quality dupli­ tivities suffered from a staff shortage Haida, and Nootka. Included are dance cations of fifty-eight hours of audio­ and the Center's move to newly songs, feast songs, game songs, hunt­ tape, primarily taken from his original renovated quarters in the Library's ing songs, love songs, thank-you reels numbered fourteen through Thomas Jefferson Building. As a result, songs, and war songs. Also included sixty-nine. The bulk of this group of acquisitions activity was significantly with the tapes is a copy ofa hundred­ recordings was made in the late 1950s curtailed. Nevertheless, we can report page inventory of the complete and document a number ofaspects of a variety of interesting additions to the Halpern collection. Appalachian folk music as well as Archive of Folk Culture. The follow­ ing report describes collections com­ prising especially large bodies of Independence, Virginia, banjo player and string-band musician Wade Ward is shown material, those ofparticular interest to here with his wife and mother-in-law, Granny Porter, 1957. Ward is among many folklore, ethnomusicology, and re­ Appalachian folk musicians featured in the collections of tapes acquired from Michael Seeger. Photo by Michael Seeger lated areas of study, and those that exemplify the wide variety of format categories and subject matters repre­ sented in the collections. I hope readers will be inspired to consider the Archive of Folk Culture as a re­ pository for their collections and publications. To begin with, the Folk Archive has received an important group of recordings from the collection: of the late Ida Halpern of Vancouver, British Columbia. Dr. Halpern, a Viennese­ trained ethnomusicologist, moved to Canada jn 1939, and there she began documenting the music of Northwest Indians. Before her death in 1987, Dr. Halpern expressed interest in giving the Library of Congress an opportu­ nity to acquire portions of her collec­ tion. In anticipation of this event, Dr. Halpern donated to the Archive in 1976 a photocopy of the index and catalog cards that describe the songs she collected from British Columbia Indians over a thirty-five year period. The present acquisition has been do­ nated by the Provincial Archives of British Columbia, the official reposi­ tory of the Ida Halpern collection. It consists ofseventeen seven-inch and three five-inch audiotapes of one of Dr. Halpern's most prolific informants, Kwakiutl chief and master singer Mungo Martin. On these recordings, which were made in 195.1-52 in

Fall 1992 13 Robert Caulk has contributed a va­ riety of materials concerning interna­ tional folk dance that were gathered and compiled by his mother, Ruth Feuer Caulk, in connection with her work at settlement schools in New York City in the 1930s and 1940s. Included in the gift are 257 five-by­ eight-inch cards and nine sheets containing folk dance instructions, twelve folk dance and dance music books, two pamphlets, and one article.

ix videotapes featuring Rus­ sian and Armenian folk dance Sand song have been donated by Alexander Medvedev, mu­ sicologist and chairman of the Musi­ cology and Folklore Commission, Union of Composers of the former Soviet Union. The videos were brought to the Archive by Michael Levner of the Library's Moscow office. Included on the videos are the professional dance theater at the State Institute of Theatrical Arts, Russia; a men's choir; Cossack dances; and dances performed in vil­ lage settings. Stuart Jay Weiss of Staten Island, New York, has donated a unique six­ teen-inch, instantaneous, single-face acetate disc containing an "audition" by Huddie "Leadbelly" Ledbetter for the National Broadcasting Company. Dated June 19, 1940, the fifteen­ minute segment includes seven songs performed by Leadbelly, with an in­ troduction and narration by Woody Guthrie. Joe Broadman of Carmel, Califor­ nia, has donated a cassette containing Frank Proffitt, Jr., plays a five-string banjo made by Tut Taylor. D. Michael Battey twenty-five songs performed in May made the photograph in 1991 at the home of Clifford Glenn in Sugar Grove, North 1961 in Minneapolis by Bob Dylan. Carolina, during his in-depth recorded interview with Proffitt. Twenty-three of the songs are tradi­ tional folksongs or Woody Guthrie early forms of bluegrass and country through the 1960s, all of which are compositions; two are early Dylan music. Also included are recordings represented in the Archive's collec­ compositions. In addition, Broadman of several members of the Seeger tions. It was Frank Sr. 's version of has contributed ten published song family. Inaddition to the tapes, Seeger "Tom Dooley," as recorded by the collections, four song sheets, five pe­ has provided complete logs on four Kingston Trio in 1957, that sparked riodical issues, nine ephemera, and a diskettes. the commercial "folk boom" of the page containing "Songs and Poems" D. Michael Battey of Clearwater, late 1950s and early 1960s. Dr. Batty from the May 1, 1934, issue of Semi­ Florida, has contributed twelve seven­ used one of the Center's Nagra re­ weekly Farm News (Dallas). inch audiotapes of singer/storyteller corders to make these tapes. Mark Schoenberg ofPort Jefferson, Frank Proffitt, Jr., of Beech Mountain, Art Thieme of Peru, Illinois, has New York, has donated eighteen pe­ North Carolina. These recordings donated a typed manuscript entitled riodicals and a number of photo­ contain oral history as well as a variety "Songs ofthe Life, Times and Assassi­ graphs, souvenir/ song books, and songs and stories, many of which nation of President John Fitzgerald ephemera dealing with bluegrass were learned from the performer's Kennedy." The collection includes music in the early 1960s. Included are father, the late Frank Proffitt. The el­ approximately one hundred song songs books from Jim and Jesse and der Proffitt was a prolific source of texts, with source information, col­ the Virginia Boys and Don Reno and songs for collectors Frank C. Brown, lected by Thieme over the period Red Smiley and the Tennessee Cut­ Frank and Anne Warner, and Folk­ 1960-90 from a variety ofsources and Ups containing autographs of mem­ Legacy Records from the late 1930s musical genres. bers of the two ensembles.

14 Folklife Center News The University ofNebraska Library Smithsonian Institution Center for nia have been received from its pub­ has donated a photocopy of a rare Folklife Programs and Cultural Stud­ lisher in Berkeley, California. Eigh­ thirteen-page mimeographed collec­ ies has donated twenty-five LP re­ teen issues of the Jewish Storytelling tion of "Negro jokes" compiled by cordings on the Smithsonian Folk­ Newsletter have been received from the late Sterling Brown, presumably ways label. theJewish Storytelling Center in New in the late 1930s. York City. In addition, our recom­ John Reynolds of New York City mong serial publications mendations have resulted in the re­ has donated over one hundred donated are the following: ceipt of138 issues ofthe International newspaper and magazine articles and A Richard K. Spottswood of journal ofthe Sociology ofLanguage, other ephemera, principally con­ University Park, Maryland, 42 issues of the Folk Music Conflict cerning Leadbelly, Odetta, Elija has donated approximately 350 se­ Calendar, 17 issues of Autoharp Pierce, and Bill Taylor. rial publications, primarily dealing Clearinghouse, 11 issues of the Douglas Meade of College Park, with bluegrass and blues.]. A. "Ted" journal ofNegro History, 34 issues of Maryland, has donated a 1,179-page Theodore of El Cajon, California, has ChineseMusic, 47 issues of Them Days printout of his late father Guthrie T. donated 168 issues of the San Diego (Happy Valley - Goose Bay, Labra­ Meade's annotated discography of Folk Song Society Newsletter, along dor), 20 issues of Native Peoples traditional songs and tunes on hill­ with 4 other periodical issues and 23 (Phoenix, Arizona), and 26 issues of billy recordings. He has also gener­ ephemeral publications dealing with ArMen, a cultural magazine from ated and contributed a 41-page index folk music in the San Diego area. Sam Breton, France. to the discography. Guy Logsdon of and Eleanor SimmGns of the Somers Watch this column next year for Tulsa, Oklahoma, has donated a 20­ Traditional Folk Club of Malvern, such pending acquisitions as the Ital­ page printout of his discography of Worcestershire, England, have con­ ian-Americans in the West Project, the published and unpublished re­ tributed 6 directories and 17 journals Ukrainian cylinders of blind bardic cordings of Woody Guthrie. and newsletters published by that singers, collections from John Niles, Joe Glazer of Silver Spring, Mary­ organization over the past ten years. Jeff Titan, and Henrietta Yurchenco, land, has donated nineteen LPs , sev­ Kip Lomeli has loaned us 33 issues of and, time, st~ ff, and space willing, enteen cassettes, and one compact Blues & Rhythm for photocopying to many more. disc from his Collector Record label. complete our set of this important The recordings cover a variety of la­ magazine from England. Twenty-five bor and union topics. The issues of News from Native Califor­

EDITOR'S NOTES (from page 2) to call attention to an error in a caption Center. Producing the volume each (Folklife Center News, summer 1992, year became too expensive for the landing was only the beginning of page 16). "In the caption for the sheet Library in a time ofshrinking budgets. myriad cultural exchanges that con­ music published by the Hebrew Pub­ Copies of Folklife Annual 90 are tinue today. lishing Company, the Yiddish trans­ still available from New Orders, Su­ If encounter describes what hap­ literation is incorrect. The translitera­ perintendent ofDocuments, P.O. Box pened historically, the other describes tion you have is Wieberand it is listed 371954, Pittsburgh, PA 15250-7954. what was encountered psychologi­ as Weiher on the sheet music. Actu­ The stock number is SI N 030-000­ cally. Although Columbus sought ally, in modern orthography the word 00230-0, and the price is $19, which trade routes to the East, he "discov­ is usually given as Veiberor Vaiber. It's includes postage and handling. Make ered" something that was both other an unusual use of women in Yiddish; checks payable to the Superintendent than his expectations and other than usually speakers use Froyen from Di of Documents. anything in his experience or imagi­ Fray. Dos Veib means wife; Veiber has nation. In a second article, folklorist the connotation ofmarried women or Francesca McLean grapples with her steady women." FOLKUNE discovery that the folk culture being studied for the Center's Italian­ The Last of the Folklife Annuals For timely information on the field of Americans in the West Project is her folklore and folklife, including train­ own. She must come to terms with The 1990 volume of Folklife Annual ing and professional opportunities and the fact that "the other" of the presents eleven articles on scenic news items ofnational interest, a taped folklorist's study might well be her­ murals, photograph albums, costume, announcement is available around the self, and is thus forced to rethink decoration, and architectural design, clock, except during the hours of 9 some of the elements of her own all of which demonstrate how these A.M. until noon (eastern time) each developing professional point of forms are used to establish the terms Monday, when it is updated. Folkline view. and boundaries ofpersonal and com­ is a joint project of the American munity life. The 176-page, clothbound Folklife Center and the American Caption Correction book includes 156 illustrations, 45 in Folklore Society. Dial: color. Simon]. Bronner, professor of folk­ The 1990 volume is the last in the 202 707-2000 lore at Penn State, Harrisburg, wrote series from the American Folklife

Fall 1992 15 Ed Pedrizzetti at his winery in Morgan Hill, California, 1989. One of the participqnts in the Folklife Center's Italian-Americans in the West Project, Pedrizzetti is also the uncle of folklorist Francesca Mclean, whose comment on finding her family the subject of study begins on page 10. (IAW-KL-8130-36-36A) Photo by Ken Light

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